Podcasts about dittersdorf

durée : 00:14:48 - Le Disque classique du jour du jeudi 26 décembre 2024 - Pour son nouvel album, le Quatuor Bennewitz réinvente une soirée de quatuor à Vienne en 1784 où étaient réunis Mozart, Haydn mais aussi Jan Křtitel Vaňhal et Karl Ditters von Dittersdorf : l'occasion de mettre en regard ces différents compositeurs !

durée : 00:14:48 - Le Disque classique du jour du jeudi 26 décembre 2024 - Pour son nouvel album, le Quatuor Bennewitz réinvente une soirée de quatuor à Vienne en 1784 où étaient réunis Mozart, Haydn mais aussi Jan Křtitel Vaňhal et Karl Ditters von Dittersdorf : l'occasion de mettre en regard ces différents compositeurs !

+++ Keine Einigung zu Mehrheiten bei Brombeer-Koalition +++ Greiz: Arbeitspflicht für Asylbewerber durchgesetzt +++ Mehrere Unfälle auf A9 bei Dittersdorf +++

SynopsisOh, to have been in Vienna on today's date in 1785! Wolfgang Mozart had just finished a new piano concerto a week earlier and quite likely performed it himself for the first time as an intermission feature at a performance of the oratorio Ester, by Karl Ditters von Dittersdorf, conducted by Antonio Salieri.Now wouldn't that have made for a good scene in the movie Amadeus?Fast forward 11 years for another memorable concert at the Theater an der Wien, when on today's date in 1806, it was Beethoven's turn to premiere one of his new concertos in Emanuel Schikaneder's Viennese theater. Alongside works of Mozart, Méhul, Cherubini and Handel, Beethoven's Violin Concerto was introduced to the world, with Franz Clement as the soloist.Beethoven's friend Czerny recalled that Clement's performance was greeted with “noisy bravos.”But a contemporary Viennese music critic wrote: “While there are beautiful things in the concerto … the endless repetition of some commonplace passages could prove fatiguing.” The reviewer's final assessment? “If Beethoven pursues his present path, it will go ill with him and the public alike.”Music Played in Today's ProgramWolfgang Mozart (1756-1791) Piano Concerto No. 22; Mitsuko Uchida, piano; English Chamber Orchestra; Jeffrey Tate, cond. Philips 420 187Wolfgang Mozart (1756-1791) Magic Flute Overture; Zurich Opera House Orchestra; Nikolaus Harnoncourt, cond. Teldec 95523Ludwig van Beethoven (1770-1827) Violin Concerto; Anne-Sophie Mutter, violin; New York Philharmonic; Kurt Masur, cond. DG 471 349

