Podcasts about Bruno Walter

Matthew Bannister onHannah Deacon who ran a successful campaign to allow her son – and many others – to be treated with cannabis after he was diagnosed with a rare form of epilepsy. Andrew Norfolk, the journalist who exposed the Rotherham grooming gang scandal.Dame June Clark, the President of the Royal College of Nursing who argued for more education to increase the skills of the nursing profession.Martin Graham the businessman who built his own opera house in the Cotswolds so he could stage Wagner's Ring Cycle. Producer: Ed PrendevilleArchive used: No More Nightingale, BBC, 1991; One O'Clock News, BBC, 03/04/1989; Open Country, BBC Radio 4, 27/06/2019; The Longborough Ring 2024: Wagner – Der Ring des Nibelungen, Longborough Festival Opera, Music Director Anthony Negus, Director Amy Lane; Today, BBC Radio 4, 2013; Utopia: In Search of the Dream, BBC Four, 05/05/2020; Sportsday, BBC News 24, 15/09/2016; BBC Breakfast, BBC, 19/02/2018; This Morning: Should Medical Cannabis Be More Accessible, ITV, Uploaded to YouTube, 29/10/2018; Morning Live, BBC, 07/11/2022; The Today Programme, BBC Radio 4, 19/06/2018; ITV News, ITV, 19/06/2018; Wogan, BBC, 19/01/1990; Raising a Glass to Cheers, BBC Radio 4, 26/07/2012; Cheers, TV Programme, Produced by Charles/Burrows/Charles Productions; Groomed for Sex, BBC Three, 06/12/2011; The Media Show, BBC Radio 4, 27/08/2014; Frontlines of Journalism, BBC Radio 4, 04/07/2023; Symphony No. 39 in E-flat major, KV 543: Adagio. Allegro, Performed by Bruno Walter, BBC Symphony Orchestra, Composed by Wolfgang Amadeus Mozart; Siegfried, Act II Scene 3: Willkommen, Siegfried, Performed by Manfred Jung, Heinz Zednik, Bayreuther Festspielorchester, Conductor Pierre Boulez, Composed by Richard Wagner; Le nozze di Figaro, K.492, Act 3: Ricevete, o padroncina, Performed by Radio-Symphonie-Orchester Berlin, RIAS Kammerchor, Conductor Ferenc Fricsay, Composed by Wolfgang Amadeus Mozart; Das Rheingold, Scene 1: Lugt, Schwestern! Die Weckerin lacht in den Grund, Performed by Norma Sharp, Ilse Gramatzki, Marga Schiml, Hermann Becht, Bayreuther Festspielorchester, Conductor Pierre Boulez, Composed by Richard Wagner

durée : 01:57:09 - Bruno Walter (1876-1962), un géant parmi les chefs d'orchestre du XXème siècle. - par : Philippe Cassard - Presque 70 ans d'une prodigieuse carrière, entre l'Europe et les États-Unis pour un chef d'orchestre unanimement vénéré. Portraits de famille se concentre sur ses interprétations avec les Wiener Philharmoniker. - réalisé par : Doria Zénine

durée : 01:28:41 - Relax ! du lundi 03 mars 2025 - par : Lionel Esparza - Au programme : Maurice Ravel, Bruno Walter, Pierre Boulez, Marina Viotti, les basses profondes, et le 2nd concerto pour violon de Bartok.

durée : 01:28:41 - Relax ! du lundi 03 mars 2025 - par : Lionel Esparza - Au programme : Maurice Ravel, Bruno Walter, Pierre Boulez, Marina Viotti, les basses profondes, et le 2nd concerto pour violon de Bartok.

蹦藝術 EP183 【馬勒交響曲全集系列】：第一號交響曲 第一樂章 用耳朵閱讀古典音樂 - 蹦藝術 | BONART

Celebrating Beethoven's 254th birthday with historic recordings of three, lesser-known works: Symphony #8, Piano Sonata #25 and The Creatures of Prometheus overture. Performers include Bruno Walter and Fredrich Gulda.

Matt Crawford speaks with Therese Casadesus Rawson about her book, My Musical Notes: A Journey in Classical Piano between the World Wars and Beyond. This is actually her mother's book which she has translated and rereleased on the 25th anniversary of her mother Gaby Casadesus' passing.  Chronicling nearly a century of music, Gaby Casadesus' My Musical Notes, recounts the French pianist's remarkable career as half of one of the most extraordinary husband and wife teams in twentieth century classical music, with her husband Robert Casadesus. Told in a lively conversational tone, she evokes the delicate balance between touring and family life, maintaining her own solo career and traveling the world while raising three children. Her decades-long teaching imparted the stylistic legacy of Debussy, Fauré and Ravel, a personal friend to both Robert and Gaby, to generations of young pianists. In this memoir, we experience the bustling Paris of the 1920s and 30s as well as numerous adventures touring North and South America, Europe, the Middle East, and Asia while championing French piano repertoire as the internationally recognized duo Robert and Gaby Casadesus. She also details her encounters and collaborations with the greatest names of 20th century classical music: Fauré, Ravel, Stravinsky, Poulenc, Bruno Walter, Toscanini, Szell, Boulez, Bernstein as well as other celebrities of the era such as Albert Einstein, with whom she played Mozart, Elsa Schiaparelli, Joan Miró and more.

