Podcasts about elgar

Professor Michele Dougherty is President of the Institute of Physics and Professor of Space Physics at Imperial College London. She was appointed Astronomer Royal last year – the first woman to hold the post in its 350-year history.She was brought up in Durban in South Africa and studied for a Bachelor of Science degree in applied maths at Natal University. After completing a Master's and PhD she took up a fellowship at the Max Planck Institute for Astronomy in Germany where she investigated solar wind and galactic wind outflows.In 1991 she joined Imperial College London where she helped devise a magnetic field model for the Ulysses mission. In 1997 she became principal investigator for the magnetometer instrument on board the Cassini probe which was sent to study Saturn and its system.She is currently lead investigator for the J-MAG magnetometer instrument on the European Space Agency's JUICE mission (Jupiter Icy Moons Explorer) which launched in 2023. It will reach Jupiter in 2031 and spend at least three years observing the planet and three of its largest moons, Ganymede, Callisto and Europa.Michele was appointed CBE in the 2018 New Years Honours List for services to UK Physical Science Research.DISC ONE: Puccini: Turandot, Act III: Nessun dorma! Performed by Luciano Pavarotti (tenor), John Alldis Choir, Wandsworth School Boys Choir and London Philharmonic Orchestra, conducted by Zubin Mehta DISC TWO: Cello Concerto in E Minor, Op. 85: III. Adagio. Composed by Elgar. Performed by Jacqueline du Pré (cello) and London Symphony Orchestra, conducted by Sir John Barbirolli DISC THREE: Violin Concerto No. 1 in D Major, Op. 19: III. Moderato. Composed by Tchaikovsky. Performed by Frank Peters Zimmerman (violin), and Berliner Philharmoniker, conducted by Lorin Maazel DISC FOUR: We Three Kings of Orient Are - Robert Shaw Chamber Singers DISC FIVE: Dancing Queen - ABBA DISC SIX: Dance With My Father - Luther Vandross DISC SEVEN: Franck: Panis Angelicus. Performed by Dame Kiri Te Kanawa (soprano), English Chamber Orchestra, conducted by Barry Rose DISC EIGHT: Pie Jesu (From Requiem) Composed by Andrew Lloyd Webber. Performed by Malakai Bayoh, Schola Cantorum of the Cardinal Vaughan Memorial School and London Mozart Players, directed by Scott Price BOOK CHOICE: The Lord of The Rings by J. R. R. Tolkien LUXURY ITEM: An assortment of wine CASTAWAY'S FAVOURITE: Cello Concerto in E Minor, Op. 85: III. Adagio. Composed by Elgar. Performed by Jacqueline du Pré (cello) and London Symphony Orchestra, conducted by Sir John Barbirolli Presenter: Lauren Laverne Producer: Paula McGinleyDesert Island Discs has cast many space experts away to the island over the years including NASA's Dr Nicola Fox, the astronomer Carl Sagan and the astronauts Tim Peake and Chris Hadfield. You can hear their programmes if you search through BBC Sounds or our own Desert Island Discs website.

I composed this piece in an attempt to understand trance. I sought to merge specific leitmotifs and elements,embedding them within a classical orchestral context. This purely intuitive and emotional act, guided by the sensations inspired by the sound archive, follows no predefined methodology other than that narrated by improvisation itself, as articulated by the archive. The guiding thread is clearly the archive, serving both as a foundation of respect and as a compass for the composer. At eight distinct moments, sliding sounds of bowed strings emerge, followed like a shadow by a frenzied percussion that articulates an almost inhuman cadence. By placing these two sonic environments in contrast, the restraint of the classical orchestral language and the unbridled surge of ritual, I believe a union is established between two styles which, though articulated differently, pursue the same aspiration, the transcendental, the absolutely spiritual, intertwining and mutually illuminating one another.In order to avoid falling into a crude and short sighted orientalism, I have condensed into a modal term a sense of chaos and discomfort inherent to the ethnomusicologist or anthropologist, perpetually questioning themselves, when confronted with works of such overwhelming and divine intensity. Like the incarnation of a demon, of virtuosic prowess, of an abyssal instrumentation that never falters and never ceases, the new layers of the composition must become part of this sonic chaos. It is a distant voice, one that I recognise, and which has only been able to reach my ears through flamenco, native to my Spanish homeland. I deliberately refrained from pursuing deeper research so as not to over-determine symbolism, which, through my own interpretative lens, might have withered any attempt at spontaneity inherent in the experience of this music. Reference is thus made to sonic patterns, to repetition and recurrence, and almost to delirium and possession, of the musicians themselves and of the orchestral instruments. Ultimately, this composition stands as a nod to Edward Elgar, an abstract gesture of camaraderie in the face of the immensity of cultures and sonic narratives which, converging in a creative moment, are ultimately reduced to the act of recounting daily life and the emotions, inquietudes, and curiosities, that embody the human condition.Stringed instrument and tabla reimagined by Angela Tisner.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

“You can create a virtual board of directors that will have different expertises and that will come up with ideas that a given person may not come up with.” – Felipe Csaszar About Felipe Csaszar Felipe Csaszar is the Alexander M. Nick Professor and chair of the Strategy Area at the University of Michigan’s Ross School of Business. He has published and held senior editorial roles in top academic journals including Strategy Science, Management Science, and Organization Science, and is co-editor of the upcoming Handbook of AI and Strategy. Webiste: papers.ssrn.com LinkedIn Profile: Felipe Csaszar University Profile: Felipe Csaszar What you will learn How AI transforms the three core cognitive operations in strategic decision making: search, representation, and aggregation. The powerful ways large language models (LLMs) can enhance and speed up strategic search beyond human capabilities. The concept and importance of different types of representations—internal, external, and distributed—in strategy formulation. How AI assists in both visualizing strategists' mental models and expanding the complexity of strategic frameworks. Experimental findings showing AI's ability to generate and evaluate business strategies, often matching or outperforming humans. Emerging best practices and challenges in human-AI collaboration for more effective strategy processes. The anticipated growth in framework complexity as AI removes traditional human memory constraints in strategic planning. Why explainability and prediction quality in AI-driven strategy will become central, shaping the future of strategic foresight and decision-making. Episode Resources Transcript Ross Dawson: Felipe, it’s a delight to have you on the show. Felipe Csaszar: Oh, the pleasure is mine, Ross. Thank you very much for inviting me. Ross Dawson: So many, many interesting things for us to dive into. But one of the themes that you’ve been doing a lot of research and work on recently is the role of AI in strategic decision making. Of course, humans have been traditionally the ones responsible for strategy, and presumably will continue to be for some time. However, AI can play a role. Perhaps set the scene a little bit first in how you see this evolving. Felipe Csaszar: Yeah, yeah. So, as you say, strategic decision making so far has always been a human task. People have been in charge of picking the strategy of a firm, of a startup, of anything, and AI opens a possibility that now you could have humans helped by AI, and maybe at some point, AI is designing the strategies of companies. One way of thinking about why this may be the case is to think about the cognitive operations that are involved in strategic decision making. Before AI, that was my research—how people came up with strategies. There are three main cognitive operations. One is to search: you try different things, you try different ideas, until you find one which is good enough—that is searching. The other is representing: you think about the world from a given perspective, and from that perspective, there’s a clear solution, at least for you. That’s another way of coming up with strategies. And then another one is aggregating: you have different opinions of different people, and you have to combine them. This can be done in different ways, but a typical one is to use the majority rule or unanimity rule sometimes. In reality, the way in which you combine ideas is much more complicated than that—you take parts of ideas, you pick and choose, and you combine something. So there are these three operations: search, representation, and aggregation. And it turns out that AI can change each one of those. Let’s go one by one. So, search: now AIs, the current LLMs, they know much more about any domain than most people. There’s no one who has read as much as an LLM, and they are quite fast, and you can have multiple LLMs doing things at the same time. So LLMs can search faster than humans and farther away, because you can only search things which you are familiar with, while an LLM is familiar with many, many things that we are not familiar with. So they can search faster and farther than humans—a big effect on search. Then, representation: a typical example before AI about the value of representations is the story of Merrill Lynch. The big idea of Merrill Lynch was how good a bank would look if it was like a supermarket. That’s a shift in representations. You know how a bank looks like, but now you’re thinking of the bank from the perspective of a supermarket, and that leads to a number of changes in how you organize the bank, and that was the big idea of Mr. Merrill Lynch, and the rest is history. That’s very difficult for a human—to change representations. People don’t like changing; it’s very difficult for them, while for an AI, it’s automatic, it’s free. You change their prompt, and immediately you will have a problem looked at from a different representation. And then the last one was aggregating. You can aggregate with AI virtual personas. For example, you can create a virtual board of directors that will have different expertises and that will come up with ideas that a given person may not come up with. And now you can aggregate those. Those are just examples, because there are different ways of changing search, representation, and aggregation, but it’s very clear that AI, at least the current version of AI, has the potential to change these three cognitive operations of strategy. Ross Dawson: That’s fantastic. It’s a novel framing—search, representation, aggregation. Many ways of framing strategy and the strategy process, and that is, I think, quite distinctive and very, very insightful, because it goes to the cognitive aspect of strategy. There’s a lot to dig into there, but I’d like to start with the representation. I think of it as the mental models, and you can have implicit mental models and explicit mental models, and also individual mental models and collective mental models, which goes to the aggregation piece. But when you talk about representation, to what degree—I mean, you mentioned a metaphor there, which, of course, is a form of representing a strategic space. There are, of course, classic two by twos. There are also the mental models which were classically used in investment strategy. So what are the ways in which we can think about representation from a human cognitive perspective, before we look at how AI can complement it? Felipe Csaszar: I think it’s important to distinguish—again, it’s three different things. There are three different types of representations. There are the internal representations: how people think in their minds about a given problem, and that usually people learn through experience, by doing things many times, by working at a given company—you start looking at the world from a given perspective. Part of the internal representations you can learn at school, also, like the typical frameworks. Then there are external representations—things that are outside our mind that help us make decisions. In strategy, essentially everything that we teach are external representations. The most famous one is called Porter’s Five Forces, and it’s a way of thinking about what affects the attractiveness of an industry in terms of five different things. This is useful to have as an external representation; it has many benefits, because you can write it down, you can externalize it, and once it’s outside of your mind, you free up space in your mind to think about other things, to consider other dimensions apart from those five. External representations help you to expand the memory, the working memory that you have to think about strategy. Visuals in general, in strategy, are typical external representations. They play a very important role also because strategy usually involves multiple people, so you want everybody to be on the same page. A great way of doing that is by having a visual so that we all see the same. So we have internal—what’s in your mind; external—what you can draw, essentially, in strategy. And then there are distributed representations, where multiple people—and now with AI, artifacts and software—among all of them, they share the whole representation, so they have parts of the representation. Then you need to aggregate those parts—partial representations; some of them can be internal, some of them are external, but they are aggregated in a given way. So representations are really core in strategic decision making. All strategic decisions come from a given set of representations. Ross Dawson: Yeah, that’s fantastic. So looking at—so again, so much to dive into—but thinking about the visual representations, again, this is a core interest of mine. Can you talk a little bit about how AI can assist? There’s an iterative process. Of course, visualization can be quite simple—a simple framework—or visuals can provide metaphors. There are wonderful strategy roadmaps which are laid out visually, and so on. So what are the ways in which you see AI being able to assist in that, both in the two-way process of the human being able to make their mental model explicit in a visualization, and the visualization being able to inform the internal representation of the strategist? Are there any particular ways you’ve seen AI be useful in that context? Felipe Csaszar: So I was very intrigued—as soon as LLMs became popular, were launched—yeah, ChatGPT, that was in November 2022—I started thinking, there are so many ways in which this could be used. So myself and two co-authors, Hyunjin Kim and Harsh Ketkar, we wrote a paper, one of the initial papers on how AI can be used in strategy. It’s published in Strategy Science, and in that paper, we explore many ways in which AI could be used in strategy. Of course, you can ask AI about coming up with answers to questions that you may have. You can also use AI to use any of these frameworks that have been developed in strategy. It was very clear to us that it was usable. Then the question was, how good are those uses? What’s the quality of current AI doing this type of task? So what we did is an experiment where we compared the performance of AI to the performance of humans. In strategy, there are two types of tasks: one is to generate alternatives, and the other is to select alternatives. You have a problem—the first thing you want to do is have possible solutions, and then you want to be able to pick the best out of those. So we had two experiments: one where we measured the ability of AI to generate alternatives, another to select. For generation, what we did is we got data from a business plan competition where people were applying with business plans that all had the same format. The important thing is that the first paragraph of that application had the problem—a problem that they thought was important. So we took all of those applications and removed everything except for the problem, and then we gave that problem to an AI and asked the AI, “Hey, complete the rest of the business plan.” So now we have business plans that are real, and the AI twins of those—business plans created by an AI that try to solve the same problem. Then we put both in a kind of business plan competition, where we had people with experience in investments ranking all of these business plans, and they didn’t know which ones were created by humans and which ones were created by AIs. We looked at their evaluations at the end of the day, and on average, the ones that were generated by the AI were ranked a little bit higher—7% higher—than the ones that were generated by humans. So at least in this very specific context of business plan competitions, there’s potential. We’re saying, hey, AI could generate things at a level that is comparable to the people applying to this type of business plan competition. That has a lot of potential. We could use it in different ways. The other part of this study was to measure the ability of AI to select strategies among strategies. There, what we did is use data from another business plan competition, where all of the business plans had been evaluated by venture capitalists according to 10 dimensions: how strong is the idea, how strong is the team, how strong is the technology, etc. Then we gave an AI the same rubric that the venture capitalists received and asked the AI to rank or grade each one of these startups according to these 10 dimensions. Then we compared how similar the evaluations of the LLM were to the evaluations of the venture capitalists, and we showed that they are quite similar—there’s a correlation of 52%. This, again, tells us that there is potential here. An AI could do things that are quite similar to an experienced human evaluating this type of startup. A very interesting result there is that the correlation between two venture capitalists is lower than that 52%. So if you want to predict what a venture capitalist is going to say about your business, you’re better off asking an LLM than asking another venture capitalist. Ross Dawson: Yes, which perhaps shows the broad distribution of VC opinions. So obviously, LLMs can play valuable roles in many aspects of the strategy process, but this brings us back to the humans plus AI role. There are many—again, a big topic—but rather than looking at them, comparing what humans and AI did, where do you see the primary opportunities for humans and AI to collaborate in the strategy process? Felipe Csaszar: Yeah, yeah. So I think that’s a fascinating question, and my guess is that the study of the strategy process will completely change in the next 10 to 20 years. So far, all of the strategy process has been to study what happens when you have multiple people making strategy decisions. In the past, we studied things like devil’s advocate, or we have studied the role of changing the size of the group of people making decisions, or the consensus level required. But in the future, there will be AIs in this process that will have completely different bounds or capacities than humans. So we will need to learn what’s the best way of collaborating with them and including them into the strategic decision making process. Today, we don’t know much about it. We are beginning to learn things, like the study I mentioned—hey, in this task, it seems to be better—but there’s so much that we need to learn. I am working on some things, but it’s still early. Ross Dawson: Going back to the distributed representation—this is something where, of course, distributed representation can be in multiple people. Arguably, it can include human and AI agents as each having different representations. But this goes, of course, to the aggregation piece, where the aggregation is—you have a board of directors, group of executives, potentially a participative strategy process bringing more people into the organization. What are the specific roles of AI in assisting or facilitating effective aggregation to form a cohesive strategy? Felipe Csaszar: Yeah, so the truth is, we yet don’t know. There’s not enough research. We’re starting to think about it. We can see many uses, and I think what people should be doing now is running experiments to see when those add value and when they don’t. It will be different for different companies in different industries, so probably there’s no one solution that’s the same for everybody. For example, one possible use in strategic decision making is predicting what your competitors would do. If I do this, what would be the most likely reaction of my competitor? That’s one. Another one is predicting consumers: if I launch this product with this set of characteristics, what would be the most likely response of my consumers? In strategy, something that has been very popular for the last 20 years is something called the Blue Ocean Strategy, which is a method to come up with new offerings, with new value propositions, but that requires a lot of creativity. With AI, you can automate part of that. At the end of the day, it’s a search process. You have to think about what would happen if I add this, or if I add this other thing, or if I increase this. Part of that can be automated—that would be another use. Or if you have different proposals—in this other study, we show, hey, AI is good at evaluating, so if you have the right rubric, this can automate the evaluation, or can automate the first part of that evaluation so that you only have to spend your time among the really complicated, more sophisticated decisions or alternatives. There are many, many things that can be done at this point. Ross Dawson: Which goes to, I think, one of the interesting points in your work—representational complexity. Some strategies are arguably simple; other strategies, you can call them more sophisticated, but they are more complex. The representation of complexity is greater. There are two things that are required for that. One is, of course, sophisticated thinking, but also, because strategy in any organization involves multiple people, it requires that there is an ability for a number of people together to hold a hopefully similar or very similar representation of a quite complex topic. What are ways in which AI can be used to enhance that development of more sophisticated or nuanced or complex representations that can support a better strategy? Felipe Csaszar: So that’s a great point. I have a paper from before this new round of AI called exactly that—representation complexity. There has been a long-standing discussion in strategy of when you want to use a simple representation, whether it’s better to use a complex representation, or something in between. We tried to clarify when each one of these applies. But then came this new round of AI, and I think it changes things a lot. I talk a little bit about this in a chapter I uploaded recently—it’s called “Unbounding Rationality.” The key thing there is that humans—we have our own computer here, it’s the brain, and the brain has some constraints. One very important for strategy is the capacity of our working memory. There’s this famous paper from the 1950s called “The Magical Number Seven,” that we can hold in our working memory seven plus or minus two items—so between five and nine things we can keep at the same time in our mind. That’s why, for example, I think all strategy frameworks are very simple. There’s the five forces—fits within our working memory—or these typical two by twos, they have four quadrants—fits within our working memory. But AIs don’t have that bound. They are not constrained by the same working memory constraint that we have. So I would expect that future frameworks will be much more complex, that representational complexity will increase because of AI. Of course, frameworks of the future won’t have a million things, because when you put too many things, you’re overfitting—it works well with things that happened in the past, but not in the future—but they will probably have more than five things. Also, another reason for not having a million things inside a framework is that at the end of the day, you will still need to communicate frameworks. You will need to convince the other people in the organization, the ones that are implementing the strategy, that this is the right strategy. You will need to convince them, so you don’t want to have something that’s extremely complex. But my guess would be that the complexity of frameworks and of strategies will increase with AI. Ross Dawson: So looking forward—you talked about 10 or 20 years. If we see the current pace of capability development of LLMs on a similar trajectory, where do you see the remaining role of humans as a complement to AI in shaping strategy? I think you mentioned this possibility of essentially AI forming strategy, but I think for a wide array of reasons, it will be human plus AI—humans will play a role as final decision maker or other things. So where do you see those fundamental human capabilities still being retained for the foreseeable future, as a complement to AI in strategy? Felipe Csaszar: So I think that for the next 10, 20, maybe 30 years, humans will be really busy coming up with how to use AI—all of these experiments that we mentioned, people will be running all of those things in all different industries, and that takes a while. That will require human ingenuity and trying things and really understanding strategy and understanding the capabilities of AI. So I don’t see AI replacing human strategists in the very short term. On the contrary, because of AI, strategists will be more busy finding what are the best ways of using AI in their businesses. I think 10, 20, or 30 years is very reasonable. If you think about the previous technological revolution, which I could say was the Internet—the technology for the Internet, we could say, existed since around ’94. The World Wide Web is from ’94, browsers are from ’94, bandwidth enough to send email. Essentially all of the technology that supports internet business today was mostly in place in the mid to late ’90s. But the businesses, or people, ended up using all of those things 10 or 20 years after that, because it takes a long time for people, for strategists, to come up with the idea—for someone to come up with the idea of, let’s say, Netflix or eBay or PayPal or Facebook—all of those things, they take time for people to understand this is doable. Then it takes time to implement. Then it takes time for users to say, “Hey, this is useful.” There’s a lot of adaptation, and then there will be regulation. So the whole process takes a long time. I don’t think that businesses will change from one day to the next. It will be a relatively slow process that will take decades. When we look back in 20 years from now, we will see, “Hey, everything changed,” but every year we will see just a little bit of change, like what happened with the Internet. So I imagine that people designing strategies, implementing strategies, they will be very busy in the next 20 years. Ross Dawson: So to round out, I won’t ask you to make predictions, but maybe some hypotheses. What do you think are some interesting hypotheses that will inform your research—not just next year, but in the years beyond? Where do you think are the interesting avenues that we should be not just exploring and researching, but where there is a valid and useful hypothesis? Felipe Csaszar: Yeah, so many things, but one very important—I think that strategy will be more about making the right predictions. The role of foresight. It turns out that when you want to train a machine learning algorithm, you need to have some signal that informs how you train the system. It’s called the gradient, or the objective function. So in strategy, we will need to make that more central, and then think, what are the best ways in which you can use AI to make the right predictions? That requires measuring the quality of predictions. So you change this in the business, and this ends up happening. We want an AI to be able to do that. So coming up with ways in which you can measure the quality of decisions will become more important, so that we can train those AIs. That’s one. And very related to that is, well, the thing that’s generating the predictions are representations, and then it’s coming up with those more complex representations that are better at making decisions or are better at discovering things that are hard for humans to discover. Those are the two main things. I think the future of strategy will be about finding ways of improving foresight and finding ways of improving the thing that creates that foresight, which are the representations. All of that will change what has been called the strategy process—how we make decisions in strategy. Ross Dawson: So I just need to pick up on that point around prediction. One of the challenges with external predictions is that, then, as a strategist, you have to say, either I will build my strategy based on that prediction, or I question that prediction. I think there are alternatives or attribute probabilities to it. So even if a prediction machine gets better, it’s still very challenging, particularly cognitively, in terms of accountability for the strategist to incorporate a prediction where you don’t necessarily have all of the logic behind the prediction as a machine learning model to incorporate. So how can a strategist incorporate what may be a relatively black box prediction into an effective strategy? Felipe Csaszar: Yeah, well, and here we are in the conjecture part of this interview. So my answer is in that spirit. I think there are two ways out of this. One is that we will ask for explainable predictions. There’s a whole area of AI called Explainable AI, which is exactly trying to do this—not just say what’s the best prediction, but why the AI is saying that’s the right prediction. So that could develop, and probably that will develop, because humans will question whatever the AI will predict. That’s one way. The other is, imagine that the AI becomes very, very, very good at making predictions. Then at some point, it doesn’t matter if it can explain it or not—it’s just making very good predictions. It’s like, imagine you want to win at chess and you have this machine that can play chess very well. This machine wins at chess. You don’t need to exactly understand how that machine is making each one of those decisions. But if the machine is very good at it, and it’s consistently good at it, people will use it. In a sense, the market will decide. If this works better than a machine that provides an explanation for each one of the steps, people will just go with the one that’s making the right prediction. Ross Dawson: I think there’s all sorts of other places we can go to from there, but that’s fascinating. So where can people go to find out more about your work? Felipe Csaszar: Well, I upload all of my stuff to SSRN. So if you Google my name and SSRN, you will find all of my papers. In the near future, like in the next three months or so, I’ll have two things coming out. One is a Handbook of AI, written also with my co-editor Nan Jia from USC, that will have 20 chapters that will explore different ways in which AI will be affecting strategies—the Handbook of AI and Strategy, published by Elgar. And then around that same time, there will be a special issue of the Strategy Science journal where I’m one of the co-editors, which will be exactly about the same—about AI and strategic decision making. We already have accepted several of the papers for that special issue. Those papers will be pushing the frontier of what we know about AI and strategic decision making. Ross Dawson: That’s fantastic. I will certainly be following your work—very highly aligned with the humans plus AI movement. And thank you for all of the wonderful research and work you’re doing. Felipe Csaszar: Thank you so much, Ross. It’s been a pleasure. The post Felipe Csaszar on AI in strategy, AI evaluations of startups, improving foresight, and distributed representations of strategy (AC Ep32) appeared first on Humans + AI.

Edward Elgar (1857-1934) – Serenata per orchestra d'archi in mi minore Op. 20 1.      Allegro piacevole2.      Larghetto [03:18]3.      Allegretto [08:24] A Far Cry chamber orchestra

David Owen Norris picks his favourite recording of Elgar's Cello Concerto.

Michael Berkeley's guest is actor and TV presenter Peter Purves. Purves has been involved in two of TV's longest-running and best-loved institutions - he was one of the earliest companions to travel in the TARDIS with Doctor Who (1965-66), and for ten and a half years from 1967 to 1978, alongside John Noakes, Valerie Singleton and Leslie Judd, he presented Blue Peter – entertaining the nation's children with demonstrations in everything from competitive swimming to scaling the Fourth Road Bridge. A dog lover, he has also presented TV coverage of dog show Crufts for many years. Purves's musical passions include Mozart, Tchaikovsky, Elgar and Sondheim, alongside tracks by Louis Armstrong and Count Basie - both of whom he remembers seeing perform live in concert.Presenter: Michael BerkeleyProducer: Graham Rogers

This month's Gramophone Podcast sees Editor Martin Cullingford joined by William Vann, Director of the Chapel Choir of the Royal Hospital Chelsea, to talk about his new album of choral music by Elgar: Light out of Darkness, released on Somm Recordings. The wonderfully-chosen selection of music spans the composer's career, and even includes five premiere recordings.    

The English contralto Alfreda Hodgson (07 June 1940 – 16 April 1992) has been featured numerous times on Countermelody and when I recently acquired a copy of her 1980 solo recital recording originally released on Pearl Records, I decided that the time was right to do a full episode on this rich-voiced, profoundly musical singer. Though she was equally superb in Bach, Mahler, Handel, and Elgar, I have chosen to focus on her performances of the music of Johannes Brahms, including superb recordings of the Alto Rhapsody, the Songs for Alto and Viola, the Vier ernste Gesänge, and a posthumously-assembled collection of his Lieder published under the title Mädchenlieder. Artists accompanying Hodgson include Bernard Haitink, Edward Downes, violist Ludmila Navrath, and her long-standing pianist, the late Keith Swallow. I begin the episode with brief examples of Hodgson singing (in English) the music of her countrymen Lennox Berkeley, Edward Elgar, and John Ireland in the company of Peter Pears, Gennady Rozhdestvensky, Steuart Bedford, and Alan Rowlands. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

“Praise to the holiest”From The Dream of Gerontius by St. John Henry NewmanPraise to the Holiest in the heightAnd in the depth be praise:In all His words most wonderful;Most sure in all His ways!O loving wisdom of our God!When all was sin and shame,A second Adam to the fightAnd to the rescue came.O wisest love! that flesh and bloodWhich did in Adam fail,Should strive afresh against the foe,Should strive and should prevail;And that a higher gift than graceShould flesh and blood refine,God's Presence and His very Self,And Essence all-divine.O generous love! that He who smoteIn man for man the foe,The double agony in manFor man should undergo;And in the garden secretly,And on the cross on high,Should teach His brethren and inspireTo suffer and to die.On November 1 of last year, All Saints Day, Pope Leo XIV declared Saint John Henry Newman – Cardinal Newman – as a Doctor of the Church. There are thousands of saints—but there are only 38 Doctors: saints who not only inspire us by their example and aid us by their intercession, but whose writing and teaching have had a profound impact on the Church. Cardinal Newman's writings have shaped the Church's understanding in many ways—especially his teaching on the development of doctrine and on Catholic education. Newman was more than a theologian: he was a preacher, a poet, even a novelist. The poem Scott read is taken from his long poem The Dream of Gerontius, which was published in 1865, when Newman was 64 years old. This poem is written in parts like a verse drama or an oratorio (it was later magnificently set to music by Elgar).Gerontius means “old man.” In the poem, Gerontius is an “everyman,” a “soul” who experiences death and what comes after death.The poem begins with Gerontius, the old man, on his deathbed, friends and priest gathered around, praying for him. But his death is only the beginning. Most of the poem takes the form of a dialogue with his guardian angel, who introduces him to the mysterious world of heaven and helps him prepare to meet God face to face.  At the end, he comes before God's throne, and then is led –joyfully - to Purgatory to be made ready for heaven.The poem Scott read is one of several choruses of angelical beings which the soul hears along the way. It's a song of praise, which marvels at the “loving wisdom” and “wisest love” of God in the redeeming work of Christ. The poem uses the Scriptural image of Christ as the “new Adam.” In Adam, our “flesh and blood” was vanquished; in Christ, that same flesh and blood prevails against the enemy. But there is more than a victory won here: there is “a higher gift than grace,” for in Christ our “flesh and blood” are “refined,” with God's Presence, Self, and Essence. Christ is truly human—and truly God.The last two stanzas speak of the suffering Christ underwent, for us, and as one of us. The “double agony” is interior and exterior: anguish of soul in Gethsemane, and physical torment on the cross. God's wise love is also “generous love”: for when Christ dies on the cross, he is still teaching, showing us how to suffer, and how to die.This song comes close to the end of The Dream of Gerontius. This great mystery of our redemption is what prepares the soul to enter the presence of God. And judgment is no longer terrifying. In life, says Gerontius, “the thought of death / And judgment was to me most terrible. / I had it aye before me, and I saw / The Judge severe e'en in the crucifix. / Now that the hour is come, my fear is fled.” In the face of Christ's generous, self-emptying love, fear is no longer possible.Newman's poem about the life that awaits us after death has the feeling of an adventure, a great journey, as the soul discovers that life is not over—it has only just begun. As with poems like The Divine Comedy of Dante and Paradise Lost of Milton, we come away from The Dream of Gerontius feeling that heaven and the afterlife are more real, more vivid, than this life and this world.Newman describes eternal life with urgency and eagerness, without ever dismissing this life as unimportant. Instead, the poem invites us to live life differently, and to look to death—and even judgment—with joy and hope. As Pope Leo XIV said of Cardinal Newman, “The lives of the saints teach us that it is possible to live passionately amidst the complexity of the present, without neglecting the apostolic mandate to shine like stars in the world” ( Pope Leo XIV).

Michael Berkeley's guest is the poet Pam Ayres, who shares the music that matters most to her, including some seasonal favourites. It's now 50 years since Pam first won a vast national audience on the TV talent show Opportunity Knocks, with poems including her much-loved wintry verse 'Sling another chair leg on the fire, Mother!'Her musical choices include Rachmaninov, Elgar and Johnny Mathis.

Compositeur britannique le plus célèbre depuis Henry Purcell, Edward Elgar, bien que marqué par le modèle allemand, sut donner une nouvelle impulsion à la vie musicale de son pays. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

🎙️ Estimados oyentes y mecenas: En el episodio de hoy nos trasladamos a la Escuela de filosofía del lenguaje de Oxford, cuna de la llamada filosofía del lenguaje ordinario. Nos centraremos en dos de sus figuras más representativas: Gilbert Ryle, conocido por su crítica al “fantasma en la máquina” y por su defensa del análisis conceptual del lenguaje cotidiano, y John L. Austin, pionero de la teoría de los actos de habla y autor de How to Do Things with Words, donde muestra cómo al hablar no solo describimos, sino que hacemos cosas con palabras. A lo largo del episodio veremos cómo, desde Oxford, esta corriente propuso una filosofía entendida como clarificación de nuestros usos lingüísticos, una especie de “cartografía” de nuestro hablar cotidiano para disolver confusiones y falsos problemas. Gracias por acompañarme una vez más en este recorrido filosófico y por el apoyo constante que sostiene este proyecto. 📗ÍNDICE 1. PENSAMIENTO DE GILBERT RYLE. 2. PENSAMIENTOI DE JOHN AUSTIN. 🎼Música de la época: Pompa y circunstancia op. 39 de Elgar 🎨Imagen: Portada de la escuela de Oxford. 👍Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa ¡Muchas gracias a todos!

🎙️ Estimados oyentes y mecenas: En el episodio de hoy nos adentramos en la Escuela de Filosofía del Lenguaje de Cambridge, un núcleo decisivo para el desarrollo de la filosofía analítica del siglo XX. Repasaremos las figuras clave que enseñaron allí —Bertrand Russell, Ludwig Wittgenstein y G. E. Moore— y su impacto en la manera de entender el lenguaje, el pensamiento y la realidad. Hablaremos también de la revista Analysis, de la figura de John Wisdom y del enfoque característico de esta escuela, concebida como una forma de “terapia lingüística” cuyo objetivo no es construir teorías, sino disolver confusiones conceptuales. ❓ ¿Crees que la filosofía debe ofrecer teorías sobre el mundo o, más bien, ayudarnos a aclarar y sanar los malentendidos que crea el lenguaje? Gracias por acompañarme una vez más en este recorrido filosófico y por el apoyo constante que hace posible este proyecto. 📗ÍNDICE 0. Resúmenes iniciales. 1. PROFESORES EN CAMBRIDGE. 2. LA REVISTA ANALYSIS. 3. JOHN WISDOM. 4. UNA TERAPIA LINGÜÍSTICA. 🎼Música de la época: Pompa y circunstancia op. 39 de Elgar 🎨Imagen: Portada de la escuela de Cambridge. 👍Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa ¡Muchas gracias a todos!

durée : 01:58:38 - La musique symphonique britannique I : Sir Edward Elgar - par : Christian Merlin - L'un des fils rouges de cette saison sera une exploration de la musique orchestrale britannique, trop méconnue sur le continent. D'Elgar, on connaît le Concerto pour violoncelle et la Marche "Pomp and Circumstance", mais qui sait qu'il a composé trois symphonies et des poèmes symphoniques ? - réalisé par : Marie Grout Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:28:38 - La musique symphonique britannique I - Sir Edward Elgar (4/4) : de Falstaff à la Symphonie n°3 - par : Christian Merlin - L'un des fils rouges de cette saison sera une exploration de la musique orchestrale britannique, trop méconnue sur le continent. D'Elgar, on connaît le Concerto pour violoncelle et la Marche "Pomp and Circumstance", mais qui sait qu'il a composé trois symphonies et des poèmes symphoniques ? - réalisé par : Marie Grout Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:28:39 - La musique symphonique britannique I - Sir Edward Elgar (3/4) : Symphonies n°1 et 2 - par : Christian Merlin - L'un des fils rouges de cette saison sera une exploration de la musique orchestrale britannique, trop méconnue sur le continent. D'Elgar, on connaît le Concerto pour violoncelle et la Marche "Pomp and Circumstance", mais qui sait qu'il a composé trois symphonies et des poèmes symphoniques ? - réalisé par : Marie Grout Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:28:42 - La musique symphonique britannique I - Sir Edward Elgar (2/4) : Pomp and Circumstance, Cockaigne, In the South - par : Christian Merlin - L'un des fils rouges de cette saison sera une exploration de la musique orchestrale britannique, trop méconnue sur le continent. D'Elgar, on connaît le Concerto pour violoncelle et la Marche "Pomp and Circumstance", mais qui sait qu'il a composé trois symphonies et des poèmes symphoniques ? - réalisé par : Marie Grout Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:28:37 - La musique symphonique britannique I - Sir Edward Elgar (1/4) : Froissart, Enigma, Gerontius - par : Christian Merlin - L'un des fils rouges de cette saison sera une exploration de la musique orchestrale britannique, trop méconnue sur le continent. D'Elgar, on connaît le Concerto pour violoncelle et la Marche "Pomp and Circumstance", mais qui sait qu'il a composé trois symphonies et des poèmes symphoniques ? - réalisé par : Marie Grout Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

“My job is to make people love choral music as much as I do, and that's a lot. I really love choral music. My job is to say ‘you should care about this.' You might care about it because it's ravishingly beautiful or because it has a story to tell you. Even if you're not a person who relates to choral music, you can relate to stories. We're going to weave some sort of through-line through this program that tells you something about life that we hope resonates with you whether you're a musician or not.”Joshua Habermann is in his seventeenth season as Artistic Director of the Santa Fe Desert Chorale, one of the nation's premiere professional chamber choirs. Since joining the ensemble, he has broadened its repertoire to include choral-orchestral masterworks and unique concert experiences ranging from early music to new commissions. Under his leadership, the Desert Chorale has been featured at regional and national conferences of the American Choral Directors Association, and its summer and winter festivals are among America's largest choral events.Habermann's experience with symphonic choruses spans over three decades, encompassing the full range of the choral-orchestral repertoire. From 2011 to 2022 he was director of the Dallas Symphony Chorus, where highlights included Bach's St. Matthew Passion, the Requiem Masses of Mozart, Brahms, and Verdi, Elgar's Dream of Gerontius, Bernstein's Kaddish Symphony, Rachmaninov's The Bells, and Vaughan-Williams' Sea Symphony. He is a frequent guest conductor, and in 2022-2023 prepared Handel's Messiah, Ravel's Daphnis and Chloe, and Benjamin Britten's War Requiem for the San Francisco Symphony.A passionate advocate for music education, Joshua Habermann is a regular clinician for state and national events and has led honor choirs and choral festivals in North America, Europe, Asia, and Latin America. In 2024, he conducted Cantatas 72, 73 and 92 for Bach Santiago (Chile), a concert series dedicated to the first full cycle of Bach Cantatas in South America. He currently teaches choral literature at the University of North Texas.As a singer (tenor), Habermann has performed with the Oregon Bach Festival Chorus under Helmuth Rilling and Conspirare under Craig Hella Johnson. Recording credits include Requiem and Threshold of Night, both GRAMMY® nominees for best choral recording. Recordings as a conductor include The Road Home and Rachmaninov's All Night Vigil with the Desert Chorale.To get in touch with Joshua, you can find him on Facebook (@joshua.habermann) or visit the Santa Fe Desert Chorale website, desertchorale.org.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Hugh Bonneville is one of the most familiar faces on British TV and film. You might know him as the Earl of Grantham from Downton Abbey, or the long-suffering Mr Brown in the Paddington films, or the baffled Ian Fletcher in the London Olympics sitcom Twenty Twelve and its BBC-centred sequel W1A.Hugh was captivated by acting from an early age, staging his own plays at home and even making the tickets to sell to his family.More recently he's has branched out into writing, with a memoir Playing Under the Piano and a children's book Rory Sparkes and the Elephant in the Room, which is inspired by some of the events of his childhood.Hugh's selection of music includes works by Beethoven, Strauss, Elgar and Faure.Presenter: Michael Berkeley Producer: Clare Walker

durée : 00:10:02 - Elgar, Adès: Concertos pour violon - Christian Tetzlaff, BBC Philharmonic orchestra, John Storga°rds - Le violoniste Christian Tetzlaff, l'Orchestre Philharmonique de la BBC et le chef d'orchestre John Storgårds présentent dans cet album deux concertos pour violon britanniques majeurs, composés respectivement en 1910 et 2005. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:10:02 - Elgar, Adès: Concertos pour violon - Christian Tetzlaff, BBC Philharmonic orchestra, John Storga°rds - Le violoniste Christian Tetzlaff, l'Orchestre Philharmonique de la BBC et le chef d'orchestre John Storgårds présentent dans cet album deux concertos pour violon britanniques majeurs, composés respectivement en 1910 et 2005. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:10:02 - Elgar, Adès: Concertos pour violon - Christian Tetzlaff, BBC Philharmonic orchestra, John Storga°rds - Le violoniste Christian Tetzlaff, l'Orchestre Philharmonique de la BBC et le chef d'orchestre John Storgårds présentent dans cet album deux concertos pour violon britanniques majeurs, composés respectivement en 1910 et 2005. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Dicen que cada nota de Nimrod es una conversación con el alma… una despedida, un secreto que Edward Elgar jamás quiso revelar del todo. ¿Quién fue realmente aquel “Nimrod”? ¿Qué historia se oculta tras su silencio contenido, tras ese lamento que parece venir de otro mundo? Esta noche, en La Gruta de las Estrellas, abriremos la partitura del misterio, y entre los ecos del pasado, escucharemos el susurro de la amistad, la sombra del genio… y la emoción que aún sobrevive en cada compás. “Nimrod (Adagio) — Variaciones Enigma, Op. 36” de Sir Edward William Elgar. 🌙 Prepárate para sentir lo invisible. https://www.edenex.es

durée : 00:13:33 - Rachmaninov, Elgar - Royal Philharmonic Orchestra, Vasily Petrenko - Le chef Vasily Petrenko continue son exploration du répertoire russe. Spécialiste de Rachmaninov, il enregistre son impressionnante symphonie chorale les Cloches. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:13:33 - Rachmaninov, Elgar - Royal Philharmonic Orchestra, Vasily Petrenko - Le chef Vasily Petrenko continue son exploration du répertoire russe. Spécialiste de Rachmaninov, il enregistre son impressionnante symphonie chorale les Cloches. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Vandaag biedt het programma een religieus drieluik, nl. een “Credo”, een “Ora Pro Nobis”, en een “Lux Aeterna”. Aansluitend hoort u een symfonisch luik met een 4-delige symfonie en een toonschildering van “Dageraad op de Moskova” sluit symfonisch de uitzending af. