Podcasts about britten sinfonia

In this episode, Jon Jacob joins Britten Sinfonia and medical professionals at Addenbrooke's Hospital in Cambridge to explore how live music brings moments of connection and calm in clinical settings. Recorded during hospital visits, the conversation reveals how music supports recovery and emotional wellbeing in the most challenging of environments.

Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a unique and distinguished career as a soloist, chamber musician, educator, author and broadcaster.As a concerto soloist he appears regularly with the world's leading orchestras and conductors, including the Berlin Philharmonic, National Symphony Orchestra Washington, London Philharmonic and Zurich Tonhalle orchestras. He gives recitals every season in major musical centres, and plays with many of the world's foremost chamber orchestras, including the Australian, Mahler, Norwegian, Scottish, Zurich and St Paul Chamber Orchestras, as well as period-instrument ensembles such as the Orchestra of the Age of Enlightenment and Philharmonia Baroque Orchestra. Unusually, he also directs chamber orchestras from the cello in classical programmes.Recent and upcoming highlights include performances with the Gewandhausorchester Leipzig, Vienna Philharmonic Orchestra at the Salzburg Mozartwoche; the US premiere of Thomas Adès's Lieux retrouvés with the Los Angeles Philharmonic, following world and UK premieres in Lucerne and at the BBC Proms, and a further performance of the work in Amsterdam with the Britten Sinfonia, conducted by the composer; Prokofiev's Concerto Op. 58 with the London Philharmonic Orchestra under Vladimir Jurowski, in London and at the Dresden Music Festival; and Haydn's C major Concerto with the Orchestra of the Age of Enlightenment under Adam Fischer.As a chamber musician, he has curated series for many of the world's most famous festivals and venues, including the Wigmore Hall, the 92nd St Y in New York, and the Salzburg Festival. These specially devised programmes have included ‘In the Shadow of War', a major four-part series for the Wigmore Hall to mark the centenary of the First World War and the 75th anniversary of the Second World War; explorations of Czech music; the teacher-pupil line of Saint-Saëns, Fauré and Ravel; the affinity of the cello and the human voice; varied aspects of Robert Schumann's life and music; and the music of Sergei Taneyev (teacher of Steven's grandfather, Julius Isserlis) and his students. For these concerts Steven is joined by a regular group of friends which includes the violinists Joshua Bell, Isabelle Faust, Pamela Frank, and Janine Jansen, violist Tabea Zimmermann, and pianists Jeremy Denk, Stephen Hough, Alexander Melnikov, Olli Mustonen, Connie Shih, and Dénes Várjon.He also takes a strong interest in authentic performance. This season's projects include a recording of the Chopin Cello Sonata and other works with Dénes Várjon for Hyperion, using ones of Chopin's own piano; and a recital of Russian sonatas with Olli Mustonen. In recital, he gives frequent concerts with harpsichord and fortepiano. Recent seasons have featured a special performance with Sir Andras Schiff at the Beethovenhaus in Bonn, using Beethoven's own cello; and performances and recordings (selected for the Deutsche SchallplattenPreis) of Beethoven's complete music for cello and piano with Robert Levin, using original or replica fortepianos from the early nineteenth century. With harpsichordist Richard Egarr, he has performed and recorded the viola da gamba sonatas of J.S. Bach as well as sonatas by Handel and Scarlatti. This season, they tour together in the US.He is also a keen exponent of contemporary music and has premiered many new works including John Tavener's The Protecting Veil (as well as several other pieces by Tavener), Thomas Adès's Lieux retrouvés, Stephen Hough's Sonata for Cello and Piano, Left Hand (Les Adieux), Wolfgang Rihm's Concerto in One Movement, David Matthews' Concerto in Azzurro, and For Steven and Hilary's Jig by György Kurtág. In 2016, he gave the UK premiere of Olli Mustonen's of Frei, aber einsam for solo cello at the Wigmore Hall.

durée : 00:21:49 - Disques de légende du vendredi 24 janvier 2025 - Benjamin Britten compose sa Sinfonia da Requiem en 1940, à seulement 26 ans, sur une commande du gouvernement japonais qui voulait célébrer le 2 600e anniversaire de la fondation de la dynastie impériale.

Imogen Whitehead is a true trailblazer in the world of trumpet performance. Currently the principal trumpet of the Britten Sinfonia, Imogen has performed as principal trumpet with some of the world's most prestigious orchestras, including the London Symphony Orchestra and the Aurora Orchestra. Alongside her orchestral work, she has also carved out a dynamic solo career, commissioning and premiering new trumpet and flugelhorn music, and championing contemporary compositions.In this interview, we explore the wide-ranging facets of Imogen's career and the personal and professional steps she's taken to build her impressive path. We begin in Part 1 by talking about her recent experience touring with the London Symphony Orchestra, where she reflects on both her audition and the challenges and rewards of playing with such a renowned ensemble.We then move on to discuss her time with the Aurora Orchestra, an ensemble that performs much of its repertoire entirely from memory—a fascinating approach that Imogen describes in detail. She also shares insights into her experience premiering Anibal Vidal's Trumpet Concerto with the Britten Sinfonia, and how this commissioning project came to life.Throughout our conversation, we explore the career strategies Imogen has employed, including the importance of building personal connections and the role that social media has played in expanding her reach. Imogen also takes us back to her time as a student at the Royal Academy of Music, where she recalls a transformative lesson with the legendary Jim Watson.In the second part of our conversation [Subscriber Content], Imogen discusses further studies with Norwegian soloist Tine Thing Helseth in Oslo, shedding light on how brief but impactful experiences can shape a musician's growth. She also provides an inside look at the commissioning process for To Stay Open, a piece by Charlotte Harding inspired by the work of psychologist Pippa Grange.We end on a fun note, as Imogen shares the unique experience of playing in the recording and filming of Mahler's 2nd Symphony for the 2023 Film "Maestro", an American biographical romantic drama about Leonard Bernstein..Whether you're a young player, a seasoned professional, or simply a fan of music, this episode with Imogen Whitehead is sure to inspire you to take chances, put in the work, and grow both as a musician and a person.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Dorian Harewood Broadway: The Mighty Gents, Streamers, Don' f Call Back, Two Gentlemen of Verona, Jesus Christ Superstar. National Tour: Kiss of the Spider Woman, Madame Lily, Miss Moffat. Regional: Purley (Kennedy Center). Film: Gothika, Levity, Pacific Heights, Full Metal Jacket, The Falcon and the Snowman, Against All Odds. TV: "Big Sky, " "Bel-Air," "9-1-1," "Criminal Minds," "Private Practice," " 7th Heaven," "The Practice," "12 Angry Men," "PlI Fly Away," "The Jesse Owens Story," "Roots: The Next Generations." Awards: NAACP Image Awards for Lead Actor in a Drama Series for "I* Il Fly Away" and Best Actor in a Television Mini-Series for "The Jesse Owens Story;* Theatre World Award for Best New Actor for Don't Call Back. Maryann Plunkett Originated the role of Older Allie at Chicago Shakespeare Theater in Fall 2022. Other Broadway includes: Agnes of God, Sunday in the Park with George, Me and My Girl (Tony Award®), The Crucible, St. Joan, A Man for All Seasons, The Seagull. Off-Broadway: Deep Blue Sound, The Sean O' Casey Dublin Trilogy at Irish Rep, The Lucky Ones, Aristocrats, Richard Nelson 's 12-play Rhinebeck Panorama (seen over a span of 11 years, onstage in NYC, on tour around the world, and live on Zoom during the pandemic). Films: Showing Up, A Beautiful Day in the Neighborhood, Little Women, MAD, Blue Valentine, The Family Fang, The Rhinebeck Panorama. TV: recurring roles on both "Manifest" and "Dr. Death" ; others include "New Amsterdam, " "The Knick," "Chicago Med," "Law and Order" franchise, "Star Trek: The Next Generation." Plunkett is a founding member of Portland Stage Company and is a coach and mentor. She has performed in Shakespeare, Chekhov, and as narrator with the Britten Sinfonia. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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durée : 00:16:52 - Le Disque classique du jour du mardi 12 mars 2024 - Pour célébrer le 225 ème anniversaire de la naissance de Donizetti, Carlo Rizzi, à la direction du Britten Sinfonia, nous offre une version de "L'esule di Roma", considérée comme une œuvre majeure dans l'illustre carrière du compositeur