durée : 00:11:38 - Le Disque classique du jour du mardi 12 novembre 2024 - Chef d'orchestre majeur du 20e siècle, Bruno Walter fut certainement le musicien le plus proche de Gustav Mahler lorsque celui-ci fut en poste à Vienne. Ardent promoteur des répertoires classique et romantique germaniques, Walter fut un compositeur du "dimanche".

durée : 00:11:38 - Le Disque classique du jour du mardi 12 novembre 2024 - Chef d'orchestre majeur du 20e siècle, Bruno Walter fut certainement le musicien le plus proche de Gustav Mahler lorsque celui-ci fut en poste à Vienne. Ardent promoteur des répertoires classique et romantique germaniques, Walter fut un compositeur du "dimanche".

fWotD Episode 2544: Kathleen Ferrier Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Monday, 22 April 2024 is Kathleen Ferrier.Kathleen Mary Ferrier, CBE (22 April 1912 – 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.The daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J. E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.In 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.Ferrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954. The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.This recording reflects the Wikipedia text as of 00:32 UTC on Monday, 22 April 2024.For the full current version of the article, see Kathleen Ferrier on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Joanna Standard.

SynopsisIn the biographical film Maestro, Leonard Bernstein's dramatic 1943 Carnegie Hall debut conducting the New York Philharmonic, filling in at the last moment for Bruno Walter, receives a masterful cinematic treatment.But the first time Bernstein wielded a baton in public took place on today's date in 1939, when Lenny was still a student at Harvard and conducted his own incidental music for a student performance of the ancient Greek comedy, The Birds, by Aristophanes.The play was performed in the original Greek, and since almost no one in the audience would understand what was being said, the production relied on visual, slapstick comedy and Bernstein's electric music to bring the ancient text to life. Bernstein's score referenced everything from sitar music to the blues to get the humor across. The student production was a surprise smash hit. Aaron Copland and Walter Piston were in the audience, and photos even appeared in Life magazine.Bernstein recycled one of his bluesy songs from The Birds into his 1944 musical On the Town, but the rest of the 1939 score was never published, and only revived in 1999 for a performance by the EOS Orchestra in New York, and to date has never been recorded.Music Played in Today's ProgramLeonard Bernstein (1918-1990): On the Town: Three Dance Episodes; New York Philharmonic; Leonard Bernstein, conductor; Sony 42263

Sie sang in Berlin, London, Mailand und Paris, in Aufführungen geleitet von Dirigenten wie Arturo Toscanini oder Bruno Walter: die Opernsängerin Marian Anderson. 1939 verhinderte eine konservative Frauenvereinigung ihren Auftritt, denn Anderson war keine Weiße. Doch das ist nicht das Ende der Geschichte.

Gustav Mahler (1860 - 1911) - Sinfonia n. 2 in do minore "Risurrezione"Allegro maestoso. Mit durchaus ernstem und feierlichem AusdruckAndante moderato. Sehr gemächlich In ruhig fließender Bewegung"Urlicht" (Luce primigenia) - Sehr feierlich, aber schlicht, Choralmässig (testo tratto da "Die Wunderhorn" di Ludwig Achim von Arnim e Clemens Brentano (vedi al n. 23/8 la versione per voce e orchestra)Im Tempo des Scherzo. Wild herausfahrend. Allegro energico. Langsam. Misterioso  Maureen Forrester, contraltoEmilia Cundari, sopranoThe Westminster ChoirNew York PhilharmonicBruno Walter, conductor

durée : 00:16:23 - Disques de légende du jeudi 11 janvier 2024 - 20 mai 1952. Kathleen Ferrier a juste 40 ans, elle est au sommet de sa gloire, malade du cancer qui l'emportera l'année suivante, elle enregistre avec Bruno Walter les Rückert Lieder de Mahler.

SynopsisIn his autobiographical sketch, A Mingled Chime, British conductor Thomas Beecham offered this assessment of British composer Ethel Smyth: “Ethel Smyth is without question the most remarkable of her sex that I have been privileged to know,” and added that he admired her “fiery energy and unrelenting fixity of purpose.”Born in 1858, Smyth became a composer against her family's wishes, and it took dogged determination to get her large-scale choral and operatic works performed in an era when most in the music business did not take female composers seriously. That was before they met Smyth, who convinced legendary conductors like Arthur Nikisch, Bruno Walter and Beecham, who realized her music had merit.Smyth's opera The Wreckers had its premiere performance in Leipzig on today's date in 1906 and was championed in England by Beecham, who thought it her masterpiece. It remains, wrote Beecham in 1944, the year of Smyth's death, “one of the three or four English operas of real musical merit and vitality written in the past 40 years.”Music Played in Today's ProgramEthyl Smyth (1858 - 1944) The Wreckers; Soloists and BBC Philharmonic; Odaline de la Martinez, cond. Conifer 51250

