Podcasts about brahms sonata

A 17-year-old violist performs a moving Brahms Sonata with guest host Orli Shaham and we meet a talented teenage pianist who plays one of Liszt's great works for piano. More at: https://fromthetop.org/show/show-450/Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Kurt Campbell is the Deputy Assistant to the President and the White House Coordinator for Indo-Pacific Affairs. ChinaTalk recently joined Campbell in Washington to discuss US-China relations and mark the podcast's 300th episode. We discuss: The nature of national power today; If China is peaking; How ideology impacts Beijing's foreign policy; Campbell's hopes and fears for the Biden administration's Asia policy; Whether the US is still aiming to “maintain as large of a lead as possible” on chips and AI; How to think about the risk of and effectively deter military escalation; And the dark shadow of Tiananmen and its lasting impact on Chinese politics and US foreign policy. Outtro music: Brahms: Sonata in E flat major for Viola and Piano, Op. 120, No. 2 I. Allegro amabile https://www.youtube.com/watch?v=AYrC4rx5VrA Learn more about your ad choices. Visit megaphone.fm/adchoices

Kurt Campbell is the Deputy Assistant to the President and the White House Coordinator for Indo-Pacific Affairs. ChinaTalk recently joined Campbell in Washington to discuss US-China relations and mark the podcast's 300th episode. We discuss: The nature of national power today; If China is peaking; How ideology impacts Beijing's foreign policy; Campbell's hopes and fears for the Biden administration's Asia policy; Whether the US is still aiming to “maintain as large of a lead as possible” on chips and AI; How to think about the risk of and effectively deter military escalation; And the dark shadow of Tiananmen and its lasting impact on Chinese politics and US foreign policy. Outtro music: Brahms: Sonata in E flat major for Viola and Piano, Op. 120, No. 2 I. Allegro amabile https://www.youtube.com/watch?v=AYrC4rx5VrA Learn more about your ad choices. Visit megaphone.fm/adchoices

Nous voici sous le signe de Mnémosyne, divinité de la mémoire, et donc, du langage et des mots. La philosophie, dès son apparition, n'a cessé de frayer les pistes de son labyrinthe, au risque de s'y enfermer. S'interrogeant beaucoup plus sur les formes du souvenir, jusqu'à en oublier les contenus du souvenu : les mystères de la parole se perdaient dans les méandres des discours. Il est grand temps de libérer enfin ces "captives divines" trop longtemps confinées au mutisme des sons sans paroles: appliquons nous à retrouver l'unité de l'antique "Mousikê". ••• Musiques ••• R. Wagner - Lohengrin https://www.youtube.com/watch?v=Dtl0x... G. Mahler - Symphony no. 2, 5th movement https://www.youtube.com/watch?v=v1nKQ... G. Brassens (L. Aragon) - Il n'y a pas d'amour heureux https://www.youtube.com/watch?v=Xo7e0... R. Wagner - Tristan und Isolde (Akt III) https://www.youtube.com/watch?v=nA1P9... J. Brahms - Sonata for Violin and Piano no. 2 in A, op. 100 - 3 Allegretto Grazioso (quasi andante) https://youtu.be/c8P7sv01qoA F. Schubert - Trio no. 2 for Piano, Violin & Cello op. 100, D 929 - E-flat Major / mi bémol majeur - Allegro Molto https://youtu.be/Cb_akryBSdY

DIALOGO, the debut album of cellist John-Henry Crawford, First Prize Winner of the IX International Carlos Prieto Cello Competition and the Classical Recording Foundation’s 2019 Young Artist of the Year. Playing a rare 200-year-old cello smuggled out of Austria by his grandfather, Robert Popper, Crawford performs: Brahms: Sonata for Piano and Cello No. 2 in F Major, Op. 99 Ligeti: Sonata for Solo Cello Shostakovich: Sonata for Cello and Piano in D minor, Op. 40 Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1315/Dialogo.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Work for clarinet and piano by Brahms performed by Richard Stoltzman, clarinet and David Deveau, piano on January 11, 2015. Brahms: Sonata for Clarinet and Piano in F Minor Op. 120 No. 1 In the 1890’s, Brahms declared himself finished as a composer. He was done writing music, he said. But a trip to Meiningen, and a chance to hear the great clarinetist Richard Mühlfeld changed his mind, and he went on to write a number of pieces to showcase the extraordinary talents of this apparently self-taught woodwind player.Brahms heard Mühlfeld on a visit and was impressed, so much so that he wrote several works for clarinet in short order. First came a trio for clarinet, piano, and cello; then, a quintet. A few years later came two sonatas, one of which we’ll hear today: the sonata in F minor, Opus 120, number 1. The first performance of the sonatas featured Brahms himself at the piano, with Mühlfeld on the clarinet.On our podcast, we’ll hear the Mühlfeld part played by the very able clarinetist Richard Stoltzman, with David Deveau standing in for Brahms on piano. The piece lasts almost 40 minutes, and it will make up the entirety of our program.

