Podcasts about concentus musicus wien

In Geschichten sind Licht und Schatten beliebte Motive. Meist steht das Licht für das Gute, während die Dunkelheit mit dem Bösen, mit Gefahren und Tod assoziiert wird.Kathrin Wexberg, Mitarbeiterin der STUBE, hat sich auf die Suche nach dem Licht in der Literatur begeben und kommt mit einem Stapel Bücher in unser Studio. Sie spannt den Bogen vom biblischen Schöpfungsbericht bis hin zu dystopischen Romanen.Eine Sendung von Monika Fischer.  Kathrin Wexbergs Buchempfehlungen:Linda Wolfsgruber: sieben. Tyrolia 2023. Tanja Raich: Schwerer als das Licht. Blessing 2022. Michael Stavaric: Fremdes Licht. btb 2022. Val Emmich: Du bist der Sturm, du bist das Licht. Aus dem Amerikan. v. Petra Koob-Pawis. cbt 2023. Marsha Diane Arnold: Licht aus, sagte der kleine Fuchs. Ill. v. Susan Reagan. Aus dem Engl. v. Stephanie Menge. Sauerländer 2022. Melanie Laibl: Unsere wunderbare Werkstatt der Zukünfte. 99 Ideen fürs Anthropozän.  Ill. v. Corinna Jegelka. Edition Nilpferd 2023. Kathrin Wexberg (Hg.): Immer mal wieder zum Himmel schauen. Gebete für Kinder mit Bildern von Michael Roher. Tyrolia 2023. Musik in der Sendung:Joseph Haydn, Die Schöpfung, 1. Teil, Concentus Musicus Wien, Leitung: Nikolaus Harnoncourt, als Uriel: Michael Schade Keith Kenniff, Light, GoldMund Guillaume Dufay, Aurea luce, Chant 1450 & Ensemble David Lang, light moving, Hilary Hahn (Violine) und Cory Smythe (Klavier) Gustav Mahler, Urlicht, aus der Symphonie Nr. 2, Amarcord Wien, Elisabeth Kulman (Mezzosopran) Nimrod Borenstein, The Big Bang and Creation of the Universe, op. 52, Oxford Philharmonic Orchestra, Vladimir Ashkenazy Thomas Tallis, Spem in alium, Choir of King's College, Cambridge, Stephen Cleobury

Few musicians have left as profound a mark on their instrument as Friedemann Immer has on the Baroque trumpet. Renowned for his ability to effortlessly tackle some of the most demanding works in the repertoire, Friedemann has recorded Bach's iconic Brandenburg Concerto No. 2 an incredible ten times. In 2021, his contributions were recognized with the Christopher Monk Award from the Historic Brass Society. His career includes performances under legendary conductors and collaborations with esteemed ensembles like the Freiburger Baroqueorchester, Concentus Musicus Wien, and the Academy of Ancient Music in London. But his artistry doesn't stop at the trumpet. Friedemann was the first to record Haydn's Trumpet Concerto on the keyed trumpet, and as the founder and leader of the Trompeten-Consort Friedemann Immer, he continues to push the boundaries of historical performance practice. With over 200 publications through Editions Immer, he's also a driving force in preserving and expanding the repertoire.In Part 1, we begin with a great story about one of his performances of Bach's Brandenburg Concerto No. 2. This leads us into a discussion about the challenges of playing high notes and how the text of a piece informs his interpretation, using the bass aria from Bach's Christmas Oratorio as an example. We then dive into how Friedemann discovers “new” Baroque music, before moving to the topic of the keyed trumpet and his interpretive ideas regarding Haydn's and Hummel's trumpet concertos. The segment concludes with Friedemann sharing his deep admiration for conductor Nikolaus Harnoncourt and what it meant to perform under his baton.Part 2 [Subscriber Content] continues with an exploration of the differences between the Baroque trumpet and the piccolo trumpet, followed by a look at the Brandenburg Concerto No. 2, including stories and concepts that bring the music to life. We then ask Friedemann to reflect on the similarities and differences among some of the legendary conductors he has worked with throughout his career. Finally, we discuss his Editions Immer series, delving into his invaluable contributions to the Baroque repertoire and its performance.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

