Podcasts about Digital Concert Hall

For those looking for an example of a life lived with both artistic excellence and personal richness, oboist Christoph Hartmann is an inspiring model. A member of the Berlin Philharmonic since 1992, Christoph is not only a world-class orchestral musician but also a sought-after soloist and chamber player. He teaches at the Freiburg Musikhochschule, where he now lives, regularly commuting to Berlin for performances with the Philharmonic.Outside of his musical career, Christoph is deeply involved in endurance sports—he has run around 40 marathons and is an avid cyclist. His passion for biking even led him to create his own line of bicycles, Pasulli bikes, as well as open a bike shop. With a schedule this full and diverse, Tony was eager to learn how Christoph balances it all—and that's exactly what this wide-ranging conversation explores.In Part 1, Christoph reflects on his time with the Berlin Philharmonic, sharing how the orchestra has evolved over the decades and offering insight into the leadership and influence of conductors Claudio Abbado, Simon Rattle, and Kirill Petrenko. He also talks about the experience of performing for the Philharmonic's Digital Concert Hall and whether those streamed performances come with added pressure. The conversation turns to the ever-present topic of reeds and their impact on oboe playing, as well as how he manages his time between teaching in Freiburg and performing in Berlin. Christoph also shares how his interest in long-distance running and biking fits into his musical life, and we wrap up the first part with a look at the Mozart Oboe Concerto video he recorded for the YouTube Symphony.[Subscriber Content] Part 2 begins with a thoughtful discussion about Christoph's personal motto—“live your dreams”—and how he balances that ideal with the practical demands of his life. Given how many passions he juggles, Tony asks how he determines his priorities and maintains focus. Christoph also offers his perspective on the differences between German and American styles of oboe playing. The conversation then travels back to his early days on the instrument, culminating in the story of his audition for the Berlin Philharmonic. The episode concludes with his reflections on why the Mozart Oboe Concerto continues to be an ideal first-round audition piece for aspiring orchestral players.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.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!

Er war viele Jahr Solo-Trompeter der Berliner Philharmoniker, spielt heute bei Pro Brass und ist Professor an der Universität der Künste in Berlin. Gábor Tarkövi gehört zu den besten Trompetern weltweit und ist heuer Woodmaster am Woodstock der Blasmusik. Für ihn eine ungewohnte, aber dennoch reizvolle Aufgabe wie er im Podcast erklärt. Außerdem erzählt der gebürtige Ungar über seine Auftritte als Kind bei Hochzeiten, über die Einführung der Digital Concert Hall und was er heute nach seiner Orchester-Karriere besonders genießt.

Gábor Tarkövi is one of the most revered and respected trumpet players of his generation. He began his career as co-principal trumpet with the  Württemberg Philharmonic, then was principal trumpet of the Berlin Symphony Orchestra, followed by principal trumpet with the Bayern Radio Symphony Orchestra. Finally, from 2004-2019 he was principal trumpet with the Berliner Philharmoniker. In addition to his solo and chamber music appearances around the world, he is Professor of Trumpet at the Berlin University of the Arts.In order to find out more about the mindset of such a great orchestral musician, I ask Gábor about how he approaches four of the main excerpts in the orchestral literature for trumpet... the openings for both the Mahler Fifth Symphony and Mussorgsky/Ravel's Pictures at an Exhibition, the Ballerina's Dance from Petroushka, and Bartok's Concerto for Orchestra. We end part one with a discussion of the Berlin Philharmonic's Digital Concert Hall, and how he deals with nerves for those broadcast concerts.

Die Siebente gilt als Gustav Mahlers rätselhafteste Symphonie. Kirill Petrenko dirigiert das Werk demnächst bei den Salzburger Festspielen. Neugierige können in der Digital Concert Hall der Berliner Philharmoniker schon am 26. August „spionieren“, wie dieses Konzert werden wird. Und sich im „Presse“-Musiksalon darauf vorbereiten: Wilhelm Sinkovicz beweist, wie faszinierend Mahlers Klangwelt sein kann und wie sich ihre Rätsel lösen lassen.

Im Podcast Handelsblatt Disrupt spricht Chefredakteur Sebastian Matthes jede Woche mit CEOs, Gründerinnen und Vordenkern über den Wandel der Wirtschaft, Disruptionen und Innovationen. In der neuen Folge, kurz vor Pfingsten, geht es um Innovationen in einem ganz besonderen Feld: In der Musik. Gast im Podcast ist Olaf Maninger, Solo-Cellist der Berliner Philharmoniker und Mitinitiator der Digital Concert Hall, die Konzerte des Spitzenorchesters in die ganze Welt überträgt. Mit Maninger spricht Matthes über Innovationen in der Musik, warum viele Menschen Talent überschätzen – und was Führungskräfte von Orchestern lernen können: „Das einzigartige Projekt, das entstehen soll, kann nur entstehen, wenn alle miteinander an derselben Idee arbeiten, aufeinander hören, miteinander kommunizieren und eine Leitung haben, die diese Kommunikation auf beste Art und Weise führt“, sagt Maninger. Es war auch ein nachdenkliches Gespräch, denn der Musiker macht sich Sorgen um die Zukunft der Musik. Früher seien Musiksäle, Opern, Theater und Kirchen die Orte, um Menschen kulturell zu erreichen – heute sind es die neuen Medien. „Diese Konkurrenz macht es der klassischen Musik nicht leicht“, sagt er – und räumt ein, dass Orchester ihre antiquierten Strukturen ablegen und sich modernisieren müssten. Und er kritisiert in sehr deutlichen Worten auch moderne klassische Musik: Die Branche hechle dem Dogma hinterher, immer etwas Neues erfinden zu müssen und nichts umsetzen zu dürfen, „das schon mal da war“. Das könne nicht funktionieren, „weil alles schon mal da war“. Komponisten früherer Zeiten sei es viel mehr gelungen, die Emotionen des Publikums anzusprechen. Um nicht bedeutungslos zu werden, sollten kulturelle Institutionen den Zuhörerinnen und Zuhörern helfen, die komplexen Musikstücke zu verstehen. „Man kann mit zehn Minuten Aufwand dem Publikum die Schlüsselessenzen mitgeben“, sagt Maninger, und sie auf diese Weise emotional berühren. Der Musiker gibt außerdem Tipps, wie Menschen, deren Job sich häufig auf der Bühne abspielt, mit Druck umgehen können – sein Fazit: Abläufe, die Nervosität auslösen, jeden Tag einstudieren. Und – so banal es klinge: Sich auf das Wesentliche - das Musikstück, den Vortrag oder die Moderation - zu konzentrieren. *** Das exklusive Abo-Angebot für Sie als Handelsblatt Disrupt-Hörerinnen und Hörer: https://www.handelsblatt.com/mehrwirtschaft

Berlin ist auch als Klassikstadt weltoffen und bunt. Weil Berlin die klassische Musik für jeden zugänglich macht. Weil es in der Philharmonie keinen Dresscode gibt, die Karten günstiger sind als in vielen anderen Städten und vielleicht auch, weil sich hier niemand elitär gibt, obwohl die musikalische Elite der Welt auf den Konzertbühnen zu erleben ist. Wenn wir von klassischer Musik in Berlin reden, dann reden wir von den Berliner Philharmonikern, der Staatskapelle, dem Deutschen Symphonie-Orchester Berlin, dem Konzerthausorchester, dem Rundfunk-Sinfonieorchester, dem Orchester der Deutschen Oper Berlin und dem der Komischen Oper Berlin. In dieser Episode treffen wir einen Mann, der die großen Berliner Orchester, nahezu jedes Konzerthaus in Berlin und noch so vieles mehr über Jahre in sich eingesaugt und ganz wunderbare Artikel dazu verfasst hat. Frederik Hanssen, Redakteur im Feuilleton des Tagesspiegels. Außerdem haben wir die Möglichkeit, mit der Geigerin Maja Avramovic zu sprechen. Sie ist seit 1994 bei den Berliner Philharmonikern in der ersten Geigengruppe, zudem kammermusikalisch tätig und natürlich mit allen Sinnen Musikerin. Herzlich Willkommen zur dritten Episode Berlin Unboxed, dem Podcast von visitBerlin. Unsere Gäste: Frederik Hanssen, seit 1998 Redakteur für klassische Musik beim „Tagesspiegel“ Maja Avramovic, seit 1994 bei den Berliner Philharmonikern in der ersten Geigengruppe Nützliche Links: Artikel und Kritiken von Frederik Hanssen Die Musikerin Maja Avramovic In unserem visitBerlin Veranstaltungskalender finden Sie einen Überblick über das aktuelle Konzert- und Musikgeschehen in Berlin Hier finden Sie das aktuelle Programm der Berliner Philharmoniker Hier geht es zur Digital Concert Hall der Berliner Philharmoniker Mehr zur Philharmonie in Berlin finden Sie auf visitBerlin Und mehr über die demokratische Wahl des Chefdirigenten durch die Philharmoniker selbst lesen Sie in unserem visitBerlin Blog Die Musik in unserem Podcast Hector Berlioz: Ausschnitt aus Symphonie fantastique, Berliner Philharmoniker, Claudio Abbado Kyle Preston „The People“ Mit der Berlin WelcomeCard habt ihr freie Fahrt mit Bus und Bahn in Berlin und erhaltet Ermäßigungen bei über 180 Attraktionen Team & Credits: Konzept & Inhaltliche Leitung: Josefine Köhn-Haskins Thematische Mitarbeit & Konzeption der Folge: Kristin Buller Moderation & Produktion: Michael Kümritz, Audio4Future visitBerlin Co-Host: Josefine Köhn-Haskins Intro- und Outro-Klänge: Kids of the Ironic Age Coverfoto: Artfully Media, Sven Christian Schramm