La relaci

Arnold Rosé, znakomity skrzypek, przez pół wieku koncertmistrz nie tylko Wiedeńskich Filharmoników, ale także opery, bez mrugnięcia okiem w wieku 75 lat został wyrzucony z zespołu, któremu poświęcił niemal całe życie. Powód był prosty – z pochodzenia był Żydem, a w nazistowskim państwie, którym Austria stała się po Anschlussie, dla Żydów, nawet tak zasłużonych, nie było miejsca. O tej historii, podobnie jak o wielu innych, przez lata niewiele się mówiło. Archiwa Filharmonii Wiedeńskiej aż do 2013 roku były pilnie strzeżoną tajemnicą. O tym, co kryły, opowiadam w drugim odcinku cyklu „Muzyka czasu wojny” poświęconym Wiedeńczykom. Opowiadam m.in. o wojennym repertuarze orkiestry, o tym skąd wziął się słynny Koncert Noworoczny, o kontaktach orkiestry z nazistowskimi zbrodniarzami, a wreszcie o denazyfikacji, do której tak naprawdę nigdy nie doszło. Więcej informacji o archiwach Filharmonii Wiedeńskiej znajduje się tutaj. Muzyka w odcinku (fragmenty): J. Strauss II, „Russischer Marsch”, wyk. Filharmonicy Wiedeńscy, dyr. Clemens Krauss (1941). J. S. Bach, „Koncert podwójny d-moll” (cz. I Vivace) BWV 1043, wyk. Arnold i Alma Rose, orkiestra kameralna Filharmonii Wiedeńskiej (1928), reedycja dla NAXOS (2019). J. Strauss II, „Wiener Blut”, wyk. Filharmonicy Wiedeńscy, dyr. Clemens Krauss (1941). G. Mahler, „IX Symfonia” (cz. IV), wyk. Filharmonicy Wiedeńscy, dyr. Bruno Walter (1938). Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego.

Overtures to The Impresario, The Marriage of Figaro, Cosi fan Tutte, The Clemency of Titus, Don Giovanni and more.  Conductors include: Arturo Toscanini, Thomas Beecham, Bruno Walter, Wilhelm Furtwangler and Karl Bohm. 

SynopsisOn today's date in 1933, the Philadelphia Orchestra was performing at its summer home at Robin Hood Dell. Conductor Alexander Smallens led the world premiere performance of a new work by a 23-year-old composer named Samuel Barber. It was his first orchestral composition to have a major public hearing, but oddly enough, young Mr. Barber himself was not in attendance. He was in Europe that summer, and so missed the premiere of his Overture to The School for Scandal, a musical romp inspired by the 18th century English Restoration comedy of the same name by Richard Sheridan.Even before he had left the Curtis Institute of Music, where he pursued a triple major in piano, composition, and voice, Barber had begun winning prizes that enabled him to study abroad. Until the outbreak of the Second World War, Barber's musical career was quite Euro-centric. His School for Scandal Overture, in fact, was written in Italy in 1931. Barber's First Symphony premiered in Rome in 1936, and the following year was played by the Vienna Philharmonic at the 1937 Salzburg Music Festival. That led to stateside performances and commissions from conductors like Bruno Walter and Arturo Toscanini.Music Played in Today's ProgramSamuel Barber (1910 – 1981) School for Scandal Overture Baltimore Symphony; David Zinman, conductor. Argo 436 288

DescriptionGustav Mahler's Ninth Symphony is one where the composer began to contemplate his own mortality. Take a minute to get the scoop!Fun FactBruno Walter, who conducted the work's posthumous premiere on June 26, 1912, with the Vienna Philharmonic, had never seen the score of the Ninth during Mahler's lifetime; he only received it when Mahler's widow Alma approached him about giving the premiere. He went on to become one of the work's most eloquent exponents. __________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Synopsis It was Mozart who wrote the first great piano concertos, with Beethoven, Brahms and others following suit in the 19th century. Closer to our own time, the tradition continues, with new contributions appearing each year. On today's date in 1986, it was the turn of American composer, Ellen Taaffe Zwilich, when her new piano concerto received its premiere by the Detroit Symphony with Marc-Andre Hamelin the soloist. “My piano concerto does not cast the pianist as the prototypical 19th-century hero battling the orchestral forces and triumphing through overwhelming virtuosity,” said Zwilich at the time. “My concerto calls for a blending of forces – a joint exploration of the piano soloist and orchestra. The pianist is even asked to merge with various sections of the rather large orchestra at times.” “To me,” continued Zwilich, “a part of the nobility of the piano is that it can change its color, chameleon-like without losing its special identity … One composer treats the piano as a percussion instrument, another as a singer… Certainly the vast and wonderful piano repertoire explores this remarkable range. And the world of composer-pianists is large enough to embrace Serge Rachmaninoff and Art Tatum.” Music Played in Today's Program Ellen Taaffe Zwilich (b. 1939) Piano Concerto Joseph Kalichstein, piano; Florida State Orchestra; Michael Stern, Koch 7537 On This Day Births 1747 - Bohemian composer Leopold Kozeluh, (Kotzeluch) in Welwearn; He was the cousin of Johann (Jan) Antonín Kozeluh, who was also a composer; 1928 - American composer Jacob Druckman, in Philadelphia; Premieres 1870 - Wagner: opera "Die Walküre" (The Valkyrie), in Munich at the Hoftheater, with Franz Wüllner conducting; The opera was performed at the Bavarian King Ludwig II's request, but against the composer's wishes; 1912 - Mahler: Symphony No. 9, by Vienna Philharmonic, Bruno Walter conducting; 1986 - Zwilich: Piano Concerto, by the Detroit Symphony with Günther Herbig conducting and soloist Marc-André Hamelin; 2000 - Robert Kapilow: "DC Monuments," by the National Symphony; Others 1788 - Mozart finishes his Symphony No. 39 in E-flat, K.543 in Vienna. Links and Resources More on Zwilich

