Podcasts about Christoph Eschenbach

durée : 01:28:35 - Pablo Ferrández, la maîtrise et l'intensité - par : Aurélie Moreau - Pablo Ferrández impressionne par sa vraie nature de violoncelliste. Le chef et pianiste Christoph Eschenbach dit de lui: « Il a tout : technique splendide, profonde musicalité et un irrésistible charme ». Aujourd'hui : C. Schumann, Dvořák, Brahms… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Flucht und Vertreibung aus Wrocław/Breslau machten den begabten Jungen mit fünf Jahren zum Vollwaisen. Im Flüchtlingslager verstummt das Kind - und findet seine Sprache zurück durch die Musik. Sie sollte sein Leben werden. 

Christoph Eschenbach zählt zu den gefeiertsten Kapellmeistern der Welt. Sein Leben wurde kürzlich in einer Biografie von Margarete Zander beschrieben. In einem Gespräch mit Jakub Kukla berichtet der 1940 in Breslau geborene Eschenbach von der Zusammenarbeit mit dem Orchester.

Nach einem schweren Trauma hörte Christoph Eschenbach als Sechsjähriger auf zu sprechen. "Die Musik hat mich gerettet" sagt der berühmte Pianist und Dirigent rückblickend. Klavierspielen lernte er als Kind von seiner Adoptivmutter. Als er mit 11 Jahren mit ihr ein Konzert besuchte und Wilhelm Furtwängler dirigieren sah, war er so fasziniert, dass ihn dieses Bild noch lange Jahre in seinem Pianisten-Leben begleitete.

Nach einem schweren Trauma hörte Christoph Eschenbach als Sechsjähriger auf zu sprechen. "Die Musik hat mich gerettet" sagt der berühmte Pianist und Dirigent rückblickend. Klavierspielen lernte er als Kind von seiner Adoptivmutter. Als er mit 11 Jahren mit ihr ein Konzert besuchte und Wilhelm Furtwängler dirigieren sah, war er so fasziniert, dass ihn dieses Bild noch lange Jahre in seinem Pianisten-Leben begleitete.

Ein Buch von Margarete Zander - vorgestellt auf NDR Kultur.

„Was ich immer anstrebe mit Orchestern ist, dass jeder auf den anderen hören soll, ob das nun der zweite Geiger am letzten Pult ist, der den dritten Kontrabass hören soll, oder in der Kammermusik mit nur wenigen Beteiligten.“ Sagt Christoph Eschenbach. Er zählt zur Spezies der Doppelbegabungen: Solisten, die auch dirigieren, Dirigenten, die auch als Solist tätig sind. Nun feiert Christoph Eschenbach seinen 85. Geburtstag. Passend zu diesem Festtag ist ein neues Buch erschienen, dass seine bewegte Lebensgeschichte und seinen künstlerischen Werdegang beleuchtet. Christoph Vratz hat es gelesen.

Molly Durand is a classically trained singer and songwriter whose lifelong career in music started in Chicago. At a young age, she had the opportunity to work with some of the greatest classical conductors of the 20th century, Sir Gorge Solti and Christoph Eschenbach, alongside the Chicago Symphony Orchestra and Chorus at Orchestra Hall and Medina Temple.   As an adult, Molly Durand was awarded scholarship to study voice at The De Paul Music School. During her tenure, she performed the American premiere of The Marriages Between Zones 3, 4 & 5 by renowned minimalist composer Phillip Glass, who mentored the production and rehearsals.  While at DePaul she was in the Theater School production of the Vagina Monologues and then also played Mrs. Lovett in Steven Sondheim's Sweeney Todd: The Demon Barber of Fleet Street, at the Music School there. She furthered her training and study at The American Musical and Dramatic Academy in both New York City and Los Angeles and served as a stage manager to further her study of the theater and live performance.    Synth - Chris Newlin Bass David Barsky Guitar  Harry Owen Piano  Mark Brown Violin Nino Chikviladze  Georgian Drum Kit  Francesca Pratt  Rome, Italy Toms (drums) - Glenn Welman - South Africa Percussion Gabrielle from Caracas Venezuela Mix Engineer  Bill Mims Master Chris Sorem Moon Photograph & Music Video - Adam Petrishin

Molly Durand is a classically trained singer and songwriter whose lifelong career in music started in Chicago. At a young age, she had the opportunity to work with some of the greatest classical conductors of the 20th century, Sir Gorge Solti and Christoph Eschenbach, alongside the Chicago Symphony Orchestra and Chorus at Orchestra Hall and Medina Temple.   As an adult, Molly Durand was awarded scholarship to study voice at The De Paul Music School. During her tenure, she performed the American premiere of The Marriages Between Zones 3, 4 & 5 by renowned minimalist composer Phillip Glass, who mentored the production and rehearsals.  While at DePaul she was in the Theater School production of the Vagina Monologues and then also played Mrs. Lovett in Steven Sondheim's Sweeney Todd: The Demon Barber of Fleet Street, at the Music School there. She furthered her training and study at The American Musical and Dramatic Academy in both New York City and Los Angeles and served as a stage manager to further her study of the theater and live performance.

Tobias Picker, deemed “our finest composer for the lyric stage” by The Wall Street Journal, joins Devin Patrick Hughes on One Symphony. Tobias is a prolific composer in all genres. He has composed six operas, commissioned by Dallas Opera, LA Opera, Metropolitan Opera, San Francisco Opera, Santa Fe Opera, and Opera Theatre St. Louis. Tobias Picker has composed numerous symphonic works including three symphonies, concertos for violin, viola, cello, and oboe, as well as four piano concertos and a ballet. Picker's recent honors include the 2020 Grammy Award for Best Opera Recording of Fantastic Mr. Fox, and a lifetime membership at the American Academy of Arts and Letters. Thank you for joining us on One Symphony. Thanks to Tobias Picker for sharing his music and insights. Thank you to Visconti Arts for making this episode possible. You can find more info at https://tobiaspicker.com. Music Selections—all music by Tobias Picker, except for the first selection. Gian Carlo Menotti, Suite from Amahl and the Night Visitors. Performed by the Cleveland Pops Orchestra conducted by Louis Lane. First movement from Symphony No. 1; performed by the San Francisco Symphony. Edo de Waart, conductor. Awakenings, adapted from the non-fiction book by Oliver Sacks. Libretto by Aryeh Lev Stollman, produced by Odyssey Opera in 2023 of Boston in partnership with the Boston Modern Orchestra Project. Gil, Rose, Conductor. Directed by James Robinson. Commissioned by Opera Theatre of St. Louis. The Encantadas for narrator and orchestra. Based on the writings of Herman Melville. Sir John Geilgud, narrator; Christoph Eschenbach, conductor; Houston Symphony Orchestra. "Letter Aria" from Emmeline. Text by J.D. McClatchy Virginia Douglas, soprano Amir Farid, piano. Conducted by Modestas Pitrenas. Supported by Modestas Pitrenas. “I See A Woman” from Lili Elbe. Text by Aryeh Lev Stollman. Featuring Lucia Lucas as Lili. Performed by the St. Gallen Symphonic Orchestra. Old and Lost Rivers, for orchestra. Performed by the London Symphony Orchestra conducted by John Williams. Nova featuring Benjamin Hudson- Violin John Graham - Viola Fred Sherry - Cello Don Palma - Bass Tobias Picker – Piano. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music. https://tobiaspicker.com https://www.fox21news.com/business/press-releases/ein-presswire/674899601/devin-patrick-hughes-arapahoe-philharmonic-conductor-presents-a-new-discovery-concert-this-holiday-season/  

durée : 00:58:53 - Christoph Eschenbach, une vie pour et par la musique - par : Aurélie Moreau - Le chef d'orchestre et pianiste Christoph Eschenbach confiait au Figaro « J'aime penser que le chef n'est pas une individualité face à un groupe, mais un musicien devant une assemblée d'amis musiciens ».