Rosemary and Mikah checkout apps that support iOS 15.1's new SharePlay feature. Apple TV+ Kahoot! Play & Create Quizzes CARROT Weather Flow: Sketch, Draw, Take Notes Digital Concert Hall Vinyls Piano with Friends Night Sky News Apple Fitness+ to expand to fifteen new countries on November 3 Apple News expands local news coverage to three new cities in the US Apple sets Apple Watch Activity Challenge for Veterans Day in November Everything New in iOS 15.2: App Privacy Report and Auto Call Updates Shortcuts Corner Oliver wants to create a shortcut for concurrent alarms. Scott is looking for a way to tie his iPad's display brightness to a motion sensor in the room. Feedback & Questions Jamie would like to have custom Home Screens for each Focus Mode that share some apps. Garrett is trying to consolidate all of his contacts from different accounts and remove duplicates. App Caps Rosemary's App Cap: Just Press Record Mikah's App Cap: Textcraft Hosts: Mikah Sargent and Rosemary Orchard Download or subscribe to this show at https://twit.tv/shows/ios-today. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit You can contribute to iOS Today by leaving us a voicemail at 757-504-iPad (757-504-4723) or sending an email to iOSToday@TWiT.tv. Sponsors: udacity.com/TWiT code TWIT75 att.com/activearmor

Rosemary and Mikah checkout apps that support iOS 15.1's new SharePlay feature. Apple TV+ Kahoot! Play & Create Quizzes CARROT Weather Flow: Sketch, Draw, Take Notes Digital Concert Hall Vinyls Piano with Friends Night Sky News Apple Fitness+ to expand to fifteen new countries on November 3 Apple News expands local news coverage to three new cities in the US Apple sets Apple Watch Activity Challenge for Veterans Day in November Everything New in iOS 15.2: App Privacy Report and Auto Call Updates Shortcuts Corner Oliver wants to create a shortcut for concurrent alarms. Scott is looking for a way to tie his iPad's display brightness to a motion sensor in the room. Feedback & Questions Jamie would like to have custom Home Screens for each Focus Mode that share some apps. Garrett is trying to consolidate all of his contacts from different accounts and remove duplicates. App Caps Rosemary's App Cap: Just Press Record Mikah's App Cap: Textcraft Hosts: Mikah Sargent and Rosemary Orchard Download or subscribe to this show at https://twit.tv/shows/ios-today. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit You can contribute to iOS Today by leaving us a voicemail at 757-504-iPad (757-504-4723) or sending an email to iOSToday@TWiT.tv. Sponsors: udacity.com/TWiT code TWIT75 att.com/activearmor

Rosemary and Mikah checkout apps that support iOS 15.1's new SharePlay feature. Apple TV+ Kahoot! Play & Create Quizzes CARROT Weather Flow: Sketch, Draw, Take Notes Digital Concert Hall Vinyls Piano with Friends Night Sky News Apple Fitness+ to expand to fifteen new countries on November 3 Apple News expands local news coverage to three new cities in the US Apple sets Apple Watch Activity Challenge for Veterans Day in November Everything New in iOS 15.2: App Privacy Report and Auto Call Updates Shortcuts Corner Oliver wants to create a shortcut for concurrent alarms. Scott is looking for a way to tie his iPad's display brightness to a motion sensor in the room. Feedback & Questions Jamie would like to have custom Home Screens for each Focus Mode that share some apps. Garrett is trying to consolidate all of his contacts from different accounts and remove duplicates. App Caps Rosemary's App Cap: Just Press Record Mikah's App Cap: Textcraft Hosts: Mikah Sargent and Rosemary Orchard Download or subscribe to this show at https://twit.tv/shows/ios-today. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit You can contribute to iOS Today by leaving us a voicemail at 757-504-iPad (757-504-4723) or sending an email to iOSToday@TWiT.tv. Sponsors: udacity.com/TWiT code TWIT75 att.com/activearmor

Rosemary and Mikah checkout apps that support iOS 15.1's new SharePlay feature. Apple TV+ Kahoot! Play & Create Quizzes CARROT Weather Flow: Sketch, Draw, Take Notes Digital Concert Hall Vinyls Piano with Friends Night Sky News Apple Fitness+ to expand to fifteen new countries on November 3 Apple News expands local news coverage to three new cities in the US Apple sets Apple Watch Activity Challenge for Veterans Day in November Everything New in iOS 15.2: App Privacy Report and Auto Call Updates Shortcuts Corner Oliver wants to create a shortcut for concurrent alarms. Scott is looking for a way to tie his iPad's display brightness to a motion sensor in the room. Feedback & Questions Jamie would like to have custom Home Screens for each Focus Mode that share some apps. Garrett is trying to consolidate all of his contacts from different accounts and remove duplicates. App Caps Rosemary's App Cap: Just Press Record Mikah's App Cap: Textcraft Hosts: Mikah Sargent and Rosemary Orchard Download or subscribe to this show at https://twit.tv/shows/ios-today. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit You can contribute to iOS Today by leaving us a voicemail at 757-504-iPad (757-504-4723) or sending an email to iOSToday@TWiT.tv. Sponsors: udacity.com/TWiT code TWIT75 att.com/activearmor