Synopsis On today's date in 1948 at New York's Waldorf-Astoria Hotel there was a press demonstration of a new kind of phonograph record.  Edward Wallerstein of Columbia Records stood between a big stack of heavy, shellac, 78-rpm albums, the standard for recorded music in those days, and a noticeably slimmer stack of vinyl discs, a new format which Wallerstein had dubbed “LPs” – “long playing” records that spun at 33 & 1/3 revolutions per minute. Before 1948, if you wanted to buy a recording of a complete symphony or concerto, it meant the purchase of up to a dozen 78s, each playing only four minutes a side. In developing its new LP-record, Columbia's goal was to fit complete classical works onto a SINGLE disc. Columbia's first LP release was a recording of the Mendelssohn Violin Concerto, with Nathan Milstein the soloist and the New York Philharmonic conducted by Bruno Walter. The following year, Columbia struck pay dirt with its original cast album of a brand-new Broadway musical by Richard Rodgers. The 1949 Columbia LP of Mary Martin and Ezio Pinza singing the hit tunes from “South Pacific” became a best-seller, and by 1951 the LP-record had become the industry standard. Music Played in Today's Program Felix Mendelssohn (1809 - 1847) Violin Concerto in e Nathan Milstein, violin; New York Philharmonic; Bruno Walter, conductor. Sony 64459 Rodgers and Hammerstein South Pacific Ezio Pinza and Mary Martin; orchestra; Lehman Engel, conductor. Sony 53327

Mahler “peacefully bids farewell to the world” is how the composer's protégé Bruno Walter described the finale to his Ninth Symphony. This valedictory score contains the many hallmarks of Mahler's symphonies — their grand scale, profound emotions and folk dance themes — capped by an ethereal finale that achieves a sense of transcendent rapture. Learn more: cso.org/performances/22-23/cso-classical/hrusa-conducts-mahler-9

Osmo Vänskä/Minnesota Orchestra – Mahler: Symphony No. 9 (BIS) New Classical Tracks - Osmo Vanska by In the past few months, Osmo Vänskä has conducted from a wheelchair, a stool and now, finally, standing up after suffering a bad fall and shattering his pelvis. There's a lot of metal keeping him going, he says, and that's another reason he's decided his motorcycling days are over. “I have decided to sell it, because I'm now 70, and I've had enough miles with the motorcycle,” he says. “… It will go to the Symphony Ball auction this June. I don't want to have anymore stupid risks in my life.” Vänskä has been a music director for almost 40 years. Nineteen of those years were with the Minnesota Orchestra. Recordings he made with the orchestra are still being released, and the latest features Gustav Mahler's Symphony No. 9. More From New Classical Tracks 2017 Minnesota masters Mahler's Symphony No. 5 2019 Vanska shares insights into Mahler's 'Resurrection Symphony' 2020 Keeping the beat on Minnesota's recording of Mahler's Symphony No. 7 2021 Minnesota violist enjoys being an inner voice on Mahler's Symphony No. 10 What makes Mahler's Symphony No. 9 so powerful?  “[The piece was composed] at the time when his daughter had died, and Mahler knew in his heart that there was something wrong.  He thought he was coming to the end of his life. And even though he wrote about the world and about life when he was younger, those pictures were different than when he was an older composer. Death is much closer to this music. It's a question about the whole life, the whole world, whatever those thing include.” Mahler was a conductor as well as a composer. Are you seeing something in the score that makes his intentions clearer because he's so well versed in both of those roles? “It means for me that I have to take what he wrote very seriously. He's giving a lot of instructions in this score. Technically speaking, I don't need to add anything to the score. I just try to do what he wrote there, and in my experience, that is how it works. But then it comes to the point where technical things are not the final say in the music. The final say is what my heart and the hearts of the players are telling them when they are playing this.” Can you give me an example? Is there a spot in this performance with the Minnesota Orchestra, with you conducting, where you followed your heart?   “From the first bar until the last bar. There is not one bar that is done without emotional feeling, not one bar that is done without the heartbeat and the understanding that comes from the music about life, about the world.” Mahler's protégé, Bruno Walter, conducted the premiere of this symphony over a year after Mahler died. Walter said that as he studied the score, he recognized the way that Mahler walked, his gait, in some of the limping rhythms of the first movement. And then, later, Leonard Bernstein said that it could have been Mahler's irregular heartbeat. What do you hear in that first movement? “I think both are right. And I believe that the reason why we like that music is because those details could be about our lives, too. I can easily say right now, after my accident, that I have much more understanding about people who cannot move, especially when I was in my wheelchair on the streets. It's difficult to go because the streets are not made for people who are using wheelchairs, those kind of things. And I also understand that I was very close to dying.  “We all have our dark moments, and we all have our hope, and then we are thankful and think, ‘Wow, this is a new chance.' That is all coming from Mahler's music. He sent a message about his life.” Symphony No. 9: I. Andante comodo To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Resources Osmo Vänskä and Minnesota Orchestra — Mahler: Symphony No. 9 (Amazon) Osmo Vänskä (Minnesota Orchestra official site) Minnesota Orchestra (official site)