Wielkimi krokami zbliża się kolejny sezon w Narodowym Forum Muzyki we Wrocławiu. Przedstawiciele filharmonii, Orgiestry Leopoldinum, Ossolineum oraz Kina Nowe Horyzonty opowiedzieli w Programie 2 Polskiego Radia, co na jubileusz swojego 10-lecia przygotowała wrocławska instytucja.

Michaela Špačková is a curious and creative artist who seamlessly integrates her passions for music, humanity and nature into her musical work, lifestyle and intercultural activities – from music education concerts to her development of permaculture gardening. She regularly performs works dedicated to her for solo bassoon by contemporary composers, She began playing the bassoon at the age of 12 and made her debut five years later with the PKF Prague Philharmonia, following appearances with the ORF Vienna, Munich Chamber Orchestra and Czech Philharmonic, receiving more than 20 prizes at various competitions such as the ARD Music Competition and Prague Spring Competition, and performing worldwide in the most prestigious halls such as the Berlin Philharmonie, Philharmonie de Paris, Suntory Hall Tokyo, etc. She was solo bassoonist in the Konzerthausorchester Berlin with Christoph Eschenbach and Academist with the Staatskapelle Berlin under Daniel Barenboim, played with conductors such as Sir S. Rattle, Z. Mehta, I. Fischer, W. Jurowski and others. In this episode, we speak about her start on the bassoon, her experiences and insights on taking part and winning numerous competitions, some of her favorite contemporary composers, educational music concerts, her passion for permaculture gardening, how she overcome a challenging moment in her career and we are joined by a super-cute guest right at the end! Legends of Reed is sponsored by Barton Cane. Use coupon code "legendsofreed" for free shipping. https://www.bartoncane.com Find out more about Michaela here: https://www.michaelaspackova.com

- Dyrygent przynosi ze sobą jakieś ujęcie interpretacyjne. Zna dzieło w każdym najdrobniejszym szczególe i swoją wizją, swoim odczytaniem dzieli się z orkiestrą za pomocą słów i przede wszystkim gestów - tak o roli dyrygenta mówił w Dwójce maestro Christoph Eschenbach.

Wenige Wochen nach ihrem fulminanten Start in Berlin als neue Chefdirigentin ist Joana Mallwitz mit zwei Konzerten in der Hamburger Elbphilharmonie zu Gast. Das erste Mal steht sie hier am Pult des NDR Elbphilharmonie Orchesters mit Werken von Sergej Rachmaninow und Zoltán Kodály. Die Pianistin Anna Vinnitskaya ist die Solistin des Abends. Zusammen interpretieren Mallwitz & Vinnitskaya eines der vertracktesten Klavierkonzerte der gesamten Klavierliteratur - das als "Rach 3" bekannte dritte Klavierkonzert von Rachmaninow. Dieses Konzert galt schon immer als Meilenstein in der Karriere eines jeden Pianisten. Der ungarische Komponist Zoltán Kodály ergänzt das Programm mit seinen Tänzen aus Galanta und der Háry János-Suite op. 15. Joana Mallwitz ist eine Ausnahmedirigentin. Sie war einst jüngste Generalmusikdirektorin Europas, jetzt ist sie Chefdirigentin des Konzerthausorchesters Berlin, als Nachfolgerin von Christoph Eschenbach. Sie brennt für diese Aufgabe, für die Musik und das Konzerthausorchester.

Philharmonic, conducted by Yannick Nézet-Séguin with Mezzo-soprano Elina Garanca as soloist. The Summer Night Concert was performed this year on June 8th, 2023. It is an annual open-air event, which has been held since 2008. The park of Schönbrunn Palace in Vienna/Austria is the magical setting for the concert. The illustrious conductors who have previously led the orchestra at this event are Georges Prêtre, Daniel Barenboim, Franz Welser-Möst, Lorin Maazel, Christoph Eschenbach, Zubin Mehta, Semyon Bychkov, Gustavo Dudamel, Daniel Harding, and Andris Nelsons.1. Georges Bizet, Suite Nr. 1 aus der Oper Carmen (Arrangement Ernest Guiraud 1885)             Nr. 5. Les Toréadors (Vorspiel zum 1. Akt)             Nr. 2. Intermezzo (Vorspiel zum 3. Akt)             Nr. 1a. Aragonaise (Vorspiel zum 4. Akt) 2. Georges Bizet, Habanera aus der Oper Carmen3. Lili Boulanger, D‘un matin de printemps. Fassung für Orchester 19184. Hector Berlioz, Ouvertüre zur Oper Le Corsaire op. 215. Charles Gounod, „O ma lyre immortelle“ Arie aus der Oper Sapho6. Maurice Ravel, Daphnis et Cloé. Suite Nr. 27. Camille Saint-Saëns, „Mon cœur s'ouvre à ta voix” Arie aus der Oper Samson et Dalila8. Maurice Ravel, BoleroHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Ein Album von Claudio Bohorquez und Christoph Eschenbach - vorgestellt auf NDR Kultur.

One of the most sought-after violists of his generation, Timothy Ridout is appearing this season as soloist with the BBC Symphony Orchestra, the Tokyo Metropolitan Symphony and the Netherlands Chamber Orchestra, amongst many others. He's worked with conductors like Andras Schiff and Christoph Eschenbach, and collaborated with Stephen Isserlis and Joshua Bell. At 27 years of age he's already recorded five albums and featured on countless others. This interview was recorded while Timothy was at his home in London, but he is now in Australia to perform thanks to Musica Viva, along with flautist Adam Walker and harpist Anneleen Lenaerts. In this conversation, Timothy talks about his journey of discovery with this often neglected instrument, his time in the recording studio and collaborating with some of the greats, and shares some lovely musical works which all have stories behind them.

