Podcasts about Claudio Abbado

durée : 00:17:53 - Disques de légende du lundi 28 avril 2025 - Martha Argerich enregistre pour la première fois un concerto de Beethoven en 1967 avec le jeune chef d'orchestre Claudio Abbado, pour Deutsche Grammophon.

durée : 00:17:53 - Disques de légende du lundi 28 avril 2025 - Martha Argerich enregistre pour la première fois un concerto de Beethoven en 1967 avec le jeune chef d'orchestre Claudio Abbado, pour Deutsche Grammophon.

Puntata dedicata ad un'ospite che ci porta nel mondo dei suoni. Modem a colloquio con la musicista e compositrice italiana Silvia Bianchera. Nata a Roma nel ‘43, con alle spalle studi musicali, prima in canto e poi in composizione presso il conservatorio di Milano, allieva e poi moglie di Bruno Bettinelli. Il maestro dalla cui classe sono passati anche Riccardo Muti, Claudio Abbado, Maurizio Pollini e Bruno Canino per citare alcuni nomi noti della musica classica. Ma anche Gianna Nannini fu allieva di Bettinelli.  Silvia Bianchera nella sua carriera ha collezionato diversi riconoscimenti e ha collaborato con illustri direttori d'orchestra e solisti che hanno interpretato brani suoi. Infine, ricordiamo che le sue composizioni sono state pubblicate da importanti etichette musicali. Con Silvia Bianchera parliamo di musica, riferendoci al suo lavoro, alla sua esperienza. Ma approfittiamo della sua presenza anche per parlare di donne compositrici che, tra mille fatiche, ci sono sempre state nella storia. Ma solo in tempi piuttosto recenti si è finalmente cominciato ad approfondire lo studio delle loro opere. 

Franz Schubert (1797-1828) - Lieder with various orchestrations 00:00 Der Vollmond strahlt auf Bergeshöhn romanze from Rosamunde D.79703:45 Die Forelle D.55006:05 Ellens Gesang II D.83809:17 Gretchen am Spinnrade D.11812:49 An Sylvia D.89115:53 Im Abendrot D.77919:37 Nacht und Träume D.82723:27 Gruppe aus dem Tartarus D.58326:49 Erlkönig D.32831:04 Geheimes D.71933:11 Balletmusik No 9 from Rosamunde D.797 Anne Sofie von Otter, mezzo-sopranoChamber Orchestra of EuropeClaudio Abbado, conductor

durée : 00:25:52 - Disques de légende du mercredi 19 mars 2025 - Après une performance formidable en mai 2000, Gil Shaham enregistre un Brahms de légende en compagnie de Jian Wang et Claudio Abbado.

durée : 00:25:52 - Disques de légende du mercredi 19 mars 2025 - Après une performance formidable en mai 2000, Gil Shaham enregistre un Brahms de légende en compagnie de Jian Wang et Claudio Abbado.

F. Mendelssohn-Bartholdy (1809 - 1847) - Sinfonia n. 3 in la minore "Scozzese", op. 56Andante con moto (la minore). Allegro un poco agitato. Assai animatoVivace non troppo (fa maggiore)Adagio (la maggiore)Allegro vivacissimo (la minore). Allegro maestoso assai (la maggiore) London Symphony Orchestra Claudio Abbado, direttore********42:30Franz Joseph Haydn (1732 – 1809) - Scottish Songs for G. ThomsonHob.XXXla    170, 219, 214, 124, 202, 227·         The Broom of Cowdenknows, Hob. XXXIa:170·         She Rose, and Let Me in, Hob. XXXIa:219bis·         Waly Waly, Hob. XXXIa:214bis·         The Wee, Wee Man, Hob. XXXIa:124bis·         Robin Adair, Hob. XXXIa:202·         Rattling Roaring Willy, Hob. XXXIa:227 Haydn Trio EisenstadtJamie MacDougall, tenoreLorna Anderson, soprano 

Prancūziško fortepijono bei smuiko „Preliudai ir dainos“, balansuojantys tarp džiazo ir klasikos; šiuolaikinė akademinė filipinų fleitos muzika; Claudio Abbado sūnus su kontrabosu ir Gretos Thunberg motina su senosios muzikos ansambliu, o taip pat – Renaud Capuçono meilė Richardui Straussui. Visa tai – muzikinės leidybinės naujienos „Kitame laike“!Ved. Domantas Razauskas

These days I find myself in a pensive, troubled state, very much in need of the kind of consolation that only music can provide. A number of years ago, I published a pair of episodes featuring the sublime Margaret Price performing music of mourning and consolation. Today's episode presents an expanded and refurbished version of the second of those episodes, in a program composed entirely of art song, moving through a sequence of emotions surrounding loss. Composers include Johannes Brahms, Giuseppe Verdi, Robert Schumann, Enrique Granados, Franz Schubert, Grace Williams, Sergei Rachmaninov, Felix Mendelssohn, Philip Cannon, Hugo Wolf, Alban Berg, Maurice Ravel, Franz Liszt, Peter Cornelius, and Richard Strauss, and collaborating pianists and conductors include Claudio Abbado, Wolfgang Sawallisch, Cyprien Katsaris, Geoffrey Parsons, and Neville Marriner, as well as frequent collaborators James Lockhart and Thomas Dewey. A thorough traversal of the song repertoire by one of the supreme recitalists of the late 20th Century. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

ChilloutClassic #78 Grudzień w Brazylii 1. J.S.Bach Wariacje Goldbergowskie - Aria i aria da capo - Dan Tepfer. 2. The Girl From Ipanema - Antonio Carlos Jobim, Joao Gilberto, Stan Getz. 3. Antonio Carlos Jobim - Corcovado - Jackie & Roy. 4. C. Debussy - Popołudnie Fauna, Claudio Abbado, Berliner Philharmoniker. 5. Lazy Afternoon - Jackie & Roy. 6. Antonio Carlos Jobim - Wave. 7. F. Chopin - preludium e-moll, Andrzej Jagodziński Trio. 8. Samba przed rozstaniem - Hanna Banaszak. 9. Antonio Carlos Jobim - Aguas De Março, Quartet Eben, Marcos Valle, Stacey Kent. Tomek Diakun

Cette semaine, je rencontre le chef d'orchestre Antoine Marguier. Natif d'un petit village du Jura français, il a entamé son parcours musical comme clarinettiste solo sous la direction de Claudio Abbado ainsi que dans des ensembles prestigieux de jeunes musiciens. À 27 ans, il a commencé à diriger comme chef d'orchestre. Le mot orchestre vient d'un mot grec qui signifie danser en groupe. Dans cet esprit, le chef d'orchestre fait danser l'orchestre en suivant, lui-même, la partition. Avant de disparaître, chaque regard ou chaque geste de sa main ou de son corps, donne les indications nécessaires pour harmoniser le jeu des musiciens en laissant derrière lui le sillage sonore de l'interprétation. En 2011, il a fondé l'Orchestre des Nations à Genève. Cet orchestre qu'il dirige toujours, est entièrement composé de musiciens amateurs, de toutes origines, alliant la rigueur professionnelle avec le réel bonheur des passionnés, pour jouer des œuvres classiques et des créations contemporaines. Comment sortir du chaos et trouver l'accord ? C'est la question de la semaine.  