Rosemary and Mikah checkout apps that support iOS 15.1's new SharePlay feature. Apple TV+ Kahoot! Play & Create Quizzes CARROT Weather Flow: Sketch, Draw, Take Notes Digital Concert Hall Vinyls Piano with Friends Night Sky News Apple Fitness+ to expand to fifteen new countries on November 3 Apple News expands local news coverage to three new cities in the US Apple sets Apple Watch Activity Challenge for Veterans Day in November Everything New in iOS 15.2: App Privacy Report and Auto Call Updates Shortcuts Corner Oliver wants to create a shortcut for concurrent alarms. Scott is looking for a way to tie his iPad's display brightness to a motion sensor in the room. Feedback & Questions Jamie would like to have custom Home Screens for each Focus Mode that share some apps. Garrett is trying to consolidate all of his contacts from different accounts and remove duplicates. App Caps Rosemary's App Cap: Just Press Record Mikah's App Cap: Textcraft Hosts: Mikah Sargent and Rosemary Orchard Download or subscribe to this show at https://twit.tv/shows/ios-today. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit You can contribute to iOS Today by leaving us a voicemail at 757-504-iPad (757-504-4723) or sending an email to iOSToday@TWiT.tv. Sponsors: udacity.com/TWiT code TWIT75 att.com/activearmor

Der Saal ist leer, doch die Musiker proben weiter. Was passiert hinter den Kulissen von Deutschlands berühmtestem Orchester? Zwei prominente Vertreter der Berliner Philharmoniker, Intendantin Andrea Zietzschmann und Solo-Cellist Olaf Maninger, erklären, was Pandemie und Lockdown für ihr Haus und sein Ensemble bedeuten - wirtschaftlich und mental. Sie sagen: Musik lebt vom Austausch mit dem Publikum. Die Vielfalt der Musikkultur sei so bedroht wie nie. // Weitere Themen: Vordrängeln bei Corona-Impfung

Der Pianist Daniil Trifonov spielte gestern in der Digital Concert Hall der Berliner Philharmoniker Sergej Prokofjews Klavierkonzert Nr.1. Auf dem Programm standen außerdem Josef Suks Tondichtung "Ein Sommermärchen" und eine Uraufführung: "Catamorphosis" der isländischen Komponistin Anna Thorvaldsdóttir. Unser Musikkritiker Andreas Göbel war vor dem Bildschirm dabei.

Eigentlich sollten die Berliner Philharmoniker auf Tour sein, aber nun, wie zu erwarten, alles abgesagt. Dafür aber spielten Sie unter Kirill Petrenko die Achte von Dimitri Schostakowitsch einfach vor leeren Rängen, ohne Publikum, in der Philharmonie. Zu sehen war das Konzert in der Digital Concert Hall. Andreas Göbel war für uns virtuell dabei.

In der Digital Concert Hall der Berliner Philharmoniker waren gestern Mitglieder des Orchesters als Solisten zu erleben, darunter der Erste Konzertmeister Noah Bendix-Balgley, der Oboist Jonathan Kelly und die Harfenistin Marie-Pierre Langlamet. Auf dem Programm standen die drei prominentesten Komponisten des Barock – Bach, Händel und Vivaldi. Eine Konzertkritik von Andreas Göbel.

Seit fast 40 Jahren ist Daniel Stabrawa Mitglied der Berliner Philharmoniker. 1986 wurde er Erster Konzertmeister, außerdem spielt er im Philharmonia Quartett. Dem gebürtigen Krakauer war zu Pfingsten eine Hommage gewidmet, die unser Kritiker Clemens Goldberg in der Digital Concert Hall verfolgt hat.

After doing some housekeeping, Chris and Sridhar discuss the digital world of classical music before veering off into a conversation about The Nutcracker's various innovations and difficulties, eventually finding their way back on topic by talking about Spotify, YouTube, and the Berlin Philharmonic's Digital Concert Hall. Useful Links: Check out our website! Tweet us your feedback @impolitelisten Episode clips on Instagram Overcast - our recommended free podcast player for iOS Impolite to Listen playlist on Spotify Russian roulette, Nutcracker Edition The Nutcracker - Wikipedia Celesta List of compositions by Tchaikovsky Sir Simon Rattle conducts Berlin Philharmonic in The Nutcracker Sir Simon Rattle interview about The Nutcracker New York City Ballet, The Nutcracker, 2011 Gustavo Dudamel conducts LA Philharmonic in The Nutcracker San Francisco Symphony's YouTube channel Netherlands Bach Society YouTube channel Leonard Bernstein's Young People's Concerts: The Creative Performer Leonard Bernstein's Norton Lectures at Harvard Berlin Philharmonic Digital Concert Hall Claudio Abbado's Farewell Concert in Palermo Some of Sridhar's favorite Digital Concert Hall performances Digital Concert Hall social distancing