Episode 108 The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium, part 1 Playlist Oskar Sala, “Demonstration” from My Fascinating Instrument (1990 Erdenklang). Demonstration of the Mixtur-Trautonium by Sala, providing a sampling of the many various effects that he could create in real-time without magnetic tape tricks. In addition to the audio track, here is a terrific video from 1993 showing Sala playing the newer, fully transistorized version of the Mixtur-Trautonium in his home studio. Note the dexterity needed to press the little “tongues” of the instrument and press them from side to side to enable note expression. If you were only listening, you would assume that he was playing a keyboard. This view reveals why playing the instrument was quite different than any other. There are, of course, many other videos available showing Sala and his instrument over the years. But I thought this one illustrated the performance aspects of the Mixtur-Trautonium that make it a remarkable, and unique, electronic music instrument. 7:14. Paul Hindemith, Oskar Sala, “7 Triostücke Für 3 Trautonien (1930) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Oskar Sala of one of the very first concert pieces composed for the original Trautonium. This later performance from 1977 used the Mixtur-Trautonium and multi-tracking of Sala as he performed all three parts of this trio. In 1930, the other two players on the three Trautoniums were Paul Hindemith and Rudolph Schmidt. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 1:21. Paul Hindemith, Oskar Sala, “Konzertstück Für Trautonium Mit Begleitung Des Streichorchesters (1931) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Sala at the Mixtur-Trautonium. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 3:02. Harald Genzmer with Oskar Sala, “Konzert Für Trautonium Und Orchester” (1938-39) (excerpt) (1942 DGG). Early performance of this work for the Concert Trautonium, performed by Sala and composed by Genzmer. Performed by the Städtisches Orchester Berlin under the direction Helmuth Thierfelder. The complete work was in the vicinity of 30 minutes long. 7:00. Paul Hindemith, Oskar Sala, “Langsames Stück Und Rondo Für Trautonium” (1935) from Subharmonic Mixtures (1997 Erdenklang). A newer performance by Sala of this early work by Hindemith. Originally written for the Radio Trautonium, this version was performed on the Mixtur-Trautonium. This was recorded in 1985. 5:29. Oskar Sala, Großes Tanzorchester, Frank Fux, “Bezaubernde Melodien” (1941 Telefunken). This German popular music disc features an early solo by Sala using the Concert Trautonium. You can hear its distinctive melodies, reminiscent of a flute or clarinet, but clearly different. 2:56. Oskar Sala, “Poor Hansi” (1943). This animated short film included a singing canary, the voice of which was provided by Oskar Sala using the Concert Trautonium. The instrument also provided some miscellaneous sound effects such as the squeaking cage door. 3:04. Fritz Kreisler, Oskar Sala, “Scherzo im Stile von Carl Ditters von Dittersdorf” (1946) from Das Konzertrautonium Wandlungen (2011 Der Trautonist). Concert Trautonium, Oskar Sala; piano, Gerhard Schael. This recent recording (not Sala) was made in 2011 using the third incarnation of the Trautonium, the Concert Trautonium (1938). 3:29. Oskar Sala, “A Fleur D´eau ( In wechselndem Gefälle)” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:22. Oskar Sala, “Der Fluch Der Gelben Schlange” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:39. Oskar Sala, “Intro, The Birds” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). This UK collection features the electronic sounds created for the film by Oskar Sala on the Mixtur-Trautonium. Occationally, you may hear some ambient bird sounds in the soundtrack mix, but the truly eerie, intimidating bird sounds are those produced by Sala. An original “soundtrack” was never released at the time primarily because, despite the popularity of the movie, no music was orchestrated for the movie other than the eerie electronic music sounds of birds created by Oskar Sala. 1:33. Oskar Sala, “Bird's Attack/After Explosion” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 2:01. Oskar Sala, “The Crows Again/Annie Is Dead” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 0:35. Oskar Sala, “The End” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 4:26. Henrich Heine, Oskar Sala, excerpts from “Denk Ich An Deutschland - Eine Politische Reportage Über "Deutschland - Ein Wintermärchen" (1966 Electrola). Sala contributed music and sound effects made on the Mixtur-Trautonium for this drama production. 4:41. Oskar Sala, “Rede Des Toten Christus Vom Weltgebäude Herab, Dass Kein Gott Sei” (1986) from My Fascinating Instrument (1990 Erdenklang). Mixtur-Trautonium, Oskar Sala; narrator, Friedrich Schönfelder; words, Jean Paul (1797). 12:52. Opening background music: Oskar Sala, “Fantasie-Suite In Drei Sätzen Für Mixturtrautonium Solo” from My Fascinating Instrument (1990 Erdenklang). Composed, Performed on the Mixtur-Trautonium and produced by Oskar Sala. 10:38. Timeline of the Trautonium This timeline shows the evolution of the Trautonium and Mixtur-Trautonium, all played by Oskar Sala (1910-2002). 1929-30: Trautonium (Friedriech Trautwein). One manual. 1935: Radio-Trautonium. Two manuals, two pedals. 1938: Konzerttrautonium (Concert Trautonium, a portable model. Two manuals, two pedals. 1952: Mixturtrautonium (Mixtur-Trautonium). Two manuals, two pedals. 1988: Micro-Electronic Mixtur-Trautonium (transistorized model). Two manuals, two pedals. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

SynopsisOn today's date in 1785, Wolfgang Amadeus Mozart dedicated six of his string quartets to his friend and older colleague, Joseph Haydn. Earlier that year, Haydn heard some of them performed in Vienna. Leopold Mozart, Wolfgang's father, was also present, and must have been elated when Haydn said, “Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name.”Mozart's quartets were published by the Viennese firm Artaria and generated some much-needed income for Wolfgang. Whether they made money for their publisher as well is another matter. Three years later, one of Mozart's lesser contemporaries, Karl Ditters von Dittersdorf, offered Artaria six of HIS string quartets at the same price they paid Mozart, with a note that read, “I am certain you will do better with MY quartets than you did with Mozart's, which deserve the highest praise, but which, because of their overwhelming and unrelenting artfulness, are not to EVERYONE's taste.”Apparently Mozart's quartets were deemed too “brainy” for public taste. Well, Dittersdorf may have sold better in the 1780's, but these days performers and audiences find Mozart's “unrelenting artfulness” more to their taste than Dittersdorf's sugary confections.Music Played in Today's ProgramWolfgang Amadeus Mozart (1756 - 1791) String Quartet in G, K.387 Emerson String Quartet DG 439 861Carl Ditters von Dittersdorf (1739 - 1799) String Quartet No. 4 in C Gewandhaus Quartet Berlin Classics 9261

Nuestra tercera visita a las sinfonías creadas por autores austriacos nos lleva a las partituras de 3 grandes compositores que ya han sonado en esta serie: Bruckner, Schubert y Franz Joseph Haydn. En cuanto al gran W. A. Mozart, hoy le vamos a dejar descansar para que entre en las rotaciones un autor de gran nivel y a quien se le atribuyen entre 120 y 210 sinfonías, Carl Ditters von Dittersdorf. Así, abarcaremos unos 100 años de diferencia entre las 2 piezas más clásicas y el post-romanticismo de finales del siglo XIX de Anton Bruckner. Carlos y Mario (que casi se carga su propio ordenador por no saber beber), charlan animadamente mientras escuchan las 4 piezas protagonistas de esta nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