27. oktobrī Liepājas koncertzālē "Lielais dzintars" viesosies izcilais Freiburgas Baroka orķestris, piedāvājot vienā vakarā dzirdēt visus sešus Johana Sebastiāna Baha “Brandenburgas koncertus”, kuros komponists rāda apbrīnojamu izdomas bagātību solo instrumentu un orķestra instrumentu saspēlēs un rotaļās. Šī mūziķu apvienība izveidota 1987. gadā, saņēmusi prestižas balvas, sadarbojusies ar jomas vadošajiem speciālistiem, turklāt ir pirmais baroka orķestris, kam bijis gods atklāt Zalcburgas festivālu. Viens no orķestra mākslinieciskajiem līderiem ir vijolnieks Gotfrīds fon der Golcs (Gottfried von der Goltz), Drēzdenes galma baroka mūzikas un Johana Sebastiāna Baha dēlu daiļrades speciālists, kurš nāk no Brandenburgas markgrāfistes augstmaņu dzimtas. Ar mūziķi sazinājās Inta Zēgnere.   Gotfrīds fon der Golcs: Kad 1987. gadā tika dibināts Freiburgas Baroka orķestris, Vācijā vēl nebija daudz šādu mūziķu vienību, kas spēlē autentiskos instrumentus. Jau darbojās Musica Antiqua ar Reinhardu Gēbelu, bija Concerto Koeln un, protams, Nikolauss Arnonkūrs ar Concentus Musicus Wien. Tas bija laiks, kad šāds muzicēšanas veids bija ļoti svaigs un jauns. Man tas ļoti patika. Mēs tolaik bijām jauni, mums bija daudz enerģijas, un tas bija bezgala aizraujoši. Kopā muzicējot, mēs meklējām savu ceļu, savu valodu un izteiksmes veidu. Toreiz  gājām uz bibliotēkām un meklējām senus rokrakstus, rakstījām tām vēstules un lūdzām manuskriptu kopijas. Tagad – interneta laikmetā viss ir daudz vienkāršāk. Bet jau toreiz mēs  izveidojām savu unikālu spēles stilu, ko esam saglabājuši. Protams, mums ir pamatīgas zināšanas stila jautājumos - kas ir  franču tradīcija vai itāļu tradīcija, vai klasiskais stils. Un tomēr no teorijas vien daudzas lietas nevar iemācīties, ir nepieciešama muzicēšanas pieredze, un Freiburgas Baroka orķestrim tāda ir vjau vairāk nekā 35 gadus. Mēs vienmēr meklējam patiesību mūzikā, un tieši tas uztur pie dzīvības un attīstības.  

durée : 01:58:06 - Relax ! du vendredi 01 juillet 2022 - par : Lionel Esparza - Aujourd'hui dans Relax, Lionel Esparza met la lumière sur l'ensemble autrichien de musique baroque, le Concentus musicus Wien. En disque de légende : "L'art de la fugue" de Bach par Koroliov. - réalisé par : Antoine Courtin

Gestern fand in der Wiener Staatsoper die zweite Vorstellung von Claudio Monteverdis „L`Orfeo“ statt. Der radio klassik Stephansdom Opernliebhaber Richard Schmitz berichtet: L'Orfeo ist zwar nicht die erste Oper, aber die erste die vollständig erhalten ist. Sie ist von einer frappierenden Vollkommenheit. Nicht nur die differenzierte Musik Claudio Monteverdis, auch das Textbuch von Alessandro Striggio sind von hoher Qualität. Eigentlich erstaunlich, dass keinerlei Anfängerfehler zu erkennen sind. Die Geschichte der Oper – damals sagte man noch „Favola“ – beginnt mit einem Paukenschlag. Kaum zu glauben, dass man vor 415 Jahren schon so professionell war. Die Wiener Staatsoper hat dieses Werk in einer Realisierung präsentiert, die allen Ansprüchen genügt. Nikolaus Harnoncourt hat mit seiner Einspielung 1968 die Basis gelegt. Schon damals war der Concentus Musicus Wien jener Klangkörper, der die Genialität dieser Partitur zur Geltung brachte. Auch gestern erklangen unter Pablo Heras-Casado alle Feinheiten der Musik. Viele Musikerinnen und Musiker hatten solistische Aufgaben, die mit Bravour bewältigt wurden. In der Titelrolle war der Bariton Georg Nigl ein Glücksfall. Er bewältigte auch die hohen Töne und war in der mittleren Lage dem Text und der Musik verpflichtet. Nur in den Koloraturen hätte ich mir mehr tenorale Geschmeidigkeit gewünscht. Es ist kein Wunder, dass fast alle Einspielungen den Orpheus mit einem Tenor besetzt haben, auch wenn die Tessitura sehr tief liegt. Mich wundert, dass Caronte – verlässlich Wolfgang Bankl – bei diesem Gesang einschläft. Der zweite Star des Abends ist Kate Lindsey, der man die allegorischen Figuren der Musik, der Speranza (Hoffnung) und das Echo anvertraut hat. Slavka Zámečnikova sang wunderschön die Eurydice. Schade, dass die Rolle so kurz ist. Das übrige Ensemble – Christina Bock las Proserpina und Botin – Andrea Mastroni als Pluto und Hiroshi Amako als Apollo – passten sich allzusehr an. Da sollten sich in Zukunft mehr Persönlichkeiten entwickeln. Auch diese Figuren haben Charakter. Schon vor Beginn binden der Regisseur Tom Morris und die Kostümbildnerin Anna Fleischle das Publikum ein. Eine ideale Einladung zur Hochzeit von Orpheus und Eurydike. Sogar die Handydurchsage und der Maskenhinweis sind schon heiter durchinszeniert. Dann findet das Drama des Todes eines geliebten Menschen statt. Das Bühnenbild mit dem live mitgefilmten Zuschauerraum wird im Hades zu einer grauenerregenden Unterwelt, in der es keine Hoffnung gibt. Anna Fleischle hat auch als Bühnenbildnerin Außergewöhnliches zu bieten. Am Schluss entschwebt Orpheus gegen den Himmel. Das ist schon fast kitschig. Das Publikum war auch gestern begeistert und das wiegt bei einer zweiten Vorstellung noch mehr als bei der Premiere. So kann die älteste erhaltene Oper gezeigt werden. Wertnote: 9,3/10 Punkten

