Podcast appearances and mentions of corey cerovsek

Artistic Director Steven Isserlis introduces Open Chamber Music, one of IMS Prussia Cove's biannual seminars. Open Chamber Music began in 1976, four years after the Masterclasses, when founder Sándor Végh invited some of the students to stay on and play chamber music with him. It has since grown into a three-week seminar taking place every September, with more than 120 musicians rehearsing and performing over 60 works of chamber music together, in ensembles that combine younger musicians with more experienced performers. Artistic Director: Steven Isserlis  @StevenIsserlis Contributors in order of appearance: Stuart Arrandale Tim Crawford Jenna Sherry Tim Boulton Patrick Bailey Millie Ashton Laura MacDonald Susanna Patterson Helena Winkelman Amy Harman Alice Neary Erich Höbarth Melissa Phelps Tom Poster Alec Frank-Gemmell Narrator: Samuel West @exitthelemming Series Producer: Melissa FitzGerald @Melissafitzg Music in order of appearance: Brahms Op.111 played by the Salzburg Camerata, conducted by Sándor Végh. Beethoven String Quartet in F major Op.135 Musicians: Daniel Phillips, David Adams, violin; Thomas Riebl, viola; Jeong Hyoun Christine Lee, cello Recorded OCM 2016, Friday 23 September, Richard Lander School in Truro Leoš Janáček String Quartet No. 1 ‘Kreutzer Sonata' Musicians: Maria Włoszczowska violin; Tim Crawford violin; Clare Finnimore viola; Tim Posner cello. Recorded OCM 2021, Saturday 25 September, St Michael's Mount, Wolfgang Amadeus Mozart, Divertimento for String Trio in E Flat, K.563 Musicians: Maria Wloszczowska violin; Blythe Teh-Engstroem viola; Steven Isserlis cello Recorded OCM 2021, Saturday 25 September, St Michael's Mount ‘Chicken on a Fence Post' played by school children participating in the outreach workshops, alongside IMS musicians Lesley Hatfield, Millie Ashton, violins; Tim Boulton, violin; Laura MacDonald, cello Shostakovich String Quartet No.8 Musicians: Lesley Hatfield, Millie Ashton, violins; Tim Boulton, violin; Laura MacDonald, cello Helena Winkelman, Gott-Fa for Bassoon and String Quartet Musicians: Helena Winkelman, Tim Crawford, violin; Georgia Russell, viola; Tim Posner, cello;  Amy Harman, bassoon Recorded OCM 2021, during rehearsal Schumann Piano Trio in D minor Musicians: Barbara Doll, violin; Alice Neary, cello; Anton Kernjak, piano Recorded OCM 2022 Sunday 25th September, Princess Pavilion Falmouth, Reger String Sextet Musicians: Erich Höbarth, Corey Cerovsek, violin; Thomas Riebl, Celia Libertad Elíaz, viola; Christoph Richter, Natania Hoffman, cello Recorded OCM 2022, Sunday 25th September, Princess Pavillion Falmouth, Schoenberg, Verklärte Nacht (Transfigured Night) Musicians: Alessandro Ruisi, Larissa Cidlinsky, violin, Garfield Jackson, Anna Puig Torne, viola, Laura MacDonald, Bas Jongen, cello Recorded OCM 2023, Saturday 30th September – Trelowarren Chapel Bacewicz, Piano Quintet Musicians: Jackie Shave, Kiarra Saito-Beckman, violin; Celia Libertad Eliaz, viola; Sam de Caprio, cello; Tom Poster, piano Recorded OCM 2022, Friday 23 September, St John's Hall Penzance. Johannes Brahms, Horn Trio in E Flat Op 40 Musicians: Arisa Fujita, violin; Alec Frank-Gemmill, horn; Alasdair Beatson, piano Recorded OCM Tour 2021, Thursday 1 October, Wigmore Hall, London Special thanks to Capriccio for the use of the recording of the Brahms Op.111 played by the Salzburg Camerata, conducted by Sándor Végh. Cover Artwork: Bananadesign Ltd Follow us on Instagram @ims_pc X @ims_pc www.i-m-s.org.uk