After doing some housekeeping, Chris and Sridhar discuss the digital world of classical music before veering off into a conversation about The Nutcracker’s various innovations and difficulties, eventually finding their way back on topic by talking about Spotify, YouTube, and the Berlin Philharmonic’s Digital Concert Hall. Useful Links: Check out our website! Tweet us yourContinue reading →

A pesar del actual Estado de confinamiento debido a la cuarentena por la pandemia del Covid-19, en SucDePoma no hemos querido renunciar a nuestras quedadas mensuales. En esta ocasión se ha realizado de forma virtual, a través de un chat grupal de Skype. En el turno de preguntas se consulta cuando estarán disponibles voces en catalán para el iPhone y Siri. Se comentan distintas posibilidades de audio descripción en iOS y en televisiones inteligentes (Netflix, YouTube, emisiones de canales de la TDT, AudescMobile, app Apolo, web Audiocinemateca). Se trata un problema a la hora de actualizar el Apple Watch a la última versión. Se pregunta sobre las características y disponibilidad del próximo iPhone 9. Se plantea un problema con las actualizaciones de aplicaciones de diarios, lo cual da pie a hablar de alternativas como Microsoft News, squid, o lectores RSS como Feeddler, Newsify y Lire. También se habla de cómo acceder al menú contextual en los móviles que ya no tienen pantalla con 3D touch. En cuanto a los temas expuestos, Xavi Ciscar comparte diversas aplicaciones que son de pago, pero que ahora, durante estos días de confinamiento, temporalmente son gratuitas, y que pueden ser una buena forma de sobrellevar el tedio. Juan Núñez habla sobre las actividades en Mac. Después, varios participantes presentan diversos atajos para Siri: Manuel Barragán comparte un descompresor/compresor zip, un editor de video que corta fragmentos del inicio o final de un vídeo, un extractor del audio de los vídeos, otro que inicia una grabación de audio en Voice Dream a modo de grabadora de voz automática, y finalmente, uno que borra de un plumazo de la fototeca el número de fotos que deseemos. Jaime Franco presenta un atajo para abrir páginas web con Siri, algo que desde la aparición de iOS 13 no se puede realizar con los atajos que nos sugiere Siri, y explica cómo duplicarlo para adaptarlo a todas las páginas web que deseemos. Luego muestra otro para eliminar recordatorios completados, hecho que aprovecha para explicar cómo se pueden personalizar nuestros atajos con sonidos, mensajes de Siri y vibraciones. Pedro Sánchez comparte un atajo para cuando tenemos poca batería, y que tiene 3 acciones (desactiva wifi, baja el brillo al 0% y activa el modo de bajo consumo). Luego presenta otro que anula las anteriores acciones. También comenta uno que borra el contenido del portapapeles y otro que al decir “patata” hace una fotografía. Josep Jesa explica uno que abre directamente una página en blanco en la aplicación “Pages”, pues Siri no suele entender bien el nombre de esta aplicación a la hora de abrirla por medio de la voz. También menciona uno que inicia de forma automática la grabación de un vídeo, otro para escanear códigos QR y finalmente menciona el que abre directamente el canal “Texto breve” de la aplicación Seeing AI. Francisca comenta uno para abrir la app Duolingo en inglés y otro para abrir la aplicación Moovit con la parada que tiene más cercana, de forma que puede ver rápidamente los horarios. Jose María Ortiz presenta uno para poder consultar rápidamente las últimas estadísticas de la pandemia del coronavirus en los países que se deseen. Finalmente se plantea una duda sobre las alarmas recurrentes en iPhone y otra de cómo emplear trípodes para usar el móvil en conferencias por videochat. Algunas de las aplicaciones mencionadas son: Apolo once , Audesc mobile, web audiocinemateca, Microsoft News, Lire, Squid noticias, Newsify, Feedler RSS (versión gratuita), feedler RSS Reader pro 2 (de pago), KORG iKaossilator, Digital Concert Hall de la filarmónica de berlín, Discord, TeamTalk, Launchpad, Logic Pro X de Apple para Mac.

Stuck at home with nothing to do because of the Movement Control Order? Worry not, because we're here to keep the boredom at bay. Every day, we present our special curated list of arts, culture, and entertainment that you can experience right from your own home. Today, we recommend a staging of Hamlet by the Shakespeare’s Globe. Then, we explore a few of the hundreds of performances by the Berlin Philharmonic, all of which are available on the Digital Concert Hall.