Andreas Lackner, a natural trumpet pioneer and an enthusiastic teacher of his instrument from East Tyrol, talks about how hard it was hitting the notes on natural trumpet in his early days, about the formative and inspiring experiences with the legendary ensemble Concentus Musicus Wien under Nikolaus Harnoncourt, and his ambitious education project, the Alpine Brass Band Academy. Lackner shares his deep appreciation of the virtuosic and delicate trumpet repertoire.To find out more about the Alpine Brass Band Academy visit https://brassbandacademy.at.

Das Originalklang-Orchester Concentus Musicus Wien war quasi das Privat-Orchester des Dirigenten Nikolaus Harnoncourt. Nach dessen Tod 2016 beschlossen die Concentus-Musiker, weiter zu machen. Live sind sie gut im Geschäft. Im Mai ist ihre zweite CD ohne Harnoncourt erschienen.

durée : 01:56:24 - En pistes ! du mardi 01 juin 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - A retrouver ce matin, la 5ème Symphonie de Schubert et la Symphonie n°99 de Haydn réunies dans un enregistrement du Concentus Musicus Wien sous la direction de Stefan Gottfried; les cantates de Pâques de Christoph Graupner et les œuvres orchestrales du compositeur lituanien Eduardas Balsys... - réalisé par : Lionel Quantin

durée : 00:13:24 - Schubert, Haydn : Symphonies - Concentus Musicus, Wien Stefan Gottfried

durée : 00:18:00 - Disques de légende du vendredi 16 octobre 2020 - Le grand retour d'Harnoncourt à Beethoven ! En 2015, 25 ans après avoir enregistré l'ensemble des symphonies de Beethoven avec l'Orchestre de chambre d'Europe, Nikolaus Harnoncourt grave pour le label Sony les Symphonies n° 4 et 5 du compositeur viennois, avec son ensemble le Concentus Musicus Wien.

Die Sendung Musik für einen Gast ist Kult. Schon in den 60-er und 70-er Jahren interviewte die legendäre Moderatorin Roswitha Schmalenbach Persönlichkeiten aus Politik, Wirtschaft und Kultur. Passend zum Musiksommer wiederholen wir vier historische Gespräche mit Musikerpersönlichkeiten. Er war einer der grossen Pioniere der historischen Aufführungspraxis, der österreichische Cellist und Dirigent Nikolaus Harnoncourt. Zusammen mit seiner Frau, der Geigerin Alice gründete er den Concentus Musicus Wien. Er unterrichtete Aufführungspraxis am Mozarteum Salzburg, dirigierte oft den Arnold Schönberg Chor und das Concertgebouw Orchestra, immer wieder auch die Wiener Philharmoniker. 1978 war Nikolaus Harnoncourt Gast bei Roswita Schmalenbach und erzählte, wie er sich schon als Student mit der alten Musik beschäftigt hatte, warum seine Interpretation auf historischen Instrumenten so lebendig klingt, wie er in einem alten Bauernhaus bei Graz wohnt und was er mit «Porgy and Bess» von George Gershwin verbindet.