Ilaria Bonacossa"Lisetta Carmi. Molto vicino, incredibilmente lontano"Mostra al Palazzo Ducale di Genovawww.palazzoducale.genova.itwww.civita.artLa mostra Lisetta Carmi. Molto vicino, incredibilmente lontano è stata annunciata per il prossimo autunno a Palazzo Ducale. Un viaggio che parte da Genova e dall'Italia per raccontare con il suo sguardo acuto e lucido realtà lontane e mondi in trasformazione, con inedite immagini a colori capaci di trasformare la lettura delle sue fotografie più famose in bianco e nero.Genova emerge nelle sue sfaccettature inaspettate, città in cui Lisetta Carmi per i vent'anni della sua carriera fotografica ha sempre stampato e sviluppato le sue immagini raccontando da questo luogo la sua visione del mondo e delle persone che sceglieva di ritrarre, come le famose fotografie del porto, a cui si affiancheranno immagini inedite dell'anagrafe e della vita politica e sociale della città.In mostra presso Palazzo Ducale anche le immagini della serie dei travestiti degli anni '60, pubblicate nel 1972 suscitando scalpore e segnando le ricerche fotografiche di molti artisti internazionali, non solo in bianco e nero ma anche a colori e la serie inedita erotismo e autoritarismo a Staglieno in cui il famoso cimitero genovese si trasforma sotto l'obbiettivo della fotografa in un ritratto della società borghese ottocentesca e dell'erotismo associato ai monumenti funebri.Genova sceglie di omaggiare questa figura dirompente di fotografa e artista centrale nella storia della fotografia del dopoguerra la cui carriera si è sviluppata per vent'anni nella sua città natale.Lisetta Carmi, molto vicino incredibilmente lontano è curata da Giovanni Battista Martini, esperto di fotografia contemporanea e curatore dell'archivio Lisetta Carmi che ha scritto e concepito numerose mostre dell'artista negli ultimi anni ed Ilaria Bonacossa, curatrice d'arte contemporanea e direttrice di Palazzo Ducale Genova, ed è promossa e organizzata da Palazzo Ducale Fondazione per la Cultura Genova e Civita Mostre e Musei.Lisetta Carmi nasce a Genova il 15 febbraio 1924, in un'agiata famiglia borghese. A causa delle leggi razziali è costretta nel 1938 ad abbandonare la scuola e a rifugiarsi con la famigliain Svizzera. Nel 1945, al termine della guerra, torna in Italia e si diploma al conservatorio di Milano. Negli anni seguenti tiene una serie di concerti in Germania, Svizzera, Italia e Israele. Nel 1960 interrompe la carriera concertistica e si avvicina in modo casuale alla fotografia trasformandola in una vera e propria professione. Per tre anni lavora come fotografa al Teatro Duse di Genova. Accetta diversi incarichi dal Comune di Genova realizzando una serie di reportage in cui descrive le diverse realtà e problematiche sociali della città come, ad esempio, gli ospedali, l'anagrafe, il centro storico e le fogne cittadine.Dopo aver realizzato nel 1964 un'ampia indagine nel porto di Genova, diventata poi una mostra itinerante, continua un reportage sulla Sardegna iniziato nel 1962 e che terminerà negli anni Settanta. Successivamente si reca a Parigi e da questo soggiorno nasce il volume Métropolitain, libro d'artista contenente una serie di scatti realizzati nella metropolitana parigina. Nel 1965 prende corpo il suo progetto più noto, che nel 1972 diventerà un libro, dedicato ai travestiti genovesi. Nel 1969 viaggia per tre mesi in America Latina e l'anno successivo in Afghanistan e Nepal. Nel 1971 compra un trullo in Puglia, a Cisternino. Il 12 marzo 1976 conosce a Jaipur, in India, Babaji Herakhan Baba, il Mahavatar dell'Himalaya, incontro che trasformerà radicalmente la sua vita. Lo stesso anno è in Sicilia per incarico della Dalmine per il volume Acque di Sicilia, dove sono raccolte immagini del paesaggio e della realtà sociale della regione, accompagnate da un testo di Leonardo Sciascia. Negli anni realizza una serie di ritratti di artisti e personalità del mondo della cultura del tempo tra cui Judith Malina, Joris Ivens, Charles Aznavour, Edoardo Sanguineti, Leonardo Sciascia, Lucio Fontana, César, Carmelo Bene, Luigi Nono, Luigi Dallapiccola, Claudio Abbado, Jacques Lacan e Ezra Pound, di cui si ricordano i celebri scatti realizzati nel 1966 presso l'abitazione del poeta sulle alture di Zoagli in Liguria.Negli anni successivi Lisetta Carmi si dedicherà completamente alla costruzione dell'ashram Bhole Baba, a Cisternino, e quindi alla diffusione degli insegnamenti del suo maestro. Nel 1995 incontra, dopo trentacinque anni, il suo ex allievo di pianoforte Paolo Ferrari e inizia con lui una collaborazione di studio filosofico-musicale.Lisetta Carmi muore, o come avrebbe detto lei, abbandona il suo corpo terreno, il 2 luglio 2022 a Cisternino.Lisetta non fotografa per raccontare, fotografa per capire, e la fotografia le serve come una chiave per aprire delle porte, per entrare dove nessuno poteva entrare.Catalogo della mostra pubblicato da Silvana Editorialewww.silvanaeditoriale.itIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Kate Kennedy meets musicians who, like her, had to stop playing after injury and rethink their lives. As principal cellist of the Berlin Philharmonic for three decades, Ludwig Quandt performed with conductors Claudio Abbado and Sir Simon Rattle until an injury unrelated to performing nearly ended his career. He reveals what being forced to confront silence means for a musician's relationship with their instrument and the innovative solution he found on the other side of the world from an unlikely source.Presenter: Kate Kennedy Producer: Erika Wright Production Coordinator: Elisabeth Tuohy Executive Producer: Rami Tzabar Healing Musicians is a TellTale Industries production for BBC Radio 3

durée : 01:29:07 - Claudio Abbado - par : Aurélie Moreau - Dans sa direction, Claudio Abbado voulait toujours convaincre les musiciens et non les contraindre. Sa grande élégance était empreinte d'une autorité naturelle. Au concert ou à l'opéra, il se montrait un partenaire attentionné envers ses solistes.