Stuck at home with nothing to do because of the Movement Control Order? Worry not, because we're here to keep the boredom at bay. Every day, we present our special curated list of arts, culture, and entertainment that you can experience right from your own home. Today, we recommend a staging of Hamlet by the Shakespeare’s Globe. Then, we explore a few of the hundreds of performances by the Berlin Philharmonic, all of which are available on the Digital Concert Hall.

In der heutigen 15. Folge des Podcasts befassen wir uns mit der Situation für Orchester. Beat Fehlmann, Intendant der Staatsphilharmonie Rheinland-Pfalz berichtet, was ein Orchester im Home Office so macht, wo für klassische Musik neben Spotify, Idagio und der Digital Concert Hall der Berliner Philharmoniker im Digitalen noch Platz ist und was die Rolle von klassischer Musik und Orchestern in und nach der Krise sein kann.

These are difficult times for many people, who are now required to stay at home. Music can help us get through this. In this "two guys not in a pub" episode, Doug and Kirk reflect on social isolation and music. Show notes: Bus-sized fatberg weighing 40 tonnes cleared from London sewer (https://www.theguardian.com/environment/2019/oct/29/bus-sized-fatberg-cleared-from-london-sewer) GrimeGran's Twitter feed (https://twitter.com/grimegran) The Dropkick Murphys - Streaming Up From Boston (https://www.youtube.com/watch?v=5j06g0TE_Ao) Royal Shakespeare Company in cinemas (https://www.rsc.org.uk/whats-on/in-cinemas/?from=ql) National Theatre Live (http://ntlive.nationaltheatre.org.uk) Dead & Company YouTube channel (https://www.youtube.com/channel/UCQJz0ly741rjN_cfsW5ktYQ) (lots of videos, including full concerts) The Rolling Stones: Four Flicks (https://amzn.to/2WJub3w) The Berliner Philharmoniker's Digital Concert Hall (https://www.digitalconcerthall.com/en/home) Alex Ross's COVID-19 live streams list (https://www.therestisnoise.com/2020/03/covid-19-live-streams.html) TJ Connelly's "Uncertain Times" streamcast (https://uncertain.fm/live/) (M-F, 10-12 ET) Rugby Meets Red Rover: Kabaddi Has Captured the Heart of India (https://www.nytimes.com/2018/10/02/sports/kabaddi-india.html) Take Control of Working from Home Temporarily (https://www.takecontrolbooks.com/working-from-home/) Our next tracks: Roger Eno and Brian Eno: Mixing Colours (https://amzn.to/33LTW4U) Freak Power: More Of Everything For Everybody (https://amzn.to/2WDx2uV) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

A few minutes in the beginning Rob shares how this pandemic is taking a toll on him, but this doesn’t need to be a downer episode! Alex and Rob talk about remote work, the pros and cons of it, and how he is adapting to teaching music online and being creative with a virtual group of people. Rob talks about his affinity for all kinds of technology that creates a sense of shared space, like Zoom, Echo Show with a faraway friend, and other tools. We ponder about how else these drastic times might create a positive culture shift. Links to specific apps and sites mentioned: Zoom Houseparty Berlin Philharmonic – Digital Concert Hall (giving free membership if signing up before March 31) IDAGIO (has free plan) *Note if you are using Spotify, they don’t support links. Either try a “real” podcast app, or visit our site: https://joshandrob.comAlso feel free to say hello to @sorrytopic on Twitter, or maybe we can all Zoom together!

Die Philharmonie Berlin wird bis zum 19. April geschlossen - als Maßnahme, um der Verbreitung des Coronavirus entgegenzuwirken. Die Berliner Philharmoniker und Sir Simon Rattle haben sich allerdings entschlossen, ihr geplantes Konzert mit Berios Sinfonia und Bartóks Konzert für Orchester trotzdem zu geben. Gestern hat es stattgefunden - ohne Publikum, exklusiv in der Digital Concert Hall. Eine Frühkritik von Clemens Goldberg.

Bassist Andreas Fischer ist Mitglied der Neuen Vocalsolisten. Trotz Corona-Krise konzertiert das Ensemble in der Berliner Philharmonie - vor leeren Rängen. Die Zusammenarbeit mit Simon Rattle und den Berliner Philharmonikern ist für die Sänger dennoch etwas ganz Besonderes. Das Konzert ist an zwei Abenden für jedermann in der Digital Concert Hall der Berliner Philharmoniker abrufbar.

Fine Music Radio — This week’s edition of People of Note was recorded in the main control room of the Berlin Philharmonic Digital Concert Hall at the Philharmonie in Berlin. This year is the 10th Anniversary of the Digital Concert Hall and their subscriptions come in from all over the world enabling people to enjoy live concerts, recorded concerts, interviews, documentaries and feature films. When I was in Berlin recently I managed to visit the impressive control room and talk to the principal sound engineer, Christoph Franke, about the project.

In this day and age, when an orchestra can broadcast its performances worldwide (as the Berlin Philharmonic does with its Digital Concert Hall), why would a group like the LA Phil pack up and lumber around the world? That question was on our minds since we just returned from a two-week international tour. Remember, when an orchestra travels, it's not just the 100-odd musicians and perhaps their spouses (and even children)! It's all their instruments as well, the music, luggage, and all kinds of other orchestral detritus. Then you've got the librarians, administrative staff, stage crew, and everyone else who makes the tour go 'round. So in this episode, we talk about the whys, and then the hows. How do you get ready for tour, how do you deal with the strange meal times, how do you adjust for the different halls? We also discuss how tour performances are different from “home base” shows, and what touring does for the orchestra musically. Don't forget, if you haven't yet picked up our free guide to evaluating violin sound, make sure you click here to get it! Transcript Nathan Cole: Hello, and welcome back to Stand Partners for Life. I am Nathan Cole. Akiko Tarumoto: I'm Akiko Tarumoto. Nathan Cole: And good to have you back. Back in the home studio here in Pasadena. We are recovering from tour. Akiko Tarumoto: Yeah, that's me being jet lagged. Sorry. Nathan Cole: You mean the long pause? Akiko Tarumoto: The long pause and glazed silence. Nathan Cole: Yeah, that's going to be the topic of this episode, all about touring. Just before we dive into it, I did want to remind all of our listeners that if you haven't got our free guide to choosing instruments or upgrading instruments, do make sure you pick that up. That's at standpartnersforlife.com/guide. I'm actually helping someone right now find a new instrument, and it's taken a lot of years and a lot of searches to come up with just how to listen to new instrument sound, unfamiliar instrument sound. You had a hand in putting that together, you've done your own searches. Akiko Tarumoto: Yeah, a few. For the most part I- Nathan Cole: We're not dealers. We're not buying and selling these things all the time. Akiko Tarumoto: Yeah, we don't have the disposable income to be high-end instrument shopping on a regular basis. Nathan Cole: But it was a really fun guide to put together and it'll give you a system, our system, for listening and evaluating. Whether you're looking for an instrument right now or not, it's just great to have a way to organize your thoughts on that. Go ahead and pick that up. Standpartnersforlife.com/guide. It's free and tons of fun, if I do say so myself. We're going to talk about tour today. Just to maybe color our conversation a little bit, I wanted to read a little something that someone wrote to us on iTunes, a review, which I'd love to read. This listener shares a lot of good thoughts. All this is in a constructive vain, but they do mention, “My only comment.” Well, this comes halfway through the comments, so it's not really their only comment. Nathan Cole: But, I think they mean the only criticism would be, “That sometimes the problems you describe regarding your playing and work-life can be seen as a little as ‘first world problems.' I believe that if you've made it to LA Phil and have this amazing job, which is rare in our profession, I would think that anyone would feel accomplished. I feel a lot of negativity coming from the outcome, almost as though all this practice brought you to a place where all the insecurities and frustrations are still the same. I'm sure that you both love what you do. Don't want to come off as though you're better than anyone else, but I hear a lot of complaining.” I think that's fair enough. I think, for me, the phrase in there that sticks out is, “Almost as though all this practice brought you to a place where all the insecurities and frustrations are still the same.” In a way, I think that's true.