Leonhard Paul is the trombonist and bass trumpeter in the world-famous Mnozil Brass and the Wieder-Gansch-Paul Trio. Originally from Vienna, Austria, Leonhard received diplomas in pedagogy studies and trombone studies from the University of Music and Performing Arts Vienna. He went on to receive a degree in jazz trombone from the Conservatory of Music Vienna where he studied under Erich Kleinschuster. Since 2005, Leonhard has been a professor at the University of Music and Performing Arts Vienna-MDW where he teaches chamber music, period music (sackbut), and popular music. Besides his busy schedule with the Mnozil Brass, Leonhard has also performed on sackbut with the Wiener Akademie, Concentus Musicus Wien, and Tonus and on trombone with Salonorchester Alhambra and Die Eiserne Zeit among others.

durée : 01:58:11 - Relax ! du mercredi 11 septembre 2019 - par : Lionel Esparza - Un portrait de Léopold Mozart 'le mal aimé', et un autre du pianiste Piotr Anderszewski en concert ce vendredi à Toulouse. A 16h, notre disque de légende : 'L'Orfeo' de Monteverdi par Nikolaus Harnoncourt et le Concentus Musicus Wien, et enfin le Théâtre du Châtelet fête sa réouverture en musique. - réalisé par : Antoine Courtin

La Ópera del Verano: El primer Mozart. MOZART: “Il re pastore” (El rey pastor). Roberto Saccà (tenor) (Alessandro), Ann Murray (mezzosoprano) (Aminta), Eva Mei (soprano) (Elisa), Inga Nielsen (soprano) (Tamiri), Markus Schäfer (tenor) (Agenore). Concentus Musicus Wien. Director: Nikolaus Harnoncourt. Escuchar audio

Karina Canellakis is the newly appointed Chief Conductor of the Netherlands Radio Philharmonic Orchestra in Amsterdam, beginning in the 19/20 season. Winner of the 2016 Sir Georg Solti Conducting Award, Karina is internationally acclaimed for her emotionally charged performances, technical command and interpretive depth. She made her European conducting debut in 2015 with the Chamber Orchestra of Europe in Graz, Austria, replacing the late Nikolaus Harnoncourt, returning the following June to conduct Concentus Musicus Wien in four symphonies of a Beethoven Cycle. She first made headlines in 2014 filling in at the last-minute for Jaap van Zweden in Shostakovich Symphony No. 8 with the Dallas Symphony Orchestra, where she held the position of Assistant Conductor for two seasons.

Please note that due to copyright, musical pieces played at this reflective day have been edited out of this podcast. Recordings referred to are Ton Koopman conducting the Amsterdam Baroque Orchestra with artists including Peter Kooy (Bass/Jesus) and Kai Wessel (Alto Vocals), and Nikolaus Harnoncourt conducting the Concentus Musicus Wien with artists including Matthias Görne (Bass/Jesus), Oliver Widmer (Bass/Judas) Bernarda Fink (Alto) and Christine Schäfer (Soprano). (Some inaudible audience questions and comments have also been edited out.) Part 1: Singing the Passion Excerpt 1 – Opening Chorus (Koopman edited out at 00.31.32.971 and Harnoncourt edited out at 00.33.56.341) J.S. Bach is our greatest musical theologian. He wrote brilliant, innovative music, loved and performed as much today as ever, and also had a unique capacity to illuminate great spiritual and theological truths. His setting of St Matthew’s account of the Passion is not only an absolutely faithful telling of the whole narrative from Jesus’ anointing at the house of Simon the leper to the moment he is laid in the tomb, but also an extraordinary and expansive musical meditation on its meaning. Andrew Carwood is the Director of Music at St Paul’s Cathedral, an internationally regarded singer and conductor, and the Founder-Director of the award-winning early music ensemble The Cardinall’s Musick. Recorded on 17 March 2018.

Please note that due to copyright, musical pieces played at this reflective day have been edited out of this podcast. Recordings referred to are Ton Koopman conducting the Amsterdam Baroque Orchestra with artists including Peter Kooy (Bass/Jesus) and Kai Wessel (Alto Vocals), and Nikolaus Harnoncourt conducting the Concentus Musicus Wien with artists including Matthias Görne (Bass/Jesus), Oliver Widmer (Bass/Judas) Bernarda Fink (Alto) and Christine Schäfer (Soprano). (Some inaudible audience questions and comments have also been edited out.) Part 2: A New Song Excerpt 2 – Herr bin ichs? (Harnoncourt edited out at 00.10.32.732) Excerpt 3 – Sind Blitze, sind Donner (Koopman edited out at 00.16.05.150) Excerpt 4 – Pilate’s wife and the angry chorus (Harnoncourt edited out at 00.24.13.860) J.S. Bach is our greatest musical theologian. He wrote brilliant, innovative music, loved and performed as much today as ever, and also had a unique capacity to illuminate great spiritual and theological truths. His setting of St Matthew’s account of the Passion is not only an absolutely faithful telling of the whole narrative from Jesus’ anointing at the house of Simon the leper to the moment he is laid in the tomb, but also an extraordinary and expansive musical meditation on its meaning. Andrew Carwood is the Director of Music at St Paul’s Cathedral, an internationally regarded singer and conductor, and the Founder-Director of the award-winning early music ensemble The Cardinall’s Musick. Recorded on 17 March 2018.

