Podcasts about durufl

“I don't have a sound that I'm trying to make the choir fit into. I'm trying to understand and uncover the palette of sounds that are in front of me and then expand our sense of what we can sound like. This happens through the community building process, because the more we honor each individual and allow them to bring themselves into that rehearsal space, then the fuller and richer we are.”Dr. Joel Tranquilla (he/him/his) is a conductor and music educator noted for his versatile musicianship and creative programming. Originally from Fredericton, Joel is thrilled to have returned home to assume the position of Artistic Director of the Halifax Camerata Singers and Chorus Master of Symphony Nova Scotia. Formative choral experiences include touring with the American Boychoir as a boy soprano and singing as a member of the Nova Scotia and National Youth Choirs. He holds degrees from Mount Allison University, the University of Michigan, and Michigan State University where his doctoral research was in the area of Canadian choral-orchestral works.Joel relocated to Nova Scotia in 2023 after spending nine years as the Director of Choral Activities at Trinity Western University in Langley, BC, where he oversaw a program of six choirs and taught various courses within the School of the Arts, Media and Culture. Joel led the TWU Chamber Choir on tours to Ottawa, New York City, China, Hong Kong, Japan, and Taiwan. In addition to his work at TWU, Joel served as the Artistic Director of the Valley Festival Singers in Abbotsford and was the conductor of the award-winning Coastal Sound Youth Choir in Coquitlam. A singing member of the Canadian Chamber Choir since 2007, he was named the ensemble's Associate Conductor in 2013. As such, he contributes to the programming and long-term artistic visioning of that organization. Prior to his time on the West Coast, Joel lived and worked in Windsor, Ontario, serving as the conductor of several local ensembles including the Windsor Symphony Orchestra Chorus. In high demand as an adjudicator and clinician across the country, Joel is a past Guest Conductor of the New Brunswick Youth Choir and the Manitoba Provincial Honour Choir, and was the Assistant Conductor of the 2012 National Youth Choir.Major works conducted include Poulenc's Gloria, Vaughan Williams' Hodie, Ramirez's Navidad nuestra, Mendelssohn's St. Paul, Handel's Alexander's Feast, Requiems by Fauré and Duruflé, Bach's St. John Passion, and Allan Bevan's oratorio Nou Goth Sonne Under Wode. In spring 2023, Joel conducted the premiere of a new oratorio by David Squires and made his Carnegie Hall debut in a program featuring Vaughan Williams' Five Mystical Songs. Joel believes in the power of choral music to build and strengthen community. His wife, Meghan is an audiologist, and they have three precocious children: Everett, Penelope, and Felix.To get in touch with Joel, you can visit the Halifax Camerata Singers website at halifaxcamerata.org or find them on Facebook (@HalifaxCamerataSingers) or Instagram (@halifaxcameratasingers). You can also find the Canadian Chamber Choir at their website canadianchamberchoir.ca, on Facebook (@CanadianChamberChoir) or Instagram (@canadianchamberchoir).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Grief and grieving are universals, and on All Souls' Day we hold before God those we hold dear in death as in life. Requiem settings for the Eucharist, named after the Latin text which begins 'Eternal rest grant them O Lord, and let light perpetual shine upon them', are some of the most powerful music ever written. Using music by Victoria, Mozart, Charpentier, Verdi, Fauré and Duruflé, Andrew Carwood explores how music and religion come together to deal with fear and loss, and provide comfort and hope. For copyright reasons, the tracks played at the event have been edited out of this film. To find them to listen to here is a list of the tracks (details also appear on screen): 1. Hushabye Mountain – Aled Jones 2. Missa pro defunctis Introit: Requiem aeternam – Gregorian chant – Cistercian Monks of Stift Heiligenkreuz 3. Missa pro defunctis Introit: Requiem aeternam – Tomas Luis de Victoria – The Tallis Scholars / Peter Philips 4. Requiem Mass Sequence : Dies irae – Wolfgang Amadeus Mozart – London Symphony Orchestra & Chorus / Colin Davis 5. Messe des Morts: Sequence: Dies irae – Marc-Antoine Charpentier – Orfeo Orchestra & Purcell Choir / Gyorgy Vashegyi 6. Requiem Mass Sequence : Lachrymosa – Wolfgang Amadeus Mozart – Bach Collegium Japan / Masaaki Suzuki 7. Requiem Mass Sequence : Dies irae – Giuseppe Verdi – Orchestra & Coro del Teatro alla Scala, Milano / Ricardo Muti 8. Messe de Requiem: Libera me – Gabriel Fauré – Benjamin Luxon, Choir of St John's College, Cambridge, ASMF / George Guest 9. Antiphon: In paradisum – Gregorian chant – Cantori Gregoriani / Fulvio Rampi 10. Messe de Requiem: In paradisum – Maurice Duruflé – Corydon Singers & ECO / Matthew Best Andrew Carwood MBE is the Director of Music at St Paul's Cathedral, having had an illustrious solo career as a singer before focusing attention on conducting and choral direction. He is also the founder-director of the Gramophone award-winning early music ensemble The Cardinall's Musick which continues to perform throughout the UK and Europe.

durée : 01:28:07 - En pistes ! du jeudi 07 novembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le chef Semyon Bychkov et l'orchestre philharmonique tchèque présentent deux grandes symphonies de Dvořák. Retrouvez aussi quelques requiems français, celui de Duruflé et celui de Fauré dans une version étonnante pour piano.

durée : 01:28:07 - En pistes ! du jeudi 07 novembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le chef Semyon Bychkov et l'orchestre philharmonique tchèque présentent deux grandes symphonies de Dvořák. Retrouvez aussi quelques requiems français, celui de Duruflé et celui de Fauré dans une version étonnante pour piano.

