Podcasts about ein heldenleben

Genial oder größenwahnsinnig? Diese Tondichtung von Richard Strauss aus dem Jahr 1898 polarisiert bis heute: ein Meisterstück wie ein Film: mit einem Helden, einer großen Liebe und feindlichen Widersachern. Der Komponist blickt zurück auf seinen künstlerischen Lebensweg und zieht dabei alle Register seiner facettenreichen Klangsprache. Von Martin Zingsheim.

Richard Strauss (1864-1949) - Ein Heldenleben, Op.40 (00:00) 1. Der Held - Lebhaf bewegt(03:57) 2. Des Helden Widersacher - Etwas langsamer(06:50) 3. Des Helden Gefahrtin - Erstes Zeitmas(14:00) 4. Thema der Siegesgewisheit - Masig langsam(17:25) 5. Des Helden Walstatt - Lebhaft(18:58) 6. Kriegsfanfaren - Festes Zeitmas(25:19) 7. Des Helden Friedenswerke - Etwas breit(33:00) 8. Entsagung - LangsamVienna Philharmonic OrchestraCarlos Kleiber, conductor

Als eine „tönende Biografie“ wurde dieses Werk bezeichnet. In der Tat trägt diese Tondichtung viele autobiografische Züge und obwohl der Komponist es nicht explizit ausgesprochen hat, steckt in diesem Helden recht viel von Richard Strauss. Blind verkostet von Christine Lemke-Matwey, Kai Luehrs-Kaiser und Andreas Göbel. Moderiert von Christian Detig

与法国音乐复兴形成鲜明对比的，是德奥音乐在后瓦格纳时代继续发展到极致的状态。一提到德奥音乐在浪漫主义晚期，那马勒和理查施特劳斯就是不得不提的最重点音乐家了。他们是不折不扣的后瓦格纳时代的德奥双雄。本期我们就来继35期以后再次聊聊理查•施特劳斯。包含曲目：0:26- Ein Heldenleben, Op. 40, TrV 190 - 1. "Der Held" (The Hero) (英雄的生涯，作品40)5:14- Richard Strauss: Also sprach Zarathustra (Thus Spoke Zarathustra)8:51- Ein Heldenleben, Op. 40, TrV 190 - 6. "Des Helden Weltflucht und Vollendung" (The Hero's Retirement from this World and Completion) (英雄的生涯，作品40)

Synopsis Decades after their deaths, Richard Strauss and Dmitri Shostakovich still remain politically controversial. Strauss worked in Nazi Germany under Hitler, and Shostakovich in the Soviet Union under Stalin. Was their art compromised by politics – and should that influence how we hear their music today? In July of 1935, Strauss pleaded with Hitler for a personal meeting to explain his resignation as President of Germany's office of musical affairs. He needn't have bothered: the Gestapo had intercepted a letter Strauss had sent to the Jewish writer, Stefan Zweig, the Austrian librettist of Strauss' latest opera. In that letter, Strauss mocked the Nazi's obsession with race and urged Zweig to continue to work with him, even if they would have to meet in secret. Strauss was asked to resign, and, anxious to avoid further trouble for himself and his family, appealed directly to Hitler, who never responded. Dmitri Shostakovich also ran afoul of his dictator when, in 1936, Stalin attended Shostakovich's opera “Lady Macbeth of Mtsensk” and hated it. The next day, Shostakovich was harshly condemned in the official press, and lived in terror for the rest of Stalin's reign, redirecting his music according to Party line and making obsequious political utterances whenever asked. Even so, many today claim to hear both terror AND heroic – if coded – resistance in Shostakovich's best scores. Music Played in Today's Program Richard Strauss (1864-1949) – Ein Heldenleben, Op. 40 (Daniel Majeske, violin; Cleveland Orchestra; Daniel Barenboim, cond.) London 414 292 Dimitri Shostakovich (1906-1975) – Lady Macbeth of Mtsensk excerpts (Scottish National Orchestra; Neeme Jarvi, cond.) Chandos 8587