Over the past decade, Astoria quietly became a hotbed for creatives looking for inspiration, community, space, and affordability. Now that economic times are on the rebound, how can Astoria keep its lifestyle affordable?This show was recorded before a live audience at the glorious Liberty Theater, home to the Astoria Music Festival and seasonal programming of all kinds.1:29 - We start out the show with one of Astoria's most vocal recent converts, writer Matt Love. He recently penned a self-declared love letter, "A Nice Piece of Astoria: A Narrative Guide."7:12 - Astoria Music Festival's artistic director Keith Clark and chamber music director Cary Lewis tell us about the history of festival, before being joined by Oregon Symphony concertmaster Sarah Kwak and Russian cellist Sergey Antonov for performances of Brahms Sonata for Piano and Violin, No. 2 in A major and Scriabin's romance for Horn & Piano. 28:16 - We sit down with Fort George Brewery co-founder Jack Harris, Clatsop County Commissioner Sarah Nebeker, and visual artist Darren Orange to talk about what what makes Astoria such an inspirational place for visual art, music, and the written word, and what might keep it that way in years to come.36:56 - After recording their first EP in an old cannery building in Astoria (and drawing their name from the Pilot boats that help guide freighters down the Columbia), Israel Nebeker and Ryan Dobrowski gained national attention with their band Blind Pilot. They were living in Portland at the time, but they've since moved to the Astoria area. They share the reasons for their move, as well as play a couple songs, including a new one, "And Then Like Lions."

Works for cello and piano by Brahms performed by Wendy Warner, cello and Irina Nuzova, piano on September 28, 2014.Brahms: Sapphische Ode, Op. 94, No. 4 arranged by David GeringasBrahms: Lerchengesang (Lark Song) arranged by Zuill BaileyBrahms: Sonata for Cello and Piano No. 2 in F Major, Op. 99In September 2014, cellist Wendy Warner played a recital at the Gardner Museum, joined by pianist Irina Nuzova. The program had a distinct focus on Brahms, and on this podcast, we’ll feature three of the Brahms works.First come two arrangements for cello of Brahms lieder. First is the languidly beautiful “Sapphische Ode,” a love song. The second song we’ll hear is “Lerchengesang,” the Song of the Lark. This is another of Brahms’ love songs, a remarkably sweet, tender melody, about hearing a lark’s song and being reminded of a special spring moment long ago.Then, we get to the meat of the program: Brahms’ Sonata for cello and piano No. 2, in F Major. The piece opens with an exuberant first movement, with tremolos in the piano and soaring melodies in the cello.The subsequent movements of the sonata explore a variety of different keys, harmonies, techniques, and moods. The slow movement starts curiously, with the piano voicing the main theme while the cellist plucks along, pizzicato. The final allegro is a quick, light romp, perhaps a somewhat abrupt ending to such a major piece, but one that cleverly leaves the listener wanting more.