Maurice Duruflé (1902-1986) was one of the greatest sacred composers of the 20th century, best known for his Requiem and his motet "Ubi caritas". His lush and tranquil choral and organ works combine a deep familiarity with Gregorian chant with the style of impressionism, imbued with a sense of prayer as he was a devout Catholic. Organist and choirmaster Christopher Berry, who studied organ under Duruflé's widow, Marie-Madeleine Duruflé, joins the podcast to discuss Maurice Duruflé in his historical context as someone who, from childhood, was schooled in the Church's ancient chant tradition, and as an adult applied Pope St. Pius X's instructions for sacred music which were so influential on that generation. Schooled at the Paris conservatory, Duruflé received rigorous training in improvisation, which was the core skill for French organists at that time. His approach to improvising on chant and hymn melodies can still be heard in Catholic churches today. Links Catholic Institute of Sacred Music https://catholicinstituteofsacredmusic.org/ Music heard in this episode: Excerpts from the Requiem - by Voices of Ascension https://www.amazon.com/Durufle-Album-Requiem-Messe-Jubilo/dp/B0000006ZS Prélude et fugue sur le nom d'Alain op. 7 - played by Marie-Madeleine Duruflé Excerpt from Choral varié sur le Veni Creator op.4 - played by Maurice Duruflé himself https://www.youtube.com/watch?v=3SBCDScgqsQ Ubi caritas - by Choir of St. John's Elora Tantum ergo - by St. John's College Choir SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters DONATE to make this show possible! http://catholicculture.org/donate/audio

Der Chor des Trinity College Cambridge unter Leitung von Stephen Layton hat Maurice Duruflés Requiem aufgenommen. Klarheit und Mystik finden hier zusammen. Die Musik schimmert golden und verbreitet Kraft und inneren Frieden.

"Jésus, comme Élie et Élisée, n'est pas envoyé qu'aux seuls Juifs"Méditation de l'évangile (Lc 4, 24-30) par la Pasteure Magali GirardChant final : "Ubi caritas et amor (de Duruflé)" par le Choeur St John's Elora

“The number one thing that I look for when I meet a younger conductor is imagination, someone who comes with ideas but also has a story to tell with the music. Often younger conductors are really worried about technique, the way they look, the way they rehearse, but it starts with imagination. What do you want to communicate? People are so worried about technique that they hide themselves. We want to see the person. Who are you and what do you have to say?”Prof. Jean-Sébastien Vallée is a renowned Canadian-American conductor, scholar, and pedagogue known for his expertise in vocal, choral, and orchestral repertoires. With an illustrious career spanning over several decades, Dr. Vallée has conducted numerous ensembles across North America, Europe, and Asia, and has prepared choruses for some of the world's most prestigious orchestras including the Toronto Symphony, the Montreal Symphony, the National Arts Center Orchestra in Ottawa, and the Chicago Symphony Orchestra.Currently serving as Associate Professor of Music, Director of Choral Studies, and Coordinator of the Ensembles & Conducting Area at the Schulich School of Music of McGill University, and as Artistic Director of the Toronto Mendelssohn Choir, Dr. Vallée is a sought-after conductor and pedagogue. He has previously served as the Director of Choral Studies at California State University, Los Angeles, and was on the choral faculty of the University of Redlands. Dr. Vallée holds degrees from Laval University, Sherbrooke University, the University of California, Santa Cruz, and a doctorate in conducting from the University of Illinois at Urbana-Champaign.Maestro Vallée's passion for contemporary music is evident in his work, as he makes it a priority to premiere and commission works by young composers and program rarely performed repertoire. Dr. Vallée has presented his research at several national and international conferences, including the American Choral Directors Association Conventions, Festival 500 in Newfoundland, the National Collegiate Choral Organization conference, Podium—the national convention of Choral Canada, the Hawaii International Conference on Arts and Humanities, and the World Symposium on Choral Music in Spain (2017), New Zealand (2020), and Portugal (2022).Maestro Vallée's recordings have been broadcast internationally and include Lux (ATMA, 2017), Requiem (ATMA, 2018 – requiems by Fauré and Duruflé), and Distance (ATMA, 2021). His recent engagements include concerts at the Liszt Ferenc Academy of Music in Budapest, a tour with the National Choir of Canada, and concerts with l'Orchestre symphonique de Québec, the Toronto Symphony Orchestra, and the Chicago Symphony Chorus. To get in touch with Jean-Sébastien, you can visit his website jsvallee.com or find him on Facebook (@sebastien.vallee) or Instagram (@jsvallee). Choir Fam wants to hear from you! Check out the Minisode Intro Part 2 episode from May 22, 2023, to hear how to share your story with us.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

SynopsisOn today's date in 1935, at the Church of St. François-Xavier in Paris, organist Geneviève de la Salle gave the first complete performance of the three-movement Organ Suite, by French composer and virtuoso organist Maurice Duruflé.If you sing in a choir or are a fan of choral classics, you probably know Duruflé's serene and tranquil Requiem, which premiered about 12 years later.Now, if Duruflé's Organ Suite, Op. 5, premiered in 1935 and his Requiem, Op. 9, in 1947, you might reasonably conclude the composer was a slow, meticulous worker, which he was. In all, Duruflé's output comprises less than 15 published works, of which seven are for organ. His Organ Suite consists of a brooding “Prélude,” a “Sicilienne” — which evokes the harmonies and inflections of Ravel — and a brilliant, concluding “Toccata.”Duruflé's music is firmly embedded in the French tradition of organ composers such as César Franck and Louis Vierne, and Duruflé's composition teacher, Paul Dukas. The great French organist Marie-Claire Alain described Duruflé's music as “perfectly honest art.”“He was not an innovator but a traditionalist,” she said “… Duruflé evolved and amplified the old traditions, making them his own."Music Played in Today's ProgramMaurice Durufle (1902-1986) Organ Suite; Todd Wilson (Schudi organ at St. Thomas Aquinas Church in Dallas, Texas) Delos 3047

The celebrated organist, choir director and presenter Anna Lapwood joins Stephen and Joanna to discuss a case of mistaken identity at a book launch several years ago. We also get in to the wonderful organ music of Lutosławski, Bach, Duruflé and rock out to Faithless when the Ministry of Sound took over the Royal Albert Hall in 2023.

This special service for Remembrance Sunday, 12th November 2023, has been collated from archive live music recordings together with prayers, sermon and readings for the appointed day specially recorded in church and in people's homes. This service is sung by our professional St Bride's Choir who are joined by the St Bride's Orchestra in a liturgical performance of Duruflé's Requiem Op 9. If you enjoy listening, please leave a comment below or subscribe to our channel. It is great to get your feedback. We are hugely grateful for people's generosity which we rely on to continue our work, maintain our wonderful architectural heritage and support world-class music. If you would like to make a donation, you can do so at www.justgiving.com/stbrideschurchfleetstreet Alternatively, in the UK, text 5STBRIDES or 10STBRIDES or 20STBRIDES to 70470 to donate £5, £10 or £20. Find out what's happening at St Bride's at https://www.stbrides.com/whats-on