Synopsis It's usually NEW music that gets terrible reviews, but scanning old newspapers, you'll find that occasionally OLD music gets panned with equal venom. On today's date in 1865, a concert by the Theodore Thomas Orchestra at Irving Hall opened with an orchestral arrangement of a Bach Passacaglia, followed by Mozart's Sinfonia Concertante for Violin and Viola. The New York Times reviewer was not thrilled with either selection: “The Bach,” he wrote, “is a fair representation of the treadmill. A culprit may travel on it for a day without advancing a step. It simply goes ‘round and ‘round in the most obvious style, and is generally DULL – like a superannuated church warden… The symphony for violin and viola by Mozart is a work generally avoided in Europe. The wearisome scale passages on the little fiddle repeated ad nauseam on the bigger one are simply maddening. On the whole, one would prefer death to a repetition of this production.” Thus spake The Times in April of 1865. We should note in its defense that Americans had other matters on their minds that week. The day the review appeared the paper's headline read: “Union Victory! Peace! Lee Surrenders His Whole Army!” Music Played in Today's Program J.S .Bach (arr. Respighi) Passacaglia in c BBC Philharmonic; Leonard Slatkin, conductor. Chandos 9835 Wolfgang Mozart (1756 – 1791) Sinfonia Concertante, K. 364/320d Midori, violin; Nobuko Imai, viola; NDR Symphony; Christoph Eschenbach, conductor Sony 89488

Een kerstaflevering? Gaan we lekker niet doen, dachten Joris en Guido. Wordt knap voorspelbaar en saai, toch? Maar ja, toen de heren eenmaal aan het prakkiseren sloegen, gingen ze door de bocht. Want Stille Nacht, waar komt die oorwurm eigenlijk vandaan? Wie kent de eeuwenoude kerstmuziek van Mallorca? En hoe pakte de beroemde Schotse componist James MacMillan zijn Christmas Oratorio (2019) aan? Luisteren dus, want er duikt ook nog een guilty pleasure op. Iets met zingende knaapjes. En snotteren op kerstavond. Ook dat nog. Gedraaide fragmenten: · Bach, Weihnachts-Oratorium, ‘Jauchzet, frohlocket', Concentus Musicus o.l.v. Nikolaus Harnoncourt · Bach, Weihnachts-Oratorium, Sinfonia, Concentus Musicus o.l.v. Nikolaus Harnoncourt · Franz Gruber, Stille Nacht, arr. Alfred Schnittke, Gidon Kremer (viool), Christoph Eschenbach (piano) · Friedrich Schneider, Christus das Kind, ‘Ehre sei Gott in der Höhe', Sinfonieorchester Wuppertal, Kantorei Barmen Gemarke o.l.v. Alexander Lüken · James MacMillan, Christmas Oratorio, ‘Hodie Christus natus est', London Symphony Orchestra, City of Birmingham Symphony Chorus o.l.v. Mark Elder · Anoniem, El cant de la Sibil·la, Montserrat Figueras, La Capella Reial de Catalunya o.l.v. Jordi Savall · Once in Royal David's City, Choir of King's College Cambridge o.l.v. Daniel Hyde

Synopsis As the season begins, we offer you this “Autumn Music” — a woodwind quintet by American composer Jennifer Higdon. Higdon says she wanted to write a companion piece to another famous woodwind quintet titled “Summer Music” by Samuel Barber. Higdon's “Autumn Music” was commissioned by Pi Kappa Lambda, the national music honorary society, and premiered at their 1994 national convention in Pittsburgh. “Autumn Music,” says Higdon, “is a sonic picture of the season of brilliant colors. The music of the first part represents the explosion of leaves and the crispness of the air of fall. As the music progresses, it becomes more spare and introspective, moving into a more melancholy and resigned feeling.” Jennifer Higdon was born in Brooklyn in 1962, and teaches at the Curtis Institute of Music in Philadelphia. Her chamber and orchestral pieces have been performed by ensembles coast to coast. She's also active as a performer and, as she explains, as an enthusiastic member of the audience: “I love exploring new works — my own pieces and the music of others — in a general audience setting, just to feel a communal reaction to new sounds. Music speaks to all age levels and all kinds of experiences in our lives. I think it can express anything and everything.” Music Played in Today's Program Jennifer Higdon (b. 1962): Autumn Music –Moran Woodwind Quintet (Crystal 754) On This Day Births 1875 - Lithuanian composer Mikolajus Ciurlionis, in Varena (then the Kaunas province of the Russian Empire; Julian date: Sept. 10); 1933 - Spanish composer Leonardo Balada, in Barcelona; 1961 - American composer Michael Torke, in Milwaukee, Wisc.; Deaths 1989 - American song composer Irving Berlin, age 101, in New York City; Premieres 1869 - Wagner: opera, "Das Rheingold," in Munich at the Hoftheater, Franz Wüllner conducting; The opera was performed at the Bavarian emperor Ludwig II's request, but against the composer's wishes; 1938 - Webern: String Quartet, Op. 28, at South Mountain, Pittsfield, Mass., during the Berkshire Chamber Music Festival; This work was commissioned for $750 by the American music patron, Elizabeth Sprague Coolidge; 1964 - Jerry Bock: musical "Fiddler On the Roof" opens on Broadway: It would run for 3,242 performances before closing; 1971 - Barber: "The Lovers" for solo voice and chorus (after a poem by Pablo Neruda), in Philadelphia; 1989 - Bernstein: "Arias and Barcarolles" (orchestrated version prepared by Bright Sheng), at the Tilles Center of Long Island University with the New York Chamber Symphony conducted by Gerard Schwarz and featuring vocalists Susan Graham and Kurt Ollmann; The first version of this work, for soloists and piano four-hands, premiered on May 9, 1988, at Equitable Center Auditorium in New York City; 1990 - James MacMillan: "The Beserking" (Piano Concerto), at Henry Wood Hall in Glasgow by pianist Peter Donohoue and the Royal Scottish Orchestra, Matthias Bamert conducting; 1990 - Christopher Rouse: "Jagannath" for orchestra, by the Houston Symphony Orchestra, Christoph Eschenbach conducting; 2000 - Philip Glass: “Tirol Concerto” for piano and orchestra, by Dennis Russell Davies (piano and conductor) with the Stuttgart Chamber Orchestra, at the 7th annual Klangspuren Festival in Schwaz, Tirol (Austria); 2000 - Zwilich: "Millennium Fantasy" for piano and orchestra, by the Cincinnati Symphony, Jesús Lopez-Cobos conducting with soloist Jeffrey Biegel; Others 1937 - During the Spanish Civil War, Mexican composer Silvestre Revueltas conducts his 1935 composition “Homage to Federico Garcia Lorca” in Madrid while the city was under siege by Spanish fascist forces; The Spanish poet Lorca had been killed by the Falangists; Links and Resources On Jennifer Higdon On Barber's "Summer Music"

Yo-Yo Ma plays the John Williams Cello Concerto with John Devlin conducting the opening night celebration of the Wheeling Symphony Orchestra at the Capitol Theater Thursday September 29th at 7:30pm. John Devlin discuses the program of American Stories with Caroline Shaw and a world premiere of Migrations in Rhythm: A Concerto for Beatbox and Rhyme by Evan Meier with Christylez Bacon and a new arrangement of the Star Spangled Banner by Enrico Lopez Yanez. It's a return for Yo-Yo Ma - he first played Wheeling at age 17. There is a reception afterward.  John also discusses the season to come with Jim Cunningham and relays a few highlights from his work with Gianandrea Noseda and Christoph Eschenbach at the National Symphony before arriving in Wheeling.