Siempre hay una primera carta. Esta puede ser curiosa o apasionada, tímida o atrevida, insegura o aventurada. Conduce siempre a algún lugar, aunque se tenga la percepción de que no se va a obtener respuesta. Ocasionalmente se convierte en la primera de muchas, en amores que son vividos a través del papel cuando no se podía hacerlo a la vista. DE LUDWIG VAN BEETHOVEN PARA SU AMADA INMORTAL. MI ÁNGEL: ✉️ Una producción de Historias para ser Leídas, Voz: Olga Paraíso Sonata para violín y piano n.º 5 en Fa mayor, Op. 24, “La Primavera”, de Ludwig van Beethoven,Sonata para violín y piano n.º 5 en Fa mayor, Op. 24, “La Primavera”, de Ludwig interpretado por: Corey Cerovsek (violin) y Paavali Jumppanen (piano)."Grabación en directo 👏👏👏 📌 ¡¡Síguenos en Telegram: https://t.me/historiasparaserleidas y participa en el sorteo que he preparado ❗️ 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas 📌Súbete a nuestra nave y disfruta de contenido exclusivo solo para ti, pulsa el botón azul APOYAR y serás un tabernero galáctico desde 1,49€ al mes. Gracias por tu apoyo. ¡¡Hasta el próximo audio!! 🚀 (｡◕‿◕｡) Título original: As Grandes Cartas de Amor ❣️ Elizabete Agostinho. Traducción: Paz Pruneda. Libro en Amazon: https://amzn.to/3Lbm0Vl ANTERIOR CARTA: De Virginia Woolf para Leonard Woolf: ✍️https://go.ivoox.com/rf/107020332 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Two friends and academics recap classic literature and take it off its pedestal. In our twenty-ninth episode, we answer the age-old question, 'What if socialism were a cop?' when we look at JB Priestley's 1945 anti-capitalist (Jean-Paul Sartre knock-off) play, An Inspector Calls. Today, we put our PhDs to work like never before, have a go at CSI: Miami stingers, and yearn for sexier content.Cover art © Catherine Wu.Episode themes: Kurt Weill, 'Violin Concerto, Op. 12' performed by the Gardner Chamber Orchestra, with Corey Cerovsek on violin. Hosted on Acast. See acast.com/privacy for more information.

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In Fitcher's Bird (aka Fowler's Fowl), we join an evil wizard as he kidnaps pretty girls, takes them to his fancy pad, and puts them to the test. But this sick sorcerer get's more than he bargained for with our plucky, clucky, and crafty heroine. We talk serial killing folklore, egg metaphors, and finally dip our toes into the creepy world of the infamous Bluebeard!This episode is certified Grimm and may not be suitable for all listeners. Our competition is still in full swing too! Let us know which story you think deserves a different score and you could win some awesome prizes! Story leaderboard: https://grimmreading.podbean.com/p/2020-competition-story-scores/ Pook Press bookshop: http://ow.ly/7VRY50Bau0z  Twitter Facebook Instagram Patreon grimmreadingpodcast@gmail.com Theme music: Bicycle Waltz by Goodbye Kumiko Other Music: Beethoven's sonata for violin and piano No. 7 in C minor, Op. 30, No. 2, Finale, performed by Corey Cerovsek (violin) and Paavali Jumppanen (piano) // Jules Massenet's Toccata, performed Jean Dube // Bach's Toccata and Fugue in D Minor, performed by Paul Pitman

Inizia con Michele Pozzo la rubrica podcast “I Senior di ELSA”. Classe 1993. Socio Fondatore ELSA Perugia Con questi appuntamenti, cercheremo di conoscere meglio coloro che sono stati officer ELSiani e che ora sono ormai immersi nel mondo del lavoro. Cercheremo di capire come ELSA ha influito nei loro obiettivi professionali e quali sono stati i loro percorsi! Sono state usate le seguenti musiche: Clarinet Concerto in A major, K. 622 - I. Allegro di Wolfgang Amadeus Mozart. Eseguita da Bruce Edwards e rilasciata con licenza Attribuzione - Condividi allo stesso modo 3.0 Unported (CC BY-SA 3.0). Fornita da musopen.org. Violin Sonata no. 23, K. 306 di Wolfgang Amadeus Mozart. Eseguita di Corey Cerovsek e rilasciata con licenza Attribuzione - Non commerciale - Non opere derivate 3.0 Unported (CC BY-NC-ND 3.0). Fornita da musopen.org. La sigla è tratta dal secondo movimento della Sonata per pianoforte n. 30, op.109 di Ludwig van Beethoven.