Brett Weymark is one of Australia's foremost choral conductors. Since 2003 Brett Weymark has conducted the Sydney Philharmonia Choirs throughout Australia and internationally. He has also conducted the Sydney, Adelaide, Queensland, West Australian and Tasmanian symphony orchestras, Orchestra of the Antipodes, Sydney Youth Orchestra, New Zealand Symphony Orchestra, Hong Kong Philharmonic and productions for WAAPA, Pacific Opera and OzOpera. He has performed with Opera Australia, Pinchgut Opera, Australian Chamber Orchestra, The Song Company and Musica Viva. He studied singing and conducting at Sydney University and the Sydney Conservatorium of Music and continued conducting studies with Simon Halsey, Vance George, Daniel Barenboim and Sir John Eliot Gardiner, amongst others. His performances have included Bach's Passions and Christmas Oratorio, the requiems of Mozart, Verdi, Duruflé and Fauré and Orff's Carmina Burana. He is champion of Australian composers and has premiered works by Matthew Hindson, Elena Kats-Chernin, Peter Sculthorpe, Ross Edwards and many others. He has prepared choirs for Sir Charles Mackerras, Zubin Mehta, Edo de Waart, Vladimir Ashkenazy and Sir Simon Rattle. He has recorded widely for the ABC and conducted film scores, including Happy Feet, Mad Max Fury Road and Australia. Recent highlight performances include Sondheim's Sweeney Todd (West Australian Opera), Paul Stanhope and Steve Hawke's Jandamarra (SSO), Michael Tippett's A Child Of Our Time (Adelaide Festival) and Carousel (State Opera South Australia). In 2001, Brett was awarded an Australian Centenary Medal. In 2021, he was awarded the Medal of the Order of Australia for services to the performing arts through music. Brett is passionate about singing and the role that music plays in both the individual's wellbeing and the overall health and vitality of a community's culture. Music can transform lives and should be accessible to all.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Els compositors del s. XX tamb

It's a special episode people! Dan and Simon talk about tying the knot. (No, not them). Introducing pixel wife to the canon! Simon and Dan talk about the big day, perfume, books, the perils of being a lawyer, and for the first time in a while attempt some German tongue twisters... Do you have any wedding stories? Email in! -------- Fragrantica https://www.fragrantica.com/  Blessed Be the God and Father, Wesley: https://open.spotify.com/track/0ZPDHmvX02cSGUmyp52Kee?si=e5c4fd88dc79431d  Ubi Caritas, Duruflé: https://open.spotify.com/track/4zXsxw9BJqLfLdL4iekEcI?si=0b9193a3b28f4cae  Ave Maria, Biebl: https://open.spotify.com/track/6HnknbjLQhAkEpRzsfy27K?si=7889b4505beb46fb  Simon's post about the wedding on Instagram: https://www.instagram.com/p/Ch7GW-lDscB/  DCPOTW: In The Beginning, Copland: https://open.spotify.com/track/3EHq925KfAqsJGORPHxQN1?si=5831f4151c184c38  Dominion: https://open.spotify.com/track/3EHq925KfAqsJGORPHxQN1?si=5831f4151c184c38  Highest point in the Netherlands: https://en.wikipedia.org/wiki/Mount_Scenery Our patreon: https://www.patreon.com/thewikicast -------- Email us at: spongyelectric@gmail.com Follow us on Twitter: @DanielJMaw @simonoxfphys This week's article: https://en.wikipedia.org/wiki/Wedding  Fan discord channel: https://discord.gg/SZu6e2F This episode was edited by the wonderful Fergus Hall! https://www.fergushallmusic.com/ 

Synopsis On today's date in 1935, at the Church of Saint François-Xavier in Paris, organist Geneviève de la Salle gave the first complete performance of the three-movement Suite, Op. 5, by the French composer, teacher, and virtuoso organist Maurice Duruflé. If you sing in a choir or are a fan of choral music, you're probably familiar with Duruflé's serene and tranquil “Requiem,” Op. 9, which premiered some 12 years later. Duruflé's Op. 5 premiered in 1935, his Op. 9 in 1947, so you might reasonably conclude the composer was a slow worker – which he was.  He was also a very self-critical perfectionist whose catalog of works is rather small, but exquisitely crafted.  In all, Duruflé's output comprises less than 15 published works, of which seven are for organ. Duruflé's music is firmly embedded in the French tradition of organ composers like César Franck and Louis Vierne, and orchestral composers like Debussy, Ravel, and Duruflé's own composition teacher, Paul Dukas.  The great French organist Marie-Claire Alain, when asked to describe Duruflé's music, replied "it is a perfectly honest art… He was not an innovator but a traditionalist… Duruflé evolved and amplified the old traditions, making them his own."  Music Played in Today's Program Maurice Durufle (1902-1986) — Organ Suite, Op. 5 (Todd Wilson, o (Schudi organ at St. Thomas Aquinas Church in Dallas, Texas)) Delos 3047 On This Day Births 1752 - Italian composer Muzio Clementi, in Rome; 1878 - English composer Rutland Boughton, in Aylesbury; Deaths 1837 - Irish composer John Field, age 54, in Moscow (Julian date: Jan.11); 1908 - American composer and pianist Edward MacDowell, age 47, in New York; 1981 - American composer Samuel Barber, age 70, in New York; Premieres 1724 - Bach: Sacred Cantata No. 73 ("Herr, wie du willst, so schicks mit mir") performed on the 3rd Sunday after Epiphany as part of Bach's first annual Sacred Cantata cycle in Leipzig (1723/24); 1729 - Bach: Sacred Cantata No. 156 ("Ich steh mit einem Fuss im Grabe") probably performed in Leipzig on the 3rd Sunday after Epiphany as part of Bach's fourth annual Sacred Cantata cycle (to texts by Christian Friedrich Henrici, a.k.a. "Picander") during 1728/29; 1895 - MacDowell: Suite No. 2 (":Indian"), at the old Metropolitan Opera House in New York City, by the Boston Symphony, with Emil Paur conducting; On the same program, MacDowell appeared as the soloist in his own Piano Concerto No. 1; 1933 - Bartók: Piano Concerto No. 2, in Frankfurt, with Hans Robaud conducting and the composer as soloist; 1936 - Chavez: "Sinfonia India," on a radio broadcast by the Columbia Symphony, conducted by the composer; 1948 - Diamond: Symphony No. 4, by the Boston Symphony, Leonard Bernstein conducting; 1963 - Peter Mennin: Symphony No. 7, by the Cleveland Orchestra, George Szell conducting; 1973 - Elliott Carter: String Quartet No. 3, in New York City, by the Juilliard String Quartet; This work won the Pulitzer Prize for music in that year (This was Carter's second Pulitzer Prize); 1999 - Thea Musgrave: "Three Women," in San Francisco, by the Women's Philharmonic, A. Hsu conducting; Others 1894 - Czech composer Antonin Dvorák presents a concert of African-American choral music at Madison Square Concert Hall in New York, using an all-black choir, comprised chiefly of members of the St. Philip's Colored Choir; On the program was the premiere performance of Dvorák's own arrangement of Stephen Foster's "Old Folks at Home," which featured vocal soloists Sissierette Jones and Harry T. Burleigh; 1943 - Duke Ellington and his orchestra present their first concert at Carngie Hall in New York, presenting the "official" premiere of Ellington's "Black, Brown and Beige" Suite (This work had received its world premiere at a trial performance the preceding day at Rye High School in Rye, New York). Links and Resources On Dvořák On Ellington