Time for Three — Letters for the Future (DG) Jump to giveaway form New Classical Tracks - Time for Three by “This is Kevin Puts; he's our new member, our composer in residence — ‘Time for Four.'” The members of the string trio Time for Three — violinists Nick Kendall and Charles Yang, and bassist Ranaan Meyer — are talking about Puts and his involvement on their latest album, Letters for the Future, which also includes music by composer Jennifer Higdon. Meyer: “We've been on this journey for a while. When we started out, we were this band that was discovering a common ground with classical music. We had this desire and inquisitive nature of wanting to explore all different genres. “Now fast-forward to today, and we're here to talk about our recording with the Philadelphia Orchestra, which features Jennifer Higdon's work that was also the very first concerto that was ever written for us back in 2008. Here is an exclusive performance for YourClassical MPR of the Cadenza from Higdon's Concerto 4-3: Watch now “We're also super excited about our latest concerto, Contact, by Kevin Puts. In addition to being a sensational composer and writing gorgeous music that is incredibly storytelling in nature, he is like-minded to our group, which pushes us forward on our instruments.” How is this album a homecoming for the group? Kendall: “When Ranaan and I attended the Curtis Institute of Music in the late ‘90s, Mark O'Connor, Edgar Meyer and Yo-Yo Ma released Appalachian Waltz, which blew our minds. At that time, it also seemed natural for Time for Three to do the same. We had this incredible opportunity with the Philadelphia Orchestra with help from maestro Christoph Eschenbach. “Eschenbach saw this energy from us and thought if he could put these virtuoso musicians in the hands of a master composer, who would that be? We had a meeting with him, and both of our lists had Jennifer Higdon, who was a teacher at Curtis. That is the story behind Concerto 4-3.” Can you talk about the creativity behind Contact? Puts: “I thought it was an interesting idea to start with nothing but a three-voice chorale and then gradually elaborate on that. As far as there being a message, I didn't really think of it that way until later. We realized what we were working on a piece about all the different forms of contact.” Here's an exclusive performance of Puts' Gankino Horo, which is not featured on the album: Watch now 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. More on Time for Three New Classical Tracks: Time for Three Time for Three Giveaway Time For Three New Classical Tracks Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Time for Three — Letters for the Future (DG store) Time for Three — Letters for the Future (Amazon) Time for Three (official site)

Synopsis On this day in 1900, the world first heard the Requiem of Gabriel Fauré in its full orchestral version at a concert at the Paris World Exhibition. Faure's Requiem ranks today among his best-known and best-loved compositions, and omits all reference to the terrors of the Last Judgment which appear in the traditional liturgical text, concentrating instead on comforting the bereaved. The Requiem was originally written for chorus and a more intimate chamber ensemble, and was occasioned by Fauré's sorrow at the death of his own father. The American composer Christopher Rouse has written a number of works dealing with the passing of friends and colleagues – works half-seriously, half-jokingly referred to as Rouse's “Death Cycle.” Rouse's Pulitzer Prize-winning Trombone Concerto from 1991 is dedicated to the memory of Leonard Bernstein; his Symphony No. 2, from 1994, contains a tribute to the young composer Stephen Albert, who died in a car crash; and a section of his Flute Concerto from 1993 reflects the composer's shock upon reading an account of the senseless tragedy of a two-year-old child, abducted from an English shopping mall and killed by two ten-year-olds. Los Angeles Times critic Mark Swed has noted that much of Rouse's work is “music of leave-taking… but it is also a music of catharsis, survival and a celebration of being alive.” Music Played in Today's Program Gabriel Fauré (1845-1924) – Requiem (The Cambridge Singers; John Rutter, cond.) Collegium 101 Christopher Rouse (b. 1949) – Symphony No. 2 and Flute Concerto (Carol Wincenc, flute; Houston Symphony; Christoph Eschenbach, cond.) Telarc 80452

Synopsis While many great composers have also been great conductors, this can be the exception rather than the rule. On today's date in 1959, the American composer Ned Rorem tried his hand at conducting the premiere of one of his own compositions, a chamber suite entitled “Eleven Studies for Eleven Players.” Rorem recalled: “I learned that the first requisite to becoming a conductor is an inborn lust for absolute monarchy, and that I, alone among musicians, never got the bug. I was terrified. The first rehearsal was a model of how NOT to inspire confidence. I stood before the eleven players in all my virginal glory, and announced: ‘I've never conducted before, so if I give a wrong cue, do try to come in right anyway.'” Fortunately for Rorem, his eleven musicians were accomplished faculty at Buffalo University, and, despite his inexperience, Rorem certainly knew how his new piece should sound. Rorem's Suite incorporated a few bits recycled from music he had written for a successful Broadway hit—Tennessee Williams' “Suddenly Last Summer”—plus a bit from an unsuccessful play entitled “Motel” that never made it past a Boston tryout. Rorem's own tryout as a conductor convinced him to stick to composing, although he proved to be a fine piano accompanist for singers performing his own songs. As for “Eleven Studies for Eleven Players,” it's gone on to become one of Rorem's most-often performed chamber works. Music Played in Today's Program Ned Rorem (b. 1923) — Eleven Studies for Eleven Players (New York Chamber Ensemble; Stephen Rogers Radcliffe, cond.) Albany 175 On This Day Births 1866 - French composer Erik Alfred-Leslie Satie, in Honfleur; 1901 - German composer Werner Egk, in Auchsesheim, near Donauswörth; His original last name was Mayer, and it is said (although denied by the composer) that the he chose the acronym E-G-K because it stood for "ein grosser Komponist" ("a great composer"); 1923 - American composer Peter Mennin, in Erie, Pa.; Deaths 1935 - French composer Paul Dukas, age 69, in Paris; Premieres 1779 - Gluck: opera "Iphigénie en Tauride" (Iphigenia in Taurus), at the Paris Opéra; 1890 - Mascagni: "Cavalleria Rusticana," in Rome at the Teatro Costanzi; 1904 - Ravel: "Schéhérazade," in Paris, with vocalist Jane Hatto and Alfred Cortot, conducting; 1919 - Ravel: "Alborado del gracioso" (orchestral version), in Paris at Pasdeloup Concert; 1929 - Prokofiev: Symphony No. 3, in Paris, by the Orchestre Symphonique de Paris, with Pierre Monteux conducting; 1933 - Cowell: "Reel," for small orchestra, in New York; 1939 - Prokofiev: cantata "Alexander Nevsky," in Moscow; 1946 - Martin: "Petite Symphonie Concertante," in Zurich, Paul Sacher conducting; 1960 - Ned Rorem: "11 Studies for 11 Players," for chamber ensemble, at the State University of Buffalo (N.Y.), conducted by the composers; 1990 - Rautavaara: "Vincent," in Helsinki at the Finnish National Opera; 2000 - Michael Torke: "Corner in Manhattan," by the Minnesota Orchestra, Eiji Oue conducting; 2001 - Christopher Rouse: Clarinet Concerto, by the Chicago Symphony Orchestra conducted by Christoph Eschenbach, with Larry Combs the soloist; Others 1922 - Music of "The President's Own" reached homes across the nation when the first Marine Band radio program was broadcast; 1969 - Leonard Bernstein's last concert as Music Director of the New York Philharmonic, having conducted 939 concerts with the orchestra (831 as its Music Director); Bernstein conducted 36 world premieres with the orchestra; He continued to appear with the Philharmonic as an occasional guest conductor until his death in 1990; 1978 - Philips Electronics of The Netherlands announces a new digital sound reproduction system from flat, silver "Compact Discs." Links and Resources On Rorem NY Times feature on Rorem at 95