Decapitation, magical singing birds, and human black puddings – it can only be the long-awaited story 'The Juniper Tree'.After we read the story, we discover what Björk, the bible, and a painter named Philipp have to do with it all. TwitterFacebookInstagram grimmreadingpodcast@gmail.com Theme music: Bicycle Waltz by Goodbye Kumiko Other music: Beethoven's Violin Sonata No. 5 in F Major, Op. 24 "Spring" by Corey Cerovsek, (violin) & Paavali Jumppanen (piano) // Chopin's Opus 10, No. 7, Twelve Grand Etudes C Major performed by Martha Goldstein

durée : 01:00:22 - Chacun cherche sa croix - par : Lionel Esparza - En direct et en public depuis l'Hôtel Bedford - réalisé par : Antoine Courtin

It's a Mozart Birthday Celebration - three fabulous peformances from our WGBH/WCRB Studios: Mozart: Violin Sonata in E minor, K. 304, with Corey Cerovsek, violin; Jeremy Denk, piano Mozart: Exsultate Jubilate, Part II, "Tu Virginum Corona" with soprano Kristen Watson and the Acadia Players Mozart: Sonata for two pianos in D major, K. 448, with pianists Alexander Korsantia and Yelena Beriyeva Recorded at WGBH's Studio One (January 27, 2006) and WCRB’s Fraser Performance Studio (October 3,  2012 and March 24, 2009)

Works for piano, violin and chamber orchestra performed by pianist Gleb Ivanov, violinist Corey Cerovsek, and the Gardner Chamber Orchestra.Johann Strauss II (arranged by Grünfeld and Ivanov): Die FledermausKurt Weill: Violin ConcertoMost of us who know the music of Kurt Weill think of him as an important, if somewhat atypical, composer of musical theatre, the writer of such dark show tunes as “Mack the Knife” from The Threepenny Opera. But before he set to work revolutionizing music theatre with Bertolt Brecht, Weill was a pupil of one of Europe’s most famous composers, and he wrote a few pieces in more typical classical forms, one of which—his violin concerto—we’ll hear today.We begin with a little amuse bouche: an arrangement by Grünfeld of themes from Johann Strauss’s Die Fledermaus performed and further embellished by Gleb Ivanov. Grünfeld was a gifted pianist who worked for many years in the Austrian Imperial Court. His composition was mostly limited to virtuosic works for his own instrument, and he had a particular penchant for Strauss transcriptions. In this performance, Ivanov puts his own stamp on the piece, which is perhaps a bit musically fluffy, but devilishly challenging technically.

Works from the 20th century performed by New York Festival of Song, violinists Corey Cerovsek and Lucy Stoltzman, pianist Jeremy Denk, and clarinetist Richard Stoltzman.Charles Ives: LargoIrving Berlin: "You’d Be Surprised"Leon Kirchner: Sonata Concertante for Violin and PianoThis week’s podcast roams far and wide across the 20th century, featuring a lovely little trio by Charles Ives, a little-known song by Irving Berlin, and an engrossing duo sonata by Leon Kirchner.We begin with the Ives, performed by a wonderful trio of players: clarinetist Richard Stoltzman, violinist Lucy Stoltzman, and pianist Jeremy Denk. A reworking of a piece Ives had composed for violin and piano back in 1901, the trio has a beautiful, languid, evocative atmosphere, with harmonies that were quite modern for 1901.Written some 18 years later, Irving Berlin’s song “You’d Be Surprised” is still rooted squarely in traditional tonality, but with a clever, cheeky lyric that is provocative enough on its own. We’ll hear the song performed by artists from the New York Festival of Song: soprano Anne-Carolyn Bird and pianist Steven Blier, the festival’s artistic director.Finally, we’ll close with a piece from a few decades later: Leon Kirchner’s Sonata Concertante for Violin and Piano, performed by violinist Corey Cerovsek and pianist Jeremy Denk.

Works for solo cello, and violin and piano duo performed by cellist Colin Carr, violinist Corey Cerovsek, and pianist Paavali Jumppanen.Bach: Cello Suite No. 3 in C Major, BWV 1009Beethoven: Violin Sonata No. 2 in A Major, Op. 12, No. 2Sometimes, what isn’t there is just as important as what is. It’s a concept that carries across multiple artistic forms—in the visual arts, we call it negative space; in music, it’s rest. In this episode, we examine two pieces that take different approaches to this “negative space.” First, Bach’s third cello suite. There are many reasons the cello suites number among Bach’s most incredible achievements, but his use of implied harmony is surely among the most remarkable. While he does include some multiphonics (two notes sounded simultaneously), more often he relies on the solo lines to suggest the contours of the harmonies—giving us just enough information that our ears fill in the harmonies. In Beethoven’s playful second violin sonata, the instruments switch places after the first iteration of the theme, with the violin playing the melody—only to pass it off to the piano a few bars later. This back-and-forth continues until the very end of the sonata. Keep your ears open—we won’t give away the surprise, but suffice it to say the playful one-upmanship keeps up right through the final bar.