Synopsis On today's date in 2002, a high-profile musical event occurred at Philadelphia's new Kimmel Center for the Performing Arts. The city was hosting the 57th National Conference of the American Symphony Orchestra League, and the Philadelphia Orchestra was celebrating its 100th anniversary with eight new commissions, all to be premiered in the Orchestra's new Verizon Hall. On June 12th, the new piece was a Concerto for Orchestra by a 39-year-old composer named Jennifer Higdon. Higdon's “Concerto” opened the Philadelphia Orchestra's program, followed by Richard Strauss's tone-poem “Ein Heldenleben.” Both pieces were performed before an audience of orchestral professionals from around the country – not to mention Higdon's proud mother. Higdon, understandably a little nervous, quipped to a newspaper reporter, "You'll know my mother because she'll be the one crying BEFORE the piece starts." Higdon needn't have worried. Her “Concerto for Orchestra” was greeted with cheers from both its audience and performers – the latter in typically irreverent fashion, dubbed the new piece “Ein Higdonleben.” Higdon, the only woman among the eight composers commissioned for the orchestra's centennial project, calls herself a "late bloomer" as a composer. She taught herself the flute at age 15 and didn't pursue formal music training until college. She was almost finished with her bachelor's degree requirements at Bowling Green State University when she started composing her own music. Music Played in Today's Program Jennifer Higdon (b. 1962) –Concerto for Orchestra (Atlanta Symphony; Robert Spano, cond.) Telarc 80620

Genial oder größenwahnsinnig? Diese Tondichtung von Richard Strauss polarisiert bis heute. Ein Meisterstück wie ein Film: mit einem Helden, einer großen Liebe und feindlichen Widersachern. (Autor: Martin Zingsheim) Von Martin Zingsheim.

Hear the sounds of bravery, battle and romance in Strauss' exuberant Ein Heldenleben (A Hero's Life), led by Karina Canellakis. Kirill Gerstein performs Schumann's only piano concerto, a work that brims with joy and melody. Augusta Read Thomas' Brio is a study in agility and motion, building to a full-throttle, sparkling intensity. Ticket holders are invited to a free preconcert conversation featuring Carl Grapentine in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Learn more: cso.org/performances/21-22/cso-classical/ein-heldenleben

Synopsis The German composer Richard Wagner tried to limit performances of his final opera, “Parsifal,” to his own theater in Bayreuth, hoping it would provide a source of income for his family after his death. “Parsifal” premiered at Bayreuth in 1882, and after Wagner died the following year, his widow forbade rental of the music for performances elsewhere. Naturally, Wagner enthusiasts all over the world were eager to hear the new work. One of them was a German-born American named Walter Damrosch, who, at the tender age of 23, headed both the New York Symphony and Oratorio Society, and was a conductor at the Metropolitan Opera. While visiting London in 1885, Damrosch had bought a miniature score of “Parsifal.” The purchase gave him no right to perform the work, but he discovered the monetary fine for doing so was so small that he hired copyists to prepare orchestral parts for a concert performance in America at the old Metropolitan Opera House on today's date in 1886. Unfortunately for Damrosch, Anton Seidl, a close friend of Wagner's widow was hired as the new music director of the Met. Seidl apparently took offense at Damrosch's audacity, and so limited Damrosch to only non-Wagnerian repertory! Music Played in Today's Program Richard Wagner (1813–1883) — Parsifal (excerpt) (SW German Radio Symphony; Erich Leinsdorf, cond.) Hannsler 93.040 On This Day Births 1891 - Spanish composer Federico Moreno Torroba, in Madrid; Deaths 1768 - Italian composer Nicola Porpora, age 81, in Naples; 1824 - Italian composer and violin virtuoso Giovanni Battista Viotti, age 68, in London; 1932 - British-born German composer and pianist Eugène d'Albert, age 67, in Riga; Premieres 1793 - Haydn: Symphony No. 101 ("The Clock"), conducted by the composer, at the Hanover-Square Concert Rooms in London; 1842 - Mendelssohn: Symphony No. 3 ("Scottish"), by the Leipzig Gewandhaus Orchestra, with the composer conducting; 1853 - revised version of R. Schumann: Symphony No. 4, with the Düsseldorf Municipal Orchestra, conducted by the composer; An earlier version of this symphony premiered in Leipzig in 1841 as Schumann's Symphony "No. 2," but the composer withdrew the score and composed and premiered a new Symphony No. 2 and Symphony No. 3 before revising and reintroducing this symphony as "No. 4"; 1870 - Brahms: "Alto Rhapsody," by the singer Pauline Viardot-Garcia, in Jena, Germany; 1875 - Bizet: opera "Carmen," in Paris at the Opéra-Comique; 1893 - George Templeton Strong, Jr.: Symphony No. 2 ("Sintram"), at a public afternoon rehearsal by the New York Philharmonic at Carnegie Hall, with Anton Seidl conducting; The "official" premiere concert took place the following evening; 1899 - R. Strauss: tone-poem "Ein Heldenleben" (A Hero's Life), in Frankfurt, with Strauss conducting; 1918 - Bartók: String Quartet No. 2, Op. 17, in Budapest, by the Waldbauer Quartet; 1944 - Barber: Symphony No, 2, by the Boston Symphony, Serge Koussevitzky conducting; 1951 - Otto Luening: "Kentucky Concerto" by the Louisville Orchestra, with the composer conducting; 1959 - Cowell: Symphony No. 13 ("Madras") in Madras, India; 1963 - Menotti: television opera "Labyrinth," broadcast over the NBC network; Others 1886 - American premiere (in a concert version) of Wagner's "Parsifal" at the Old Metropolitan Opera House, by the New York Symphony and Oratorio Society conducted by the 24-year old Walter Damrosch; The soloists included soprano Marianne Brandt, who had alternated the role of Kundry with soprano Amalie Materna in the premiere staged performances of the opera in Bayreuth in July of 1882; The first fully staged presentation of "Parsifal" in the U.S. did not occur at the Met until Dec. 24, 1903; 1922 - U.S. premiere of concert version of Stravinsky's ballet score, "The Rite of Spring," in Philadelphia, with Leopold Stokowski conducting. Links and Resources On Wagner's "Parsifal" On Walter Damrosch