6. Folge: "Helmut Schmidt am Klavier" mit Reiner Lehberger  - Podcast der Franz Wirth Gedächtnis-Stiftung   In dieser Folge wird Reiner Lehberger erzählen, welche Bedeutung die Musik für Helmut Schmidt hatte. Der Kanzler, der für seinen Pragmatismus bekannt war, spielte sein Leben lang intensiv Klavier. Gemeinsam mit Justus Frantz und Christoph Eschenbach nahm er mehrere Schallplatten auf und lud regelmäßig zu Musikabenden in den Kanzlerbungalow ein. Helmut Schmidt und seine Frau waren befreundet mit Musikpersönlichkeiten wie Leonard Bernstein und Yehudi Menuhin. Im Gespräch mit Monika Fabricius wird Prof. Reiner Lehberger darüber berichten und erzählen, dass Helmut Schmidt immer ein Klavier in seiner Nähe haben musste - selbst im Krieg nahm er regelmäßig Unterricht.   Reiner Lehberger war mit dem Ehepaar Loki und Helmut Schmidt befreundet und hat mehrfach über die Beiden publiziert. Gerade erschien sein neues Buch "Helmut Schmidt am Klavier - Ein Leben mit Musik" beim Verlag Hoffmann und Campe. Daher entstand diese Folge des Podcasts in Kooperation zwischen Hoffmann und Campe, der Helmut und Loki Schmidt-Stiftung und natürlich der Franz Wirth Gedächtnis-Stiftung.

In dieser Folge wird Reiner Lehberger erzählen, welche Bedeutung die Musik für Helmut Schmidt hatte. Der Kanzler, der für seinen Pragmatismus bekannt war, spielte sein Leben lang intensiv Klavier. Gemeinsam mit Justus Frantz und Christoph Eschenbach nahm er mehrere Schallplatten auf und lud regelmäßig zu Musikabenden in den Kanzlerbungalow ein. Helmut Schmidt und seine Frau waren befreundet mit Musikpersönlichkeiten wie Leonard Bernstein und Yehudi Menuhin. Im Gespräch mit Monika Fabricius wird Prof. Reiner Lehberger darüber berichten und erzählen, dass Helmut Schmidt immer ein Klavier in seiner Nähe haben musste - selbst im Krieg nahm er regelmäßig Unterricht.   Reiner Lehberger war mit dem Ehepaar Loki und Helmut Schmidt befreundet und hat mehrfach über die Beiden publiziert. Gerade erschien sein neues Buch "Helmut Schmidt am Klavier - Ein Leben mit Musik" beim Verlag Hoffmann und Campe. Daher entstand diese Folge des Podcasts in Kooperation zwischen Hoffmann und Campe, der Helmut und Loki Schmidt-Stiftung und natürlich der Franz Wirth Gedächtnis-Stiftung.

Den tyske dirigent Christoph Eschenbach er ny æres-dirigent hos Copenhagen Phil. Orkestrets musikchef Peter Lodahl fortæller om Eschenbachs historie, der begyndte benhårdt, og så forklarer han, hvorfor orkestret har valgt en ældre mand i en tid, hvor de unge kvindelige dirigenter stormer frem. Værter: Karen Secher og Jesper Dein.

The music of Augusta Read Thomas has been performed all over the world by conductors such as Daniel Barenboim, Pierre Boulez, Mstislav Rostropovich, Seiji Ozawa, Oliver Knussen, George Benjamin, Vimbayi Kaziboni, Christoph Eschenbach and many others. She is Vice President for Music at The American Academy of Arts and Letters, among many other distinctions, and is a long-standing, exemplary citizen of the profession at large supporting the work of others. Her music is published by G Schirmer and, since 2016, by Nimbus Music Publishing. Her music has been featured on nearly 100 commercial CDs. Since 2013, Nimbus Records has been recording her complete works. She is currently a University Professor of Composition in Music at The University of Chicago. Thomas played piano as a young child, starting private lessons at age four.  In third grade, she took up the trumpet and played for 14 years, attending Northwestern University as a trumpet performance major.  She played trumpet in brass quintet, chamber orchestra, orchestra, band, and Jazz band and she sang in choirs for many years.Thomas also had the distinction of having her work performed more frequently in 2013-2014 than any other living composer, according to statistics from performing rights organization ASCAP.MUSICAL EXCERPTS (in order)Words of the Sea  for orchestra (3rd movement)Chicago Symphony OrchestraPierre Boulez, conductorCarillon Sky  for violin and chamber orchestraBaird Dodge, violinChicago Symphony Orchestra MusicNOW ensembleOliver Knussen, conductorAugusta Read Thomas official websiteSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

Penderecki in Memoriam Podcast is produced and hosted by Max Horowitz, Crossover Media. Created by Anna Perzanowska and Klaudia Ofwona Draber, and presented by Polish Cultural Institute New York. Penderecki in Memoriam Podcast unveils a multifaceted portrait of Krzysztof Penderecki, with commentary from musicians, colleagues, radio programmers, and writers who lend insight and memories of Poland's greatest modern composer. This podcast is part of Penderecki in Memoriam Worldwide project, honoring the life and legacy of the great composer. Thank you to project partners DUX, NAXOS, Ludwig van Beethoven Association, and Schott EAM for sharing Krzysztof Penderecki's music with the world. Julian Rachlin is one of the most renowned artistic personalities of our time. In his over thirty-year career, Mr. Rachlin's multifaceted interests have taken him across the globe as a conductor, soloist, recording artist, chamber musician, teacher, and artistic director. As a violinist, Rachlin has shared the stage with virtually every major orchestra and conductor. A frequent presence on the conductor's podium, his performances have thrilled audiences worldwide and his electrifying and sensitive interpretations have placed him at the forefront of classical music. Rachlin's elegant and dynamic style has cemented his reputation as one of the leading conductors of his generation. Known for his meticulous rehearsal methods and superb musicianship, he has conducted the Chicago Symphony Orchestra, Israel Philharmonic Orchestra, Royal Philharmonic Orchestra, Konzerthausorchester Berlin, Russian National Orchestra, Moscow Philharmonic Orchestra, China Philharmonic Orchestra, Helsinki Philharmonic Orchestra, Royal Liverpool Philharmonic Orchestra, and the symphony orchestras of Vienna, City of Birmingham, RAI Torino as well as at the Grand Teton and Verbier festivals. Mr. Rachlin serves as Principal Guest Conductor of the Turku Philharmonic Orchestra, the Kristiansand Symphony Orchestra, and he is Principal Artistic Partner of the Royal Northern Sinfonia. A major presence in the performing arts since the age of thirteen, Mr. Rachlin has spent over three decades cementing his reputation as one of the world's premiere classical violinists. Recent highlights as soloist include appearances with the Munich Philharmonic and Los Angeles Philharmonic Orchestra under the baton of Zubin Metha, Mariinsky Orchestra with Valery Gergiev, Oslo Philharmonic Orchestra under Klaus Mäkelä, St.Petersburg Philharmonic Orchestra with Yuri Termirkanov, Boston Symphony Orchestra, Orchestra Filarmonica della Scala, Symphonieorchester des Bayerischen Rundfunks, Montreal Symphony Orchestra under Christoph Eschenbach and the Pittsburgh Symphony Orchestra with Manfred Honeck. Tracks: Penderecki - Sextet for Clarinet, Horn, Violin, Viola, Cello and Piano: https://www.naxos.com/catalogue/item.asp?item_code=8.557052. Penderecki - Ciaconne transcription (violin & viola) from A Polish Requiem. Penderecki - Double Concerto. Penderecki - Metamorphosen: https://www.naxos.com/catalogue/item.asp?item_code=8.555265.