What does it take to perform at your best in critical moments?It's what differentiates the great from the good. Being at the top of your game requires years of courage, skill, and discipline. This is why some falter whilst others shine.In this episode I am joined by the multi-award-winning trumpet soloist, Alison Balsom. She shares what it takes to get to, and sustain, the highest levels of performance. These are concepts and practises that leaders in all fields would do well to apply.Alison talks about how she chooses the right repertoires to play and people to work with. She also discusses the importance of finding your own interpretation of a piece and what it's like to perform with the conductors and musicians.Music plays a huge role in all our lives, whether we know it or not.This conversation is for anyone looking to perform at the highest of levels and pushing the frontiers of their craft.“It's certainly a high wire act” – Alison BalsomYou'll hear about:●      Alison's process for finding the right work●      How to know when the project is right for you ●      Building relationships in orchestras●      What helps Alison to excel?●      How do you know you've impacted people?●      Alison's mindset minutes before taking the stage●      You are not better in rehearsal●      Has Alison had moments of self-doubt?●      How Alison nurtures and looks after herself●      The impact Alison wants to have on the worldAbout Alison Balsom:Alison has performed as a solo trumpeter worldwide with many of the greatest conductors and orchestras of our time, including Pierre Boulez, Lorin Maazel, Claudio Abbado, the New York Philharmonic Orchestra, Philadelphia Orchestra and London Philharmonic Orchestras, as well as The Balsom Ensemble, a handpicked group of leading Baroque soloists.Balsom has commissioned much music, and had hundreds of works written for her, including by composers such as Betsy Jolas, Dobrinka Tabakova, James MacMillan, and Thea Musgrave.She has been awarded an OBE for Services to Music, and has dedicated her career to broadening the artistic horizons of the trumpet.Resources:Profile: https://bit.ly/3LTvGV0Discography: https://bit.ly/3AbVE3DConcerts: https://bit.ly/3LXD026My resources:Take my new Becoming a Strategic Leader course (https://bit.ly/3KJYDTj)Sign up to my Every Day is a Strategy Day newsletter (http://bit.ly/36WRpri) for modern mindsets and practices to help you get ahead. Subscribe to my YouTube channel (http://bit.ly/3cFGk1k) where you can watch the conversation.For more details about me:●      Services (https://rb.gy/ahlcuy) to CEOs, entrepreneurs and professionals.●      About me (https://rb.gy/dvmg9n) - my background, experience and philosophy.●      Examples of my writing https://rb.gy/jlbdds)●      Follow me and engage with me on LinkedIn (https://bit.ly/2Z2PexP)●      Follow me and engage with me on Twitter (https://bit.ly/36XavNI)

Compositor y director de orquesta francés. Sus maestros, Olivier Messiaen y René Leibowitz, le introducen en la música contemporánea, que él enriquece en su faceta creativa y en la de intérprete. En 1970 funda el IRCAM (Institutde Recherche et Coordination Acoustique/Musique), que dirige hasta 1992._____Has escuchadoNotations IV. Rythmique (1945-1978). Wiener Philharmoniker; Claudio Abbado, director. Deutsche Grammophon (1990)Pli selon pli: portrait de Mallarmé. Don [du poème] (1957-1989). Christine Schäfer, soprano; Ensemble Intercontemporain; Pierre Boulez, director. Deutsche Grammophon (2002)Répons. Introduction (1981-1984). Ensemble Intercontemporain; Pierre Boulez, director. Deutsche Grammophon (1998)Rituel in memoriam Maderna (1975). BBC Symphony Orchestra; Pierre Boulez, director. Sony (1990)_____Selección bibliográficaÁGUILA, Jesús, Le Domaine musical: Pierre Boulez et vingt ans de création contemporaine. Fayard, 1992—,“Entrevista con Pierre Boulez, 1945-2006: ¿Es transmisible la experiencia del serialismo?”. Doce Notas Preliminares, n.º 17 (2006), pp. 10-29*ALBÈRA, Philippe, Pli selon pli de Pierre Boulez: entretien et études. Contrechamps, 2003*BOULEZ, Pierre, Penser la musique aujourd'hui. Gonthier, 1964*—, Hacia una estética musical. Monte Ávila, 1992*—, Puntos de referencia. Gedisa, 2008*—, Escritura del gesto: conversaciones con Cécile Gilly. Gedisa, 2012BOULEZ, Pierre y André Schaeffner, Correspondance: 1954-1970. Fayard, 1998CAMPBELL, Edward, Boulez Music and Philosophy. Cambridge University Press, 2014CAMPBELL, Edward y Peter O'Hagan (eds.), Pierre Boulez Studies. Cambridge University Press, 2016*COULT, Tom, “Pierre Boulez's Sur incises: Refraction, Crystallisation, and the Absent Idea(l)”. Tempo, vol. 67, n.º 264 (2013), pp. 2-21FERNÁNDEZ GUERRA, Jorge, Pierre Boulez. Círculo de Bellas Artes, 1985*GOLDMAN, Jonathan, “Boulez and the Spectralists between Descartes and Rameau: Who Said What about Whom?”. Perspectives of New Music, vol. 48, n.º 2 (2010), pp. 208-232*—, The Musical Language of Pierre Boulez: Writings and Compositions. Cambridge University Press, 2014GRIFFITHS, Paul, Boulez, Oxford Studies of Composers. Oxford University Press, 1978GULDBRANDSEN, Erling E. y Pierre Boulez, “Pierre Boulez in Interview, 1996 (I). Modernism, History, and Tradition”. Tempo, vol. 65, n.º 255 (2011), pp. 9-16*—, “Pierre Boulez in Interview, 1996 (II). Serialism Revisited”. Tempo, vol. 65, n.º 256 (2011), pp. 18-24*—, “Pierre Boulez in Interview, 1996 (III). Mallarmé, Musical Form, and Articulation”. Tempo, vol. 65, n.º 257 (2011), pp. 11-21*—, “Pierre Boulez in Interview, 1996 (IV). Some Broader Topics”. Tempo, vol. 65, n.º 258 (2011), pp. 37-43*JAMEUX, Dominique y Susan Bradshaw, Pierre Boulez. Harvard University Press, 1990KOBLYAKOV, Lev, Pierre Boulez: A World of Harmony. Routledge, 2010LELEU, Jean-Louis y Pascal Decroupet (eds.), Pierre Boulez: techniques d'écriture et enjeux esthétiques. Contrechamps, 2006MEÏMOUN, François, Entretien avec Pierre Boulez. La naissance d'un compositeur. Aedam Musicae, 2010—, La Construction du langage musical de Pierre Boulez: la première sonate pour piano. Aedam Musicae, 2019MERLIN, Christian, Pierre Boulez. Fayard, 2019NATTIEZ, Jean-Jacques, “De las artes plásticas a la música: Pierre Boulez, a la escucha de Paul Klee”. Bajo Palabra: Revista de Filosofía, época 2, n.º 7 (2012), pp. 117-128*O'HAGAN, Peter, “From Sketch to Score: A Facsimile Edition of Boulez's Le Marteau sans Maître”. Music & Letters, vol. 88, n.º 4 (2007), pp. 632-644*—, Pierre Boulez and the Piano: A Study in Style and Technique. Routledge, 2018PEYSER, Joan, To Boulez and Beyond. Scarecrow Press, 2008ROSEN, Charles, “La música para piano de Pierre Boulez”. Quodlibet: Revista de Especialización Musical, n.º 28 (2004), pp. 42-56*SALEM, Joseph Robert, Pierre Boulez: The Formative Years. University Press, 2023SAMUEL, Claude, Pierre Boulez. Éclats 2002. Mémoire du Livre, 2002WALTERS, David, “Artistic Orientations, Aesthetic Concepts, and the Limits of Explanation: An Interview with Pierre Boulez”. En: Contemporary Music: Theoretical and Philosophical Perspectives. Editado por Max Paddison e Irène Deliège. Ashgate, 2010*WILLIAMS, Alastair, “Répons, de Pierre Boulez ¿fantasmagoría o articulación de espacio?”. Quodlibet: Revista de Especialización Musical, n.º 26 (2003), pp. 51-68* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

我们都应该听听古典音乐！音乐修养、生活品味和审美趣味，都是可以通过古典音乐来培养的；而且浩如烟海的作品，本身就充满了美的趣味和享受。很多人觉得古典乐的欣赏充满门槛，似乎不懂乐理就很难听懂。但其实不是，不懂乐理，并不妨碍我们欣赏，也不妨碍我们被它的美和独特所感动。今天这期节目，想跟你分享我是如何入门，以及如何去欣赏古典音乐。尽管我算不上骨灰级、学术型的厉害古典乐迷，但我非常愿意和你一起享受古典音乐的美。我将尽量不去说艰深晦涩的东西，并尽可能地播放好的作品与你来听，希望能让你产生一些些接触古典音乐的兴趣，通过这期节目也能入门~

Der Dirigent Philipp von Steinaecker, früherer Assistent sowohl von Claudio Abbado als auch von John Eliot Gardiner, hat sich an Gustav Mahler gewagt - mit einem Orchester, das auf historischen Instrumenten der Mahler-Zeit spielt.