La chronique musique de Bruno Fraitag

Un recorrido desde la función inaugural del viejo Met en 1883 y hasta finales de los años cuarenta. Una pasarela de cantantes como Caruso, Farrar y Bjorling y de grandes directores como Mahler, Toscanini y Bruno Walter. --- Send in a voice message: https://podcasters.spotify.com/pod/show/arturo-magaa-duplancher/message

Concluimos nuestro exhaustivo examen de la obra con el Sanctus por el Orfeón Donostiarra y Plasson, el Ofertorio en la versión de Barenboim con Anja Harteros, Elina Garança y los conjuntos de La Scala; Lux eterna en la antigua versión de Bruno Walter (1959) y las voces de Rosalind Elias, Giorgio Tozzi y Carlo Bergonzi, y Libera me, cuyo comienzo canta Elisabeth Schwarzkopf junto al Coro y la Orquesta de La Scala dirigidos por Victor de Sabata. Luego intervienen Giulini con Ilba Ligabue y el Coro y a Filarmónica de Londres, Karajan con Antonietta Stella y los conjuntos vieneses y por último Pappano con Santa Cecilia y Harteros. Escuchar audio

Sister Solstice ventures deeper into the autumnal forest in order to complete her Rite of Joining. Will her experience change her for the better or the worse? FEATURING SPECIAL GUEST @tessanicole03 AS MOTHER CANAH! Support us on Patreon: https://www.patreon.com/mistconceptionspod Join our Discord: https://discord.gg/PxbfcpTJu2 Cast: David (he/him; @MrBananaSocks) as the Editor in Chief, Kari (she/her) as Mother Midnight (she/her) Music in this Episode: Marcia funebre: Adagio assai by Bruno Walter

Andrés Amorós continúa con su ciclo dedicado a los 10 grandes directores de orquesta. Esta semana habla de Bruno Walter.

Synopsis Gustav Mahler's Symphony No. 1 was first heard on this day in Budapest in 1889, with the 29-year-old composer conducting. Originally billed as a “symphonic poem,” a newspaper in Budapest even printed a detailed program, obviously supplied by Mahler himself. For subsequent performance in Europe, Mahler quickly withdrew these Cliff's Notes to his Symphony. Twenty years later, in December of 1909, Mahler conducted its American premiere at Carnegie Hall, during his first season as music director of the New York Philharmonic. The symphony drew mixed reviews: The New York Times wrote, “There are matters in it, that as absolute music, have no evident significance, and that serve merely to puzzle and perplex.” The critic for the Sun took a dislike to the symphony's finale, suggesting (quote) “when the weather is bad in Tyrol, it is beyond the power of language to characterize.” Mahler's own reactions are recorded in a letter he sent from New York to Bruno Walter back in Europe: “The day before yesterday I did my First Symphony here, without getting much reaction. However, I myself was fairly pleased with that youthful effort… The audiences here are very lovable and relatively better mannered than in Vienna. They listen attentively and very sympathetically. The critics are the same as anywhere else. I don't read any of them.” Music Played in Today's Program Gustav Mahler (1860-1911) Symphony No. 1 in D Minnesota Orchestra; Edo de Waart, cond. Virgin 61258

Synopsis If ever there was a red-letter day in American music, November 14th must surely be it. For starters, it's the birthday of Aaron Copland, who was born in New York City on today's date in 1900—and then there's all that happened on November 14th in the life of Leonard Bernstein. Here's how Bernstein himself explained it: “I never forget a Copland birthday. Two of the most important events of my life happened on November 14—the first in 1937 when Aaron and I met for the first time… Now, I worried and complained terrifically back then and always took my troubles to Aaron, who would tell me to 'stop whining.' He seemed to have such complete confidence in me that he didn't show a bit of surprise when on Sunday, November 14, 1943, I made a dramatic success by filling in for the ailing Bruno Walter and conducting the New York Philharmonic. All Aaron's predications came true—and on his birthday!” As if that weren't enough, in 1954, again on Copland's birthday, Bernstein made his TV debut presenting Beethoven's draft sketches for the opening of his Fifth Symphony. It proved a smash success—and led to Bernstein's televised Young Person's Concerts that brought classical music to millions of Americans coast to coast. Music Played in Today's Program Aaron Copland (1900-1990) Piano Blues No. 3 James Tocco, piano MPR 201

durée : 00:58:39 - Karl Böhm - par : Aurélie Moreau - Mozart "est pour moi une sorte de fontaine de jouvence où je peux puiser une nouvelle énergie. Après Bruno Walter qui avait éveillé mon amour pour Mozart, c'est Richard Strauss qui fit croître et s'approfondir cet amour". Karl Böhm, chef d'orchestre