Das Konzerthausorchester Berlin und sein Chefdirigent Christoph Eschenbach haben Brahms-Sinfonien vertont.

Ta teden v oddaji gostimo Andraža Goloba, klarinetista, ki je spomladi uspešno opravil avdicijo za sodelovanje v slovitem orkestru Berlinske filharmonije. Ob tem uspehu smo ga povabili v studio, da sam kaj več pove o svoji glasbeni poti in o tem, kako se bo razvijala naprej. Guillaume Connesson: DISCO, toccata za klarinet in violončelo Izvaja Trio Tempestoso Maurice Ravel, prir. Andraž Golob: Volinski vrt iz cikla Moja mati gos Izvaja Trio Tempestoso György Ligeti: Šest bagatel za pihalni kvintet, 1. – Allegro con spirito Izvaja Pihalni kvintet Vivus Andraža Goloba je od nekdaj navduševala pripovedna moč orkestralne glasbe. S tem ne misli samo na programsko glasbo, globlji pomen je namreč mogoče najti v vsaki skladbi, pa naj bo ta napisana za solista, orkester ali komorno zasedbo. Na ta način se mu zdi posebej pomembno očinstvu približati tudi sodobno glasbo. Od sezone 2021/2022 je novi solo basovski klarinetist v orkestru Berlinske filharmonije, še pred tem pa je med letoma 2019 in 2021 zasedal mesto akademista v orkestru Dunajske filharmonije. Poleg tega je že nastopal tudi z Dunajsko državno opero, Nurnberškimi simfoniki, Mladinskim orkestrom Gustava Mahlerja in Graškimi filharmoniki in to pod vodstvom svetovno priznanih dirigentov, kot so John Williams, Daniel Harding, Christian Thielemann, Zubin Mehta, Christoph von Dohnanyi, Christoph Eschenbach, Semyon Bychkov in drugi. Leta 2018 se je kot solist predstavil na festivalu Mecklenburg-Vorpommern, kjer je z Norddeutsche Philharmonie Rostock izvedel Mozartov koncert za klarinet in orkester, poleg tega pa je tudi zmagovalec več tekmovanj za mlade glasbenike.

En el episodio de hoy tenemos como invitado a Darío Mariño, Clarinete Solista de la Orquesta Sinfónica del Gran Teatro del Liceo de Barcelona. Darío inició sus estudios con el clarinete en Galicia y más adelante decidió continuar con su formación en Berlín. Entre sus profesores principales se encuentran José María Belló, Carlos Casadó, Vicente Alberola, Karl-Heinz Steffens y Wenzel Fuchs. Ha colaborado con diferentes orquestas jóvenes, como la JONDE y la Gustav Mahler, donde tuvo la oportunidad de trabajar junto a Claudio Abbado. Entre los años 2010 y 2012, fue academista de la Karajan Akademie en la Filarmónica de Berlín y desde entonces colabora como primer clarinete con orquestas como la Filarmónica de Berlín, Mahler Chamber Orchestra y algunas de las mejores orquestas europeas. Antes de conseguir su plaza en la Orquesta Sinfónica del Gran Teatro del Liceo, Darío fue solista de clarinete de la Konzerthausorchester Berlin, y de la orquesta del Teatro estatal de Kassel. Ha trabajado con directores como Simon Rattle, Valery Gergiev, Christian Thielemann, Daniel Barenboim, Daniel Harding, Andris Nelsons, Herbert Blomsted, Paavo Järvi, Iván Fischer y Christoph Eschenbach, entre otros. Como músico de cámara fundó el Natalia Ensemble, el Trio Hanns Eisler y el Berliner Nonett y comparte escenario con algunos de los músicos con mayor proyección a nivel internacional. Como solista, ganó en 2008 el Primer Premio y Medalla de oro en el concurso de solistas del Primer Palau de Barcelona, interpretando y grabando desde entonces los conciertos para clarinete de Mozart, Weber, Artie Shaw y Copland. Apasionado por la pedagogía, enseña en Masterclases tanto de clarinete como de música de cámara y orquesta en diversos formatos. Una gran trayectoria y que tenemos la oportunidad de conocer con más detalle en este episodio, donde hablaremos de: Toda su trayectoria desde los inicios con el clarinete y qué fue lo que hizo que quisiera dedicarse a la música Por qué decidió cambiar del sistema francés al alemán y cómo vivió ese cambio Hablaremos sobre en qué casos podría ser una mejor opción estudiar el Superior en España o en otro país y los pros y contras, dependiendo siempre de cada caso en en particular. Su etapa estudiando en Berlín con Wenzel Fuchs Cómo es ser Academista de la Filarmónica de Berlín y qué supuso en su carrera Su primera vez tocando con la Filarmónica de Berlín y la primera vez que tocó como Solista en esta Orquesta Cómo fue trabajar junto a Claudio Abbado y qué es lo que destaca de algunos de los directores con los que ha trabajado De esto y mucho más es de lo que hablaremos en este episodio. Si quieres escuchar a Darío tocando la 1ª Sinfonía de Mahler con la Filarmónica de Berlín bajo la dirección de Daniel Harding, te dejo este enlace aquí para que lo veas. Y como he comentado antes, ya estamos de nuevo en Septiembre, donde empezamos nuevo curso, nuevos proyectos, nuevos retos… Porque Septiembre es un mes para eso, para empezar. Y aunque nos cueste dejar atrás el verano, es momento de volver a la rutina. ¿Pero qué hacer después de haber estado unas semanas de descanso sin tocar el clarinete? ¿Cómo empezar a estudiar? ¿Hay algún ejercicio que me hará retomar la forma antes? Estas puede que sean algunas de las preguntas que te estés haciendo. Y de eso es de lo que vamos a hablar ahora mismo. Igual que los deportistas no empiezan a entrenar a tope después de las vacaciones, necesitan de un proceso de adaptación o pretemporada, lo mismo pasa con la práctica musical. No podemos pasar de 0 a 100. Por eso he subido algunas clases a la academia donde explico unos ejercicios para empezar mejor y colocar todo en el sitio lo antes posible. Estas clases funcionan muy bien si has estado de vacaciones o un has tenido un tiempo inactividad. Así que si quieres volver a la rutina y empezar el curso en forma, puedes echarle un vistazo a estas clases en academiadeclarinete.com No te pierdas el apartado de Masterclasses, donde habrán novedades este mes. Recuerda que en academiadeclarinete.com tienes a tu disposición cientos de clases grabadas en vídeo con ejercicios, técnicas, partituras y todo lo que necesitas, para mejorar como clarinetista. También tienes disponible la sección de Masterclasses, donde grandes clarinetistas colaboran regularmente compartiendo todo lo que saben con los estudiantes de la academia, y de esta manera, hacer de esta plataforma un lugar de referencia y aprendizaje para toda la comunidad de clarinetistas de habla hispana. Muchas cosas están por llegar. No te lo pierdas. Descarga gratis la Guía de estudio del Clarinetista. *Fotografía: Paco Amate (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "//forms.aweber.com/form/75/1002537775.js"; fjs.parentNode.insertBefore(js, fjs); }(document, "script", "aweber-wjs-lxvwl76h6"));

