Podcast appearances and mentions of carl ditters

Carl Ditters von Dittersdorf - Harp Concerto: 1st movementAndrea Vigh, harpBudapest Strings Budapest Strings Bela Banfalvi, conductorMore info about today's track: Capriccio C71121Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Episode 108 The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium, part 1 Playlist Oskar Sala, “Demonstration” from My Fascinating Instrument (1990 Erdenklang). Demonstration of the Mixtur-Trautonium by Sala, providing a sampling of the many various effects that he could create in real-time without magnetic tape tricks. In addition to the audio track, here is a terrific video from 1993 showing Sala playing the newer, fully transistorized version of the Mixtur-Trautonium in his home studio. Note the dexterity needed to press the little “tongues” of the instrument and press them from side to side to enable note expression. If you were only listening, you would assume that he was playing a keyboard. This view reveals why playing the instrument was quite different than any other. There are, of course, many other videos available showing Sala and his instrument over the years. But I thought this one illustrated the performance aspects of the Mixtur-Trautonium that make it a remarkable, and unique, electronic music instrument. 7:14. Paul Hindemith, Oskar Sala, “7 Triostücke Für 3 Trautonien (1930) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Oskar Sala of one of the very first concert pieces composed for the original Trautonium. This later performance from 1977 used the Mixtur-Trautonium and multi-tracking of Sala as he performed all three parts of this trio. In 1930, the other two players on the three Trautoniums were Paul Hindemith and Rudolph Schmidt. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 1:21. Paul Hindemith, Oskar Sala, “Konzertstück Für Trautonium Mit Begleitung Des Streichorchesters (1931) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Sala at the Mixtur-Trautonium. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 3:02. Harald Genzmer with Oskar Sala, “Konzert Für Trautonium Und Orchester” (1938-39) (excerpt) (1942 DGG). Early performance of this work for the Concert Trautonium, performed by Sala and composed by Genzmer. Performed by the Städtisches Orchester Berlin under the direction Helmuth Thierfelder. The complete work was in the vicinity of 30 minutes long. 7:00. Paul Hindemith, Oskar Sala, “Langsames Stück Und Rondo Für Trautonium” (1935) from Subharmonic Mixtures (1997 Erdenklang). A newer performance by Sala of this early work by Hindemith. Originally written for the Radio Trautonium, this version was performed on the Mixtur-Trautonium. This was recorded in 1985. 5:29. Oskar Sala, Großes Tanzorchester, Frank Fux, “Bezaubernde Melodien” (1941 Telefunken). This German popular music disc features an early solo by Sala using the Concert Trautonium. You can hear its distinctive melodies, reminiscent of a flute or clarinet, but clearly different. 2:56. Oskar Sala, “Poor Hansi” (1943). This animated short film included a singing canary, the voice of which was provided by Oskar Sala using the Concert Trautonium. The instrument also provided some miscellaneous sound effects such as the squeaking cage door. 3:04. Fritz Kreisler, Oskar Sala, “Scherzo im Stile von Carl Ditters von Dittersdorf” (1946) from Das Konzertrautonium Wandlungen (2011 Der Trautonist). Concert Trautonium, Oskar Sala; piano, Gerhard Schael. This recent recording (not Sala) was made in 2011 using the third incarnation of the Trautonium, the Concert Trautonium (1938). 3:29. Oskar Sala, “A Fleur D´eau ( In wechselndem Gefälle)” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:22. Oskar Sala, “Der Fluch Der Gelben Schlange” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:39. Oskar Sala, “Intro, The Birds” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). This UK collection features the electronic sounds created for the film by Oskar Sala on the Mixtur-Trautonium. Occationally, you may hear some ambient bird sounds in the soundtrack mix, but the truly eerie, intimidating bird sounds are those produced by Sala. An original “soundtrack” was never released at the time primarily because, despite the popularity of the movie, no music was orchestrated for the movie other than the eerie electronic music sounds of birds created by Oskar Sala. 1:33. Oskar Sala, “Bird's Attack/After Explosion” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 2:01. Oskar Sala, “The Crows Again/Annie Is Dead” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 0:35. Oskar Sala, “The End” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 4:26. Henrich Heine, Oskar Sala, excerpts from “Denk Ich An Deutschland - Eine Politische Reportage Über "Deutschland - Ein Wintermärchen" (1966 Electrola). Sala contributed music and sound effects made on the Mixtur-Trautonium for this drama production. 4:41. Oskar Sala, “Rede Des Toten Christus Vom Weltgebäude Herab, Dass Kein Gott Sei” (1986) from My Fascinating Instrument (1990 Erdenklang). Mixtur-Trautonium, Oskar Sala; narrator, Friedrich Schönfelder; words, Jean Paul (1797). 12:52. Opening background music: Oskar Sala, “Fantasie-Suite In Drei Sätzen Für Mixturtrautonium Solo” from My Fascinating Instrument (1990 Erdenklang). Composed, Performed on the Mixtur-Trautonium and produced by Oskar Sala. 10:38. Timeline of the Trautonium This timeline shows the evolution of the Trautonium and Mixtur-Trautonium, all played by Oskar Sala (1910-2002). 1929-30: Trautonium (Friedriech Trautwein). One manual. 1935: Radio-Trautonium. Two manuals, two pedals. 1938: Konzerttrautonium (Concert Trautonium, a portable model. Two manuals, two pedals. 1952: Mixturtrautonium (Mixtur-Trautonium). Two manuals, two pedals. 1988: Micro-Electronic Mixtur-Trautonium (transistorized model). Two manuals, two pedals. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

Nuestra tercera visita a las sinfonías creadas por autores austriacos nos lleva a las partituras de 3 grandes compositores que ya han sonado en esta serie: Bruckner, Schubert y Franz Joseph Haydn. En cuanto al gran W. A. Mozart, hoy le vamos a dejar descansar para que entre en las rotaciones un autor de gran nivel y a quien se le atribuyen entre 120 y 210 sinfonías, Carl Ditters von Dittersdorf. Así, abarcaremos unos 100 años de diferencia entre las 2 piezas más clásicas y el post-romanticismo de finales del siglo XIX de Anton Bruckner. Carlos y Mario (que casi se carga su propio ordenador por no saber beber), charlan animadamente mientras escuchan las 4 piezas protagonistas de esta nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

17th-21st CenturiesWe hear works by Alfonso Ferrabosco The Younger, Johann Schmelzer, Jean Guilain, Carl Ditters von Dittersdorf, Ferdinand Hérold, Peter Heise, Joseph Canteloube, and Stephen Hartke.138 Minutes – Week of 2022 July 25

Zenélő szintek a műsor, hogyan lehet a hétvégén ismert zenészek leveleit, naplóit vagy jegyzeteit idézni meg. Ezeken keresztül nem csak hozzájuk, hanem ahhoz a korhoz is közelebb kerülünk ahol ők éltek és alkottak. A negyedik adás főszereplője Carl Ditters von Dittersdorf zeneszerző. Műsorvezető: Bősze Ádám

After a brief overview of the young Beethoven’s world, we’ll look at some of his early music for piano including:  Nine Variations on a March by Dressler, (WoO 63), his first published work; A Rondo in C major (WoO48); Thirteen variations on “Es war einmal ein alter Mann” by Carl Ditters von Dittersdorf (WoO48); and Nine Variations on “God Save the King” (WoO78).

In this episode the team discuss Friday’s Johnson – Corbyn head-to-head debate, and then move on to the election campaign itself. Who has won? Who lost? How and why? Not stating preferences; just examining tactics and strategies. And then they break the Opinion Battlegrounds rules. They move on to the debate over the apostrophe, and the news that the Apostrophe Protection Society has admitted defeat in its battle to protect this endangered punctuation mark. Is the battle really over? On this occasion, the Chelgate team were unable to hide their personal feelings. Our wonderful introductory music is with kind permission of the London Symphony Orchestra. It’s from Carl Ditters von Dittersdorf’s Double Bass Concerto, originally written in E flat Major but performed here a semitone lower. Rinat Ibragimov, the LSO’s principal double bass of the London Symphony Orchestra, together with Catherine Edwards. www.youtube.com/watch?v=PNYuRbsSJYw

In this episode, Terence is joined by director of Chelgate Consulting, James Monckton (www.linkedin.com/in/james-monckton-91aa5240/) and Communications and Public Affairs consultant, Dr Drew Manns (www.linkedin.com/in/drewman/). As usual, they are looking at the interviews battled through, the arguments waged and the debates fought out, and they are not taking sides. They won’t agree or disagree. Their interest is in the art of persuasion. Who made their case best? Who did worst? How and why? This time the first Johnson/ Corbyn debate and the Prince Andrew interview are unavoidable topics for the team’s forensic examination. Our wonderful introductory music is with kind permission of the London Symphony Orchestra. It’s from Carl Ditters von Dittersdorf’s Double Bass Concerto, originally written in E flat Major but performed here a semitone lower. Rinat Ibragimov, the LSO’s principal double bass of the London Symphony Orchestra, together with Catherine Edwards. https://www.youtube.com/watch?v=PNYuRbsSJYw

Nuestros amigos nos hablan sobre la vida y obra del compositor austricao Carl Ditters.

Thor Harris takes Elizabeth on a brief tour of progressive rock and gives a shout out to Yes and other stalwarts of the genre and describes what music inspired his new, hypnotic project, Thor And Friends. Then Grace London and Zoe Czarnecki from the Austin band Misimplicity describe how Elliot Smith and a bass concerto by Carl Ditters von Dittersdorf have helped them find their musical ways and climb musical mountains.

Thor Harris takes Elizabeth on a brief tour of progressive rock and gives a shout out to Yes and other stalwarts of the genre and describes what music inspired his new, hypnotic project, Thor And Friends. Then Grace London and Zoe Czarnecki from the Austin band Misimplicity describe how Elliot Smith and a bass concerto by Carl Ditters von Dittersdorf have helped them find their musical ways and climb musical mountains.

Donald Macleod on the life and music of Carl Ditters von Dittersdorf, a composer whose concertos, operas, string quartets and over 100 symphonies made him a rival to Haydn in the late 18th century.

Genies, so es denn überhaupt noch welche gibt, haben in der Regel die Eigenschaft, nicht mit anderen Genies zu kommunizieren. Das ist so bei Genies! Bisweilen jedoch gibt es Ausnahmen. In den Jahren 1783 bis 1787 gab es in Wien regelmäßig Treffen von Musikern, wie sie in der Zusammensetzung unglaublicher nicht hätten sein können. Es trafen sich zum gemeinsamen Musizieren die Herren Joseph Haydn, Carl Ditters von Dittersdorf, Johann Baptist Vanhal und Wolfgang Amadeus Mozart. Bei einem dieser Nachmittage sorgte der Besuch des Italieners Giovanni Paisiello für einige Verwirrung unter den Komponisten. Ein ZOOM von Wolfgang Antesberger.