Please note that due to copyright, musical pieces played at this reflective day have been edited out of this podcast. Recordings referred to are Ton Koopman conducting the Amsterdam Baroque Orchestra with artists including Peter Kooy (Bass/Jesus) and Kai Wessel (Alto Vocals), and Nikolaus Harnoncourt conducting the Concentus Musicus Wien with artists including Matthias Görne (Bass/Jesus), Oliver Widmer (Bass/Judas) Bernarda Fink (Alto) and Christine Schäfer (Soprano). (Some inaudible audience questions and comments have also been edited out.) Part 3: Telling the Story Excerpt 5 – Jesus’ ‘halo’ (Harnoncourt edited out at 00.03.56.400 (with Matthias Görne as Jesus)) Excerpt 6 – Jesus Forsaken (Koopman edited out at 00.06.32.816 (with Peter Kooy as Jesus)) Excerpt 7 – Peter (Koopman edited out at 00.15.06.356 (with Kai Wessel as Peter)) and Harnoncourt edited out at 00.16.54.141 (with Bernarda Fink) Excerpt 8 – Judas (Harnoncourt edited out at 00.22.46.937 (with Oliver Widmer as Judas) J.S. Bach is our greatest musical theologian. He wrote brilliant, innovative music, loved and performed as much today as ever, and also had a unique capacity to illuminate great spiritual and theological truths. His setting of St Matthew’s account of the Passion is not only an absolutely faithful telling of the whole narrative from Jesus’ anointing at the house of Simon the leper to the moment he is laid in the tomb, but also an extraordinary and expansive musical meditation on its meaning. Andrew Carwood is the Director of Music at St Paul’s Cathedral, an internationally regarded singer and conductor, and the Founder-Director of the award-winning early music ensemble The Cardinall’s Musick. Recorded on 17 March 2018.

Please note that due to copyright, musical pieces played at this reflective day have been edited out of this podcast. Recordings referred to are Ton Koopman conducting the Amsterdam Baroque Orchestra with artists including Peter Kooy (Bass/Jesus) and Kai Wessel (Alto Vocals), and Nikolaus Harnoncourt conducting the Concentus Musicus Wien with artists including Matthias Görne (Bass/Jesus), Oliver Widmer (Bass/Judas) Bernarda Fink (Alto) and Christine Schäfer (Soprano). (Some inaudible audience questions and comments have also been edited out.) Part 4: “In my beginning is my end” Aus Liebe (Harnoncourt edited out at 00.02.35.793 (with Christine Schäfer) Excerpt 9 – Final (Koopman edited out at 00.16.14.899) J.S. Bach is our greatest musical theologian. He wrote brilliant, innovative music, loved and performed as much today as ever, and also had a unique capacity to illuminate great spiritual and theological truths. His setting of St Matthew’s account of the Passion is not only an absolutely faithful telling of the whole narrative from Jesus’ anointing at the house of Simon the leper to the moment he is laid in the tomb, but also an extraordinary and expansive musical meditation on its meaning. Andrew Carwood is the Director of Music at St Paul’s Cathedral, an internationally regarded singer and conductor, and the Founder-Director of the award-winning early music ensemble The Cardinall’s Musick. Recorded on 17 March 2018.

"Posthorn-Serenade" D-Dur KV 320 | "Haffner-Symphonie" D-Dur KV 385 | Concentus Musicus Wien (auf Originalinstrumenten)

1 - "Gitanjali-Hymner, BVN 149 No. 7" (Rued Langgaard). Peter Froundjian, piano. 2 - Canto do canário belga/ Brazilian birdcall 3 - "La vida breve" (De Falla). Xavier de Maistre, harpa/harp. 4 - "Anyhthing goes" (Cole Porter). The Singers Unlimited. 5 - "Trittico botticelliano: La primavera" (Respighi). Lausanne Chamber Orchestra. Jesus Lopez-Cobos, regente/ conductor. 6 - Canto Yanomami / Yanomami indian chant 7 - "Radetzky March, Op. 228" (Johann Strauss). Concentus Musicus Wien. Nikolaus Harnoncourt, regente/conductor.