17th-21st CenturiesWe hear works by Alfonso Ferrabosco The Younger, Johann Schmelzer, Jean Guilain, Carl Ditters von Dittersdorf, Ferdinand Hérold, Peter Heise, Joseph Canteloube, and Stephen Hartke.138 Minutes – Week of 2022 July 25

In the olden days, it was common to have a name inspired by your career, class status, or place of birth. But what else can a name tell you about someone? Maybe their wealth, favourite food, or species...? In this episode Zara creates biographies of lesser known composers based only on their, very interesting, names.Hildegard von Bingen: http://www.youtube.com/watch?v=Ei88J4lERbk&t=111sErich Wolfgang Korngold: http://www.youtube.com/watch?v=PDyjPB_AEBUKarl Ditters von Dittersdorf: http://www.youtube.com/watch?v=ymc99Gd7YY8Engelbert Humperdinck: http://www.youtube.com/watch?v=9n85kl5qQLcGeorge Butterworth: http://www.youtube.com/watch?v=AFgDOBpx160

Zenélő szintek a műsor, hogyan lehet a hétvégén ismert zenészek leveleit, naplóit vagy jegyzeteit idézni meg. Ezeken keresztül nem csak hozzájuk, hanem ahhoz a korhoz is közelebb kerülünk ahol ők éltek és alkottak. A negyedik adás főszereplője Carl Ditters von Dittersdorf zeneszerző. Műsorvezető: Bősze Ádám

Oh, to have been in Vienna on today’s date in 1785! Wolfgang Mozart had just finished a new piano concerto a week earlier, and quite likely performed it himself for the first time as an intermission feature at a performance of the oratorio “Ester” by Karl Ditters von Dittersdorf conducted by Antonio Salieri. Now wouldn’t that have made for a good scene in the movie “Amadeus?” Fast forward 11 years for another memorable concert at the Theater an der Wien, when on today’s date in 1806, it was Beethoven’s turn to premiere one of his new concertos in Schikaneder’s Viennese theater. Alongside works of Mozart, Méhul, Cherubini, and Handel, Beethoven’s Violin Concerto was introduced to the world, with Franz Clement as the soloist. Beethoven’s friend Czerny recalled that Clement’s performance was greeted with “noisy bravos,” but a contemporary Viennese music critic wrote, “while there are beautiful things in the concerto … the endless repetition of some commonplace passages could prove fatiguing.” The reviewer’s final assessment? “If Beethoven pursues his present path, it will go ill with him and the public alike.”

Oh, to have been in Vienna on today’s date in 1785! Wolfgang Mozart had just finished a new piano concerto a week earlier, and quite likely performed it himself for the first time as an intermission feature at a performance of the oratorio “Ester” by Karl Ditters von Dittersdorf conducted by Antonio Salieri. Now wouldn’t that have made for a good scene in the movie “Amadeus?” Fast forward 11 years for another memorable concert at the Theater an der Wien, when on today’s date in 1806, it was Beethoven’s turn to premiere one of his new concertos in Schikaneder’s Viennese theater. Alongside works of Mozart, Méhul, Cherubini, and Handel, Beethoven’s Violin Concerto was introduced to the world, with Franz Clement as the soloist. Beethoven’s friend Czerny recalled that Clement’s performance was greeted with “noisy bravos,” but a contemporary Viennese music critic wrote, “while there are beautiful things in the concerto … the endless repetition of some commonplace passages could prove fatiguing.” The reviewer’s final assessment? “If Beethoven pursues his present path, it will go ill with him and the public alike.”

On today’s date in 1785, Wolfgang Amadeus Mozart dedicated six of his string quartets to his friend and older colleague, Joseph Haydn. Earlier that year, Haydn heard some of them performed in Vienna. Leopold Mozart, Wolfgang’s father, was also present, and must have been elated when Haydn said, “Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name.” Mozart’s quartets were published by the Viennese firm Artaria and generated some much-needed income for Wolfgang. Whether they made money for their publisher as well is another matter. Three years later, one of Mozart’s lesser contemporaries, Karl Ditters von Dittersdorf, offered Artaria six of HIS string quartets at the same price they paid Mozart, with a note that read, “I am certain you will do better with MY quartets than you did with Mozart’s, which deserve the highest praise, but which, because of their overwhelming and unrelenting artfulness, are not to EVERYONE’s taste.” Apparently Mozart’s quartets were deemed too “brainy” for public taste. Well, Dittersdorf may have sold better in the 1780’s, but these days performers and audiences find Mozart’s “unrelenting artfulness” more to their taste than Dittersdorf’s sugary confections.

On today’s date in 1785, Wolfgang Amadeus Mozart dedicated six of his string quartets to his friend and older colleague, Joseph Haydn. Earlier that year, Haydn heard some of them performed in Vienna. Leopold Mozart, Wolfgang’s father, was also present, and must have been elated when Haydn said, “Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name.” Mozart’s quartets were published by the Viennese firm Artaria and generated some much-needed income for Wolfgang. Whether they made money for their publisher as well is another matter. Three years later, one of Mozart’s lesser contemporaries, Karl Ditters von Dittersdorf, offered Artaria six of HIS string quartets at the same price they paid Mozart, with a note that read, “I am certain you will do better with MY quartets than you did with Mozart’s, which deserve the highest praise, but which, because of their overwhelming and unrelenting artfulness, are not to EVERYONE’s taste.” Apparently Mozart’s quartets were deemed too “brainy” for public taste. Well, Dittersdorf may have sold better in the 1780’s, but these days performers and audiences find Mozart’s “unrelenting artfulness” more to their taste than Dittersdorf’s sugary confections.

In this episode the team discuss Friday’s Johnson – Corbyn head-to-head debate, and then move on to the election campaign itself. Who has won? Who lost? How and why? Not stating preferences; just examining tactics and strategies. And then they break the Opinion Battlegrounds rules. They move on to the debate over the apostrophe, and the news that the Apostrophe Protection Society has admitted defeat in its battle to protect this endangered punctuation mark. Is the battle really over? On this occasion, the Chelgate team were unable to hide their personal feelings. Our wonderful introductory music is with kind permission of the London Symphony Orchestra. It’s from Carl Ditters von Dittersdorf’s Double Bass Concerto, originally written in E flat Major but performed here a semitone lower. Rinat Ibragimov, the LSO’s principal double bass of the London Symphony Orchestra, together with Catherine Edwards. www.youtube.com/watch?v=PNYuRbsSJYw

In this episode, Terence is joined by director of Chelgate Consulting, James Monckton (www.linkedin.com/in/james-monckton-91aa5240/) and Communications and Public Affairs consultant, Dr Drew Manns (www.linkedin.com/in/drewman/). As usual, they are looking at the interviews battled through, the arguments waged and the debates fought out, and they are not taking sides. They won’t agree or disagree. Their interest is in the art of persuasion. Who made their case best? Who did worst? How and why? This time the first Johnson/ Corbyn debate and the Prince Andrew interview are unavoidable topics for the team’s forensic examination. Our wonderful introductory music is with kind permission of the London Symphony Orchestra. It’s from Carl Ditters von Dittersdorf’s Double Bass Concerto, originally written in E flat Major but performed here a semitone lower. Rinat Ibragimov, the LSO’s principal double bass of the London Symphony Orchestra, together with Catherine Edwards. https://www.youtube.com/watch?v=PNYuRbsSJYw

Der Erfolg seiner Opern wie "Doktor und Apotheker" überstrahlt zeitweise den von Mozarts Werken. Ditters verkehrt mit den Großen seiner Zeit: Mit seinem älteren Komponistenkollegen Gluck reist er durch Italien, mit Haydn fachsimpelt er über Musik. Gemeinsam mit dem Komponisten Vanhal sowie mit Mozart und Haydn spielt Ditters Streichquartette. Autor: Walter Liedtke

Nuestros amigos nos hablan sobre la vida y obra del compositor austricao Carl Ditters.

This "best of" episode features a conversation with the always inspiring Leon Bosch! About Leon Bosch: Leon Bosch has an honoured place among the select group of virtuoso double bass players worldwide. Concerto engagements in many parts of the world with the likes of conductors Pinchas Zukerman, Nicolas Kraemer, Nicolae Moldoveanu and Guido Johannes Rumstadt have been matched by collaborations with a long line of leading chamber music groups - among them the Lindsay, Belcea and Brodsky string quartets, the Academy of St Martin in the Fields Chamber Ensemble, the Moscow Virtuosi and the Zukerman Chamber Players. Partnerships with solo performers have embraced such pianists as Peter Donohoe, Vladimir Ovchinikov, Mikhail Rudy and Maria João Pires. Leon Bosch has a growing discography of concerto and recital recordings. This will shortly include two albums devoted to the music of the great Giovanni Bottesini and two featuring music by British composers. Then will follow everything from a disc of Russian music and another of compositions by Domenico Dragonetti, to the complete works for solo double bass by Dittersdorf, Menotti's concerto and recordings of a string of neglected concertos for the instrument. Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Robertson & Sons Violins For more than four decades, Robertson & Sons has specialized in providing the highest quality stringed instruments and bows to collectors, professional musicians, music educators, and students of all ages. Their modern facility is equipped with three instrument showrooms as well as a beautiful Recital Hall available to our clients to in their search for the perfect instrument and/or bow. D'Addario Strings This episode is brought to you by D'Addario Strings! Check out their Kaplan strings, which have versatility and control throughout the dynamic spectrum, rich tonal color palette, superb bow response, and beautiful balance. Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools. Subscribe to the podcast to get these interviews delivered to you automatically!

