Podcasts about chopin's nocturne

Written by poet and spiritualist Aleph Ba, this poem, entitled "Planting Season," was recorded by Aleph Ba in early May 2011. It is accompanied by background music selected by Aleph Ba for this particular piece: Chopin's Nocturne in C Sharp Minor. Enjoy! --- Support this podcast: https://anchor.fm/alephba/support

Pianist Henrik Kilhamn takes on Chopin's Nocturne in B major, Opus 62 no 1. This late Chopin work has many layers - the initial warm nostalgia turns into tragic lamenting and further on to a surprising syncopated middle section, before the main melody returns embellished with trills.

Debbie McGee tells us about her time on Strictly, how she needs to keep busy and life two years after the death of her husband, Paul Daniels. Joe Cushnan's father walked out on his family, never to return or make any contact. Joe is now trying to find out about the life his father subsequently embarked on. Rosamund Thorpe is sure she has Scottish blood and knows where it came from. Peter Lovatt aka Dr Dance tells us how dance helped him learn to read and go on to have a career as a dance academic. Composer Debbie Wiseman chooses her Inheritance Tracks - I'd Like to Teach the World to Sing by The New Seekers and Chopin's Nocturne in E Flat Major, Opus 9 No 2. Debbie McGee will be appearing on The Pilgrimage on BBC 2 over Easter. Peter Lovatt's Boogie on the Brain Tour takes place in April, June and July. Debbie Wiseman's new album, The Glorious Garden, a collaboration with gardener and writer Alan Titchmarsh, is out on 2 March.

Composer Debbie Wiseman chooses I'd Like to Teach the World to Sing by The New Seekers and Chopin's Nocturne in E Flat Major, Opus 9 No 2.

For National Piano Month, a collection of piano music from the first half of the 20th Century. Artists include: Jelly Roll Morton, Teddy Wilson, Albert Ammons,  Dinu Lipatti, Moon Mullican, Art Tatum and Hazel Scott. Works include: Boogie Woogie Stomp, Chopin's Nocturne #8, I Left My Heart In Texas, Tiger Rag, Sweetheart O Mine and Warsaw Concerto.

Every concert-goer has experienced this at one time or another: a performance that is so exhilarating or so transcendent that after the final notes, the audience cheers, leaps to its feet and demands to hear more. But what follows can be maddeningly routine, insipid and uninspired, says David Oldroyd-Bolt, a writer and pianist who recently covered the phenomenon for the Telegraph. "I think it's not only what has gone wrong with encores, it can be seen as a wider symptom of what's gone wrong with recital programs in general," he tells Naomi Lewin in this podcast. He feels that recitalists, especially pianists, have become safe and predictable in their choice of repertoire. And this starts with conservatory training. "When you come to your professional career you think, 'what would someone like?' And unfortunately, it seems to be the same three, four or five pieces. It's a failure of imagination and it's a failure of artistic expression." Particularly overdone are chestnuts like Chopin's Nocturne in D-flat Major, Schumann's Traumerei and Liszt's La campanella etude, Oldroyd-Bolt argues. Too often missing are the "party pieces" that used to make encores delightful and surprising – opera transcriptions, jazz arrangements and other novelties. Other Highlights of this Segment: A Pianist Who Bucks the Trend: Not everyone falls into a routine. Canadian pianist Marc-André Hamelin explains that the point of an encore should be to "delight, perhaps amuse, intrigue and maybe even astonish if that's your bag." He often doesn't know what he'll play until he returns to the piano and gauges an audience's reaction. Among his current favorites is Chopin's "Minute Waltz" – but with a twist: The Opera Encore: The encore has also come in for renewed scrutiny lately in the opera world, after Javier Camarena delivered one in the middle of La Cenerentola at the Metropolitan Opera on April 25. The tenor was only the third singer to do that at the company in 70 years. Tim Smith, the classical music critic of the Baltimore Sun, tells Lewin that he generally finds opera encores "disruptive," although not in relatively light fare. "If you're doing a comedy, I don't think it's going to destroy the evening," he said. "I think you could even make a case for an encore in one of the bigger bread-and-butter operas – a Tosca, for example." Smith recently reviewed a performance of Verdi's Nabucco by the Lyric Opera of Baltimore in which the company was so intent on taking a customary encore of the Chorus of Hebrew Slaves ("Va, pensiero") that it even turned up the house lights, switched the surtitles to Italian and rehearsed the audience to sing along. Both Smith and Oldroyd-Bolt argue that such encores should be used sparingly or they become routine. "If the audience is wild with enthusiasm, then I think there's a case for it," said Oldroyd-Bolt. "If you're going through rehearsing choruses and tenors going on and off stage like a jack in the box simply for tradition's sake, then I think it becomes rather stale and hackneyed."          Both audiences and performers may also think of the missed trains home, car services idling outside theaters and unions demanding overtime. "If you see some of them leaving for their train, maybe it's not such a good idea to press the issue too much," said Hamelin. "And that's fine." Listen to the full podcast above, which includes our guests' all-time favorite encores. And tell us what you think: Have encores grown stale? Do you have any memorable encore experiences?