«Reisen ist mein Tun, mein Tun ist mein Leben» - Hansjörg Hinrichs wollte seit seiner Kindheit weg. Aufgewachsen im St. Gallischen Steinach reiste er als Jugendlicher per Autostopp nach Deutschland, später zog es ihn immer weiter in die Ferne. Nachdem er einige Jahre als Lehrer im Appenzellerland tätig gewesen war, beschloss er mit 28 Jahren, das Reisen zum Beruf zu machen. Vor allem die Inselwelt des Südpazifiks faszinierte ihn mit ihren Farben und Düften. Und so bereist der heute 74-Jährige, der ein kleines exklusives Reiseunternehmen leitet, immer neue Landschaften und Orte fernab von jeglichem Massentourismus. In Musik für einen Gast bei Eva Oertle erzählt Hansjörg Hinrichs über seine Liebe zur Inselwelt des Südpazifiks und über seine Beziehung zu den dortigen Menschen, aber auch über seine Verbindung zur Appenzeller Volksmusik. Und er spricht darüber, wie das Reisen ihn auch immer wieder an seine eigenen Grenzen bringt. Die Musiktitel - Iles Salomon (Musique De Guadalcanal) - Danses De Femmes, Loloele: Pana Tha Na Panani? (Label : Ocora) - Teva Tetuanui, Rod Dannys, Roger Tetuanui: Borabora Nui - Töbi Tobler, Sandro Friedrich, Heinz Bürgin: Töbis Zäuerli - Joe Cocker – Live At Montreux 1987: With A Little Help From My Friends - Mozart. Piano Concertos Nr. 27 & 20: Maria João Pires, Claudio Abbado, Orchestra Mozart: «2. Romance» Konzert für Klavier und Orchester Nr. 20 d-Moll KV 466 Das besprochene Buch Hansjörg Hinrichs – Sehnsucht Südsee: Lebensraum und Lebenstraum. Beschwörung einer entschwindenden Welt Pacific Society Erstsendung: 2.7.2023

Claudio Abbado hat das Mahler Academy Orchestra ins Leben gerufen. An jenem Ort, den Gustav Mahler in den Sommermonaten seiner letzten Jahre zur Sommerfrische und zum Komponieren aufsuchte: Toblach in Südtirol, an der Südbahn gelegen. Ein idealer Ort, um sich mit Mahlers Musik auseinanderzusetzen. Ein herrlicher Konzertsaal, der Blick auf die Gipfel der Dolomiten. Philipp von Steinaecker, Abbados einstiger Assistent, hat mit den jungen Akademistinnen sowie arrivierten Orchestermusikerinnen aus ganz Europa Mahlers Symphonie 9 erarbeitet. Das Ergebnis begeistert Musikchefin Ursula Magnes.

durée : 00:15:30 - Disques de légende du vendredi 17 mai 2024 - L'enregistrement de Claudio Abbado « Un survivant de Varsovie » écrit en 1947 par Schönberg, hommage aux victimes juives du 3e Reich est un chef d'œuvre.

Today I present to you the American lyric tenor Frank Lopardo, who from 1984 through 2014 appeared in all the major opera houses of the world, celebrated particularly for his Mozart and Rossini roles. Too often today these superb singers even from the recent past are forgotten by today's audiences, and my listeners know that it is always a mission of mine to celebrate great artists who, for whatever reason, are not in the forefront of the public's awareness. In Frank's case, I suggest it has absolutely nothing to do with his stellar voice and astounding technique. Some singers are content to do their job and live their lives and serve the music and the art form to the best of their considerable abilities without engaging in antics or self-destructive behavior. A quick glance at Frank's accomplishments and the musicians with whom he collaborated makes it immediately clear that his career unfolded naturally and organically at the highest levels. Today's episode explores the infinite variety of Lopardo's artistry and his impeccable musicianship and technique, which aided him in his pursuit of always discovering new aspects of the central roles in his career. Conductors with whom he collaborated (and as heard on the episode) include Georg Solti, Claudio Abbado, Ion Marin, Riccardo Muti, Robert Spano, and the late Seiji Ozawa. While Lopardo was never tempted to move outside the natural confines of his lyric voice, he did in the final years of his career, move into some of Verdi's larger lyric tenor parts, in operas like Un ballo in maschera and Simon Boccanegra, both of which are sampled here. We also hear Frank in duet with some of his favorite colleagues, including memorable Chilean sopranos Verónica Villarroel and Cristina Gallardo-Domâs. It was all I could do not to entitle this episode Lopardopalooza, ‘cause that's exactly what it is! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

durée : 00:19:34 - Disques de légende du lundi 01 avril 2024 - Lorsque Claudio Abbado commença à manifester son intérêt pour Le Voyage à Reims, tout le monde ouvrit de grands yeux.

  This episode of The Other Side of the Bell, featuring trumpeter and composer Anthony Plog, is brought to you by Bob Reeves Brass. Come visit John and the Bob Reeves crew at the National Trumpet Competition, March 8-11th! Anthony Plog has had a rich and varied international career in music—as a composer of operas, symphonic music, and chamber works; as an orchestral musician, soloist, and recording artist; and as a brass teacher and coach at some of the great music conservatories internationally and now online to students around the world. Composer The music of Anthony Plog has been performed in over 30 countries, and he has been the recipient of numerous grants and commissions. After beginning his career writing extensively for brass, he now works in many different musical forms. He has composed three children's operas, the first of which (How the Trumpet Got Its Toot) was premiered by the Utah Opera and Symphony. He completed a major tragic opera (Spirits) based on a Holocaust theme and recently finished a new opera about a drone operator suffering a nervous breakdown (The Sacrifice). Other new works include an oratorio about the first major environmental battle in the United States (God's First Temples), in versions for orchestra, symphonic band, and soprano song cycle; and a cantata using the stories of women who have recovered from sex trafficking, prostitution, and drug abuse (Magdalene). Musician Anthony Plog began studying music at the age of 10, and by 19 he was playing extra trumpet with the Los Angeles Philharmonic under conductors such as Zubin Mehta, James Levine, Michael Tilson Thomas, and Claudio Abbado. He has held positions with orchestras around the world, including the Los Angeles Chamber Orchestra, the Malmo Symphony, and the Basel Symphony, and has performed on tour with the Stockholm Royal Philharmonic Orchestra and Buenos Aires Symphony. As a soloist he has toured throughout the United States, Europe, Australia, and Japan, and has numerous solo recordings to his credit. Brass Teacher and Coach Anthony Plog has taught at some of the greatest music institutions around the world, including the University of Southern California, the Music Academy of the West, and Indiana University (U.S.), as well as the Schola Cantorum (Basel, Switzerland), the Malmo Music Academy (Sweden), the Academia di Santa Cecilia (Rome, Italy), the Norwegian Music Academy, and the Freiburg Musik Hochschule (Germany). His experience teaching in a wide variety of musical cultures, in addition to his work as a composer and former player, allows him to approach teaching and coaching with a unique and fresh perspective. His Plog Program, published by Balquhidder Music, is a seven-volume method book that has been a valuable addition to trumpet methodology. His new online teaching and coaching program is creating a new paradigm for international teaching. The program allows students worldwide to study with Anthony Plog and is available to players at all levels. Besides working individually with students on every brass instrument, he coaches chamber music groups, larger brass sections and ensembles, and wind ensembles, and he guides composers in writing for brass instruments. Anthony Plog lives and works in Freiburg, Germany.