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto by Peter Shin

Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto by Peter Shin

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto by Peter Shin

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto by Peter Shin

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto by Peter Shin

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

23-åriga sopranen Karolina Bengtsson spås en lysande framtid och studerar nu på Mozarteum i Salzburg. Kommer från en bygd i Småland, där även 1800-talets världsstjärna Christina Nilsson föddes. I programmet medverkar även Karolina Bengtssons sångpedagog, professorn och världssopranen Barbara Bonney i Salzburg, altsångerskan Anna Larsson i Stockholm, svensk-ungerska sopranen Clarry Bartha i Tyskland. Clarry Bartha är konstnärlig ledare för internationella tävlingen Debut, samt Casting director för Festival Puccini Torre del Lago. Under större delen av 2020 och 2021 har Karolina Bengtsson fått digital undervisning  på grund av pandemin. Sopranen och professorn Barbara Bonney: - Karolina Bengtsson är så begåvad - det är inte klokt! Hon är den bästa sångerskan på Mozarteum just nu! Hennes röst är otroligt fin! Jag blir så lycklig när jag lyssnar till henne! Varje lektion är en konsert för mig. Jag sitter där och bara njuter. Ibland gråter jag. - Pandemin, med den digitala undervisningen, har paradoxalt nog medfört att jag kommit närmare mina elever. Genom kameran ser jag hur de använder munnen och tungan. Hur de andas och vad de tänker. Allt dessa som jag missar i ett rum när man inte är så nära. Jag tycker det här har varit helt fantastiskt! Svenska alten Anna Larsson var med i juryn i tävlingen Debut i Tyskland som Karolina Bengtsson vann: - Karolina slog juryn med häpnad redan på första provet. Det var väldigt, väldigt roligt att uppleva! Karolina är mycket trygg som sångare och sjöng t ex en svår aria ur Händels Julius Caesar. Hon gjorde det suveränt. Karolinas tilltal är väldigt öppet. Det betyder naturligtvis jättemycket för Karolina att få utvecklas tillsammans med Barbara Bonney, som kan anses ha varit den absolut största i världen i sitt röstfack, lyrisk sopran! Sopranen och konstnärliga ledaren Clarry Bartha bjuder varje år in 50 sångare av ca 600 sökanden till tävlingen Debut. - Jag hörde sopranen Karolina Bengtsson i Salzburg för två år sedan och fick gåshud av den naturlighet hon har i sin röst, vilken har en enorm potential att utvecklas. Karolina är språkbegåvad och ärlig i sitt sätt att sjunga, vilket gjorde mig väldigt glad. Hon är så självklar och har en enormt vacker röst! - Det är väldigt inne att vara operasångare och att bli berömd. Många imiterar och vistas i det här rosa livet med applåder och blommor. Men det finns ett visst allvar hos Karolina som jag tycker om. Som alla tycker om. Hon bryr sig inte så mycket om allt omkring, och är över huvud taget inte affekterad! Det är rösten och hennes ögon! Hon har den rätta blandningen av att vara ödmjuk och att vara hungrig. Hon är öppen och väldigt klok. Nu behöver hon något att bita i. Att vara operasångare är hårt arbete! - Karolina är nu lyrisk sopran. Jag hör framtiden med stora lyriska partier; Mozart förstås, Strauss, lyriskt ryskt, lyriskt italienskt, lyriskt franskt. Kanske med åldern går hon över från en Susanna till en Grevinna. Hon har ett fokus i rösten och en silverklang som är väldigt ovanlig, och påminner litet grand om slovakiska sopranen Lucia Popp, en av mina favoritsångerskor! Lyssna på Karolina Bengtssons operadebut som Pamina i Mozarts Trollflöjten tillsammans med andra studenter på Mozarteum i Salzburg. Länken fungerar från den 25 juni 2021 kl. 19:00: https://livestream.com/unimozarteumsalzburg/zauberfloete21 Manus, regi och produktion: Birgitta Tollan. Låtlista: W A Mozart, Solitudini amiche - Zeffiretti lusinghieri, Ilia's aria ur operan Idomeneo KV 366 FHD Karolina Bengtsson sopran, Mozarteumorchester Salzburg, Riccardo Minasi dirigent W A Mozart, Solitudini amiche - Zeffiretti lusinghieri, Ilia's aria ur operan Idomeneo KV 366 FHD Karolina Bengtsson sopran, Mozarteumorchester Salzburg, Riccardo Minasi dirigent Musik: Trad, Text: Wendela Hebbe, Fjorton År Tror Jag Visst Att Jag Var Alice Babs Sjöblom, Einar Ralf, Stockholms Studentsångare Daniel Nelson, Döden och Julia Karolina Bengtsson sopran, Malin Broman soloviolin & dirigent, Musica Vitae Daniel Nelson, Döden och Julia Karolina Bengtsson sopran, Malin Broman soloviolin & dirigent, Musica Vitae L v Beethoven, O war ich schon mit dir vereint, Marzelline's aria ur operan Fidelio Karolina Bengtsson sopran, Das Philharmonische Orchester Wurzburg, Enrico Calesso dirigent J. Haydn, Ragion nell'alma siede, Flaminias aria ur operan Il mondo della Luna Hob. XXVIII:7 Karolina Bengtsson sopran, Bernadette Bartos piano Ignaz Holzbauer, operan Günther Von Schwarzburg Michael Schneider, Claron Mcfadden, Clarry Bartha, Robert Wörle, Christoph Prégardien, Michael Schopper, Vokalensemble La Stagione (Frankfurt Am Main), La Stagione (Frankfurt Am Main) Antonín Dvoák, Rusalka, hennes aria Sången till månen Lucia Popp sopran, Münchener Rundfunkorchester, Stefan Soltesz dirigent Sibelius, Var Det En Dröm (Op 37:4) Barbara Bonney sopran, Antonio Pappano piano J. Haydn, Piercing Eyes Hob XXVIa Karolina Bengtsson sopran, Bernadette Bartos piano G Mahler, Symfoni Nr 2 c-moll, Urlicht Anna Larsson alt, Claudio Abbado dirigent, Orfeon Donostiarra San Sebastian kör, Luzernfestivalens orkester R Strauss, Der Rosenkavalier: Akt 2, "Mir Ist Die Ehre Wiederfahren" Barbara Bonney sopran, Susan Graham mezzosopran, Christoph Eschenbach dirigent, Wiener Philharmoniker W. A. Mozart, Trollflöjten, Ach ich fuhl's KV 620 Paminas aria Karolina Bengtsson sopran, Mozarteumorchester, Riccardo Minasi dirigent J. Haydn, Flaminias aria Ragion nell'alma siede ur operan Il mondo della Luna Karolina Bengtsson sopran, Bernadette Bartos piano