For Part I of the interview, please see Previous Post With a shared passion for Music, Text & Story, we talk about the many hurdles young musicians face in getting the support they need to succeed. We talk about the impact of the pandemic and the lessons we've learned along the way. Most importantly we talk about the soul-deep need for community that is the human experience, and how we can use music to connect. New music powerhouse Dr. Lisa Neher (pronouns: she/her, last name pronounced "NEER") is an award-winning composer, mezzo-soprano, and actress on a mission to transform audiences through sound, story, and vulnerability. Described as a “maestro of beautifully wacky noises” (Oregon ArtsWatch) and a composer of “varied and imitable” vocal lines (Contemporary Classical), Lisa writes music inspired by female athleticism, the tender love of friends, the ambiguities of death, and the eerie mystery of deep ocean life. Praised as “a small woman with a very big voice” and “especially alive” (Oregon ArtsWatch), Lisa captivates audiences as a performer with her electrifying dramatic commitment and unforgettable vocal colors. Lisa's musical-theatrical fluency and passion for contemporary music have led to engagements such as Reciter for William Walton's Façade with the Portland Columbia Symphony Orchestra, the world premiere of Space Station 189: A Micro-Opera for Instagram at New Music Gathering, the first staged version of Sun Songs: Three Micro-Operas by Augusta Read Thomas with the Center for New Music, the world premiere of Aaron Israel Levin's Fiumana, for mezzo-soprano singing while playing the bass drum, and the leading role of Jennifer in the world premiere of Rita Ueda's chamber opera One Thousand White Paper Cranes for Japan with the Singaporean ensemble Chamber Sounds. Her recent engagements include performances with Third Angle New Music, the Resonance Ensemble, Opera Theatre Oregon, Queer Opera, and the International Saxophone Symposium. Lisa is an active advocate for new music, frequently premiering new works as well as established masterworks of the last fifty years. She is the creator of the One Voice Project, a one-woman performance combining contemporary poetry and new musical works for unaccompanied voice chosen through a call for scores initiative. ​Lisa is in high demand as a concert soloist. Her credits include Duruflé's Requiem, Mozart's Requiem, Vesperae Solennes de Confessore, and Coronation Mass, Bach's Magnificat and Ascension Oratorio, and Arvo Part's Pässio, with groups such as the Central Iowa Symphony, the Grinnell Oratorio Singers, and the Chamber Singers of Iowa City. Her operatic credits include Dorabella in Così fan tutte with Iowa City Concert Opera, Dolores in The Gondoliers, Mrs. Malaprop in The Rivals, Orlofsky in Die Fledermaus and Annio in La clemenza di Tito with Martha-Ellen Tye Opera Theatre, the Student in the premiere of the chamber opera The Nightingale and the Rose by Li Kai Han Jeremiah with Helianthus Ensemble, and Cherubino in Le nozze di Figaro with the Midwest Institute of Opera. Lisa was a Young Artist with Cedar Rapids Opera Theatre and the Vancouver International Song Institute. Lisa's compositions include solo and chamber music for instruments and vocal works in the operatic, song, and choral genres. Her particular passion for text and poetry has led to works such as her chamber operas Sense of Self, about a triathlete struggling with a breast cancer diagnosis and White Horizon, about a nineteenth-century Arctic expedition gone wrong. Lisa's major song cycle, No One Saves the Earth from Us But Us speaks the the urgency of the global climate crisis. Her commissioners include Third Angle New Music, Third Angle New Music, Opera Elect, Opera Theatre Oregon, Coe College Symphony Orchestra, Kirkwood Community College Choirs, the Glass City Singers, tenor Zach Finkelstein, pianist Michael Kirkendoll, and flutists Rose Bishop and Hal Ide. Lisa was selected to be part of the inaugural year of the Gabriela Lena Frank Creative Academy of Music. Lisa is a member of the Iowa Composer's Forum, Cascadia Composers, the National Association of Teachers of Singing, and ASCAP. In addition to her creative work, Lisa coaches singers on technique, acting, and interpretation, and composers on writing and marketing their music. Recognized in particular for her deep knowledge of the voice and extended techniques, she frequently teaches workshops on composing for singers. Lisa has served on faculty at Lewis & Clark College, Coe College, Kirkwood Community College, and Grinnell College. ​Lisa graduated summa cum laude from Lewis & Clark College with degrees in vocal performance, music composition, and theatre, and holds a master's degree in music composition from the University of Kansas and a Doctor of Musical Arts in voice performance and pedagogy from the University of Iowa. Her doctoral essay explores the chamber vocal works of composer Gabriela Lena Frank. She is a vocal student of Julia Nielsen, Stephen Swanson, Katherine Eberle, Julia Broxholm, and Susan McBerry, and studied composition under the tutelage of Michael Johansen and Forrest Pierce. Born just south of Seattle, Lisa is an outdoor enthusiast and triathlete. She spends her free time distance running, watching science fiction movies, and baking delicious treats involving copious amounts of chocolate.​ DR. LISA NEHER: Facebook Twitter LinkedIn Instagram LATEST NEWS: Announcing Something About Isolation, a series of web releases Nov 8-20 Lisa is selected as one of 10 composers for this season's NATS Mentoring Program for Composers Lisa's opera with Kendra Preston Leonard Par for the Course​ programmed on New Opera West's Pop-Up Festival 2022! Lisa's choral work Three Basho Haiku chosen for Project: Encore Catalog Lisa is the winner of the 2021 Iowa Composer's Forum / Iowa Choral Directors Association Composition Contest for Three Basho Haiku Lisa and Kendra Preston Leonard release new Halloween songs for young singers ​Read Now: BRINGING GRIT AND GUTS TO OPERA, a profile of Lisa in Oregon ArtsWatch Read Now: MUSICAL READINGS ON A BROKEN WORLD, the story behind Red Vespa's commission of Upon a Broken World in Women's Song Forum