In this day and age, when an orchestra can broadcast its performances worldwide (as the Berlin Philharmonic does with its Digital Concert Hall), why would a group like the LA Phil pack up and lumber around the world? That question was on our minds since we just returned from a two-week international tour. Remember, when an orchestra travels, it’s not just the 100-odd musicians and perhaps their spouses (and even children)! It’s all their instruments as well, the music, luggage, and all kinds of other orchestral detritus. Then you’ve got the librarians, administrative staff, stage crew, and everyone else who makes the tour go ’round. So in this episode, we talk about the whys, and then the hows. How do you get ready for tour, how do you deal with the strange meal times, how do you adjust for the different halls? We also discuss how tour performances are different from “home base” shows, and what touring does for the orchestra musically. Don’t forget, if you haven’t yet picked up our free guide to evaluating violin sound, make sure you click here to get it! Transcript Nathan Cole: Hello, and welcome back to Stand Partners for Life. I am Nathan Cole. Akiko Tarumoto: I’m Akiko Tarumoto. Nathan Cole: And good to have you back. Back in the home studio here in Pasadena. We are recovering from tour. Akiko Tarumoto: Yeah, that’s me being jet lagged. Sorry. Nathan Cole: You mean the long pause? Akiko Tarumoto: The long pause and glazed silence. Nathan Cole: Yeah, that’s going to be the topic of this episode, all about touring. Just before we dive into it, I did want to remind all of our listeners that if you haven’t got our free guide to choosing instruments or upgrading instruments, do make sure you pick that up. That’s at standpartnersforlife.com/guide. I’m actually helping someone right now find a new instrument, and it’s taken a lot of years and a lot of searches to come up with just how to listen to new instrument sound, unfamiliar instrument sound. You had a hand in putting that together, you’ve done your own searches. Akiko Tarumoto: Yeah, a few. For the most part I- Nathan Cole: We’re not dealers. We’re not buying and selling these things all the time. Akiko Tarumoto: Yeah, we don’t have the disposable income to be high-end instrument shopping on a regular basis. Nathan Cole: But it was a really fun guide to put together and it’ll give you a system, our system, for listening and evaluating. Whether you’re looking for an instrument right now or not, it’s just great to have a way to organize your thoughts on that. Go ahead and pick that up. Standpartnersforlife.com/guide. It’s free and tons of fun, if I do say so myself. We’re going to talk about tour today. Just to maybe color our conversation a little bit, I wanted to read a little something that someone wrote to us on iTunes, a review, which I’d love to read. This listener shares a lot of good thoughts. All this is in a constructive vain, but they do mention, “My only comment.” Well, this comes halfway through the comments, so it’s not really their only comment. Nathan Cole: But, I think they mean the only criticism would be, “That sometimes the problems you describe regarding your playing and work-life can be seen as a little as ‘first world problems.’ I believe that if you’ve made it to LA Phil and have this amazing job, which is rare in our profession, I would think that anyone would feel accomplished. I feel a lot of negativity coming from the outcome, almost as though all this practice brought you to a place where all the insecurities and frustrations are still the same. I’m sure that you both love what you do. Don’t want to come off as though you’re better than anyone else, but I hear a lot of complaining.” I think that’s fair enough. I think, for me, the phrase in there that sticks out is, “Almost as though all this practice brought you to a place where all the insecurities and frustrations are still the same.” In a way, I think that’s true.

The Berlin Philharmonic announced last week that it is launching an in-house record label, starting on May 23 with concert recordings of the complete Schumann symphonies conducted by Simon Rattle. Days later, Daniel Barenboim said that he's getting his own record label – a digital-only venture called Peral Music – which starts with the conductor's third Bruckner symphony set, recorded by the Staatskapelle Berlin. That same week, the Seattle Symphony released the first CDs in its new in-house label, consisting of music by Ravel, Saint-Saëns, Gershwin, Ives and Dutilleux, recorded in concert at its home, Benaroya Hall. The artist-led recording phenomenon has had mixed results since it took hold in the orchestra world more than a decade ago, and some observers have suggested that both Berlin and Barenboim aren't exactly showcasing neglected repertoire. But these and other ventures arrive in a shifting landscape. As major labels have retrenched or disappeared, orchestras seek new revenue streams and record sales have moved almost exclusively online. Anastasia Tsioulcas, who covers classical music for NPR Music, says in this podcast that in-house labels potentially lack the checks and balances of a traditional record company and "lead to a more myopic view of the universe." "One thing that's come up since the Berlin announcement," she added, "is 'do we need another Schumann set – or in the case of Daniel Barenboim, a third Bruckner cycle?' Is the market, is the audience really crying out a need for those things?" At the same time, Tsioulcas noted, the Internet has helped level the playing field and allowed budget-conscious orchestras to cut out the middle man in getting recordings of their performances to the public. Marc Geelhoed, who manages the Chicago Symphony house label CSO Resound, said that it's extremely difficult to avoid replicating repertoire. But a goal of any recording is to document how an orchestra sounds at a given point in time: "What we try to do is say, 'what do we do as an orchestra that's distinctive?'" CSO Resound has released 15 albums since its launch in 2007, among the most successful being a rendition of Verdi's Requiem conducted by Riccardo Muti. It won two Grammy Awards in 2011, for Best Classical Album and Best Choral Performance. Geelhoed declined to cite specific sales figures, but noted that "it has vastly exceeded the hopes and goals of selling maybe 10 to 15 thousand copies." Successful orchestra-led labels are designed to build an organization's brand, not make a profit, said Matt Whittier, the senior marketing manager at Naxos of America. And while digital sales grow, orchestras must also think about "merch sales" – using CDs as souvenirs for patrons to pick up as they're leaving the hall. "Those audience members would like to walk away with a tangible memento of a concert," he noted. "It's very possible that we can chart a record from the sales of one concert or one weekend of concerts for an artist." While orchestras in Chicago, San Francisco and London have maintained a steady recorded presence, other in-house labels have faltered because they lack sufficient marketing and distribution, say all three guests in this podcast. The Berlin Philharmonic should benefit from having a distribution platform already in place with its Digital Concert Hall. It just shouldn't expect to make lots of money. "An orchestra with its own record label in this day and age is about creating memories," said Geelhoed. "It's not just the here and now...but that an album's going to be around." Listen to the full segment above and tell us what you think in the comments box below. Do you buy orchestra-produced recordings? Do you care if an ensemble is recording the same repertoire over again?