Tussen de paukenisten was de beste plek om te zitten toen hij op vijfjarige leeftijd naar de repetities van zijn vader kwam kijken. Het leidde ertoe dat Marc, toen hij zelf een instrument mocht kiezen, slagwerk ging studeren. In deze aflevering vertelt hij hoe een dvd met Ein Heldenleben van Richard Strauss onder leiding van Mariss Jansons ervoor zorgde dat hij het zonnige Spanje verruilde voor Amsterdam en hoe ‘mindblowing' het was om jaren later zelf onder leiding van de vooraanstaande dirigent te mogen spelen.

A nosy trombonist (Melissa Brown) chats to fellow brass professionals about their careers, how they got there, and what music they'd happily put in the bin. In this episode freelance trombonist and educator Andy Fawbert tells us about starting out in brass bands, about his varied job including lots of doubling, and how he feels about Ein Heldenleben! All episodes recorded during COVID-19 lockdown via video call programmes. There are occasional technical glitches - please bear with us! Facebook: Bold as Brass Podcast Instagram: @boldasbrasspodcast Show artwork: Stuart Crane Music credit: Upbeat Forever by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5011-upbeat-forever License: http://creativecommons.org/licenses/by/4.0/

Auf dem Programm steht dieses Mal "Ein Heldenleben" von Richard Strauss. Christine Lemke-Matwey, Andreas Göbel und Kai Luehrs-Kaiser hören Aufnahmen, ohne zu wissen, wen sie hören. Das müssen die drei selbst herausfinden. Moderiert von Christian Detig.

Sir Antonio Pappano has recently been named as the new Chief Conductor of the London Symphony Orchestra (succeeding Sir Simon Rattle at the start of the 2024 season). With perfect timing, the orchestra releases a new recording of Vaughan Williams's Symphonies No 4 and 6, the latter recorded live the day before the first lockdown. Next month, finds Pappano in front of his Roman ensemble, the Orchestra dell'Accademia Nazionale di Santa Cecilia, for a new Warner Classics album of Richard Strauss's Ein Heldenleben and the Burleske (with the pianist Bertrand Chamayou). James Jolly caught up with the conductor by video call at his house in Rome to talk about the two new releases, but also to discuss how he has been making music in these unusual and troubling times. Gramophone Podcasts are presented in association with Wigmore Hall.