With a shared passion for Music, Text & Story, we talk about the many hurdles young musicians face in getting the support they need to succeed. We talk about the impact of the pandemic and the lessons we've learned along the way. Most importantly we talk about the soul-deep need for community that is the human experience, and how we can use music to connect. New music powerhouse Dr. Lisa Neher (pronouns: she/her, last name pronounced "NEER") is an award-winning composer, mezzo-soprano, and actress on a mission to transform audiences through sound, story, and vulnerability. Described as a “maestro of beautifully wacky noises” (Oregon ArtsWatch) and a composer of “varied and imitable” vocal lines (Contemporary Classical), Lisa writes music inspired by female athleticism, the tender love of friends, the ambiguities of death, and the eerie mystery of deep ocean life. Praised as “a small woman with a very big voice” and “especially alive” (Oregon ArtsWatch), Lisa captivates audiences as a performer with her electrifying dramatic commitment and unforgettable vocal colors. Lisa's musical-theatrical fluency and passion for contemporary music have led to engagements such as Reciter for William Walton's Façade with the Portland Columbia Symphony Orchestra, the world premiere of Space Station 189: A Micro-Opera for Instagram at New Music Gathering, the first staged version of Sun Songs: Three Micro-Operas by Augusta Read Thomas with the Center for New Music, the world premiere of Aaron Israel Levin's Fiumana, for mezzo-soprano singing while playing the bass drum, and the leading role of Jennifer in the world premiere of Rita Ueda's chamber opera One Thousand White Paper Cranes for Japan with the Singaporean ensemble Chamber Sounds. Her recent engagements include performances with Third Angle New Music, the Resonance Ensemble, Opera Theatre Oregon, Queer Opera, and the International Saxophone Symposium. Lisa is an active advocate for new music, frequently premiering new works as well as established masterworks of the last fifty years. She is the creator of the One Voice Project, a one-woman performance combining contemporary poetry and new musical works for unaccompanied voice chosen through a call for scores initiative. ​Lisa is in high demand as a concert soloist. Her credits include Duruflé's Requiem, Mozart's Requiem, Vesperae Solennes de Confessore, and Coronation Mass, Bach's Magnificat and Ascension Oratorio, and Arvo Part's Pässio, with groups such as the Central Iowa Symphony, the Grinnell Oratorio Singers, and the Chamber Singers of Iowa City. Her operatic credits include Dorabella in Così fan tutte with Iowa City Concert Opera, Dolores in The Gondoliers, Mrs. Malaprop in The Rivals, Orlofsky in Die Fledermaus and Annio in La clemenza di Tito with Martha-Ellen Tye Opera Theatre, the Student in the premiere of the chamber opera The Nightingale and the Rose by Li Kai Han Jeremiah with Helianthus Ensemble, and Cherubino in Le nozze di Figaro with the Midwest Institute of Opera. Lisa was a Young Artist with Cedar Rapids Opera Theatre and the Vancouver International Song Institute. Lisa's compositions include solo and chamber music for instruments and vocal works in the operatic, song, and choral genres. Her particular passion for text and poetry has led to works such as her chamber operas Sense of Self, about a triathlete struggling with a breast cancer diagnosis and White Horizon, about a nineteenth-century Arctic expedition gone wrong. Lisa's major song cycle, No One Saves the Earth from Us But Us speaks the the urgency of the global climate crisis. Her commissioners include Third Angle New Music, Third Angle New Music, Opera Elect, Opera Theatre Oregon, Coe College Symphony Orchestra, Kirkwood Community College Choirs, the Glass City Singers, tenor Zach Finkelstein, pianist Michael Kirkendoll, and flutists Rose Bishop and Hal Ide. Lisa was selected to be part of the inaugural year of the Gabriela Lena Frank Creative Academy of Music. Lisa is a member of the Iowa Composer's Forum, Cascadia Composers, the National Association of Teachers of Singing, and ASCAP. In addition to her creative work, Lisa coaches singers on technique, acting, and interpretation, and composers on writing and marketing their music. Recognized in particular for her deep knowledge of the voice and extended techniques, she frequently teaches workshops on composing for singers. Lisa has served on faculty at Lewis & Clark College, Coe College, Kirkwood Community College, and Grinnell College. ​Lisa graduated summa cum laude from Lewis & Clark College with degrees in vocal performance, music composition, and theatre, and holds a master's degree in music composition from the University of Kansas and a Doctor of Musical Arts in voice performance and pedagogy from the University of Iowa. Her doctoral essay explores the chamber vocal works of composer Gabriela Lena Frank. She is a vocal student of Julia Nielsen, Stephen Swanson, Katherine Eberle, Julia Broxholm, and Susan McBerry, and studied composition under the tutelage of Michael Johansen and Forrest Pierce. Born just south of Seattle, Lisa is an outdoor enthusiast and triathlete. She spends her free time distance running, watching science fiction movies, and baking delicious treats involving copious amounts of chocolate.​ DR. LISA NEHER: Facebook Twitter LinkedIn Instagram LATEST NEWS: Announcing Something About Isolation, a series of web releases Nov 8-20 Lisa is selected as one of 10 composers for this season's NATS Mentoring Program for Composers Lisa's opera with Kendra Preston Leonard Par for the Course​ programmed on New Opera West's Pop-Up Festival 2022! Lisa's choral work Three Basho Haiku chosen for Project: Encore Catalog Lisa is the winner of the 2021 Iowa Composer's Forum / Iowa Choral Directors Association Composition Contest for Three Basho Haiku Lisa and Kendra Preston Leonard release new Halloween songs for young singers ​Read Now: BRINGING GRIT AND GUTS TO OPERA, a profile of Lisa in Oregon ArtsWatch Read Now: MUSICAL READINGS ON A BROKEN WORLD, the story behind Red Vespa's commission of Upon a Broken World in Women's Song Forum

Es ist schon fast bizarr, dass Maurice Duruflé sein Requiem im Auftrag des kollaborierenden Vichy-Regimes schrieb. 1941 erging dieser Auftrag an den französischen Kirchenmusiker. Duruflé arbeitete bis nach Kriegsende an seinem Requiem.  Die zentralen Aspekte darin sind Trauer und Resignation, Frömmigkeit und Reflexion. Ein alles in allem «mildes» Werk - so fehlt etwa das von Mozart oder Verdi so wirkungsvoll vertonte «Dies irae». Duruflé vertonte stattdessen dessen letzten, tröstlichen Vers als eigenen Satz: Mit «Pie Jesu» wendet sich der Chor mit der Bitte um ewige Ruhe an einen «milden Herrscher». Duruflés Requiem wird selten aufgeführt. Grund mag die nur halbstündige Aufführungsdauer sein. Auch, dass der Komponist mit seinem sonstigen Werk beinahe unbekannt ist, dürfte hier eine Rolle spielen. Gründe genug, in der Diskothek einmal genau hinzuhören. Gäste von Benjamin Herzog sind der die Dirigentin Graziella Contratto und der Sänger Jean-Christophe Groffe.