This week's Contrabass Conversations episode features an interview with double bassist Michael Hovnanian. Michael has been a member of the Chicago Symphony Orchestra since 1989, and he serves as the president of Discordia Music (double bass music publisher). Michael also plays for the Gunnelpumpers, Chicago Bass Ensemble, Music of the Baroque, and the Ars Viva Symphony Orchestra. He authors the popular CSO Bass Blog, and he has served on the faculty for Northwestern University and the Chicago College of Performing Arts. Michael was also my bass teacher for my undergraduate and graduate degrees at Northwestern, and it was really great to get a chance to do this interview. You will also get a chance to hear Michael play the Discordia Music edition of the Brahms Sonata in E minor on this episode. It is a great edition of a great piece, and Michael plays it beautifully. Enjoy! About Michael Hovnanian Michael Hovnanian grew up in the Seattle area and started playing the bass in the public schools. His primary teachers were James Harnett and Ronald Simon of the Seattle Symphony. An early interest in solo playing led to performances with the Seattle Symphony, the Northwest Chamber Orchestra and the University of Washington Symphony. Michael attended the University of Washington and received a Bachelor of Fine Arts degree from the California Institute of the Arts where he studied with Frederick Tinsley of the Los Angeles Philharmonic. In 1986 he joined the Victoria Symphony as Principal Bassist and in 1988 the San Antonio Symphony as a member of the bass section. Since 1989 he has been a member of the Chicago Symphony Orchestra. In addition to playing in the CSO Mr. Hovnanian is active performing solo and chamber music in the Chicago area. He has appeared in the Chicago Symphony chamber concerts at Orchestra Hall and the Art Institute, with Chicago Pro Musica, and at the Winter Chamber Music Festival. Currently he is President of Discordia Music, a pulishing company specializing in new and arranged works for Double Bass. He is also a co-founder of the International Bottesini Society, an organization dedicated to promoting the legacy of that composer. Michael’s blog: www.csobassblog.blogspot.com

This week's Contrabass Conversations episode features an interview with double bassist Michael Hovnanian. Michael has been a member of the Chicago Symphony Orchestra since 1989, and he serves as the president of Discordia Music (double bass music publisher). Michael also plays for the Gunnelpumpers, Chicago Bass Ensemble, Music of the Baroque, and the Ars Viva Symphony Orchestra. He authors the popular CSO Bass Blog, and he has served on the faculty for Northwestern University and the Chicago College of Performing Arts. Michael was also my bass teacher for my undergraduate and graduate degrees at Northwestern, and it was really great to get a chance to do this interview. You will also get a chance to hear Michael play the Discordia Music edition of the Brahms Sonata in E minor on this episode. It is a great edition of a great piece, and Michael plays it beautifully. Enjoy! About Michael Hovnanian Michael Hovnanian grew up in the Seattle area and started playing the bass in the public schools. His primary teachers were James Harnett and Ronald Simon of the Seattle Symphony. An early interest in solo playing led to performances with the Seattle Symphony, the Northwest Chamber Orchestra and the University of Washington Symphony. Michael attended the University of Washington and received a Bachelor of Fine Arts degree from the California Institute of the Arts where he studied with Frederick Tinsley of the Los Angeles Philharmonic. In 1986 he joined the Victoria Symphony as Principal Bassist and in 1988 the San Antonio Symphony as a member of the bass section. Since 1989 he has been a member of the Chicago Symphony Orchestra. In addition to playing in the CSO Mr. Hovnanian is active performing solo and chamber music in the Chicago area. He has appeared in the Chicago Symphony chamber concerts at Orchestra Hall and the Art Institute, with Chicago Pro Musica, and at the Winter Chamber Music Festival. Currently he is President of Discordia Music, a pulishing company specializing in new and arranged works for Double Bass. He is also a co-founder of the International Bottesini Society, an organization dedicated to promoting the legacy of that composer. Michael’s blog: www.csobassblog.blogspot.com

Vivaldi: Concerto for flute, oboe, violin, bassoon, and basso continuo in D Major (“La Pastorella”) (April 24, 2005)Brahms: Sonata for cello and piano No. 1 in E minor, Op. 38 (December 4, 2005)They say every person on earth is connected by, at most, six degrees of separation. This week in our 14th episode of “The Concert,” we’ll listen to some Vivaldi and Brahms, two composers from totally different times and places who are connected by just one degree of compositional separation—Johann Sebastian Bach. Vivaldi was a very prolific composer, and many of his works were relatively unknown after his lifetime. As Vivaldi became increasingly popular, though, people started to realize what an influence he’d had on Bach. It’s no secret that Bach, in turn, had a great influence on Brahms. In the second piece on this program, Brahms’ cello sonata in E minor, you’ll particularly hear the influence of Bach’s fugues in the final movement. And maybe you’ll even hear a trace of Vivaldi’s counterpoint.