L'objet Pop de Nicolas Herman : Les Moon Boot. Maya Duverdier et Amélie van Elmbt pour leur docu. "Dreaming Walls : Inside the Chelsea Hotel", qui sort ce mercredi. Il est Compétition nationale dans le cadre du Brussels Art Film Festival et sera projeté ce vendredi 11 novembre à 19h00 à Cinematek à Bruxelles. Ce docu. fait aussi partie de la sélection du Mois du Doc. Dans moins de deux ans, le mythique Chelsea Hotel, refuge d'artistes à New York depuis plus d'un siècle et emblème de la contre-culture des années 60, sera transformé en hôtel de luxe. Cinquante et un résidents désormais âgés y vivent encore, au beau milieu des travaux. Entre crainte et excitation, la chorégraphe octogénaire Merle Lister, le gourou Baba, la performeuse trans-genre Rose Wood et les autres se préparent au grand bouleversement. Alors que la machine capitaliste s'apprête à avaler le Chelsea, le film interroge ce qui semble la faire dérailler : des lois, des humains et leurs rêves.. Sylvestre Sbille et Renaud Rutten pour le film "Les grands Seigneurs", qui sort ce mercredi. Roger est dans la mouise, mais il va rebondir, grâce au prêt octroyé par son banquier. Mais Monsieur Durieu le prend de haut. Humilié, Roger décide de passer à l'action : le ban- quier se réveille menotté dans une grange abandonnée. Après trois jours à dépérir avec les chaînes aux poignets, Monsieur Durieu propose une solution : forcer la salle des coffres de la banque d'en face, celle de son ennemi juré. Les deux hommes fraternisent autour de leur nouvelle cause commune, celle qui pourrait enfin faire d'eux des Grands Seigneurs... Le coup de cœur de Gorian Delpâture : "Le Magicien" de Colm Tóibín (Éditions Grasset). Personne n'aurait pu prédire un avenir aussi extraordinaire à ce garçon né dans une famille provinciale, bourgeoise et aisée du nord de l'Allemagne. Mais le jeune homme s'appelle Thomas Mann, et il se forgera un destin hors du commun. Une œuvre littéraire couronnée par le prix Nobel, une vie familiale mouvementée et souvent dramatique, et la traversée de toutes les tragédies politiques de la première moitié du siècle – voilà comment on pourrait résumer la vie du grand écrivain. Colm Tóibín a choisi de nous la raconter de l'intérieur et dans toute sa dimension romanesque. Cette existence est peuplée d'autres figures inoubliables. Au tout premier plan, son épouse, la fascinante Katia Pringsheim. Avec et grâce à elle, Thomas Mann construit patiemment une œuvre protéiforme en même temps qu'une apparence de vie confortable qui le protège de ses démons : son attirance pour les hommes. Pour ses six enfants nés entre un voyage à Venise et un séjour au sanatorium – qui seront transposés dans La Mort à Venise et La Montagne magique – il restera à jamais ce chef distant d'une famille où l'on ne sait pas très bien comment s'aimer. Son frère Heinrich, ses enfants Klaus et Erika Mann, Christopher Isherwood, Bruno Walter, Alma Mahler et Franklin Delano Roosevelt – tous joueront un rôle dans la mue du grand bourgeois conservateur en intellectuel engagé face à la montée du nazisme, ou croiseront sa route dans l'épreuve de l'exil. Mais Colm Tóibín évoque avec autant de puissance les élans intimes et douloureux d'un homme secret en quête d'un bonheur impossible. Tous ces fils littéraires, sentimentaux, historiques et politiques s'entretissent dans une fresque qui se confond avec l'émouvant roman d'une vie : celle d'un génie littéraire et d'un homme seul qu'on appelait Le Magicien.

Synopsis On today's date in 1942, Bruno Walter conducted the New York Philharmonic in the premiere of the Second Symphony of the American composer John Alden Carpenter. Like Charles Ives, Carpenter led a double life as a composer and successful businessman. He was born into a wealthy family, and from 1906 until his retirement in 1936, served as Vice President of George B. Carpenter & Co., his father's railroad and shipping supply company. Carpenter studied music at home and abroad, and even took composition lessons from Sir Edward Elgar. In 1914, Carpenter scored a national success with his first big orchestral work, a whimsical symphonic suite titled Adventures in a Perambulator, and in 1921 wrote a very popular jazz-inspired ballet titled Krazy Kat, based on a wildly popular newspaper comic strip of the day. By the 1940s, Carpenter's works were being performed by America's leading orchestras and famous maestros like Bruno Walter and Fritz Reiner. To celebrate his 75th birthday, the newly-formed National Arts Foundation promoted performances of his music in the U.S, Europe, and Australia. But in the decades following his death in 1951, much of Carpenter's work has been forgotten. Naxos of America released this first-ever recording of his Symphony No. in 2001 — 59 years after the work's 1942 premiere. Music Played in Today's Program John Alden Carpenter (1876-1951) Symphony No. 2 National Symphony of Ukraine; John McLaughlin Williams, conductor. Naxos 8.559065