The 2019 3MBS Young Performer of the Year, and the older sister of last week's guest, Charlotte Miles earned her LMUS at 12 years old, came second in The Talent 3MBS at 14, and now 17 years old, she's the youngest- ever student to be admitted to the Australian National Academy of Music. She has toured overseas with the Australian Youth Orchestra, placed in national and international music performance competitions, and is already demonstrating the kind of mature and developed technique of a musician twice her age. In this episode of Musicmakers, Teddy Darling and Charlotte Miles discuss her experiences at ANAM, cello technique, and her thoughts on live music and concert performance. Join Charlotte and Teddy live for the musical sequel to this interview with a full-length feature broadcast of Charlotte's music on Melbourne in Concert at 6PM Sunday 20 December, only on 3MBS Fine Music Melbourne. Coming up next on the podcast, Teddy Darling is joined by the Australian cellist and composer Luke Severn, to chat about his queer recording project Humanation, as well as the importance of collaboration and friendships in his practice as a concert and ensemble performer. *** Charlotte's music recommendations: Symphony No. 6 and Symphony No.4 by Gustav Mahler; Ein Heldenleben by Richard Strauss; Cantilena Pacifica (5th movement of String Quartet No.2) by Richard Meale; Mother Goose Suite by Maurice Ravel. Tune into to the feature broadcast with Charlotte Miles at 103.5FM, on digital, or stream it live at 3mbs.org.au. Or listen to it on-demand after it airs at 3mbs.org.au/programs/melbourne-in-concert.Follow Charlotte's musical journey on instagram at @charlottemilescello. *** Credits:This episode was written, hosted, and produced by Teddy Darling, with support from Adrian McEniery, Frank Prain, Stewart McMillan, and other staff members from 3MBS Fine Music Melbourne. This episode features the following music with the permission of the artists:Sonata for Violin and Cello by Dmitri Shostakovich, performed by Louisa Breen (piano) and Charlotte Miles (cello) live at ANAM 2019 Recitals.Variations on a Theme by Paganini by Hans Bottermund/Janos Starker, performed by Charlotte Miles. 3 Pieces for Cello and Piano by Nadia Boulanger, performed by Charlotte Miles. The Musicmakers theme music is 'Bahama Rhumba' from 'Latin American Dances' by John Carmichael, performed live on Melbourne in Concert by Justin Kenealy and Coady Green at 3MBS on 28 July 2019 in the Lady Marigold Southey Performance Studio.Support the show: https://3mbs.org.au/donateSee omnystudio.com/listener for privacy information.

The 2019 3MBS Young Performer of the Year, and the older sister of last week’s guest, Charlotte Miles earned her LMUS at 12 years old, came second in The Talent 3MBS at 14, and now 17 years old, she’s the youngest- ever student to be admitted to the Australian National Academy of Music. She has toured overseas with the Australian Youth Orchestra, placed in national and international music performance competitions, and is already demonstrating the kind of mature and developed technique of a musician twice her age. In this episode of Musicmakers, Teddy Darling and Charlotte Miles discuss her experiences at ANAM, cello technique, and her thoughts on live music and concert performance. Join Charlotte and Teddy live for the musical sequel to this interview with a full-length feature broadcast of Charlotte’s music on Melbourne in Concert at 6PM Sunday 20 December, only on 3MBS Fine Music Melbourne. Coming up next on the podcast, Teddy Darling is joined by the Australian cellist and composer Luke Severn, to chat about his queer recording project Humanation, as well as the importance of collaboration and friendships in his practice as a concert and ensemble performer. *** Charlotte’s music recommendations: Symphony No. 6 and Symphony No.4 by Gustav Mahler; Ein Heldenleben by Richard Strauss; Cantilena Pacifica (5th movement of String Quartet No.2) by Richard Meale; Mother Goose Suite by Maurice Ravel. Tune into to the feature broadcast with Charlotte Miles at 103.5FM, on digital, or stream it live at 3mbs.org.au. Or listen to it on-demand after it airs at 3mbs.org.au/programs/melbourne-in-concert.Follow Charlotte's musical journey on instagram at @charlottemilescello. *** Credits:This episode was written, hosted, and produced by Teddy Darling, with support from Adrian McEniery, Frank Prain, Stewart McMillan, and other staff members from 3MBS Fine Music Melbourne. This episode features the following music with the permission of the artists:Sonata for Violin and Cello by Dmitri Shostakovich, performed by Louisa Breen (piano) and Charlotte Miles (cello) live at ANAM 2019 Recitals.Variations on a Theme by Paganini by Hans Bottermund/Janos Starker, performed by Charlotte Miles. 3 Pieces for Cello and Piano by Nadia Boulanger, performed by Charlotte Miles. The Musicmakers theme music is 'Bahama Rhumba' from 'Latin American Dances' by John Carmichael, performed live on Melbourne in Concert by Justin Kenealy and Coady Green at 3MBS on 28 July 2019 in the Lady Marigold Southey Performance Studio.