17. februārī Lielajā ģildē festivāla "Vīnes klasika" kopā ar Valsts kamerorķestri Sinfonietta Rīga uzstāsies austriešu sitaminstrumentālists Bernhards Šimpelsbergers un britu vijolnieks Tomass Gūlds, atskaņojot Ludviga van Bēthovena Sesto simfoniju ("Pastorālā"), Jozefa Haidna 22. simfoniju ("Filozofs") un austriešu komponista Johannesa Berauera dubultkoncerts NoWhere. Londonā dzimušais Tomass Gūlds no 2005. līdz 2016. gadam kā koncertmeistars darbojās kamerorķestrī Aurora Orchestra, bet šobrīd viņš ir kamerorķestra Britten Sinfonia pirmā vijole, kā arī bieži uzstājas kopā ar ievērojamiem orķestriem visā pasaulē, toskait vairākkārt koncertējis arī Latvijā. Ar Tomasu Gūldu runājam par austriešu komponista Johannesa Berauera mūziku, indiešu klasiskās mūzikas ritmiem, par žanru robežām un to neviennozīmību un pārvērtēšanu, par džeza un klasiskās mūzikas iespaidiem Gūlda bērnībā, mazliet arī par Naidželu Kenediju, Žilu Apapu, leģendāro vijolspēles pasniedzēju Ņujorkā Dorotiju Deleju un džeza vijolnieku Stefanu Grapelli. Sarunā arī par Haidna inovatīvo muzikālo izdomu viņa 22. simfonijā "Filozofs" un citos darbos, par to, kā aiziet no Eiropas Savienības ar Haidna "Atvadu" simfoniju, arī pāris vārdi par Bēthovena Sesto "Pastorālo" simfoniju un Tomasa Gūlda muzikālajiem plāniem 2024. gadā. Neriskēšu teikt, ka Johannesa Berauera mūzika Rīgā vēl nav skanējusi, bet tas varētu būt tuvu patiesībai. Kāda no jūsu skatupunkta ir Berauera mūzika? Domāju, šī būs pirmā reize, kad Johannesa Berauera mūzika skanēs Latvijā. Viņš ir to komponistu skaitā, kas nojauc robežas starp žanriem, šos ne visai noderīgos, tradicionālos nodalījumus starp džezu un klasisko mūziku. Ir tik daudz jaunas mūzikas, kas pastāv kaut kur pa vidu šiem dalījumiem. Ir grūti kategorizēt, bet Johanness ir klasiski skolots komponists, viņš caurcaurēm izstudējis Ravela un Šēnberga orķestrāciju. Viņš izcili pārzina orķestrēšanas mākslu. Un vienlaikus viņš ir pilnībā iegremdējies džeza mūzikā. Pazīstu viņu jau daudzus gadus, domāju, tas bija pirms gadiem desmit, kad viņš mani uzaicināja piedalīties kamermūzikas koncertā Londonā. Viņš meklēja vijolnieku, un mani kāds bija ieteicis, jo arī es spēlēju gan klasisko, gan džeza mūziku, un visu, kas ir kaut kur pa vidu šiem žanriem. Tā desmit gadus esam strādājuši kopā, un tas viss mūs aizvedis pie šī koncerta, kas ir fantastisks darbs. Ceru, ka klausītājiem tas patiks. Tad varētu teikt, ka ar Johannesu esat domubiedri tajā, kā domājat par mūziku, atskaņojumu, žanriem? Domāju, jā. Mums ir visai līdzīga pieredze tādā nozīmē, cik dažādos mūzikas stilos izpaužamies, kādu mūziku klausāmies. Mana personīgā interese par džezu sakņojas bērnībā. Maniem vecākiem bija apjomīga džeza un klasiskās mūzikas ierakstu kolekcija. Mani nosauca par Tomasu, jo vecākiem ļoti patika Tomasa Tallisa darbi. Tad nu varat iedomāties – mājās skanēja daudz klasiskā mūzika, bet tāpat Mailss Deiviss, Džons Koltreins, Hērbijs Manns un Ārts Bleikijs. Bērnībā paguvu iepazīt savu vecāku lielo mūzikas kolekciju. Tad sāku spēlēt bungas. Esmu mācījies trīs klasisko instrumentu spēli: vijoli, klavieres un sitaminstrumentus. Tā nonācu pie bungu komplekta, un caur to nonācu pie džeza spēlēšanas. Un man tas bija ļoti dabisks ceļš, kā nonākt līdz džezam. Domāju, ka Johanness varētu izstāstīt līdzīgu stāstu. Klasiskās mūzikas izglītībai kopumā ir problēma, ka tā ir ļoti preskriptīva, noteiktu rīcību paģēroša. Ir populārs stāsts par vijolnieku Naidželu Kenediju, kurš savulaik studēja pie slavenās pedagoģes Dorotijas Delejas Džuljarda skolā Ņujorkā. Tas bija pirms 30, 40 gadiem. Ap to laiku Ņujorkā bija džeza vijolnieks Stefans Grapelli, un viņš uzaicināja Naidželu Kenediju, kurš tolaik bija ļoti jauns mūziķis, pievienoties uz koncertu džeza klubā. Dorotija Deleja par to nebija sajūsmā. Viņa teica: ja vēlies būt īstens klasiskais vijolnieks, tev nebūtu jāizšķiež laiks džeza klubos. Droši vien tajā ir savs patiesības grauds. Bet domāju, ka spēja muzicēt dažādos žanros un zināšanas, kas aptver visu, kas mūzikā ir labs, nāk tikai par labu, tas ir veselīgi. Es saku – labais mūzikā, bet laba mūzika ir gan klasikā, gan džezā, gan smagajā metālā, kantri mūzikā, it visur. Ir arī daudz sliktas mūzikas, kurai vajadzētu mest līkumu. Bet, ziniet, ir arī slikta klasiskā mūzika. Un laba mūzika sliktos ierakstos. Protams. Turklāt mūslaikos ir tik daudz mūzikas. Dažreiz vēlos paklausīties mūziku, un vienlaikus jūtos pārsātināts no izvēļu daudzuma, kas 2024. gadā man ir pieejams. Sestdien koncertā spēlēsim arī Bēthovena "Pastorālo simfoniju" un Haidna 22. simfoniju ar nosaukumu „Filozofs”. Ja ierakstāt, piemēram, Bēthovena "Pastorālo" Apple Music meklētājā, tur būs vismaz 70, 80 ierakstu, tā ir neaptverams klāsts. Ja runājam par labiem ierakstiem, domājams, Naidželam Kenedijam tomēr nāca par labu dažādu žanru iepazīšana. Vienā no agrākām intervijām stāstījāt par koncertu, kurā Mocarta Vijolkoncertam nospēlējāt džeza kadenci, un publika to īsti nesaprata. Bet manā pieredzē ar vijoļkoncertu repertruāru viena no virsotnēm ir Naidžela Kenedija ieskaņotais Mocarta Ceturtais vijoļkoncerts kopā ar Polijas kamerorķestri. Kad pienāk brīdis pirmās daļas kadencei, orķestris sāk spēlēt izvērstu ostinato, bet Kenedijs pie vijoles pieslēdz ģitāras pedāļus, pilnībā izmainot instrumenta skaņu. Es domāju, ka Naidžels Kenedijs ir paveicis daudz laba, nojaucot robežas starp mūzikas žanriem. Un, ja runājam par Mocarta koncertu kadencēm, noteikti jāpiesauc arī Žils Apaps. Tas patiesi ir viens no vislieliskākajiem vijoļspēles paraugiem. Tas patiesībā mani iedvesmoja pamēģināt darīt kaut ko citādāk, bet tas jau bija krietnu laiku atpakaļ. Pirms kādiem 14 gadiem, un pēc koncerta izcēlās neliels skandāls, jo toreiz spēlēju nelielā mūzikas festivālā uz Anglijas un Velsas robežas, un viņi pavisam noteikti negaidīja džeza kadenci Mocarta vijoļkoncertā, par to vēlāk rakstīja presē, tas bija neliels šoka moments. Jūs dabūjāt sliktu atsauksmi? Recenzijā viss bija ļoti slikti, bet es arī saņēmu daudz atbalsta. Tas bija polarizējoši. Pusei no klausītājiem tas patika, pusei nepatika. Bet manā ieskatā tā bija vērtīga pieredze, jo no tā izrietēja dziļāka saruna par to, cik lielā mērā kadence pieder komponistam, cik svarīgi ir kadencē ievērot to mūzikas stilu, kas ir pirms un pēc kadences, vai kadence nozīmē iespēju mūziķim lauzt vecās tradīcijas un darīt kaut ko pilnīgi individuālu? Es nezinu, tā joprojām ir aktuāla saruna. Tomēr es nekad vairs neatkārtoju eksperimentu ar džeza kadencēm Mocarta mūzikā. Atklāti sakot, tas patraucēja atskaņojumam. Un es domāju, ka atskaņotāja darbs ir vienmēr dot visgodprātīgāko versiju komponista rakstītajam materiālam. Jums nekad nevajadzētu doties prom no Mocarta vijoļkoncerta atskaņojuma ar domu, ka Tomass Gūlds bija lielisks. Tā vietā būtu jābūt pēcsajūtai – jā, tas Volfgangs Amadejs patiešām ir īpašs. Cik noprotu, arī Johanness Berauers jums un jūsu kolēģim pie sitaminstrumentiem uzrakstījis koncertdarbu. Vai arī Johanness savā darbā iekļāvis kadences? Darba pirmajā daļā ir vieta kadencei, bet tā nav sevišķi virtuoza. Tas drīzāk ir pārdomu brīdis, un lielumties sitaminstrumentālistam Bernhardam. Domāju, būtu labi viņu iepazīstināt. Viņam ir īsta austrieša vārds: Bernhards Šimpelsbergers, bet tas nav tas, ko domājat. Viņš ir ļoti moderns, fleksibls, daudzpusīgs mūziķis, kurš daudz laika paadījis Indijā, studējot indiešu ritmus. Sevišķi konakolu – prasmi vokalizēt ritma paternus. Neesmu eksperts, bet Bernhards to ir izstudējis līdz kaulam, viņš ir ļoti autentisks. Johannesa koncertā ir daudz indiešu mūzikas iespaidu. Bernhardam ir mikrofons, lai klausītāji varētu dzirdēt visas konakola nianses. Arī kadencē dzirdēsim konakolu. Vai atminaties, kā sākās jūsu interese par Jozefa Haidna mūziku? Domāju, ka pirmais Haidna skaņdarbs, ko spēlēju, bija „Pēdējie septiņi vārdi”, ko atskaņoju kvarteta sastāvā. Toreiz biju students, tas bija Lielajā piektdienā. Mūzika mani ļoti uzrunāja, sajutu stipru saikni ar Haidnu. Par simfonijām runājot, tās bieži uztver kā dzīvespriecīgu, bezrūpīgu, visai vieglu koncerta ievadu. Anglijā nebūs retums, ka spēlē Haidna simfoniju, un mēģinājumos tai netiks veltīts daudz laika, jo vispārpieņemts, ka tā ir viegla mūzika, kuru mūziķi pazīst. Ja pievēršam uzmanību „Filozofa” simfonijai, tai ir ļoti neparasta pirmā lēnā daļa, tajā ir ilgstošs ostinato, repetitīva, motoriska figūra čellos, tā ilgst ap 8 minūtēm. Tas patiesībā ir ļoti savādi. Vijoles spēlē surdinēti, tas piešķir neparastu skaņas nokrāsu. Un melodiju spēlē divi mežragi un divi angļu ragi. Haidnam tas ir ļoti neparasts veids, kā iesākt simfoniju. Domāju, ka Haidns bija ļoti inovatīvs komponists. Praktiski jebkurā simfonijā, jebkurā stīgu kvartetā atradīsim kaut ko oriģinālu, piemēram, norādi vijolēm spēlēt melodiju augstā pozīcijā uz sol stīgas, vai surdīņu pielietošanu, vai putnu treļļu imitācijas – Haidna izdoma un humora izjūta ir neizsmeļama.  Vari just, ka viņš bija ļoti laipns, augstsirdīgs cilvēks. Es mīlu viņa mūziku. Domāju, jau viņa pirmajās simfonijās izdoma un asprātīgi risinājumi ir kas tāds, ko gaidi katrā nākamajā Haidna simfonijā. Piemēram tas, cik daudzveidīgi viņš izmanto mežragu zelta gājienu no simfonijas uz simfoniju. Jā, es pilnībā piekrītu. Nāk prātā „Atvadu” simfonija, kuras beigās mūziķi noiet no skatuves. Man bija iespēja spēlēt šo darbu ļoti sāpīgā, un ļoti zīmīgā brīdī. Tas bija Briselē uzreiz pēc tam, kad nobalsojām par izstāšanos no Eiropas Savienības. Es par to nenobalsoju, bet, diemžēl, daudzi mani tautieši tā izdarīja. Mēs spēlējām šo simfoniju Daiļo mākslu pilī Briselē īsi pēc balsojuma. Mūziķi nogāja no skatuves, un tas bija, jūs varat iedomāties, cilvēkiem acīs bija asaras. Tas bija ļoti emocionāli. Lūdzu, dažus vārdus par Bēthovena Sesto šī koncerta kontekstā. Šis koncerts būs daļa no Vīnes klasikas festivāla, tāpēc vēlējāmies kaut ko no Bēthovena, viena no centrālajiem Vīnes komponistiem. "Pastorālā simfonija" lieliski sader ar Berauera darbu, kurā arīdzan ir pastorāli elementi. Un Bernhardam uz skatuves ir ļoti savādi instrumenti, kurus viņš ieguvis ceļojumos pa visu pasauli. Un tas viss ļoti labi veido koncerta kopainu un papildina dabas tematiku. Domāju, ka "Pastorālā" no visām Bēthovena simfonijām ir ļoti parocīga atskaņojumam bez diriģenta, jo tā ir ļoti kamermuzikāla, tas ir smalks darbs. Tai nepiemīt ekstravertais ārišķīgums, kas raksturīgs iepriekšējām – Piektajai, Trešajai, arī Septītajai. Tie ir daudz ekstrovertāki, spožāki darbi. Turpretim pāra skaitļu simfonijas – Otrā, Ceturtā, Sestā – ir introvertākas, klusākas, smalkākas. Un Sestā ir par dabu, virs katras daļas ir teksts, kas vēsta par notikumiem mūzikā. Vētra, strautiņš, maza upīte, ciema ļaudis svētku noskaņā un tā tālāk. Tie ir Bēthovena simfoniju četri gadalaiki. Vai vēlaties pastāstīt klausītājiem par to, kā izskatās jūsu 2024. gads uz skatuvēm? Šī ir aizņemta nedēļa, vēl pagūšu aizlidot atpakaļ uz Londonu un nospēlēt koncertu ar savu orķestri, patiesībā kaut ko līdzīgu kā šeit. Piebildīšu, ka Sinfonietta Rīga ir viens no maniem vismīļākajiem orķestriem pasaulē. Tiekamies ceturto reizi, un tas ir ļoti priviliģējoši un gandarījoši – veidot ilgstošu sadarbību ar orķestri, nevis vienreiz satikties, nospēlēt koncertu un pamāt ardievas. Atgriežoties pie jautājuma, Londonā spēlēsim Bēthovena Lielo fūgu, Bartoka Divertismentu, un izcilu Džona Tavenera darbu, čellkoncertu „Sargājošais plīvurs”. Taveners devās mūžībā pirms desmit gadiem. Tad ar Britten Sinfonia dosimies spēlēt uz Mančesteru un Dublinu. Kas vēl, šogad spēlēšu Maksa Rihtera pārkomponētos Vivaldi „Gadalaikus”, būšu visai aizņemts, lai gan tagad, kad man ir 40, cenšos aizņemtību mazināt, vēlos arī atlikt laiku tenisam un saviem kaķiem. Tomas, paldies par sarunu, lai viss izdodas!