This special service for Remembrance Sunday, 14th November 2021, has been collated from archive live music recordings together with prayers, sermon and readings for the appointed day specially recorded in church and in people's homes. This service is sung by our professional St Bride's Choir who are joined by the St Bride's Orchestra in a liturgical performance of Duruflé's Requiem Mass. If you enjoy listening, please leave a comment below or subscribe to our channel. It is great to get your feedback. We are hugely grateful for people's generosity which we rely on to continue our work, maintain our wonderful architectural heritage and support world-class music. If you would like to make a donation, you can do so at https://www.justgiving.com/stbrideschurchfleetstreet Alternatively, in the UK, text 5STBRIDES or 10STBRIDES or 20STBRIDES to 70470 to donate £5, £10 or £20.

Previous performances from the Houston Chamber Choir with music by Bernstein, Brahms, Jalbert, and Duruflé.

This week's podcast sees acclaimed flautist Adam Walker join Gramophone Editor Martin Cullingford to talk about his two new albums of French music, both released on Chandos Records. The first, ‘French Works for Flute', sees him joined by pianist James Baillieu in music by Franck, Widor, Saint‑Saëns and Duruflé - that last work also featuring viola player Timothy Ridout. The second album, ‘Belle Époque', features Walker's Orsino Ensemble joined by pianist Pavel Kolesnikov in an eclectic programme of French music for wind ensemble. Gramophone podcasts are presented in association with Wigmore Hall.

On today’s date in 1935, at the Church of Saint François-Xavier in Paris, organist Geneviève de la Salle gave the first complete performance of the three-movement Suite, Op. 5, by the French composer and virtuoso organist Maurice Duruflé. If you sing in a choir or are a fan of choral classics, you probably know Duruflé’s serene and tranquil “Requiem,” Op. 9, which premiered some 12 years later. Now, if Duruflé’s Op. 5 premiered in 1935, and his Op. 9 in 1947, you might reasonably conclude the composer was a slow, meticulous worker, which he was. In all, Duruflé’s output comprises less than 15 published works, of which seven are for organ. His Organ Suite, Op. 5 consist of a brooding Prélude, a Sicilienne that evokes the harmonies and inflections of Ravel, and a brilliant, concluding Toccata. Duruflé’s music is firmly embedded in the French tradition of organ composers like César Franck and Louis Vierne, and Duruflé’s own composition teacher, Paul Dukas. The great French organist Marie-Claire Alain described Duruflé’s music as “… perfectly honest art. . . He was not an innovator but a traditionalist … Duruflé evolved and amplified the old traditions, making them his own."

On today’s date in 1935, at the Church of Saint François-Xavier in Paris, organist Geneviève de la Salle gave the first complete performance of the three-movement Suite, Op. 5, by the French composer and virtuoso organist Maurice Duruflé. If you sing in a choir or are a fan of choral classics, you probably know Duruflé’s serene and tranquil “Requiem,” Op. 9, which premiered some 12 years later. Now, if Duruflé’s Op. 5 premiered in 1935, and his Op. 9 in 1947, you might reasonably conclude the composer was a slow, meticulous worker, which he was. In all, Duruflé’s output comprises less than 15 published works, of which seven are for organ. His Organ Suite, Op. 5 consist of a brooding Prélude, a Sicilienne that evokes the harmonies and inflections of Ravel, and a brilliant, concluding Toccata. Duruflé’s music is firmly embedded in the French tradition of organ composers like César Franck and Louis Vierne, and Duruflé’s own composition teacher, Paul Dukas. The great French organist Marie-Claire Alain described Duruflé’s music as “… perfectly honest art. . . He was not an innovator but a traditionalist … Duruflé evolved and amplified the old traditions, making them his own."

The SATB choir and organ version of Maurice Duruflé's Requiem, Op. 9 was published in 1948 by the French firm Durand. It had been commissioned six years earlier under the collaborationist Vichy regime, but Duruflé was still working on it in 1944 when the regime collapsed and in fact did not complete it until the year of publication. The composer dedicated the Requiem to the memory of his father. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p474/Durufle%3A_Requiem%2C_Op._9.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Arts and culture expert St. John Flynn chats with Mezzo-Soprano Cecilia Duarte. Mexican born, Cecilia is a versatile singer excelling in a variety of genres, and encompassing early music, jazz, classical, and contemporary music throughout the country and internationally. She's also an old time recurring guest singer with the Houston Chamber Choir and soloist in our Grammy awarded Duruflé album. Watch or listen to the episode and enjoy her special Spotify Playlist!

The Rev'd Marcus Walker, whose previous appointment was as Deputy Director of the Anglican Centre in Rome, discusses the two major saints of that city while the Choir of Royal Holloway University of London sing the Ayleward Responses, Briggs' Trinity Service, and Duruflé's 'Tu es Petrus'Support the show (https://www.paypal.me/greatstbarts)

Music recommendations for a simple order of service for Maundy Thursday 2020 to worship at home. O for a closer walk with God St Paul's Cathedral Choir, Christopher Dearnley (organ), John Scott (director) From Praise to the Lord Hyperion Records CDH55036 Ubi caritas et amor - Maurice Duruflé St Paul's Cathedral Choir, John Scott (director) From Remembrance Hyperion Records CDA67398 St Paul's Cathedral would like to thank Hyperion Records for their permission and support in using these tracks For more information please visit www.hyperion-records.co.uk

Är John Wilson en kött och potatis-dirigent som bara matar ut skiva efter skiva? Och kan man verkligen tröttna på Schuberts Winterreise?! Det råder delade meningar hos veckans panel. Följande skivor recenseras i veckans avsnitt av Musikrevyn: Escales - French orchestral works Musik av Duruflé, Saint-Saëns, Debussy m fl Sinfonia of London Dirigent: John Wilson Chandos (CHSA5252) Betyg: 3 Víkingur Ólafsson Musik av Debussy och Rameau Deutsche Grammophon Betyg: 4 Zelenka - Psalmi Varii Separatim Scripti Ensemble Inégal Prags barocksolister Adam Viktora Nibiru Betyg: 3 Schuberts Winterreise Ian Bostridge och Thomas Adès Pentanone (PTC 5186764) Betyg: 4 Dessutom har vår reporter Jack Lantz besökt en av väldigt få konserter som genomförs så här efter coronapandemin, en orgelkonsert i Adolf Fredriks kyrka. (Under fredagseftermiddagen beslutade Adolf Fredriks församling att ställa in alla kommande konserter, efter nya råd från Folkhälsomydigheten.)