Ein Heldenleben (A Hero's Life), Op. 40 is a tone poem by Richard Strauss. The work was completed in 1898. It was his eighth work in the genre, and exceeded any of its predecessors in its orchestral demands. Generally agreed to be autobiographical in nature, despite contradictory statements on the matter by the composer, the work contains more than thirty quotations from Strauss's earlier works, including Also sprach Zarathustra, Till Eulenspiegel, and Death and Transfiguration. ​ Produced and Conducted by Joana Filipe Martinez CMD Grand Opera Company of Barcelona Spain Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p469/R_Strauss%3A_Ein_Heldenleben.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 Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com

In the second episode in a mini-series about the pivots brought on by the circumstances of the COVID-19 pandemic. Utah Symphony | Utah Opera Vice President of Marketing and Public Relations, Jonathan Miles joins the Ghost Light Podcast to discuss how USUO's marketing strategy changed for the 2020-21 season. Music from this episode: • Finale from Igor Stravinsky's "Octet for Wind Instruments" • George Walker's "Lyric for Strings" • Andrew Norman's "Switch" • Richard Strauss' "Ein Heldenleben"

Tom Service recommends recordings of Richard Strauss's Ein Heldenleben.

I had a wonderful time chatting with Detroit Symphony principal bassist Kevin Brown.  Kevin studied with Peter Lloyd, Paul Ellison, and David Allen Moore prior to his appointment with the Detroit Symphony and also won the 2009 International Society of Bassists Orchestral Competition. We dig deep into a number of topics: growing up in Minnesota and starting the bass at age 3 studying with Peter Lloyd, Paul Ellison, and David Allen Moore listening to excerpts like Ein Heldenleben while doing stretches living a musical life rather than just being a bass player long-term audition preparation making breakthroughs by only choosing to meet his own standards becoming a musical scholar of sorts during audition preparation advice that CSO principal bassist Alex Hanna gave to Kevin as he was getting ready to do a trial for principal bass of the Detroit Symphony advice he’d have for his 23-year-old self We also talk about playing incidental solos and how much it resembles playing an audition for Kevin, and we feature excerpts of Kevin playing Bach as well as an excerpt of the Vanhal Concerto with the Detroit Symphony. Kevin's a great person and was a lot of fun to chat with! Links to check out: Kevin's DSO bio page Kevin teaching a master class (video) Subscribe to the podcast to get these interviews delivered to your inbox! Learn how you can support the show at contrabassconversations.com/support Thanks to our sponsors! This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets. Enter our latest string giveaway for Helicore strings at contrabassconversations.com/strings! 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.

Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. Also sprach Zarathustra, Op. 30 (Thus Spoke Zarathustra or Thus Spake Zarathustra) is a tone poem by Richard Strauss, composed in 1896 and inspired by Friedrich Nietzsche's philosophical novel of the same name.The composer conducted its first performance on 27 November 1896 in Frankfurt. A typical performance lasts half an hour. The work has been part of the classical repertoire since its first performance in 1896. The initial fanfare – titled "Sunrise" in the composer's program notes – became particularly well-known after its use in Stanley Kubrick's 1968 film 2001: A Space Odyssey. - Wikipedia

Richard Strauss kanske mest känd som operatonsättare, jämte hans ofta framförda tondikter för orkester. Även om man inte hör dem så ofta så skrev Richard Strauss också några verk för piano och orkester. Hans kammarmusik med piano eller solopianomusik spelas också sällan. Desto mer bekanta är hans många sånger, ofta med en uttrycksfull pianostämma. Mer information på sverigesradio.se/p2

Explore the heroic narrative of Richard Strauss's epic tone poem 'Ein Heldenleben', which will be performed by the BBC Scottish Symphony Orchestra and Edinburgh Festival Chorus as part of the Opening Concert at the 2015 Edinburgh International Festival.

"Don Juan", op. 20 | "Ein Heldenleben", op. 40 | Anton Barachovsky (Solo-Violine) | Symphonieorchester des Bayerischen Rundfunks | Leitung: Mariss Jansons

OSG - Dima Slobodeniouk (director) Grabación de Radio Galega del 2.05.2014 (Palacio de la Ópera de A Coruña)

Berlin Philharmonic horn player Stefan de Leval Jezierski coaches Pablo Rincon on Strauss's Ein Heldenleben. Select members of the Berlin Philharmonic woodwind and brass sections led two days of master classes focusing on orchestral repertoire and audition preparation. Participating young artists attended panel discussions with the master class leaders and heard the Berlin Philharmonic in performance, led by Sir Simon Rattle, at Carnegie Hall.