durée : 00:58:56 - Claudio Abbado au Festival de Lucerne - par : Aurélie Moreau - En 2003, le très prestigieux chef Claudio Abbado refonde l'Orchestre du Festival de Lucerne, réunissant des solistes renommés et des membres des meilleurs orchestres d'Europe, parmi lesquels le Philharmonique de Berlin et celui de Vienne.

durée : 00:05:19 - Classic & Co - par : Anna Sigalevitch - Classic&Co avec Anna Sigalevitch… Il y a 10 ans jour pour jour, le 20 janvier 2014, s'éteignait l'immense chef d'orchestre Claudio Abbado… et pour commémorer sa mort… Arte lui rend hommage avec plusieurs programmes…

durée : 00:58:24 - Une heure, un compositeur : Claudio Abbado dirige Gioachino Rossini - par : Aurélie Moreau - Claudio Abbado nous a quittés il y aura dix ans demain. Parmi les compositeurs que ce chef a servis avec un immense talent, voici le plus souriant, Gioachino Rossini : Le Barbier de Séville, Le Voyage à Reims, L'Italienne à Alger, La Pie Voleuse…

SynopsisOn today's date in 1934, on a radio broadcast from Moscow, the orchestral suite Prokofiev culled from his film score to Lt. Kije received its first performance. The original film recounted the efforts of 18th-century Russian bureaucrats to invent a suitably impressive life and death for a nonexistent Russian solider, whose unusual name, actually a typographical error on a list of real soldiers' names, caught the attention of the czar.If the fictional Russian bureaucrats in Lt. Kije were terrified lest they displease the czar, real-life composers living in the Soviet Union of the 1930s were desperately anxious to keep on the good side of their ruler, dictator Joseph Stalin. It was, to put it mildly, a matter of life and death.For Stalin's 60th birthday, which fell on Dec. 21, 1939, Prokofiev composed a choral tribute, “Zdravitza,” which translates as “A Congratulatory Toast.” It, too, was broadcast on today's date, this time booming over loudspeakers throughout Moscow's squares and side streets.Prokofiev's son Oleg recalls running home through the swirling snow eager to tell the big news: “Daddy! They're playing you outside!”Music Played in Today's ProgramSergei Prokofiev (1891-1953) Lieutenant Kije Suite; Chicago Symphony; Claudio Abbado, cond. DG 447 419Sergei Prokofiev (1891-1953) A Toast!; St. Petersburg Philharmonic Choir; New Philharmonia Orchestra; Alexander Titov, cond. Beaux 38

durée : 00:16:53 - Disques de légende du jeudi 07 décembre 2023 - En 1979, Claudio Abbado vient tout juste de prendre la tête du Symphonique de Londres lorsqu'il dirige Pulcinella de Stravinsky.

durée : 01:58:04 - Les 20 ans de l'Orchestre du Festival de Lucerne - par : Christian Merlin - Août 2003 : avec la Symphonie n°2 Résurrection de Gustav Mahler, Claudio Abbado dirige pour la première fois un orchestre fondé spécialement pour lui dans le but de jouer une fois par an à Lucerne : retour sur une aventure humaine autant que musicale. - réalisé par : Jeanne Cherequefosse

durée : 00:28:10 - Les 20 ans de l'Orchestre du Festival de Lucerne (4/4) : l'après Abbado - par : Christian Merlin - Août 2003 : avec la Symphonie n°2 Résurrection de Gustav Mahler, Claudio Abbado dirige pour la première fois un orchestre fondé spécialement pour lui dans le but de jouer une fois par an à Lucerne : retour sur une aventure humaine autant que musicale. - réalisé par : Jeanne Cherequefosse

durée : 00:28:15 - Les 20 ans de l'Orchestre du Festival de Lucerne (3/4) : fin d'une époque - par : Christian Merlin - Août 2003 : avec la Symphonie n°2 Résurrection de Gustav Mahler, Claudio Abbado dirige pour la première fois un orchestre fondé spécialement pour lui dans le but de jouer une fois par an à Lucerne : retour sur une aventure humaine autant que musicale. - réalisé par : Jeanne Cherequefosse

durée : 00:28:12 - Les 20 ans de l'Orchestre du Festival de Lucerne (2/4) : à la gloire d'Abbado - par : Christian Merlin - Août 2003 : avec la Symphonie n°2 Résurrection de Gustav Mahler, Claudio Abbado dirige pour la première fois un orchestre fondé spécialement pour lui dans le but de jouer une fois par an à Lucerne : retour sur une aventure humaine autant que musicale. - réalisé par : Jeanne Cherequefosse

durée : 00:28:07 - Les 20 ans de l'Orchestre du Festival de Lucerne (1/4) : La fondation - par : Christian Merlin - Août 2003 : avec la Symphonie n°2 Résurrection de Gustav Mahler, Claudio Abbado dirige pour la première fois un orchestre fondé spécialement pour lui dans le but de jouer une fois par an à Lucerne : retour sur une aventure humaine autant que musicale. - réalisé par : Jeanne Cherequefosse

It is hard to believe that it's already been 13 years since the death of Shirley Verrett on November 5, 2010. It has also already been four years since I did a pair of episodes on this extraordinary and beloved artist, and this anniversary gives me the perfect excuse to revisit the work of this mezzo-soprano turned soprano who more than any other singer in my experiences (even soon-to-be birthday girl Maria Callas) was capable of singing nearly anything. This type of singer is sometimes referred to as a soprano sfogato (or a falcon, after the 19th century French mezzo-cum-soprano Cornélie Falcon. Since Verrett, like Falcon, sang both mezzo and soprano, I instead coin the term falcon sfogatissima to describe her vocal magic. This episode is chock full of examples of Verrett's impassioned yet technically-grounded vocalism, from art songs by Brahms and Pasatieri to operatic roles by Handel, Gluck, Cherubini, Bellini, Puccini, and Verdi (including both soprano and mezzo roles in Aida and the Messa da Requiem and soprano roles in Ballo in Maschera, Macbeth, Don Carlo, and Otello). I close the episodes with Verrett's astonishing but limited forays into the German operatic repertoire. Her collaborators on this episode include conductors Seiji Ozawa, Claudio Abbado, Bernard Haitink, Zubin Mehta, Eve Queler, Georges Prêtre, Sarah Caldwell, and the late Kenneth Montgomery; and fellow operatic greats Sherrill Milnes, Luciano Pavarotti, James McCracken, Robert Massard (last week's featured artist), and her frenemy the late Grace Bumbry. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