durée : 01:57:27 - En pistes ! du jeudi 27 février 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu également : un moment musical chez les Schumann avec la violoncelliste Cyrielle Golin et le pianiste Antoine Mourlas, l'ensemble néerlandais The Counterpoint & Friends dans un disque Telemann, le Sinfonia de Londres et son chef John Wilson dans les Trois Danses pour orchestre de Duruflé... - réalisé par : Lionel Quantin

Le saviez-vous ? L'orgue de l'Auditorium est le premier orgue laïque à avoir été installé à demeure dans une salle de concert.  Pendant que les musiciens de l'ONL partent en tournée, l'Auditorium ouvre son fond de scène pour accueillir des concerts jeune public, un grand concours international et une lecture de Lambert Wilson avec un des plus grands organistes d'aujourd'hui pour l'accompagner : Thierry Escaich. De Messiaen à Duruflé, seconde partie de nos émissions à la découverte de la pieuvre de la musique.

As part of Radio 3's week in the forest, Michael Berkeley talks to wildlife presenter, President of the RSPB and accomplished musician Miranda Krestovnikoff. She's dived with sharks, shown viewers how to eat roadkill, and searched for mammoth bones in the North Sea. The co-presenter of ten series of Coast, Miranda's also a regular on The One Show and Radio 4's Costing the Earth. As well as the RSPB she's involved in numerous other environmental and wildlife charities. She tells Michael about staying up all night waiting for pine martens in a Scottish forest, and a frightening experience diving with sharks. But she's also a talented musician - a flautist, pianist, and singer who plays with the New Bristol Sinfonia and sings in choirs in the city. We hear a recording of Miranda singing a Duruflé motet with the Bristol University Singers and from other composers whose music she has performed - Holst, Vaughan Williams, and Rachmaninoff, whose All Night Vigil was played at her wedding. And we hear a piece that combines her love of music and birds - Martinů's Sonata for Flute and Piano - the piece that inspired her as a young flautist and which also features the song of a nightjar. Producer: Jane Greenwood A Loftus production for BBC Radio 3 In midsummer week, Radio 3 enters one of the most potent sources of the human imagination. 'Into the Forest' explores the enchantment, escape and magical danger of the forest in summer, with slow radio moments featuring the sounds of the forest, allowing time out from today's often frenetic world.

The St. Cecilia Chamber Music Society puts on chamber works by Bloch, Poulenc, Duruflé, and others.

Franske Maurice Duruflés Requiem er ifølge komponisten som en spejling af menneskets angst, når det står over for mysteriet om livets endelige slutning. Hør også Koncertsalens mægtige orgel stråle i korværker af andre komponister.Marcel Dupré: Laudate dominum.Poulenc: Litanies à la vierge noire og 4 Petites prières de Saint-François d'Assise.Duruflé: Requiem.Michael Nagy, baryton.Elisabeth Jansson, mezzosopran.Henrik Dam Thomsen, cello.Ørjan Horn Johansen, orgel.DR KoncertKoret.Dirigent: Bart Van Reyn.(Koncerthuset, København 4. februar). Ca. 21.00Modtageren af P2 Prisen 2018 Årets danske album, ny klassisk. Bent Sørensen: Mignon. Katrine Gislinge, klaver. Laplands Kammerorkester. Dirigent: John Storgårds. Vært: Mathias Hammer. www.dr.dk/p2koncerten

En clave de Dios (XLIII): Música clásica eucarística ('Tantum Ergo' y 'Ave Verum Corpus'). En este programa proponemos un recorrido a lo largo de la historia por diversas musicalizaciones de dos himnos latinos eucarísticos, el 'Tantum Ergo', atribuido a Santo Tomás de Aquino, y el 'Ave Verum Corpus', que se atribuye al Papa Inocencio VI. Así, escuchamos obras de Byrd, Mozart, Schubert, Verdi, Saint-Saëns, Gounod, Poulenc y Duruflé.

Am 17. März dirigiert Ivan Repušic, der designierte Chefdirigent des Münchner Rundfunkorchesters, in der Münchner Herz-Jesu-Kirche erstmalig ein Konzert der Reihe "Paradisi gloria" mit Werken von Respighi und Duruflé. Falk Häfner traf den Dirigenten und hat mit ihm über den anstehenden Konzertabend und das musikalische Programm gesprochen.

Welcome to Secrets of Organ Playing Podcast #82! http://www.organduo.lt/podcast Today's guest is Peter Holder who is Sub-Organist of St Paul's Cathedral in London. He was appointed at the age of 23 following two years as Organ Scholar at Westminster Abbey. His responsibilities at both institutions have involved playing at numerous events of national importance, including the 60th Anniversary of the Coronation of HM Queen Elizabeth II, and accompanying the world famous choirs. He completed both undergraduate and postgraduate studies at the Royal Academy of Music whilst studying with David Titterington. During his studentship, he was awarded numerous scholarships and prizes, most notably HRH Princess Alice the Duchess of Gloucester's Prize for exemplary studentship at Graduation in 2013. He was appointed the Pidem Organ Fellow in 2014 and to the Junior Royal Academy of Music where he is now an organ tutor. He continues his repertoire studies with David Titterington, Jon Laukvik and Patrick Russill, and improvisation with Thierry Escaich. Peter Holder has previously held posts at St Albans Cathedral, Southwell Minster and The Royal Hospital Chelsea. He has broadcast for BBC radio and television, and performed in the 2012 BBC Proms with the combined Orchestra of the Royal Academy of Music and Juilliard School, conducted by John Adams. As a continuo player, he has performed with St James's Baroque at the Lufthansa Festival of Baroque Music's annual concert at Westminster Abbey. Recent performances include venues such as the Royal Albert Hall; Royal Festival Hall; Reading Town Hall; St John's Smith Square; Westminster Abbey; the Cathedrals of Gloucester, St Paul's, and Westminster; Cambridge Summer Music Festival; John Hill Memorial Series at St Lawrence Jewry; Lichfield Festival; and St Albans International Organ Festival. His first solo recording is scheduled for release later this year recorded on the magnificent 1797 Holzhey organ of Neresheim Abbey, featuring the works of members of the Bach family, WA Mozart and Christian Heinrich Rinck. Peter's solo repertoire is broad and eclectic, and includes transcriptions of celebrated orchestral scores (see link). His concerto repertoire includes works by Handel, Lou Harrison and Poulenc and his orchestral repertoire includes the works of composers such as Duruflé, Elgar, Resphigi, Saint-Säens (Symphony No 3) and Walton. He is also a keen player of both the piano and harmonium, and has performed the prominent roles in Fanshawe African Sanctus and Rossini Petite Messe Solennelle on these respective instruments. In this conversation Peter talks about what does it take to play such magnificent instruments at one of the most important cathedrals in the world and what is the musical life behind it. ​Enjoy and share your comments below. ​ And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. Thanks for caring. Relevant links: http://www.peterholdermusic.co.uk/ https://www.stpauls.co.uk/​