Works for solo piano, and violin and piano duo, performed by pianist Paavali Jumppanen and violinist Corey Cerovsek.Beethoven: Piano Sonata No. 3 in C Major, Op. 2, No. 3Beethoven: Violin Sonata No. 8 in G Major, Op. 30, No. 3The image that comes to mind when thinking of Beethoven is probably a stern-faced, wild-haired man, deep in existential angst. But one of Beethoven’s great inspirations, particularly in his early days, was Haydn, that famously jocular father of the string quartet. Today’s we’ll hear that lighter, “Haydn-esque” side of Beethoven through two of his chamber works.

Works for violin and piano duo, and solo piano, performed by violinist Corey Cerovsek and pianist Paavali Jumppanen.Beethoven: Violin Sonata No. 10 in G Major, Op. 96Beethoven: Sonata in C minor, Op. 111Revered as he is, it’s easy to think of Beethoven as somehow staid and a bit predictable. It’s easy to forget just how surprising his music can be. Written when Beethoven was struggling to find love and was just about to begin writing his heavier late works, this sonata is surprisingly serene, with singing, lyrical melody more or less throughout, interrupted only briefly by a more spirited third-movement Scherzo and a fleet little coda to bring it to a close. Then, we’ll hear Beethoven’s last piano sonata. The first movement is in C minor, the same key Beethoven used for the famously stormy Fifth, and it has that same moody, tempestuous feel. Suddenly, though, in the second movement, we find ourselves in C major, with the introduction of an incredible, beautifully simple chorale-like theme. From here, Beethoven proceeds through a set of variations, leading the listener ever deeper into the piece.

Beethoven: Violin Sonata No. 4 in A minor, Op. 23 (March 14, 2004)Beethoven: Violin Sonata No. 9 in A Major, Op. 47 ("Kreutzer") (October 12, 2003)The “Kreutzer” Sonata is loved by audiences for its thrilling range of emotions and displays of technical daring. For violinists, though, the piece is extremely difficult. Beethoven was urged to write the piece by English violinist George Bridgetower, and the two played the premiere together. Beethoven was so thrilled with Bridgetower’s playing that he actually ran across the stage to embrace him in between movements in the middle of the concert. Elated with their successful debut, Beethoven dedicated the piece to Bridgetower after the recital. Later that evening, though, Bridgetower made a disparaging remark about a woman Beethoven knew. Enraged, Beethoven withdrew the dedication, instead dedicating the piece to Rudolphe Kreutzer, a famous Parisian violin virtuoso, giving the sonata the name it’s had ever since. Ironically, though, Rudolphe Kreutzer never actually performed the “Kreutzer” sonata. Upon receiving the manuscript in Paris, he declared the piece impossible to play. In this program, we’ll hear violinist Corey Cerovsek prove him wrong.

Mozart: Violin Sonata No. 21, K. 305 (January 29, 2006)Mozart: Sinfonia Concertante for violin and viola, K. 364 (January 29, 2006)Join us for two performances celebrating the 250th birthday of music’s most notorious prodigy, Wolfgang Amadeus Mozart. These concerts, recorded live during our Mozart Marathon in January of 2006 , feature some of our favorite soloists as well as the Gardner Chamber Orchestra, the museum’s resident ensemble. To start, violinist Corey Cerovsek and pianist Jeremy Denk perform Mozart’s delightful violin sonata in E minor. Then, Corey is joined by violist Kim Kashkashian and the Gardner Chamber Orchestra for a fiery rendition of Mozart’s violin-versus-viola showdown, his Sinfonia Concertante. Mozart himself was a violist, like our Music Director (and violist) Scott Nickrenz. Perhaps when he wrote this piece he was trying to settle the age-old rivalry between violists and violinists. Mozart challenges the technical boundaries of both instruments and asks the question: can a violist keep up with a violinist? Can a violist keep up with a violinist?