SynopsisOn today's date in 1867, two eminent British Victorians arrived in Vienna in search of Franz Schubert. Now, Schubert had been dead for 39 years, as the two Brits were quite aware. George Grove, 47, was England's finest musicologist, and Arthur Sullivan, 25, one of the country's most promising young composers.Grove believed there might be forgotten manuscripts in the possession of the late composer's relatives, so the pair met with Schubert's nephew, a certain Herr Doktor Schneider, who said, oh, yes, come to mention it, he did have some pieces by Uncle Franz that no one had played for more than 40 years. If the two gentlemen had no objection to getting dusty, they were welcome to rummage the family's storage closets.The two visitors braved the dust and found orchestral parts for Schubert's Rosamunde incidental music, tied up in a big bundle after the work's premiere back in 1823 and untouched since then.Grove and Sullivan spent the rest of the day carefully making a copy of their discovery. At 2 a.m., after finishing the task, their spirits must have been pretty high, since to celebrate the proper Victorian gentlemen began an impromptu game of leap-frog.Music Played in Today's ProgramFranz Schubert (1797 – 1828) Rosamunde Incidental Music - Chamber Music Orchestra of Europe; Claudio Abbado, cond. DG 431 655

Jess Gillam and violinist Sumina Studer swap some of their favourite music. As well as picking up prizes for her playing in the Berliner International Music Competition and the Verbier Festival amongst others, and performing with various orchestras across the world, Sumina still finds the time to make hugely popular videos for social media where she demystifies the violin to try and bring classical music to the biggest possible audience. She brought along to the studio the incredible voice of Millie Jackson, one of Ravel's most beautiful pieces for piano and something nostalgic from the soundtrack to the anime Kiki's Delivery Service. Meanwhile Jess chose some banjo virtuosity by Bela Fleck, a homage to Piazzolla by violinist Gidon Kremer and an elegy by Yoshimatsu. Playlist: JOE HISAISHI: A Town with an Ocean View PIAZZOLLA: Soledad [Gidon Kremer (violin)] RAVEL: Piano Concerto in G – 2nd mvt Adagio [Martha Argerich (piano), Berlin Philharmonic, Claudio Abbado (conductor)] MILLIE JACKSON: If You're Not Back in Love by Monday BELA FLECK/EDGAR MEYER: The B Tune [Béla Fleck (banjo), Zakir Hussain (table), Edgar Meyer (double bass)] TAKASHI YOSHIMATSU: And Birds are Still…. Op.72 [Manchester Camerata, Sachio Fujioka (conductor)] COPLAND: Symphony No. 3 – 4th mvt [San Francisco Symphony, Michael Tilson Thomas (conductor)]

SynopsisIt's said that Nature abhors a vacuum – and so, apparently, did Richard Wagner, who devised a brass instrument to bridge a gap he perceived between the horns and the trombones in the orchestra of his day. And so the "Wagner tuba" was born, a brass instrument Wagner designed for the 1876 premiere of his cycle of four Ring operas in Bayreuth, Germany, which began on today's date that year with Das Rheingold – the first opera in the Ring cycle.Other composers have also scored for Wagner tubas, including Anton Bruckner and Richard Strauss, both ardent Wagner fans, and also Igor Stravinsky, who, though certainly not a Wagnerite, did include Wagner tubas in the early versions of some of his famous ballet scores.Some contemporary composers include parts for the Wagner tuba in their works as well, and a quartet of these instruments appears in a 1994 score the Hungarian composer, György Kurtág wrote for the Berlin Philharmonic and its then music director, Claudio Abbado. Kurtág is noted for his short, epigrammatic and very introspective chamber works, and "Stele" is his first major work for a large, conventional, arranged symphony orchestra.Music Played in Today's ProgramGyőrgy Kurtág (b. 1926) Stele, op. 33 SWR Symphony; Michael Gielen, conductor. Hänssler 93001

Jess Gillam swaps favourite music with the mezzo-soprano Anne Sofie von Otter Anne Sofie is one of classical music's most celebrated singers with a huge back catalogue of recordings, and she's also known for her huge versatility and musical curiosity working with artists from conductors Claudio Abbado and Giuseppe Sinopoli to Elvis Costello, Brad Mehldau and Rufus Wainwright. Today though she's listening to other people's recordings, as she and Jess sat down together to listen to a Janacek fanfare and a headphone blasting piece of Verdi. Jess picks a Nina Simone track that left them both speechless, while Anne Sofie brought along a ravishing piece by Rameau and (quite literally) turned up the volume on a barnstorming Beyoncé track. Playlist: JANACEK: Sinfonietta, 1st mvt 'Sokol Fanfare' [Vienna Philharmonic, Charles Mackerras (conductor)] JÓHANN JÓHANNSSON: Good Night, Day [Hildur Guðnadóttir (cello), Air Lyndhurst String Orchestra, Anthony Weeden (conductor)] BEYONCÉ: Countdown RAMEAU: Les Boréades, Act 4 Entrée de Polymie [Les Musiciens du Louvre, Marc Minkowski (cond)] VERDI: Requiem, Dies Irae (into Tuba Mirum) [Coro y Orchestra dell'Accademia Nationale di Santa Cecilia, Antonio Pappano (conductor)] NINA SIMONE: Little Girl Blue BENGAN JANSON: I've Found a New Baby

In this episode, Simon Mundy talks with Julian Poore who has been the COE's second trumpet since its creation in 1981. Aside from telling us all about the many different types of trumpets and the challenges of bringing them on tour, he also tells us a story about Claudio Abbado's shirt... featuring COE co-principal cello, tenor Will Conway! Featuring excerpts from Mozart's Magic Flute and Posthorn Serenade, Schubert's Symphonies Nos. 1 and 9 and Sibelius's Symphony No. 5.

Synopsis Today we have a letter to read, written by Mozart in the middle of May in the year 1778. Mozart was in Paris, 22 years old, and had this to say to his father back in Salzburg: “I think I told you in my last letter,” wrote Mozart, “that the Duc de Guines plays the flute extremely well, and that his daughter is my pupil in composition. She also plays the harp magnifique. She has a great deal of talent, even genius, and in particular a marvelous memory so that she can play all her pieces, actually about 200, by heart. It is, however, extremely doubtful as to whether she has any talent for composition, especially as regards invention or ideas.” The Duc de Guines was the former French ambassador to London and believed by Mozart's father to be in the inner circle of the French Queen Marie Antoinette, and hence a contact well worth cultivating. De Guines commissioned Mozart to write a double concerto for himself on flute and daughter on harp. Mozart complied with a courtly Concerto in C Major. Four months after delivering the music, Mozart had to report to his father that he still hadn't seen any payment for his efforts! Music Played in Today's Program W.A. Mozart (1756 - 1791) Concerto for Flute and Harp, K. 299 Emmanuel Pahud, flute; Marie-Pierre Langlamet, harp; Berlin Philharmonic; Claudio Abbado, condcutor. EMI 57128