In dieser Folge erzählen Elmar und Axel von ihren Erfahrungen im Rahmen einer Krebserkrankung. Von der Diagnose über die Therapie sowie auch die Vorsorge in der Zukunft, dass der Krebs nicht auf einmal zurückkommt versuchen wir, alle Aspekte dieser gefürchteten Krankheit anzusprechen. Trackliste Pachelbel – Canon J.S. Bach – Air (G-Dur) Carl Ditter von Dittersdorf – Die Rettung der Andromeda durch Perseus Kollimator :: Die Maschine für die Bestrahlung der Krebszellen Nivolumab und Ipilimumab :: Neue Medikamente im Kampf gegen Krebs Umprogrammierte Krebszellen :: ETH-Forschung: Wenn Nichtimmunzellen Krebszellen töten Synthethische T-Zellen :: Synthetic T Cells Seek and Destroy Cancer Generic Tumor-Killer :: Swiss lab develops genetic tool kit to turn any cell into a tumor killer WR168: Hodenkrebs :: WRINT Folge 168 über Hodenkrebs WR208: Hirntumor :: WRINT Folge 208 über Hirntumore WR482: Glioblastom :: WRINT Folge 482 uber Glioblastome File Download (164:59 min / 165 MB)

In dieser Folge erzählen Elmar und Axel von ihren Erfahrungen im Rahmen einer Krebserkrankung. Von der Diagnose über die Therapie sowie auch die Vorsorge in der Zukunft, dass der Krebs nicht auf einmal zurückkommt versuchen wir, alle Aspekte dieser gefürchteten Krankheit anzusprechen. Trackliste Pachelbel – Canon J.S. Bach – Air (G-Dur) Carl Ditter von Dittersdorf – Die Rettung der Andromeda durch Perseus Kollimator :: Die Maschine für die Bestrahlung der Krebszellen Nivolumab und Ipilimumab :: Neue Medikamente im Kampf gegen Krebs Umprogrammierte Krebszellen :: ETH-Forschung: Wenn Nichtimmunzellen Krebszellen töten Synthethische T-Zellen :: Synthetic T Cells Seek and Destroy Cancer Generic Tumor-Killer :: Swiss lab develops genetic tool kit to turn any cell into a tumor killer WR168: Hodenkrebs :: WRINT Folge 168 über Hodenkrebs WR208: Hirntumor :: WRINT Folge 208 über Hirntumore WR482: Glioblastom :: WRINT Folge 482 uber Glioblastome File Download (164:59 min / 165 MB)

Can a piece of music be cursed? After hearing this tale of repeatedly bizarre circumstances surrounding James VanDemark's repeated Dittersdorf Concerto performances, you'll be asking that same question! A big thank you to James for his idea for this episode, and be sure to check out James' past podcast appearance for more about his career as a double bass performer and teacher.