durée : 01:58:39 - Au coeur de l'orchestre - par : Christian Merlin - Disciple de Mahler, Bruno Walter a incarné l'humanisme européen avant de l'exporter aux Etats-Unis et d'y perpétuer la grande tradition orchestrale avec toute sa sensibilité romantique. - réalisé par : Marie Grout

Music By Bach, Mendelsshon, Beethoven, Hindemith, Strauss and Debussy. Performers include William Primrose, Jesus Maria Sanroma, Bruno Walter, Toscha Sidel & Walter Giesking.

Synopsis In the summer of 1912, the Vienna Philharmonic presented a week-long Music Festival that offered three “Ninths” – Beethoven's Ninth conducted by Felix Weingartner, Bruckner's Ninth conducted by Artur Nikisch, and, on today's date, the world premiere of Gustav Mahler's Ninth, conducted by Bruno Walter. Mahler had died the previous year, and the Viennese public greeted the posthumous premiere of his last complete work with a roar of applause – and decidedly mixed reviews. The work's elegiac opening won over most of the professional critics, but many were frankly puzzled by some of the symphony's raucous middle movements. Bruno Walter, the Mahler protégé who conducted the premiere, was singled out for praise, however. Walter made two famous recordings of Mahler's Ninth: The first made live during a January 16, 1938, concert of the Vienna Philharmonic. On January 16, 1961 – exactly 23 years to the day after that 1938 recording – Walter began making a stereo recording of Mahler's Ninth at the American Legion Hall in Hollywood, with the Columbia Symphony. Walter was 84 in 1961, and despite repeated pleas from the control room, couldn't stop himself from vigorously stamping his foot 17 seconds into the second-movement, Laendler – a thump not written in Mahler's score, but now part of Walter's classic second recording. Music Played in Today's Program Gustav Mahler (1860 – 1911) –Symphony No. 9 (Columbia Symphony; Bruno Walter, cond.) Sony 64452

durée : 00:31:05 - Disques de légende du jeudi 09 juin 2022 - Aujourd'hui dans Disques de légende, nous écoutons la 9e symphonie de Gustav Mahler par l'Orchestre Symphonique de la Columbia dirigé par Bruno Walter. Un disque CBS de 1961.

durée : 01:58:12 - Relax ! du jeudi 09 juin 2022 - par : Lionel Esparza - Aujourd'hui dans Relax, portrait du chef d'orchestre américain Lorin Maazel. Et en disque de légende, nous écouterons la 9e symphonie de Gustav Mahler par Bruno Walter. - réalisé par : Antoine Courtin

durée : 01:58:14 - Bruno Walter - par : Christian Merlin - Disciple de Mahler, Bruno Walter a incarné l'humanisme européen avant de l'exporter aux Etats-Unis et d'y perpétuer la grande tradition orchestrale avec toute sa sensibilité romantique. - réalisé par : Adrien Roch

„Was glauben Sie? Ist das überhaupt zum Aushalten? Werden sich die Menschen danach nicht umbringen?“, fragte Gustav Mahler nach der Fertigstellung seiner Vokalsinfonie, der ersten ihrer Art, in einem Brief an seinen Schüler und Kollegen Bruno Walter. Zwischen der 8. und 9. Sinfonie komponierte Mahler nach einem persönlich schwierigen Jahr in seinem Komponierhäuschen in Südtirol im Jahr 1908 „Das Lied von der Erde“ für Tenor, Alt/Bariton und Orchester. Von der Jugend, von der Schönheit, vom Jammer der Erde, schließlich Abschied: das fast 30-minütige Schlusslied. Die Uraufführung unter der Leitung von Bruno Walter in München erlebte Mahler nicht mehr. Bei uns ist das Werk am 3. Juni 2022 unter der Leitung von Sir Simon Rattle in einer Fassung für Kammerorchester zu hören – viel Freude bei der Einstimmung durch den Podcast mit Christoph Vratz. https://www.koelner-philharmonie.de/de/programm/magdalena-kozena-andrew-staples-chamber-orchestra-of-europe-sir-simon-rattle/1687 Foto: Magdalena Kožená ©Julia Wesely

Mahler once said this to Bruno Walter, his protege and great advocate of Mahler's works: "What one makes music from is still the whole—that is the feeling, thinking, breathing, suffering, human being”   You could almost just stop there with the last movement of Mahler 9.  This is music so full of feeling, thinking, breathing, suffering, but also of also acceptance and consolation, that words fail to describe its emotional impact. But as always with Mahler, this isn't merely an emotional outpouring, a dumping of his innermost feelings onto the audience. It is a superbly paced, beautifully written movement, and despite its 25 minute length, and very stable and slow tempo, the movement does the seemingly impossible and feels both endless and compact at the same time.   So today, while of course we'll talk about the emotional content of the music, I want to focus a bit more on how Mahler writes this music to make it so effective, and how he finds a way to reach the peaks of expression and the epitome of using silence as music. And finally, we'll explore how and to whom Mahler says goodbye to at the end of this symphony, as everything fades away. Join us!

"he was called back to the platform half a dozen times"

Grant Godwin is a good man who always tries to do the right thing; that's why he became a cop, after all. But recently? Grant doesn't feel like being an officer of the law is making a difference in the world. One fateful night, after lamenting to a stranger about his desire to do more, he is granted the mantle and title of the Torchbearer, the ever-burning lantern of hope and justice! With his powers to shape pure light to his will, Torchbearer embarks on a mission to bring inspiration to the people of the world! Cast: David (he/him; @MrBananaSocks) as the Editor in Chief, Phil Montgomery (he/them; @BMCPHILANTHROPY) as Torchbearer (he/him) Join our Discord: https://discord.gg/kDFN36npSP Support us on Patreon: https://www.patreon.com/mistconceptionspod Music in this episode: Sad, Sad Story by Raymond Scott and His Orchestra, The Moment I Saw You by Ray Noble and His Orchestra, Saint-Saëns by Bigot Eugène, Marcia funebre: Adagio assai by Bruno Walter

Synopsis On this day in the year 1886, critic Gustav Dompke wrote these lines in the “German Times” of Vienna, after attending a performance of one of Anton Bruckner's symphonies: “We recoil in horror before this rotting odor which rushes into our nostrils from the disharmonies of this putrefactive counterpoint... Bruckner composes like a drunkard!” Today, with Bruckner's symphonies performed and recorded so often, it's doubtful many listeners “recoil in horror” from his rich Romantic harmonies, but he's always been a little controversial. Bruckner's European contemporaries and his early American audiences found his approach to symphonic composition puzzling, bizarre, or, more often than not, simply boring. The vogue for Bruckner symphonies in America had to wait until the latter part of the 20th century, a full century after many of them received their premiere performances in Europe. In 1941, for example, when Bruno Walter conducted Bruckner's giant Eighth Symphony at Carnegie Hall with the New York Philharmonic, music critic Olin Downes lamented that Walter hadn't chosen a “more interesting” program and noted that the Bruckner symphony “sent a number from the hall before it had finished.” Music Played in Today's Program Anton Bruckner (1824 - 1896) — Symphony No. 8 (Concergebouw Orchestra; Riccardo Chailly, cond.) London 466 653

DescriptionLeonard Bernstein was one of the first American-born conductors to receive worldwide fame. A conductor, composer, and avid educator, his life cannot be captured in this podcast. But my hope is that if you didn't know much about Leonard Bernstein, this snapshot may inspire you to learn more. Join me, as we take a minute to get the scoop!Fun FactLeonard Bernstein's "West Side Story" was inspired by William Shakespeare's play Romeo and Juliet. The original 1957 Broadway production, ran for 732 performances before going on tour. It was nominated for six Tony Awards including Best Musical in 1958. The show had an even longer-running London production, a number of revivals, and international productions. A 1961 musical film adaptation was nominated for eleven Academy Awards and won ten, including Best Picture.About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)

蹦藝術 S2 EP9｜談馬勒與他的交響人生（下） 用耳朵閱讀古典音樂 - 蹦藝術 | BONART

蹦藝術 S2 EP8｜談馬勒與他的交響人生（上） 用耳朵閱讀古典音樂 - 蹦藝術 | BONART

Möt konsertpianisten Herta Fischer som i tonåren fick se nazismen växa fram i Österrike, men som flydde med sin mor och så småningom fann ett nytt liv i Solna. Lyssna på alla avsnitt i Sveriges Radio Play. Herta Fischer föddes den 5 maj 1920 i Wien och visade redan som tvååring tecken på musikalitet. Hon tog ut "Blinka lilla stjärna" på ett litet dockpiano, debuterade som konsertpianist redan i sjuårsåldern och fick tidigt pianolektioner av bland andra Bruno Walter. Sin första turné till Sverige gjorde Fischer i Sverige 1936. Då nazister hade gått bärsärkagång i Wiens judiska kvarter och Nazityskland annekterade Österrike 1938 förstod hon och hennes mor vad som var på gång och flydde till Sverige. Att de fick stanna berodde på en svensk folkpartistisk riksdagsledamot som tidigare hade hört Hertas pianospel. – Man ansåg att jag var viktig för landets kulturliv, berättar Herta Fischer som med åren också blev en kulturpersonlighet och aktiv politiker för Västerpartiet i Solna. Herta Fischer avled den 24 januari 2019, alltså bara två dagar innan det här programmet skulle sändas, i en ålder av 98 år. Programmet är en repris från den 20 april 2014 med rubriken ”Herta Fischer – musikdrama under ett turbulent 1900-tal” och sänds den här gången inför Förintelsens minnesdag den 27 januari. En P2 Dokumentär Jan Hammarlund.