Not every music student or even professional musician has explored classical music, much like not necessarily every classical musician will know something about jazz or any other genre.  However, each genre has certain pieces that one should know from each genre regardless of your preference.  These are 25 of many possible choices, not necessarily "the best", but some pieces you should recognize by title and composer upon hearing. Musical examples used in this episode: 06:53 P. Tchaikovsky: "Dance of the Sugar Plum Fairy" from The Nutcracker - (Montreal Symphony; Charles Dutoit) 12:49 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Hannes Kästner, organ) 13:15 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Czech Philharmonic; Leopold Stokowski) 17:26 S Barber: Adagio for Strings (New York Philharmonic; Thomas Schipps) 19:48 Beethoven: Symphony No. 5 (Vienna Philharmonic; Carlos Klieber) mvt 1 and 4 24:03 Beethoven: Symphony No. 9 (Berlin Philharmonic; Von Karajan) mvt. 4 and 2 28:33 Brahms: Hungarian Dances 4, 5, 6 (Vienna Philharmonic; Claudio Abbado) 30:56 A Copland: "Hoe-Down" from Rodeo (St. Louis Symphony; Leonard Slatkin) 32:33 F Chopin: Grand Valse Brillante op. 18 (Valentina Lisitsa) 34:22 Debussy: Prelude to the Afternoon of a Faun (Royal Concertgebouw; Bernard Haitink) 36:01 Dvorak: Symphony No. 9 "From the New World" mvt 2 (London Philharmonic; Charles MacKerras) 38:16 Grieg: Peer Gynt and Peer Gynt suite no.1 (San Francisco Symphony; Herbert Blomstedt) 40:13 Handel: The Messiah "Hallelujah" (London Symphony; Colin Davis) 40:43 Handel: Water Music selections (English Chamber Orchestra; Raymond Leppard) 41:30 Holst: The Planets "Mars" - (Montreal Symphony; Charles Dutoit) 42:13 Liszt: Hungarian Rhapsody No. 2 (Marc-Andre Hamelin) 43:22 Mendelssohn: Overture and Wedding March from A Midsummer Night's Dream (London Symphony, Andre Previn) 45:11 Mozart: Overture to The Marriage of Figaro (Academy of St Martin in the Fields; Neville Marriner) 46:16 Mussorgsky: Pictures at an Exhibition - Promenade and Great Gate of Kiev (Berlin Philharmonic; Claudio Abbado) 48:25 Rachmaninoff: Piano Concerto No. 2 (Vladimir Ashkenazy; Moscow Symphony; Kirill Kondrashin) 49:38 Ravel: Bolero (Boston Symphony; Seiji Ozawa) 51:42 Ravel: Daphnis & Chloe (Rotterdam Philharmonic; Yannick Nézet-Séguin) 52:46 Rimsky-Korsakov: Flight of the Bumblebee (Berlin Philharmonic; Zubin Mehta) 53:08 Rimsky-Korsakov: Scheherezade mvt IV and III (London Symphony; Charles MacKerras) 55:06 Schubert: Ave Maria (Barbara Booney) 55:31 R Strauss: Also Sprach Zarathustra (Chicago Symphony; Fritz Reiner) 57:15 Stravinsky: Rite of Spring (from Part 1) (New York Philharmonic; Leonard Bernstein) 58:21 Tchaikovsky: Russian Dance, Arabian Dance, Dance of the Reed Flutes from The Nutcracker (Montreal Symphony; Dutoit)   Do you have a different recording of these pieces that you'd recommend?  Let me know by telling me directly at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact  The blog post that goes with this episode can be found here: https://www.davidlanemusic.com/post/25-essential-classical-pieces-to-know You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can also now find the podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Jess Gillam chats to conductor Jack Bazalgette, co-founder of ‘through the noise' which aims to innovate and revolutionise live classical music. Their musical journey takes them to Zimbabwe with the music of mbira player Chiwoniso, a forest in Sweden with the Danish String Quartet plus we have the sounds of Barbara Moore, Mahler and Floating Points & Pharoah Sanders. Playlist: Franz Ignaz Beck - Symphony in C major, Op. 1, No 6, I. Allegro [New Zealand Chamber Orchestra, Donald Armstrong] Floating Points / Pharoah Sanders – Movement 1 (Promises) Rune Tonsgaard Sørensen - Waltz After Lasse in Lyby [The Danish String Quartet] Debussy - String Quartet in G Minor, Op. 10, CD 91, L. 85: III. Andantino. Doucement expressif [Ebene Quartet] Barbara Moore - Steam Heat Domenico Scarlatti - Sonata in F Minor, K466 [Vladimir Horowitz] Chiwoniso - Zvichapera Mahler - Symphony No.4: I. Bedächtig, nicht eilen [Wiener Philharmoniker, Claudio Abbado]

Synopsis The stage directions read: "The garden of the Grimaldi Palace outside Genoa. On the left side, the palace, directly in front, the sea. Dawn is breaking." The evocative music is by the Italian opera composer Giuseppe Verdi, the prelude to his opera Simon Boccanegra, which premiered on today's date in 1857 in Venice. Despite its shimmering prelude, Verdi's new opera was not well received. The critics felt it was one of those works which "does not make its effect immediately... It is written with the utmost exquisite craftsmanship but needs to be studied in all its details." Verdi, a practical man of the theater, knew what that sort of review really meant. He wrote: "I thought I'd done something passable, but it seems I was mistaken. The score is not possible as it stands. It is too sad, too depressing. I shall need to redo it to give it more contrast and variety, more life." The revised version of Simon Boccanegra premiered 24 years later, in 1881, with additions and alterations to the story by Arrigo Boito, the brilliant librettist for Verdi's final operas, Otello and Falstaff. Despite the revisions, Boccanegra remained one of the least popular of Verdi's works for many decades. In the 1930s, it was revised successfully at the Metropolitan Opera in New York with an all-star cast, and since then, audiences have had more opportunities to "study" Verdi's score sufficiently to appreciate its "exquisite craftsmanship, contrast, variety, and life." Music Played in Today's Program Giuseppe Verdi (1813 - 1901) Simon Boccanegra La Scala Chorus and Orchestra; Claudio Abbado, conductor. DG 449 752

Andrés Amorós sigue con su ciclo de grandes directores de orquesta centrándose en este italiano que cambia la forma de ser frente a los músicos.

Synopsis The first Piano Concerto by Brahms received its premiere public performance on today's date in 1859 with the Hanover Court Orchestra under the direction of Brahms's close friend Joseph Joachim and its 25-year composer as soloist. That first night audience had never heard anything quite like it. In his biography of Brahms, Jan Swafford describes what was expected of a piano concerto back then, namely “virtuosic brilliance, dazzling cadenzas, not too many minor keys, [and nothing] too tragic.” “To the degree that these were the rules,” writes Swafford, “[Brahms] violated every one of them.” His concerto opens with heaven-storming drama, continues with deeply melancholic lyricism, and closes with something akin to hard-fought, even grim, triumph. Rather than a display of flashy virtuosity, Brahms's concerto comes off as somber and deeply emotional. A second performance, five days later in Leipzig, was hissed. "I am experimenting and feeling my way,” Brahms wrote to his friend Joachim, adding, "all the same, the hissing was rather too much." Now regarded a dark Romantic masterpiece, it's important to remember how long it took audiences to warm to Brahms' music. The American composer Elliott Carter recalled that even in the 1920s, Boston concert goers used to quip that the exit signs meant, "This way in case of Brahms." Music Played in Today's Program Johannes Brahms (1833-1897) Piano Concerto No. 1 in D Minor, Op. 15 - I. Maestoso - Poco più moderato Maurizio Pollini, piano; Berlin Philharmonic; Claudio Abbado, cond. DG 447041 On This Day Births 1899 - Russian-born American composer Alexander Tcherepnin, in St. Petersburg (Julian date: Jan. 9); Deaths 1851 - German opera composer Albert Lortzing, age 49, in Berlin; 1948 - Italian composer Ermanno Wolf-Ferrari, age 72, in Venice; Premieres 1713 - Handel: opera "Teseo" (Julian date: Jan. 10); 1725 - Bach: Sacred Cantata No. 111 ("Was mein Gott will, das g'scheh allzeit") performed on the 3rd Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1816 - Cherubini: "Requiem," in Paris; 1880 - Rimsky-Korsakov: opera "May Night," in St. Petersburg, Napravnik conducting (Julian date: Jan. 9); 1904 - Janácek: opera "Jenufa" in Brno at the National Theater; 1927 - Roussel: Suite in F for orchestra, in Boston; 1929 - Schreker: opera "Der Schatzgräber" (The Treasure Hunter), in Frankfurt at the Opernhaus; 1930 - Shostakovich: Symphony No. 3 ("May First"), in Leningrad; 1936 - Gershwin: "Catfish Row" Suite (from the opera "Porgy and Bess"), by the Philadelphia Orchestra, Alexander Smallens conducting; 1947 - Martinu: "Toccata e due canzona" for chamber orchestra, in Basel, Switzerland; 1968 - Bernstein: song "So Pretty" (a song protesting the Vietnam War) at Philharmonic Hall (now Avery Fisher Hall) in New York City, with singer Barbra Streisand and the composer at the piano; 1968 - Allan Pettersson: Symphony No. 6, in Stockholm; 1988 - Christopher Rouse: Symphony No. 1, by the Baltimore Symphony, David Zinman conducting; Links and Resources On Brahms

Synopsis In 1916, Imperial Russia was still using the old Julian calendar.  In Russia, as Hamlet might have put it, “time was out of joint,” lagging 13 days behind the Gregorian calendar used everywhere else. Well, Saint Petersburg's January 16th  might have Paris's January 29th, but on that date Russia's Mariinsky Theatre premiered a wild, decidedly forward-looking orchestral work with its composer, Sergei Prokofiev, conducting.The music had been commissioned in 1914 by another Russian, the Paris-based ballet impresario Sergei Diaghilev, who had asked Prokofiev for “a ballet on a Russian fairy tale or a primitive prehistoric theme,” hoping for something along the lines of Igor Stravinsky's colorful Firebird or scandalous Rite of Spring, both earlier Diaghilev commissions. Thinking of those two successful ballets perhaps, Prokofiev set to work on one set in ancient Russia about a forest princess rescued from an evil ogre by a Scythian prince, with a big orgy of evil spirits tossed in as well just to spice things up.  But Diaghilev nixed the ballet even before Prokofiev had finished it, so its composer reworked the music into a wild concert hall score he titled Scythian Suite. Even today it remains – for some – a strongly spiced cup of Russian tea! Music Played in Today's Program Sergei Prokofiev (1891 - 1953) — Scythian Suite, Op. 20 (Chicago Symphony Orchestra; Claudio Abbado, conductor.) DG 447 419

Synopsis On this day in 1904, in Cologne, Germany, Gustav Mahler conducted the first performance of his Fifth Symphony. It was not a success. Applause was light, with loud hissing from some in the audience. Even Mahler's wife, Alma, complained so much about the orchestration that Mahler kept tinkering with the score until the last year of his life. Despite this inauspicious beginning, Mahler's Fifth has become a popular showpiece for virtuoso orchestras and its slow movement, marked Adagietto -- supposedly Mahler's musical love to Alma -- has become one of Mahler's best-loved pieces. The American composer Jerome Moross also had a symphony premiered on today's date. The year was 1943, Moross was 30 years old, and Sir Thomas Beecham conducted its premiere performance with the Seattle Symphony. Unlike Mahler, Moross wrote only ONE symphony, and the American hobo tune inspired the slow movement of his “The Midnight Special.” Jerome Moross is best known his work in Hollywood. His 1958 score for “The Big Country” was nominated for an Academy Award. Moross also wrote the music for “Wagon Train,” a popular TV Western. As Moross once said: “a composer must reflect his landscape and mine is the landscape of America. I don't do it consciously, it is simply the only way I can write.” Music Played in Today's Program Gustav Mahler (1860-1911) Symphony No. 5 Chicago Symphony; Claudio Abbado, cond. DG 427 254 Jerome Moross (1913-1983) Symphony No. 1 London Symphony; JoAnn Falletta, cond. Koch 7188

Synopsis On today's date in 1928, the Columbia Phonograph Company of New York announced that the Symphony No. 6 by the Swedish composer Kurt Atterberg was the winner of its $10,000 Schubert Memorial Prize. The Competition was intended to commemorate the 100th anniversary of Schubert's death, and originally, Columbia wanted the prize to go to the composer who most successfully "finished" Schubert's "Unfinished Symphony." After protests that this was an insult to Schubert's memory, Columbia expanded the competition to include the best original score conceived in the spirit of Schubert's music. Attenberg's Symphony was chosen as the winner by an international jury, which included several composers. Now, in 1928, $10,000 was a small fortune – and about 10 times the normal commission fee for a big symphonic work. Not surprisingly, Atterberg's score was soon nicknamed "The Dollar Symphony." Some even accused him of cynically tailoring his music to appeal to the conservative taste of the competition's jury, and even quoting from works by the composers on the panel to curry their favor. Atterberg defended himself by pointing out the Symphony's opening movements were very much in his normal style, but admitted the final movement was, in fact, intended as a parody of the competition's requirement to write in Schubert's style. "It brought me special pleasure," Atterberg said, "to observe that all the critics who found reminiscences of other composer's works were not able to identify a very obvious quotation of a Schubert theme in my Rondo-Finale." Music Played in Today's Program Franz Schubert (1797-1828) –Symphony No. 8 in b (Unfinished) (Chamber Orchestra of Europe; Claudio Abbado, cond.) DG 423 655 Kurt Atterberg (1887-1974) –Symphony No. 6 in C (Dollar Symphony) (Norrköping Symphony; Jun'ichi Hirokami, cond.) Bis 553

Synopsis In the summer of 1824, the fifteen-year-old Mendelssohn spent a holiday with his father in the fashionable spa town of Bad Doberan, on the Baltic coast near Rostock. Writing home to his family in Berlin he confessed that, although he was "comfortably lodged… with friendly people, a decent piano, [and a] pretty view... so far I have not written a note." That would change, however, as Mendelssohn befriended musicians employed by the local Grand Duke of Mecklenburg-Schwerin, whose court ensemble was a wind-band. For them, the young Mendelssohn composed a Nocturno, scored for the classical octet of double winds, plus a flute, trumpet, and an odd brass instrument called a “Como Inglese di Basso," roughly similar in shape to a bassoon, but with a cup mouthpiece and both open and keyed holes. Mendelssohn described it in a letter he wrote on today's date in 1824 as "a large brass instrument with a fine, deep tone, that looks like a watering can or a stirrup pump." Music for that original 1824 Nocturno has not survived, but eventually Mendelssohn reworked and enlarged the piece, adding new music, and much later, in 1838, expanded the scoring to a full wind ensemble and published the result as his Overture for Winds, Op. 24. Music Played in Today's Program Felix Mendelssohn (1809-1847) – Overture for Winds, Op. 24 (London Symphony; Claudio Abbado, cond.) DG 423 104