Hark! Season 3 debuts with a crowd favorite- “O Holy Night.” Born as a French poem in 1843, and set to music a few years later, this carol was banned for two decades from the Catholic Mass. It resurfaced in the hands of a Unitarian minister in the U.S. and became an anthem for abolitionists before the Civil War. It is also the song that you, our listeners, have overwhelmingly asked us to feature on Hark! Conductor Colin Britt returns to the show to unwrap the soaring verses and repeating leaps and skips in the music. Daniel Williams, professor of American religion and politics and author of several books on related subjects, narrates how “O Holy Night” has helped to shape Christmas culture in 19th-century America. Finally, Greg Boyle, S.J. of Homeboy Industries, shares with host Maggi Van Dorn the profound meaning this beloved carol has for him.  The episode features a brand new recording of “O Holy Night” performed by the renowned choir of King's College, Cambridge, under the direction of Daniel Hyde, and arranged by John Rutter, featuring the Britten Sinfonia. The story of Reginald Fessenden broadcasting “O Holy Night” was a theatrical production designed by our engineer, Jim Bilodeau. It incorporated a reenactment of the event available on Walts Welt Soundcloud channel.  Special thanks to Molly Cahill, Malukah de los Santos and Alexander Knutsen, Firjii, Salt of the Sound and Echoes Blue Music, and Chad Rehmann and Cremaine Booker of Grey Duck Records for providing music for this episode. Support “Hark!” become a digital subscriber of America Magazine. Or you can play a little reindeer game with us and win a subscription to America!  At the end of this episode, we've left a clue about next week's carol. Guess the carol in an Instagram post, tag three friends, and follow @americamedia, and you will be entered to win a one-year digital subscription to America. No purchase necessary. Open to U.S. residents only 18 and older. Prize value is $49.99 each. Promotion period November 26 to December 22, 2023. Twenty winners will be randomly selected and notified by D.M. by January 10, 2023. Instagram does not endorse this giveaway. Learn more about your ad choices. Visit megaphone.fm/adchoices

British violinist Thomas Gould is no stranger to Australia. The leader of the Britten Sinfonia, he has been described by The Guardian as an artist who “refuses to be defined by a single genre”. His repertoire certainly backs that up, having performed and recorded extensively with classical and jazz ensembles. He's back now in Australia to perform Philip Glass's 2nd Violin Concerto, The American Four Seasons, with the Omega Ensemble, commencing on Tuesday 20 June at the City Recital Hall, Angel Place before heading to Newcastle and Melbourne. In this conversation, Thomas talks of his experience of performing Philip Glass, his love of the conductor-less environment, the inspiration he takes from other musicians in what he refers to as a new golden age of violin playing, plus much more. His musical selections reinforce the notion that he is not able to be defined by a single genre.

In this episode, we discuss recordings of “Casta Diva - Operatic arias transcribed for trumpet” (Chandos) by Matilda Lloyd & Britten Sinfonia / Rumon Gamba, “À La Manière” (Bridge) by Mark Davidson & Viktor Valkov, “Obscurus” (Rubicon) by Lucy Humphris & Harry Rylance, “Ginger's Hollow” (Whirlwind Recordings) by Linley Hamilton, “Careless Territories” (Challenge Records) by The Rémy Labbé Quintet, and “You Are Not Alone” (Skydeck Music) by Jon Ailabouni.   The Adult Music Podcast is featured in: Feedspot's Best 60 Jazz Podcasts   Episode 118 Deezer Playlist   “Casta Diva - Operatic arias transcribed for trumpet” (Chandos) Matilda Lloyd, Britten Sinfonia, Rumon Gamba https://open.spotify.com/album/7kJMkFLdhPTXI1igGl6dS0 https://music.apple.com/us/album/casta-diva-operatic-arias-transcribed-for-trumpet/1672571436   “À La Manière” (Bridge) Mark Davidson, Viktor Valkov https://open.spotify.com/album/2ZuQElgEL8K3vhbjMim8UV https://music.apple.com/us/album/à-la-manière/1684053983   “Obscurus” (Rubicon) Lucy Humphris, Harry Rylance https://open.spotify.com/album/0sezL3gXLdANzyaHhgUEcj https://music.apple.com/us/search?term=Lucy%20Humphris   “Ginger's Hollow” (Whirlwind Recordings)  Linley Hamilton https://open.spotify.com/album/3hjMtdoOSucuryoIk21aRt https://music.apple.com/us/album/gingers-hollow/1676614390   “Careless Territories” (Challenge Records) Rémy Labbé Quintet https://open.spotify.com/album/4XeYIDxM8cqIeENZXilE3q https://music.apple.com/us/album/careless-territories/1679969728   “You Are Not Alone” (Skydeck Music) Jon Ailabouni https://open.spotify.com/album/2YJTa5lklZFNkwr80RZKok https://music.apple.com/us/album/you-are-not-alone/1686997429   Be sure to check out: "Same Difference: 2 Jazz Fans, 1 Jazz Standard" Johnny Valenzuela and Tony Habra look at several versions of the same Jazz standard each week, play snippets from each version, discuss the history of the original and the different versions.  

How can the experience of music help us learn more about what it means to be human? This is the question Gillian explores with Joe Fort in this episode of the GoHealth podcast.   Joe is a conductor and a musicologist based in London. He has been the director of Music at St Paul's Church in Knightsbridge since 2021, where he conducts a professional choir in the weekly services  He is the director of the chapel choir and lecturer in music at King's College, London. His performances indeed with that choir have been recognised, and I quote as 'English choral singing as at his best, he has released multiple recordings, most recently these include work with the Britten Sinfonia, the English Chamber Orchestra and the Hanover Band. He goes all over the world, conducting, recently appearing in the Festival de Mexico, White Nights Festival in St Petersburg and the Montreal Organ Festival. His training - he holds a PhD in music from Harvard University and his academic interests focus on 18th century music and dance.  Joe outlines his many roles in the world of music and his journey to being a full time musician.  Joe describes and explains the process of conducting music and how it can become a more emotional experience over and above a technical one.  Music is in everyone! Music as a vehicle in worship.  ‘He [sic] who sings, prays twice' Saint Augustine – music transports people towards the divine.   How music connects ourselves with ourselves.  Faure's Requiem – the healing power of music  How music helps us to live in the world as it actually is right now.  Joe describes the brilliant Stroke Oddessys project he has been involved with.  Joe goes into the detail of the exciting ECLAS funded project at St. Paul's Knightbridge researching the relationship between music in liturgy and wellbeing.  Joe gives his one bit of advice for flourishing.  Links: St Paul's Knightsbridge  Cowbridge Music Festival  In Paradisum, Faure's Requiem  Brain Oddessys Charity  ECLAS  Go Health Community Follow GoHealth on Twitter, Instagram and Facebook @guildofhealth  

Carlo Rizzi, Opera Rara's Artistic Director, has recorded Mercadante's Il Proscritto for Opera Rara, another rarity to add to the label's growing catalogue. A well-chosen line-up of singers, including Ramón Vargas, Iván Ayón-Rivas, Irene Roberts, Elizabeth DeShong, Sally Matthews, Goderdzi Janelidze and Susana Gaspa, are joined by the Britten Sinfonia and Opera Rara Chorus. James Jolly catches up with the conductor.

Laurence Osborn (b. 1989) is a British composer currently based in London. His music has been commissioned and/or programmed by the London Symphony Orchestra, London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Ensemble Modern, Britten Sinfonia, The Riot Ensemble, Manchester Collective, 12 Ensemble, GBSR Duo, Ensemble Klang, and Ensemble 360, among others. He has also written for solo performers Sarah Dacey, Mahan Esfahani, Bartosz Glowacki, Zubin Kanga, Lore Lixenberg, Michael Petrov, and Agata Zubel. His music has been programmed throughout the UK, at venues such as The Royal Festival Hall, Queen Elizabeth Hall, The Royal Opera House, Symphony Hall (Birmingham), The Wigmore Hall, Kings Place, LSO St Luke's, St Martin- In-The-Fields, Milton Court, Wilton's Music Hall, Britten Studio (Aldeburgh), The National Portrait Gallery, The Holywell Music Room (Oxford), The Crucible Theatre (Sheffield), Kettle's Yard (Cambridge), and at Huddersfield Contemporary Music Festival (where he was an International Showcase Artist), St Magnus International Festival, Music in the Round Festival, and Ulverston International Music Festival.Laurence Osborn's song cycle Essential Relaxing Classical Hits was nominated for an Ivor Novello Award in 2021. He won the Royal Philharmonic Society Composition Prize in 2017, was runner up in the New Cobbett Prize for Composition (2014) and the International Antonin Dvorak Composition Competition (2013) and was shortlisted for the ICSM World Music Days (2018). Laurence has won student prizes for composition while studying at both undergraduate and postgraduate level, including the Adrian Cruft Prize for Composition and the Royal College of Music Concerto Competition. He has held positions in association with LSO Soundhub (2013-15), Nonclassical (2015-17), and the London Philharmonic Orchestra (2017-18).SOUND EXERPTS, IN ORDER:1. Coin Op Automata  for harpsichord and string quartetperformed by the Manchester Collective2. Essential Relaxing Classical Hits, for amplified solo soprano and 6 playersperformed by Agata Zubel and Ensemble Klang3. Absorber, for solo piano and MIDI controllerperformed by Zubin KangaLINKSLaurence Osborn official websiteWatch video of ‘Absorber' for piano and MIDI controllerSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnSupport the show

John Metcalfe's new holiday album, Carols Without Words. Metcalfe composed ten stunning new orchestral arrangements of holiday classics, incorporating his signature blend of instrumental melodies and ambient electronica, and recorded them at Abbey Road Studios in September 2022. The selected carols include classics such as Silent Night, Coventry Carol, It Came Upon A Midnight Clear, and more, closing with an upbeat version of the 16th-century carol Gaudete, featuring a virtuosic violin solo played by Britten Sinfonia leader Thomas Gould.Purchase the music (without talk) at:Carols Without Words (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Salomon representing Primo Artists.

On the eve of the launch of her new album, ‘Seraph', featuring works for trumpet and string orchestra by James Macmillan, Grieg, and Satie, Tom Service speaks to Norwegian trumpeter Tine Thing Helseth about her diagnosis with cancer last year, her relationship with music during gruelling treatment, and the conscious decision she made after her recovery to commit again to a career in music. As Arts Council England reveals its 2023-26 national portfolio of funded organisations, Music Matters speaks to ACE's Director of Music, Claire Mera Nelson, about the body's investment decisions. We hear from a cross section of organisations who've seen changes to their public funding, as well as first-time recipients, with contributions from Chief Executive of the Paraorchestra, Jonathan Harper; Artistic and Executive Director of MishMash productions, Liz Muge; and Chief Executive and Artistic Director of the Britten Sinfonia, Meurig Bowen. And as the EFG London Jazz Festival celebrates its 30th anniversary, Tom's joined by jazz author and presenter, Alyn Shipton, former Director of Serious (the creative company who administer the festival) Claire Whitaker; and the British-Bahraini jazz trumpeter, flugelhornist and composer, Yazz Ahmed, who discuss how the British jazz scene has evolved since the early 90s. Producer: Marie-Claire Doris

Eine CD von Alison Balsom und Britten Sinfonia - vorgestellt auf NDR Kultur.

My guest this week is composer and pianist Timo Andres.He's performed with the LA Philharmonic, the Britten Sinfonia, and countless others and also collaborated with Sufjan Stevens, Chris Thile, the Kronos Quartet, and Philip Glass,He's a virtuoso on the piano and a virtuoso in his fits.Timo and I chat his career in music, whether or not you need high-end headphones to appreciate classical music, his Herman Miller collection, getting fits off while slamming the ivories and why Phillip Glass thinks he's the real MVP.**Sponsored by Standard & Strange – Get the facts on denim

An extract from Armando by Peter Walton, a composer on Britten Sinfonia's 2021 Opus 1 scheme.

An extract from Cascade by Elliot Park, a composer on Britten Sinfonia's 2021 Opus 1 scheme.

An extract from Shoes, float away by Pia Rose Scattergood, a composer on Britten Sinfonia's 2021 Opus 1 scheme.

An extract from Shoes, float away by Pia Rose Scattergood, a composer on Britten Sinfonia's 2021 Opus 1 scheme.

An extract from four quartets by Darius Paymai, a composer on Britten Sinfonia's 2021 Opus 1 scheme.

An extract from That Is Also Not Emptiness by Hugo Bell, a composer on Britten Sinfonia's 2021 Opus 1 scheme.

An extract from Tiento V by John Rivera Pico, a composer on Britten Sinfonia's 2021 Opus 1 scheme.

An extract from Rest By The Light by Rachael Gibson, a composer on Britten Sinfonia's 2021 Opus 1 scheme.

Royal Trumpeter John Blanke's image is on show alongside portraits of the Tudor monarchy in an exhibition opening at the Walker Gallery in Liverpool. Blanke is the only black Tudor for whom we have an identifiable picture, painted on horseback in the royal retinue. New Generation Thinker Christina Faraday has been looking at these and other Tudor artworks. She joins Helen Hackett, author of The Elizabethan Mind and music historian Eleanor Chan for a discussion chaired by New Generation Thinker John Gallagher. And what aspects of the Tudor mind do we see at work in the next generation writing of John Donne? Biographer Katherine Rundell has the answers. The Tudors: Passion, Power and Politics runs at Liverpool's Walker Gallery 21 May 2022—29 Aug 2022 John Gallagher is Associate Professor of Early Modern History at the University of Leeds and the author of Learning Languages in Early Modern England Christina Faraday is a Research Fellow at Gonville and Caius College, Cambridge, where she is working on a project exploring Elizabethan art and music. Professor Helen Hackett teaches at University College London and her book The Elizabethan Mind is out now. Katherine Rundell's biography of John Donne is called Super-Infinite: The Transformations of John Donne Eleanor Chan is a BBC/AHRC New Generation Thinker who studies the links between music and art history. She's based at the University of Manchester. You can find a host of programmes about Vaughan Williams on Radio 3 and BBC Sounds broadcasting this May. His Tudor Portraits are being performed by the Britten Sinfonia and Norwich Philharmonic Chorus at the Norfolk and Norwich Festival on Sunday 29 MAY, 7.30PM at St Andrews and Blackfriars Hall. Producer: Luke Mulhall

Devin Patrick Hughes interviews Tõnu Kõrvits, an Estonian composer who's music has been performed the world over.   His works belong to the repertoire of the most important Estonian orchestras, choirs, and artists, and have been performed globally by groups such as the BBC Symphony Orchestra, Frankfurt Radio Symphony Orchestra, Britten Sinfonia, Adelaide Symphony Orchestra, Swedish Radio Choir, The Sixteen Choir, Southern Chorale, and many more.  As a talented and prolific creator, he has garnered numerous recognitions from Estonian state and cultural institutions.   Tõnu's recording "Moorland Elegies" was given the Estonian Music Award in the category of The Best Classical Album of the Year in 2017.  In 2015, Tõnu Kõrvits became an honorary citizen of Clarksdale, Mississippi for his music which he created as a tribute to Clarksdale, the Delta, and to the preservation of the Blues. He is composition professor at the Estonian Academy of Music and Theatre.    Thank you for joining us on One Symphony and thanks to Tõnu Kõrvits for sharing his music and insights. Thank you to all the incredible performers and record labels that made this episode possible! Hymns to the Nordic Lights, Silent Songs, Tears-Fantasy, and Elegies of Thule were performed by the Estonian National Symphony Orchestra conducted by Risto Joost on the Ondine Label. Tasase Maa Laul was performed by Kadri Voorand, Tönu Kaljuste, and the Tallinn Chamber Orchestra on ECM Records and Deutsche Grammophon. Moorland Elegies was performed by Marianne Pärna, the Estonian Philharmonic Chamber Choir and the Tallinn Chamber Orchestra conducted by Risto Joost.   You can check out the music Tõnu Kõrvits wherever you listen to your music, and online at https://www.emic.ee/tonu-korvits. You can always find more info at OneSymphony.org and at DevinPatrickHughes.com including a virtual tip jar if you'd like to support the show. Thank you to John and Christina, and Jacob and Owen for making this show possible! Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!  

This week's guest is Grammy award winning conductor, arranger, curator and composer, Jules Buckley.....and boy, are we glad this episode has made it into yer ears after some palm sweatingly stressful uploading issues! It's been a rollercoaster pod friends....Seb and Verity catch up with Jules at his studio in Berlin to chat about his eclectic and multi faceted career. They discuss his early days as a trumpeter, the inception of Heritage Orchestra during his studies at GSMD - an era when most players didn't have mobile phones and those who did hadn't topped up their credit for a term. Jules talks about their first gig, taking a leap of faith committing his time and energies to the orchestra and a memorable early touring experience to Montreaux with a bus load of overexcited students.Jules also chats about the joy of working with BBCSO where he is Creative Artist in Association and what this role entails. He and Verity share a brief reminiscence of their time at GSMD, along with some of the interesting characters encountered there. He tells them about a cringeworthy exchange with Razorlight's Johnny Borrell and some chance encounters that led to great things.Seb and Verity ask Jules about his upcoming gig at the Barbican with Father John Misty and the Britten Sinfonia, and there is an awkward moment where it appears that `Jules has terminated the call after Seb angles for tickets.....listen until the end to see how that plays out!Find out more about Jules on his website https://www.julesbuckley.com You can learn about Heritage Orchestra at http://www.the heritage orchestra.com/ and Metropole Orkest - where Jules is Honorary conductor https://www.mo.nl/en/the-orchestraThis episode is fuelled by Chimney Fire Coffee who have sponsored this podcast. Find out more about Chimney Fire Coffee at https://chimneyfirecoffee.com/There is a special offer for our lucky listeners, who will receive 20%  off their first order....just visit their website and enter the code TIAB20 at checkout.THREE IN A BAR ON THE SOCIALSYou can follow Three In a Bar on Instagram @threeinabarpodhttps://www.instagram.com/threeinabarpod/We are on Twitter @threeinabarpod https://www.twitter.com/threeinabarpodEMAIL US!Anything you'd like to share with us? Any guests you'd love to hear or anything you'd like us to do better? Drop us a line at hello@threeinabar.comSUPPORT THREE IN A BAR ON PATREONThis show is purely funded by our patrons. Join our Members' Club for a bonus podcast feed plus many more rewards.Click here: https://www.patreon.com/threeinabar Click here to join the Members' Club on Patreon! See acast.com/privacy for privacy and opt-out information.

Britten Sinfonia, Lemos & Crane and Orchestras Live present Tuning Up, a musical project focussed on rehabilitation, wellbeing and achievement in one of the UK's Category A prisons.  Presented by Ben Eshmade

Britten Sinfonia, Lemos & Crane and Orchestras Live present Tuning Up, a musical project focussed on rehabilitation, wellbeing and achievement in one of the UK's Category A prisons.  Presented by Ben Eshmade

And it's a new year! And we're going back to the second half of Declassify Season 2. We're straight into the grit of unpacking the classical music industry and where this is all headed in terms of strategizing change, contemplating collaboration in conservatoires and educational models as well having a think about broader funding models. There is no better person to consider that the prolific performer, director, researcher and now Principal at the Royal Welsh College of Music and Drama, the National Conservatoire of Wales, Professor Helena Gaunt. Helena was A professional oboist for many years and founding member of the Britten Sinfonia, her career in higher education has spanned teaching, academic development, research and enterprise. This episode unpacks the notion of the social role of the musician in society and how classical music education, funding and models can rise to this contemporary challenge. RESOURCESInformation about Professor Helena Gaunt: https://www.rwcmd.ac.uk/staff/helena-gaunt Articles about the BMus program:BMus (Hons) Music - Instrumental and Vocal | Royal Welsh College of Music & Drama (rwcmd.ac.uk) Paving the way: RWCMD's BMus | Music Teacher (musicteachermagazine.co.uk) 

This time on Things Musicians Don't Talk About, we meet Ellie Consta, the founder of Her Ensemble. We talk about the struggles of lockdown, life as a musician, and her growing discomfort with the classical music world as it stands today. These issues together lead her to set up Her Ensemble, the UK's first women and non-binary orchestra, which is taking the classical music scene by storm.Thank you to Ellie for all of the incredibly important work that she is doing, and for speaking to us so honestly and openly.London based violinist, arranger and director Ellie Consta leads an exciting and varied musical career performing in a range of musical genres. Ellie's versatility and diverse range of interests and influences means she appears regularly with world renowned orchestras, ensembles and chamber groups, as well as world class artists and bands. Recent highlights include performing for Louis Tomlinson, Pixie Lott, Tom Walker, Laura Marling, and Jack Savoretti, as well as arranging music for Wilma Archer, Flyte, Litany and Caitlyn Scarlett. Since graduating from the Royal College of Music with a first class Honours MPerf degree, Ellie has been offered contracts with the CBSO and ESO, as well as working regularly with the LPO, Spira Mirabilis, Britten Sinfonia, the 12 Ensemble, United Strings of Europe and leading Guy Barker's Big Band. She was also a member of the European Union Youth Orchestra for four years and is currently on trial for a sub-principal position with the BBC Symphony Orchestra. Most recently, Ellie founded Her Ensemble, the UK's first women and non-binary orchestra who made their debut this month at Battersea Arts Centre. Since forming in November 2020, the group have already recorded a feature film score for BBC Scotland, performed alongside Pixie Lott and LITANY and been featured by The Strad, Scala Radio and Help Musician's UK. 

We present conductor Mirga Gražinytė-Tyla and the City of Birmingham Symphony Orchestra's next installment of The British Project. This release marks the third chapter of the project, presenting works by Elgar and Vaughan Williams after last October's release of Britten's Sinfonia da Requiem. Which was followed earlier this year by a second installment, presenting the Symphonic Suite from Walton's opera Troilus and Cressida.Purchase the music (without talk) at:http://www.classicalsavings.com/store/p1377/Britten%3A_Sinfonia_da_Requiem.htmlYour 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 This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

“ZENPod” Season-3, episode 8, featuring Shri Gaurav Mazumdar, a Grammy nominated musician, Renowned Sitar player, A Teacher, Collaborator, Composer, Music conductor and an Educator. A Music composer for the Ballet “Siddhartha” based on the book by Nobel laureate, Herman Hesse. “Spirituality is a ‘State of Mind'; Feeling or having a certain calm within you, feeling of sublime, feeling pure, feeling beautiful, feeling harmony, feeling everything is in sync with each other, feeling that everything in this world happens, not without a divine intervention, and we are all connected and part of that BIG plan!, and that we all co-exist, relate and belong to each other!”.- says Shri Gaurav Mazumdar in his conversation with Venkatesh Mahadevan A Grammy Nominated musician, Gaurav Mazumdar is born to the illustrious Mazumdar family of Allahabad reaching the zenith of his music education with the legendary Pt. Ravi Shankar. His initial Gurus were his father Dulal Mazumdar, Pt. Nandakishore Vishwakarma, cousins Kamala Bose and Jayashree Roy and Uncle J.D. Mazumdar. An approved artiste of All India Radio and National Television and an empanelled artiste of ICCR (Ministry of External Affairs) for over 2 ó decades, Gaurav as a performer has appeared at premier festivals and venues across the globe, spanning the expanse of Asia, Australia, Europe, Africa, and America. This includes Scottish Symphony for BBC 2019, The Chicago Symphony Hall 1997 & 2018, Royal Albert Hall 2002, 2012 & 2017, Belt & Road Festival, China 2017, Kennedy Centre 2007, Bath Festival 2006, Menuhin Festival-Gstaad 2006, Acropolis for Greece Olympics 2004, Netaji Indoor Stadium 2004, Perth Festival 2004, Kijani Festival Kenya 2004, Music Academy Chennai 2000, Vatican 1999 and Tata Theatre Mumbai 1999 amongst others. His performances include appearances with Pt. Ravi Shankar, Pt. Kishan Maharaj, Philip Glass, The Royal Philharmonic, Britten Sinfonia, Shenzhen Symphony, Slovak Philharmonic, English Chamber Orchestra, Chicago Sinfonietta, Scottish Symphony Orchestra and others. As a composer, Gaurav has composed music for the Ballet ‘Siddhartha' – based on the book by Nobel Laureate Hermann Hesse, Ballet ‘Ritu Shringar', ‘Woman Baring'. Gaurav has also composed music for the Film ‘Shwet' and was, for a decade, the National Conductor for Britain's Youth Orchestra, ‘SAMYO'. Gaurav's albums include, ‘Echoes from India', ‘In Search of Peace', 'Neemrana', 'Soul Strings', 'Grammy nominated' - 'East Meets West', ‘Orion'(recorded live at the historic concert in the Acropolis in Greece to commemorate the 2004 Olympics), ‘Gaurav Mazumdar', 'Offerings', ‘Strings in Harmony', ‘Walking Together', ‘Shambala' (a historic sitaar/violin double concerto), 'Colours from the Rainbow' (a composition for western orchestra), ‘Hesse', ‘Afternoon Serenade' and ‘Shringaar'. As a teacher and collaborator, Gaurav has extended his knowledge to pupils all across the globe teaching, conducting residencies and lectures in Universities and for other instituitions. Today, Gaurav as a performer, composer, conductor and educator, has earned a unique place as a foremost musician of his generation contributing towards making Music accessible and truly Global, both in appreciation and in understanding. www.gauravmazumdar.com “ZENPod” is a Podcast series that features trailblazers from different walks of life, with a purpose to build an empowered eco-system where learnings and experiences from these enlightened professionals, will be available within “arms reach of desire” for those who aspire to scale higher and wish to contribute, in their life's pursuit.

durée : 01:56:59 - En pistes ! du lundi 18 janvier 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour également, des madrigaux de Monteverdi, du piano avec des sonates de Mozart à quatre mains, le compositeur et chef Thomas Adès qui dirige le Britten Sinfonia dans trois symphonies de Beethoven... - réalisé par : Emmanuel Benito

Nová nahrávka děl Ludwiga van Beethovena a současného irského Geralda Barryho pod taktovkou Thomase Adèse. Poslechněte si recenzi Milana Bátora.

Klasikos koncertų salė„Proms 2020“. Anoushkos Shankar muziką atlieka Anoushka Shankar (sitaras), Gold Panda (elektronika), Manu Delago (perkusija), orkestras „Britten Sinfonia“. Diriguoja Jules Buckley. Įrašas iš Londono.

In the penultimate episode, Andy Bush turns to Beethoven's ill health and explores how it affected his music. How he was able to continue composing as he became increasingly deaf? Andy gains insight from Maya Iwabuchi, leader of the Royal Scottish National Orchestra, clarinettist Julian Bliss, cellist Matthew Barley, pianist Stephen Hough, conductor Karin Hendrickson and Scala Radio presenter and composer Jack Pepper. The podcast features an extract of Beethoven's Cello Sonata No.3, played by Leonard Elschenbroich and Alexei Grynyuk, which is available on Onyx Records, and his second symphony, played by the Britten Sinfonia, which is released on Signum Classics, along with clips of the Piano Concertos 3 & 4, performed by Elizabeth Sombart and the Royal Philharmonic Orchestra, and the Piano Concerto No.5, played by Alessio Bax and the Southbank Sinfonia - all are available at https://signumrecords.com. Other extracts were provided by the London Philharmonic Orchestra and you can find LPO Label releases on all major streaming platforms and at lpo.org.uk/recordings.

Andy Bush investigates Beethoven's skills on stage, as a pianist, improviser and conductor, and finds useful parallels with Donkey Kong, dry ice and Dane Bowers. The guests in this episode are conductors Karin Hendrickson, Jonathon Heyward and Sir Mark Elder, pianist Stephen Hough, cellist Matthew Barley, clarinettist Julian Bliss and composer and Scala Radio presenter Jack Pepper. This podcast features clips of Beethoven's Piano Concerto No.3 3 & 4, performed by Elizabeth Sombart and the Royal Philharmonic Orchestra, Symphony No.7, performed by the Britten Sinfonia, and the Piano Concerto No.5 performed by Alessio Bax and the Southbank Sinfonia - all are available at https://signumrecords.com. Other musical extracts were provided by the London Philharmonic Orchestra; LPO Label releases are available on all major streaming platforms and at lpo.org.uk/recordings.

Episode 7 of CMC's fortnightly podcast features an interview with New Music Dublin Festival Director John Harris about the 2020 festival, the link between social situations and new music, building audiences, achieving gender balance in programming, and the importance of placing international work alongside Irish work when programming the festival. Complete show notes: www.cmc.ie/features/amplify-7 Show Notes John Harris New Music Dublin Diatribe Records Red Note Ensemble Traverse Theatre Ann Cleare Úna Monaghan New Music Dublin 2018 cancelled New Music Dublin Defrosted Juliet Fraser Music Barry O'Halpin - Hox, from A Way A Lone A Last, Lina Andonovska, Matthew Jacobson - 00:01 Gerald Barry - Viola Concerto, Lawrence Power, Britten Sinfonia, conductor Thomas Ades - 07:34, 09:58 Nick Roth - Bátá, from A Way A Lone A Last, Lina Andonovska, Matthew Jacobson - 13:14 Kevin O'Connell - Aves de Paso III, from new music::new Ireland 3, Elizabeth Hilliard (voice), Paul Roe (clarinet), David Bremner (piano) - 16:41 Judith Ring - A Breath of Fresh Air, from A Way A Lone A Last, Lina Andonovska - 20:33 Kevin Volans -Gol Na mBan San Ár for Uilleann Pipes and Orchestra, David Power, RTÉ National Symphony Orchestra - 25:05 Úna Monaghan - Reálta - 29:24 Siobhán Cleary - Leda and the Swan, from new music::new Ireland 3, Therese Fahy - 37:19 Benjamin Dwyer - five disjecta (after Beckett), from What is the Word (for release by Diatribe Records), Benjamin Dwyer - 39:33

David Butcher, [Britten Sinfonia](https://www.brittensinfonia.com/)'s Chief Executive and Artistic Director talks to [Dr Kate Kennedy](http://drkatekennedy.co.uk/) (Weinrebe Research Fellow in Life-Writing at Wolfson College, Oxford) about Benjamin Britten's Serenade for Tenor, Horn and Strings. We find out all about the poetry, music and themes, as well as why it's a brilliant introduction to Britten's music. Kate Kennedy writes for BBC Music Magazine, and gives talks at literary and music festivals around the country, and at venues such as the Wigmore Hall, the Royal Albert Hall and the Southbank Centre, and is a regular guest on BBC Radio 3, on programmes such as Essential Classics, Composer of the Week, Music Matters, and the Proms Plus series. She is the consultant to Radio 3 for their First World War programming, and has appeared on BBC 2 and 4 television. Music: Benjamin Britten's Serenade for Tenor Horn and Strings, performed by Mark Padmore and Britten Sinfonia. Harmonia Mundi (2012). Available to purchase [here](http://www.harmoniamundi.com/#!/albums/1825).  You can also listen to Britten Sinfonia and Mark Padmore performing Serenade for Tenor, Horn and Strings on Spotify [here](https://open.spotify.com/album/4B2Um35fGyUHueTdvd5S08).

Dr Kate Kennedy led a pre-concert talk with Caroline Shaw prior to the London premiere of her new piano quartet, Thousandth Orange  co-commissioned by Britten Sinfonia and Wigmore Hall.

Following last night's broadcast of The Queen's Green Planet on ITV, which features the Queen in intimate conversation with Sir David Attenborough, we talk to the documentary's director Jane Treays about working with the Queen and look back over the history of royal TV projects with critic Chris Dunkley.Luke Evans has featured in many Hollywood films including The Girl on the Train, Fast & Furious, the Hobbit franchise and last year as Gaston in Disney's live-action remake of Beauty and the Beast. The Welsh actor discusses his new Netflix series The Alienist, in which he plays a newspaper illustrator who teams up with a criminal psychologist to catch a serial killer in 1890s New York. Composer Sir James MacMillan's choral work Stabat Mater will make history on 22 April, when it becomes the first work to be video-streamed live from the Sistine Chapel in the Vatican. It will be performed by The Sixteen and Britten Sinfonia under conductor Harry Christophers. MacMillan and Christophers discuss the challenges of performing in this revered venue.Presenter Kirsty Lang Producer Jerome Weatherald.

Kate Kennedy talks to composer Leo Chadburn (aka Simon Bookish) ahead of the London premiere of his new work, commissioned by Britten Sinfonia and Wigmore Hall. They discuss Leo's previous work, his alter-ego Simon Bookish and his new piece, Five Loops for the Bathyscaphe.

Kate Kennedy talks to Nik Bärtsch and OPUS2017 winner, Mark Bowler prior to the world premiere of their new works, commissioned by Britten Sinfonia and Wigmore Hall.

Kate Kennedy led a pre-concert talk with Brian Elias prior to the world premiere of his new Oboe Quintet, written for Nicholas Daniel and Britten Sinfonia and commissioned by Wigmore Hall which has been released as this podcast. The world premiere of the Oboe Quintet took place on Wednesday 19 April 2017 at Wigmore Hall in London with further performances at St Andrew’s Hall, Norwich on Friday 21 April 2017 and West Road Concert Hall, Cambridge on Tuesday 25 April 2017 as part of Britten Sinfonia’s At Lunch series.

In our latest podcast, Ben Eshmade talks to the key collaborators involved in our Beethoven Symphony Cycle project which begins in May 2017. Conductor Thomas Adès, Britten Sinfonia leader Thomas Gould and composer Gerald Barry discuss Beethoven’s influence on them, how they will approach the symphony cycle and the inspiration behind pairing Beethoven’s symphonies with the music of Gerald Barry.

Jaga Jazzist is an eight-piece Norwegian ensemble with a sound that draws from jazz, vintage funk, Krautrock and shoegaze. It adds up to a mesmerizing, exploratory and overwhelmingly energetic sound simply meant to be experienced live. Led by composer and multi-instrumentalist Lars Horntveth, the band first came together in a small Norwegian town in 1994, when the members were still teens. To date they've released seven full-length albums, including a live album with the Britten Sinfonia. The Mars Volta have cited them as a favorite, and invited the band to perform at the All Tomorrow's Parties Festival in 2005. We join Jaga Jazzist backstage to talk about what it takes to stay together for 20 years, embracing extremes of influence and the importance of going crazy every night. Then we take in a performance of Starfire, the exploratory title track of their latest album. Download Jaga Jazzist's Starfire as part of Season Two of LPR Live, with host John Schaefer. Listen to trailblazing new music performed live at Le Poisson Rouge, and enjoy interactions with artists and audience members. Subscribe to LPR Live on iTunes or wherever you get your podcasts. 

The second and final part of our interview with Timo Andres, discussing his compositions, and the business of classical music. Listen to part one. Sponsor: Drobo, simple to use storage arrays designed to keep your data safe forever. Visit Drobo.com. This week’s guest: Timo Andres’s website Timo Andres on Nonesuch Records Show notes: The Blind Banister, on the Pulitzer Prize website Alex Ross of the New Yorker on Timo Andres and other “student composers” in 2004 Russell Platt of the New Yorker on Timo Andres in 2016 Time Andres and the Britten Sinfonia Boston Symphony Orchestra: World premiere of Timo Andres’s Everything Happens So Much, November 18, 2016 Our next tracks: Kirk: Charles Ives: Concord Sonata, bpy Donna Coleman/a> Doug: Frank Zappa: Yellow Shark If you like the show, please subscribe in iTunes or your favorite podcast app, and please rate the podcast. Special Guest: Timo Andres.

I programmet diskuterar panelen bl a Stenhammars första opera "Gillet på Solhaug" och Elgars första symfoni med Barenboim på pulten. Dessutom har Johan Korssell träffat Antonio Pappano! Vi är tillbaka med nya program söndagen den 4 september. Trevlig sommar!I veckans panel sitter Alexander Freudenthal, Bengt Forsberg och Per Lindqvist som tillsammans med programledaren Johan Korssell betygsätter följande skivor: BENJAMIN BRITTEN Verk för röst och gitarr Ivonne Fuchs, mezzosopran Georg Gulyás, gitarr Proprius PRSACD 2075 WARTIME CONSOLATIONS Musik av Hartmann, Weinberg och Sjostakovitj Linus Roth, violin José Gallardo, piano Württembergs kammarorkester, Heilbronn Ruben Gazarian, dirigent Challenge CC 72680 WILHELM STENHAMMAR Gillet på Solhaug Karolina Andersson, Per-Håkan Precht m.fl. Norrköpings symfoniorkester och kör Henrik Schaefer, dirigent Sterling CDO 1108-1110 EDWARD ELGAR Symfoni nr 1 Ass-dur Staatskapelle Berlin Daniel Barenboim, dirigent Decca 478 9353 Johan möter Antonio Pappano Johan Korssell träffade den engelsk-italienske dirigenten i hemstaden London för en intervju dagen efter en utsåld konsert i Londons Barbican, där Pappano dirigerade Sjostakovitjs första violinkonsert med Viktoria Mullova som solist samt Mahlers sjätte symfoni. Pappano är ledare för Covent Garden-operan i London samt chef-dirigent för Santa Cecilia-akademins orkester i Rom. Han är också en mycket stolt ackompanjatör. Andra i programmet nämnda eller rekommenderade inspelningar: Elgars första symfoni i inspelningar med Adrian Boult och John Barbirolli på EMI. Hartmanns Concerto funèbre med Alina Ibragimova och Britten Sinfonia tillsammans med ledaren Jacqueline Shave på Hyperion; Thomas Zehetmair och Tyska kammarfilharmonin på Warner Classics samt med Nilla Pierrou tillsammans med Oskarshamns-ensemblen ledda av Claes Merithz på skivmärke Oak Grove. Weinbergs symfonier med Göteborgs symfoniorkester ledd av Thord Svedlund och utgivna på Chandos.Svepet Johan sveper över ett album utgivet på skivmärke Tröstlösa med Allan Petterssons Barfotasånger framförda av sångaren Ola Sandström, elgitarristen Mikael Karlsson, cellisten Anja Strautmanis samt vibrafonisten Johan Renman. 

Vilde Frang i Mozarts violinkonserter och Danska radions kör och orkester i Nielsens opera Maskerade. Det är två av skivorna som recenseras i veckans upplag av CD-revyn. I panelen sitter Anna Nyhlin, Boel Dirke och Evabritt Selén som tillsammans med programledaren Johan Korssell betygsätter följande skivor:WILLIAM WALTON Improvisationer över ett Impromptu av Benjamin Britten, Cellokonsert, Symfoni nr 2 Paul Watkins, cello BBC symfoniorkester Edward Gardner, dirigent Chandos CHSA 5153 Betyg: 5 radioapparater W A MOZART Violinkonserter KV 207 och 219 och Sinfonia Concertante Ess-dur K 364 Vilde Frang, violin Arcangelo, Jonathan Cohen, dirigent Warner Classics 0825646276776  Betyg: 5 radioapparater VAUGHAN WILLIAMS MACMILLAN BRITTEN Oboekonsert, One för kammarorkester, Svit över engelska folkmelodier: A time there was Nicholas Daniel, oboe, Britten Sinfonia, James MacMillan, dirigent Harmonia Mundi HMU 807573 Betyg: 4 radioapparater CARL NIELSEN Maskerad Danska radions kör och symfoniorkester Michael Schönwandt, dirigent Dacapo SACD 6.220641-42 Betyg: 4 radioapparater Curts val Curt Carlsson spelar valda delar ur boxen (48 CD) med Martha Argerichs alla inspelningar på Deutsche Grammophon.Andra i nämnda/rekommenderade inspelningar William Waltons andra symfoni med Cleveland-orkestern under George Szell på CBS Masterworks Portrait samt med BBCs skotska symfoniorkester ledd av Martyn Brabbins (båda symfonierna) på Hyperion.Mozarts femte violinkonsert K 219 med solisten Hilary Hahn och Tyska kammarfilharmonin i Bremen dirigerade av Paavo Järvi på DG.Nielsens opera Maskerad i 1954 års tappning med solister, Danmarks radios kör samt symfoniorkester ledda av Launy Gröndahl på märket Danacord; dito kör och orkester fast med dirigenten John Frandsen och inspelad på Unicorn 1977 samt med samma ensemble ledd av Ulf Schirmer på Decca från 1996.

I am so thrilled to bring you this Meet the Composer Bonus Track! We are extremely lucky to present this recording of Kaija Saariaho's piano trio Light and Matter, taped live at the Coolidge Auditorium in the Library of Congress, just this past May 22 by the world-class ensemble of violinist Jennifer Koh, cellist Anssi Karttunen and pianist Ieva Jokubaviciute. It's lovely, colorful, and you are some of the first people to hear it... after Justice Ginsburg, of course! The composer’s program note is below: "The starting point for the music is light kinetic energy, which is then developed into more dramatic gestures and rapid exchanges among the three instruments. The piece advances in spinning motion, moving from the original luminous fabric into more thematic patterns or towards the inertia of slow choral textures, 11 before returning into the original weightlessness and starting a new flickering spin. As a result, we hear three musical elements–kinetic texture, thematic motives and slowly moving choral material–in constantly changing combinations and orchestrations. I wrote this piece in New York, while watching from my window the changing light and colors of Morningside Park. Besides providing me with the name for the piece, perhaps that continuous transformation of light on the glinting leaves and the immobile trunks of the solid trees became the inspiration for the musical materials in this piece." I hope you enjoy!-Nadia Sirota Light and Matter (2014) is published by Chester Music, Ltd. Commissioned by the Library of Congress Dina Koston and Roger Shapiro Fund for New Music (in honor of the 90th anniversary of Concerts from the Library of Congress), Britten Sinfonia and Norrbotten NEO, and co-commissioned by the Aeolian Chamber Players in honor of the 50th anniversary of the Bowdoin International Music Festival. Engineering credits: Michael E. Turpin

1 - Sunrise in Cappadocia (Murat Coskun). Murat Coskun, percussao/ percussion. Michel Godard, tuba. 2 - Spem In Alium (Thomas Tallis). The Tallis Scholars. Peter Philips, regente/conductor. 3 - Canto de rouxinol usado na obra para órgão de Messiaen/ Birdsong used in Messiaen's Organ Music - Nightingale 4 - Good For Goodie - Symphonique No.6 (Moondog). Britten Sinfonia. Fancy my sets? So please click LIKE and also FOLLOW. You can subscribe with iTunes. :: Gostou? Então clique em LIKE e também em FOLLOW. Ou se inscreva pelo iTunes para receber atualizações. www.facebook.com/heloisafischer helofischer@gmail.com

Germaine Greer presents a profile of Frank Zappa, the 1970s icon of eccentric rock whose range of work included serious orchestral composition, film-making and social activism, particularly in the field of anti-censorship. Contributors include Gail Zappa, son Dweezil, guitarist Steve Vai, family friend and author Peter Occhiogrosso and David Butcher, chief executive of the Britten Sinfonia.

We've lined up something extra special for the first podcast of 2007. For starters, there's a chance to win a copy of pianist Stephen Hough's critically acclaimed CD, “The Spanish Album”. But if that doesn't thrill you, our resident bookworm, Chris Powling, has something that will: Chris has chosen four thrillers to get the new year off to a flying start. There's some good news from Classic FM's resident doctor, Rob Hicks, especially if you suffer from high blood pressure and feel you have to deny yourself the odd glass of wine or beer. And we meet the conductor, Stephen Layton, who, together with Polyphony and the Britten Sinfonia, has just released a second album of choral music by the American composer, Morten Lauridsen. I bet you can't resist clicking on that download button, can you?