This show covers the latest and greatest in the world of the double bass!  Learn more at http://contrabassconversations.com/news. George Mraz Rally for Recovery George Mraz, a world class bassist with decades of exceptional musical work as both a soloist and alongside others such as Stan Getz, Chet Baker, Oscar Peterson, Bill Evans, Dizzy Gillespie, Joe Henderson and many many more ( www.georgemraz.com). Surviving pancreatic surgery, George now has five months of recovery ahead. With the unexpected complications, bills and very costly medications we are setting a new goal to double the amount of contributors and reach a record 730 donors. https://www.gofundme.com/2ndyn24  DePaul University Scholarships for Undergrads The DePaul University School of Music is now offering high school juniors an opportunity to audition for conditional acceptance and as much as a 50% scholarship if pursuing a degree as a bass or viola performance major. https://music.depaul.edu/admission/auditions/Pages/high-school-junior-auditions.aspx  http://contrabassconversations.com/robkassinger  http://contrabassconversations.com/alexhanna  more details from DePaul: The opportunity to audition for the DePaul School of Music as a high school junior is only open to those students who wish to major in bass or viola performance. Any School of Music admission offer and/or scholarship award is contingent upon being accepted into DePaul University. High school juniors who audition in February of 2017 must then apply to the university through the Common Application in the fall of their senior year. Only after being accepted to DePaul will scholarship offers become valid. A high school junior who auditions in February 2017 and is offered a performance scholarship and is then accepted to DePaul University in the fall/winter of 2017, may choose to audition a second time in February 2018 to be considered for an increase in their scholarship award. A high school junior who auditions in February 2017 and is not accepted to the School of Music, is welcome to audition again in February of their senior year without any adverse consequence. Please email the admissions office with any further questions about this opportunity. D’Addario Strings http://contrabassconversations.com/daddario1  http://contrabassconversations.com/strings  10th Anniversary for Contrabass Conversations! Call 415-952-5643 and leave a message for my anniversary episode! SoCal Bass Days 2017 January 3-4 free and open to the public featuring special guests David Murray and Claus Freudenstein http://contrabassconversations.com/davidmurray  http://contrabassconversations.com/clausfreudenstein  http://bassforward.info/socal-bass-days-2017  contact Matt Hare for more information: me@matthare.com  http://matthare.com  Galicia Graves International Double Bass Festival & Competition http://www.galiciagraves.com  17, 18 & 19 February 2017 video from Thierry Barbe http://contrabassconversations.com/thierrybarbe  I will be doing a feature on this event with Gabriele Ragghianti two of the faculty members are David Heyes and Michael Klinghoffer, and I’ve featured both of them on the podcast previously http://contrabassconversations.com/davidheyes  http://contrabassconversations.com/michaelklinghoffer  Finland Awakes! March 12, 2017 FINLAND AWAKES! celebrates the centenary of Finland as an independent country. The concert will feature a wealth of Finnish music by alongside music composed for Teppo-Fest 2016 to celebrate the 75th birthday of the amazing and unique Teppo Hauta-aho. The concert is sponsored by Recital Music http://recitalmusic.net music composed by David Heyes (who recently dedicated a composition to me!), Bernard Salles, Teppo Hauta-aho, Simon Garcia, and many others https://www.facebook.com/events/1045165702279535  Hosting Provided by Bass Capos hosting for Contrabass Conversations is provided by Bass Capos, Bass Capos are an excellent choice for any bass player using or looking to implement a double bass extension. Easy to install and adjust, cheaper and more reliable than hand-built latches, also lighter and quicker in operation. Learn more at http://basscapos.com  MIDI Practice File Archive from elbsoundStudio dozens of pieces from Bach, Bottesini, Dittersdorf, Eccles, Vanhal, and others https://elbsound.studio/double-bass-midi-files.php  more links like this at http://doublebassblog.org/links  Make a Tax-Deductible Donation to the Bradetich Foundation 2017 will celebrate the 30th anniversary of the Bradetich Master Classes in June and holding the long awaited 2nd International Double Bass Solo Competition on Sept. 1st-5th. By donating to the Bradetich Foundation, you are supporting the double bass, music, arts and education. http://bradetichfoundation.org/index.php?page=supportForm&form=intFriends  http://contrabassconversations.com/jeffbradetich  Help Support Contrabass Conversations! http://contrabassconversations.com/support  FEEDBACK Terrance Fitzgerald, who lives in China and listens to the podcast through the app during practice breaks. He’s interested in hearing interviews with Al Laszlo, Hal Robinson, and Tim Pitts, and I am setting up a time with Tim right now. Hal and I have also talked about doing an interview, so expect that soon as well! Terrance also suggested interviewing people that have won multiple auditions - how did they balance an orchestra job and other responsibilities with audition preparation? Several people have also written in, including Kim Parillo, so ask about where to get a copy of David Allen Moore’s book Fractal Fingerings. This isn’t currently formally published, but you can contact David for more information, and be sure to check out my “round 2” with David at http://contrabassconversations.com/davidallenmoore  Marcio Bolzan also wrote in and said that he loves listening to the podcasts and also that he saw my coverage of Alex Ritter’s double bass festival, which I covered last week on the Weekly Update. If you’d like to check that episode, or any of the Weekly Update episodes, you can visit http://contrabassconversations.com/news. Daniel Kimbro also wrote in. Daniel is active in the neo-folk/newgrass/roots music world and listens to the podcast in the car driving between Knoxville and Nashville for recording sessions, flights, and rehearsals. Daniel also expressed interest in hearing more coverage in this world. Craig Butterfield, one of my recent guests and the bass professor at the University of South Carolina, is a great example of someone active in this world. http://contrabassconversations.com/craigbutterfield. This is a great idea, and I’m starting by actually talking with Daniel for the podcast. I love exploring different musical sub genres—I recently interviewed David White, who is active in the theatre scene in New York, and I also spoke with Pablo Aslan about tango bass, and I’d love to dig more into all of these sub genres going forward with the show. http://contrabassconversations.com/davidwhite  http://contrabassconversations.com/pabloaslan  Thanks also to Joe McFadden, Mike Gaisbacher, Lori Kaufman, Stephane Bihan, Kevin Feeney, Ted Botsford and all the other people who wrote in this week, and if you’d like to write in you can send me a message at feedback@contrabassconversations.com. LAST WEEK’S GUESTS http://contrabassconversations.com/benallison http://contrabassconversations.com/billmerchant   

Thor Harris takes Elizabeth on a brief tour of progressive rock and gives a shout out to Yes and other stalwarts of the genre and describes what music inspired his new, hypnotic project, Thor And Friends. Then Grace London and Zoe Czarnecki from the Austin band Misimplicity describe how Elliot Smith and a bass concerto by Carl Ditters von Dittersdorf have helped them find their musical ways and climb musical mountains.

Thor Harris takes Elizabeth on a brief tour of progressive rock and gives a shout out to Yes and other stalwarts of the genre and describes what music inspired his new, hypnotic project, Thor And Friends. Then Grace London and Zoe Czarnecki from the Austin band Misimplicity describe how Elliot Smith and a bass concerto by Carl Ditters von Dittersdorf have helped them find their musical ways and climb musical mountains.

Donald Macleod on the life and music of Carl Ditters von Dittersdorf, a composer whose concertos, operas, string quartets and over 100 symphonies made him a rival to Haydn in the late 18th century.

Genies, so es denn überhaupt noch welche gibt, haben in der Regel die Eigenschaft, nicht mit anderen Genies zu kommunizieren. Das ist so bei Genies! Bisweilen jedoch gibt es Ausnahmen. In den Jahren 1783 bis 1787 gab es in Wien regelmäßig Treffen von Musikern, wie sie in der Zusammensetzung unglaublicher nicht hätten sein können. Es trafen sich zum gemeinsamen Musizieren die Herren Joseph Haydn, Carl Ditters von Dittersdorf, Johann Baptist Vanhal und Wolfgang Amadeus Mozart. Bei einem dieser Nachmittage sorgte der Besuch des Italieners Giovanni Paisiello für einige Verwirrung unter den Komponisten. Ein ZOOM von Wolfgang Antesberger.

We’re wrapping up the interview with Pittsburgh Symphony Principal Bassist Jeff Turner that we began on episode 26 of the podcast, plus featuring music from U.K.-based bassist Leon Bosch’s new album titled The British Double Bass on this week’s episode of the podcast. About Jeff Turner: Principal Bass Jeffrey Turner joined the Pittsburgh Symphony Orchestra in 1987. He served as Principal Bass of the New American Chamber Orchestra from 1984 to 1986 and became a member of the Detroit Symphony Orchestra in 1986. Mr. Turner, a native of South Carolina, holds a Bachelor of Music degree from the Eastman School of Music of the University of Rochester. His teachers include James VanDemark, Lawrence Hurst and Robert Gladstone. Mr. Turner serves on the faculties of Duquesne University and Carnegie Mellon University. He is the Artistic Director of the City Music Center’s Young Bassist Program, and gives annual seminars and master classes at universities and conservatories throughout the world. He has also served as Visiting Professor at the Eastman School of Music and Lecturer at the University of Maryland. Mr. Turner has been a resident artist for many annual festivals including the Pacific Music Festival in Japan and the Korsholm Festival in Finland. He has been featured as a presenter at the conventions of The International Society of Bassists, and has served on the faculty of The Asian Youth Orchestra (Hong Kong) under the direction of Lord Yehudi Menuhin. Mr. Turner is a faculty member of the National Orchestral Institute. As winner of the Y Music Society’s Passamaneck Award, Jeffrey Turner appeared in a critically acclaimed recital at Carnegie Music Hall in 1989. He was also a winner of the 1990 Pittsburgh Concert Society’s Artist Award. About Leon Bosch: Leon had to overcome many difficult circumstances in the early years of his career. He was arrested by members of the Cape Town special branch when he was just 15 years old for demonstrating against the Apartheid government outside of parliament. He faced a month’s detention and torture, only to be found not guilty on all charges. This experience fired up his ambition to become a lawyer, but this field of study was forbidden to him by the regime at the time. He then chose to study a subject that would be the least likely to mark him out as subversive – music. Had Bosch been able to pursue his prime aspiration to become a lawyer, the cello/double bass debate might never have occurred. Born in Cape Town, South Africa in 1961, Bosch was forbidden by the repressive regime of the time to study law, so applied to the University’s music faculty instead `as a light-hearted prank.’ The `prank’ soon turned more serious. Once enrolled at the University, Bosch studied with Zoltan Kovats, principal double bassist of the Cape Town Symphony Orchestra at that time. A single year into his studies, the young student was invited to play in the Symphony Orchestra’s bass section alongside his mentor. Only another 12 months passed before he was giving his first solo performance of Dittersdorf ’s concerto in E major. Completing his Batchelor of Music Performance degree at the University, he received the highest mark ever awarded there in a performance examination. Post-university, Bosch quickly realised that he would have to study abroad if he really wanted to further his performance career, but was thwarted once again by the apartheid laws which decreed that overseas scholarships could only be given to white performers. However, Bosch was undeterred. `I had a passionate commitment to the double bass and never enter- tained the idea that I would fail in my pursuit’, he asserts. Fortunately, a number of private individuals came forward to sponsor his travel to England where he was heard playing by Rodney Slatford, the former Head of School of Strings at the Royal Northern College of Music (RNCM), who offered to teach him. Bosch enrolled at the RNCM following a successful interview with Eleanor Warren to study with Slatford and Duncan McTier. He describes his time at RNCM as `extremely fruitful’. Bosch’s prestigious record of achievements also continued there, as he received the College’s PPRNCM (Professional Performer of the RNCM) with distinction, the first such award to a double bassist in the College’s history. Studies completed, Bosch embarked on the varied professional orchestral and chamber career that continues to this day. His first assignment was with the Royal Scottish National Orchestra, moving onto The Manchester Camerata as principal in 1985. His playing career has also taken in the BBC Philharmonic, Hall, Royal Liverpool Philharmonic, Opera North and Scottish Chamber orchestras, plus the Moscow Virtuosi Chamber Orchestra, Brodsky Quartet and Goldberg Ensemble as a freelance performer, a career path that he chose to `give me greater variety in my playing.’ A decade after his first principal appointment, Bosch began his current association with the Academy of St Martin in the Fields, touring with the orchestra’s founder, Sir Neville Marriner. `Chamber music represents the most enjoyable part of my musical life,’ he enthuses, explaining why he has focused on this area through most of his professional career – which has taken in almost all of the major chamber orchestras in the UK.

Born in Aleppo, Syria into a musical family of six boys and three girls, François discovered the double bass at the age of thirteen when one of his brothers brought an instrument home and allowed him to experiment with it. When the family moved to Beirut, Lebanon he found an old copy of Edouard Nanny's Contrabass Method in a tailor shop and with some difficulty, since he read neither music nor French, began to teach himself. After nine years of work in Beirut, François saved enough money to move to Paris for a year. He was eager to go to the Paris Conservatory, meet with Monsieur Nanny and show him what he was able to do with the bass. When he applied at the Conservatory he was disappointed to learn that Nanny had died in 1947. He was also told that auditions were to be held in three days and that he would never have enough time to learn the required pieces. He asked for the music anyway and returned three days later to finish first among the applicants. However, his stay at the Conservatory was a brief one, since it didn't take very long to see that he was not only far ahead of the other students but of the professors as well! François Rabbath's uniqueness stems from his refusal to accept any traditional limitations. Whether performing his own fascinating compositions, the music of others or the classical repertoire, one is always moved by his profound musicianship and dazzling virtuosity. You quickly discover that he brings you such a sense of security that the most difficult passages sound effortless. The importance of François Rabbath to the development of double bass playing can be compared with that of Paganini to the violin. Since the early 1800s when Nicole Paganini established the violin as a virtuoso instrument, solo violinists have practiced the most brilliant of instrumental art. Meanwhile, the development of double bass playing had been seriously neglected. The great and popular 19th century composers did not consider the bass worth their attention and in turn the bass repertoire did not attract potential virtuoso performers with enough genius to change the situation. It demanded an artist with the unique qualities of François Rabbath to break this impasse. http://www.liben.com/FRBio.html Musical Guest - Leon Bosch You will be hearing the Bottesini Elegy and the Bottesini Gavotta from Leon Bosch’s recent solo album called Virtuoso Double Bass, which is available from Meridian Records. Leon’s website: http://www.leonbosch.co.uk Album information for Virtuoso Double Bass: http://www.leonbosch.co.uk/music.php Click here to order this great album from Leon Bosch: http://www.meridian-records.co.uk/acatalog/CDE84544a.html Meridian Records website: http://www.meridian-records.co.uk/ About Leon Bosch: (Visit his website for more information about this great artist’s career and the challenges he had to overcome during his early years in Apartheid South Africa.) From liner notes to his recent release as well as an interview with Lawrence Milner – published in the Summer 2003 edition of Double Bassist magazine: Leon had to overcome many difficult circumstances in the early years of his career. He was arrested by members of the Cape Town special branch when he was just 15 years old for demonstrating against the Apartheid government outside of parliament. He faced a month’s detention and torture, only to be found not guilty on all charges. This experience fired up his ambition to become a lawyer, but this field of study was forbidden to him by the regime at the time. He then chose to study a subject that would be the least likely to mark him out as subversive—music. Had Bosch been able to pursue his prime aspiration to become a lawyer, the cello/double bass debate might never have occurred. Born in Cape Town, South Africa in 1961, Bosch was forbidden by the repressive regime of the time to study law, so applied to the University's music faculty instead `as a light-hearted prank.' The `prank' soon turned more serious. Once enrolled at the University, Bosch studied with Zoltan Kovats, principal double bassist of the Cape Town Symphony Orchestra at that time. A single year into his studies, the young student was invited to play in the Symphony Orchestra's bass section alongside his mentor. Only another 12 months passed before he was giving his first solo performance of Dittersdorf 's concerto in E major. Completing his Batchelor of Music Performance degree at the University, he received the highest mark ever awarded there in a performance examination. Post-university, Bosch quickly realised that he would have to study abroad if he really wanted to further his performance career, but was thwarted once again by the apartheid laws which decreed that overseas scholarships could only be given to white performers. However, Bosch was undeterred. `I had a passionate commitment to the double bass and never enter- tained the idea that I would fail in my pursuit', he asserts. Fortunately, a number of private individuals came forward to sponsor his travel to England where he was heard playing by Rodney Slatford, the former Head of School of Strings at the Royal Northern College of Music (RNCM), who offered to teach him. Bosch enrolled at the RNCM following a successful interview with Eleanor Warren to study with Slatford and Duncan McTier. He describes his time at RNCM as `extremely fruitful'. Bosch's prestigious record of achievements also continued there, as he received the College's PPRNCM (Professional Performer of the RNCM) with distinction, the first such award to a double bassist in the College's history. Studies completed, Bosch embarked on the varied professional orchestral and chamber career that continues to this day. His first assignment was with the Royal Scottish National Orchestra, moving onto The Manchester Camerata as principal in 1985. His playing career has also taken in the BBC Philharmonic, Hallé, Royal Liverpool Philharmonic, Opera North and Scottish Chamber orchestras, plus the Moscow Virtuosi Chamber Orchestra, Brodsky Quartet and Goldberg Ensemble as a freelance performer, a career path that he chose to `give me greater variety in my playing.' A decade after his first principal appointment, Bosch began his current association with the Academy of St Martin in the Fields, touring with the orchestra's founder, Sir Neville Marriner. `Chamber music represents the most enjoyable part of my musical life,' he enthuses, explaining why he has focused on this area through most of his professional career ¬ which has taken in almost all of the major chamber orchestras in the UK.