Richard Strauss kanske mest känd som operatonsättare, jämte hans ofta framförda tondikter för orkester. Även om man inte hör dem så ofta så skrev Richard Strauss också några verk för piano och orkester. Hans kammarmusik med piano eller solopianomusik spelas också sällan. Desto mer bekanta är hans många sånger, ofta med en uttrycksfull pianostämma. Mer information på sverigesradio.se/p2

Allem Anschein nach schien sich Richard Strauss in diesem Stück über seine Kritiker zu beschweren. Doch hatte er überhaupt Grund zum Klagen?

Richard Strauss: Vier letzte Lieder Franz Berwald: Sinfonie sérieuse (nr. 1) Lars-Erik Larsson: Ostinato Wolfgang Amadeus Mozart: ur Cosi fan tutte (med Hjördis Schymberg, Helga Görlin, Isa Quensel, Einar Andersson, Hugo Hasslo samt Sigurd Björling, Kungliga Hovkapellet, från föreställning på Stockholmsoperan den 20 mars 1940) Stockholms filharmoniska orkester Fritz Busch Curt Carlsson letar guldkorn från förr i Sveriges Radios arkiv. Idag konsertupptag- ningar med dirigenten Fritz Busch från bl.a. Stockholms konserthus den 2/5 1951. Solist är Sena Jurinac i Vier letzte Lieder av Richard Strauss, och Stockholms filharmoniska orkester spelar Franz Berwalds första symfoni - Sinfonie sérieuse. Vid konserten den 2 maj 1951 gästades Konserthuset av en av Wienoperans unga solister, den kroatiska sopranen Sena Jurinac. Dirigent var den alltsedan 1932, trogne sverigegästen Fritz Busch, som lett orkestern många gånger tidigare och var en av orkestern särskilt uppskattad dirigent. Först på programmet den gången stod Haydns Sinfonia concertante B-dur och två Mozartarior ur ”Figaros bröllop”, som sjöngs av dagens gäst Sena Jurinac. Den delen av konserten sändes direkt här i radio, så den finns inte bevarad. Fritz Busch var orkesterns ordinarie dirigent mellan 1937 och 1940. Han var född i en mycket musikalisk familj. En av hans bröder var den på sin tid världsberömde violinisten Adolf Busch. 1933 lämnade han Tyskland i protest mot nazisterna. Han konserterade sen en hel del i Skandinavien, både i Sverige och i Danmark. Efter kriget blev han dirigent vid Metropolitan i New York. Men han turnerade regelbundet i Europa. Han var nästan varje sommar i Glyndbourne. Han kom under årens lopp att dirigera en lång rad svenska verk, musik av Rosenberg, Lars-Erik Larsson, Dag Wirén och Gunnar de Frumerie och också Franz Berwald, som vi hör denna gång, Berwalds g-mollsymfoni - Sinfonie sérieuse -, den symfoni som Berwald skrev 1842 under sin vistelse i Wien. Franz Berwald (1796-1868) utbildades i violinspel av sin far och spelade under många år i Hovkapellet. I Wien fick han sitt första erkännande som stor komponist, men i Sverige var han länge misskänd och anlitades först 1867, ett år före sin död som kompositionslärare vid konservatoriet. Flera av Berwalds verk uppfördes aldrig under hans livstid. Operorna ”Estrella di Soria” (1841) och ”Drottningen av Golconda” (1864), samt de fyra symfonierna räknas till hans mest betydelsefulla verk. Richard Strauss (1860-1949) - Hovkapellmästare i Berlin och München, Operachef i Wien, och en av senromantikens mest betydelsefulla kompositörer. Strauss slog igenom med en rad orkestralt virtuosa symfoniska dikter; främst Don Juan (1889) och Till Eulenspiegel (1895). Vidare följde Also sprach Zarathustra (1896, efter Nietzsche), Ein Heldenleben (1899) och Eine Alpensinfonie (1915). Han komponerade även en mängd operor och vokalmusik, och avslutade sitt värv med fyra sista sånger, med texter av Hermann Hesse och Joseph von Eichendorff.

Roy Plomley's castaway is actress Petula Clark.Favourite track: Ein Heldenleben by Richard Strauss Book: Short Stories by John Steinbeck Luxury: Piano

Roy Plomley's castaway is actress Petula Clark. Favourite track: Ein Heldenleben by Richard Strauss Book: Short Stories by John Steinbeck Luxury: Piano