I programmet diskuteras bl.a. klarinettkonserter med Julian Bliss, Daniel Barenboim spelar på "eget" piano samt Paul von Klenaus 9e symfoni. Johans väljer ur Mahlers trea o Strauss Alpsymfoni. I panelen Aurélie Ferriere, Bengt Forsberg och David Björkman som tillsammans med programledaren Johan Korssell betygsätter följande skivor: CARL NIELSEN W A MOZART Klarinettkonserter Julian Bliss, klarinett Royal Northern Sinfonia Mario Venzago, dirigent Signum SIGCD 390 ON MY NEW PIANO Musik av D Scarlatti, Beethoven, Chopin, Wagner och Liszt Daniel Barenboim, piano DGG 00289 4796724 PAUL VON KLENAU Symfoni nr 9 Cornelia Pfassek, sopran, Susanne Resmark, alt,  Michael Weinius, tenor, Steffen Bruun, bas Danska radions kör och symfoniorkester Michael Schönwandt, dirigent Dacapo 8.226098-99 REMEMBRANCE Körverk av bl. a. Duruflé, Tavener och Elgar Choir of Clare College, Cambridge Graham Ross, dirigent Harmonia Mundi HMU 907654 Referensen - Johan jämför och refererar: den här veckan är det Mozarts Klarinettkonsert som står i Referensens fokus. Denna tolkning är inspelad på Decca med klarinettisten Jack Brymer och Londons symfoniorkester allt under ledning av Colin Davis. Johans val Johan väljer och spelar valda delar ur ett nytt album där mezzosopranen Gerhild Romberger, Augsburger Domsingknabe, damröster ur Bayerska radions kör samt Bayerska radions symfoniorkester, allt under ledning av Bernard Haitink framför Mahlers tredje symfoni på skivmärket BR Klassik samt ur Richard Strauss En alpsymfoni också med Bayerska radions symfoniorkester, men där dirigenten heter Mariss Jansons. Även den är utgiven på BR Klassisk. Andra i programmet nämnda eller rekommenderade inspelningar: Mozarts Klarinettkonsert med klarinettisten Martin Fröst på Bis samt med Benny Goodman och Bostons symfoniorkester under ledning av Charles Munch på RCA. Nielsens Klarinettkonsert med Martin Fröst och Lahtis symfoniorkester under ledning av Osmo Vänskä på Bis; Kjell Inge Stevenson tillsammans med Danska radions symfoniorkester dirigerade av Herbert Blomstedt på Warner Classics; Niels Thomsen och Danska radions symfoniorkester ledda av Michael Schönwandt på Chandos samt med Benny Goodman och Chicagos symfoniorkester på RCA. Inget svep denna vecka

Westminster Choir conductor Joe Miller joins WWFM The Classical Network host David Osenberg to discuss the theme and repertoire for the Westminster Choir’s 2014 tour program. Titled “Legends,” the program is centered on Eriks Esenvalds' The Legend of the Walled-In Woman, and also includes Brahms' Nänie, Elder's Elegy, and Duruflé’s Ubi Caritas.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Dazzling young organist Christopher Houlihan returns to Rockefeller Chapel to play a virtuoso recital of music by J.S. Bach, Debussy, Duruflé, Saint-Saëns, and Liszt. This is the fourth annual recital in the Brian Gerrish Organ Performance Series. The Brian Gerrish Organ Performance Series is made possible by a generous endowment given to honor Divinity School professor emeritus Brian Gerrish and to promote the joy of listening to world-class organ performances.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Dazzling young organist Christopher Houlihan returns to Rockefeller Chapel to play a virtuoso recital of music by J.S. Bach, Debussy, Duruflé, Saint-Saëns, and Liszt. This is the fourth annual recital in the Brian Gerrish Organ Performance Series. The Brian Gerrish Organ Performance Series is made possible by a generous endowment given to honor Divinity School professor emeritus Brian Gerrish and to promote the joy of listening to world-class organ performances.

Liquid Mind is the name used by Los Angeles composer and producer Chuck Wild. There are few composers with as much love for slowness in their music as Wild. Chuck draws from classical and pop influences as varying as Beethoven and Brian Eno, Bartok and Rachmaninoff, Bach, Chopin and Fauré, Duruflé and Brahms. Early live and studio experience with the Capitol Records' group “Missing Persons”, and studio work with Frank Zappa, Michael Jackson and many others have helped Chuck to develop high production values. Spending many studio hours over the years with five time Grammy winning engineer Bruce Swedien and famed producer Ken Scott has inspired Chuck to explore unique and subtle gradations of sound and feeling in his music. In November 2005, Chuck presented at the American Music Therapy Conference regarding the use of slow music in treating anxiety. Liquid Mind VII: Reflection won the Coalition of Visionary Resources Award for Best Meditation/Healing Music album of 2005. Chuck's musical experience spans three decades, including writing 125 songs and compositions used in TV/Film and albums. The Pointer Sisters, Tommy Page, Timothy Leary, Wink, Jennifer Rush, Thelma Houston, Glen Medeiros and Philip Bailey are just some of the artists who have recorded his songs. Wild co-composed music with Michael Hoenig for the Emmy (TM) winning ABC-TV series Max Headroom. In 1992, his first composition for two pianos, Los Angeles Fantasy, was premiered by Zita Carno and Gloria Ching at the Bing Theater in Los Angeles. The same year, Wild co-scored the Academy Award (TM) winning film The Panama Deception. In 1989, he co-wrote (with Marti Sharron) the song "You're My One and Only," #1 hit in Europe for Jennifer Rush. Over the last twenty years, Chuck has lent his studio talents to projects with Michael Jackson, Paula Abdul, Missing Persons, Philip Bailey, Frank Zappa, and many other artists. http://www.liquidmindmusic.com