Mit zehn Jahren hatte Christoph Eschenbach seine erste "Freischütz"-Begegnung. Nun, mit 81 Jahren, nutzt er einen Weber-Doppelschlag.

durée : 01:57:43 - En pistes ! du mercredi 16 juin 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Trois quatuors du polonais Szymon Laks arrangés pour orchestre à cordes; un album Weber pour l'Orchestre du Konzerthaus Berlin et son chef Christoph Eschenbach; l'intégrale des symphonies de Prokofiev sous la baguette de Marin Alsop; une collection de sonates française pour violoncelle et piano... - réalisé par : Emmanuel Benito

Genau 200 Jahre nach der Uraufführung von Carl Maria von Webers „Freischütz“ kommt die Oper am gleichen Ort, am Konzerthaus Berlin, wieder auf die Bühne. Der Dirigent des Abends, Christoph Eschenbach verrät im Gespräch mit SWR2, was ihn an der romantische Oper fasziniert und gewährt erste Einblicke in die vielversprechende Inszenierung der Theatergruppe Fura dels Baus. Die Premiere wird am 18. Juni 2021 live auf Arte Concert gestreamt.

Andy Bush finds out who kept a roof over Ludwig's head by commissioning him to write music. Turns out there were quite a few princes, but only one of them was called a donkey… The guests in this episode are conductor Carlo Rizzi, leader of the Royal Scottish National Orchestra Maya Iwabuchi, Anna Phoebe from AVAWAVES, cellist Matthew Barley, conductor Jonathon Heyward and Music Director of the Hallé Orchestra Sir Mark Elder. This podcast features clips of Beethoven's Missa Solemnis, performed by the London Philharmonic Orchestra conducted by Christoph Eschenbach, and Beethoven's Symphony No.3, performed by the LPO conducted by Kurt Masur. The extracts of Beethoven's Symphonies 5 & 9 in the podcast introduction are also performed by the LPO; LPO Label releases are available on all major streaming platforms and at lpo.org.uk/recordings. The recordings of Beethoven's Piano Concertos 3 & 4 are performed by Elizabeth Sombart and the Royal Philharmonic Orchestra, and the Piano Concerto No.5 is performed by Alessio Bax and the Southbank Sinfonia - all are available at https://signumrecords.com

Virtuoso Ray Chen hardly needs an introduction, but let's start with his Gold Medal at the Queen Elisabeth competition in 2009, at the age of 20! His career since then, by all appearances, has been an effortless climb. But as you're about to hear, that isn't the whole story. As I've gotten to know Ray (during his solo appearances with the LA Phil, including that one time he stole my bow for a Paganini encore!) I've been impressed with how open he is in person and on social media. Let's start here: if you don't follow Ray on Instagram and YouTube, you're missing out big time! Here are those links: Ray's Instagram Ray on YouTube For example, one of Ray's videos deals with the topic of insecurity. It's so rare for a world-class soloist to open up about this topic, and you certainly won't hear any insecurity in his playing! But as we discuss in this episode, it's a feeling every violinist deals with at some point, and it's a necessary step along the way to mature artistry. Ray Chen's biography Ray Chen is a violinist who redefines what it is to be a classical musician in the 21st Century. With a media presence that enhances and inspires the classical audience, reaching out to millions through his unprecedented online following, Ray Chen's remarkable musicianship transmits to a global audience that is reflected in his engagements with the foremost orchestras and concert halls around the world.Initially coming to attention via the Yehudi Menuhin (2008) and Queen Elizabeth (2009) Competitions, of which he was First Prize winner, he has built a profile in Europe, Asia, and the USA as well as his native Australia both live and on disc. Signed in 2017 to Decca Classics, the summer of 2017 has seen the recording of the first album of this partnership with the London Philharmonic as a succession to his previous three critically acclaimed albums on SONY, the first of which (“Virtuoso”) received an ECHO Klassik Award. Profiled as “one to watch” by the Strad and Gramophone magazines, his profile has grown to encompass his featuring in the Forbes list of 30 most influential Asians under 30, appearing in major online TV series “Mozart in the Jungle”, a multi-year partnership with Giorgio Armani (who designed the cover of his Mozart album with Christoph Eschenbach) and performing at major media events such as France's Bastille Day (live to 800,000 people), the Nobel Prize Concert in Stockholm (telecast across Europe), and the BBC Proms. “It's hard to say something new with these celebrated works; however, Ray Chen performs them with the kind of authority that puts him in the same category as Maxim Vengerov.” — CORRIERE DELLA SERA He has appeared with the London Philharmonic Orchestra, National Symphony Orchestra, Leipzig Gewandhausorchester, Munich Philharmonic, Filarmonica della Scala, Orchestra Nazionale della Santa Cecilia, Los Angeles Philharmonic, and upcoming debuts include the SWR Symphony, San Francisco Symphony, Pittsburgh Symphony, Berlin Radio Symphony, and Bavarian Radio Chamber Orchestra. He works with conductors such as Riccardo Chailly, Vladimir Jurowski, Sakari Oramo, Manfred Honeck, Daniele Gatti, Kirill Petrenko, Krystof Urbanski, Juraj Valcuha and many others. From 2012-2015 he was resident at the Dortmund Konzerthaus and in 17/18 will be an “Artist Focus” with the Berlin Radio Symphony. His presence on social media makes Ray Chen a pioneer in an artist's interaction with their audience, utilising the new opportunities of modern technology. His appearances and interactions with music and musicians are instantly disseminated to a new public in a contemporary and relatable way. He is the first musician to be invited to write a lifestyle blog for the largest Italian publishing house, RCS Rizzoli (Corriere della Sera, Gazzetta dello Sport, Max). He has been featured in Vogue magazine and is currently releasing his own design of violin case for the industry manufacturer GEWA.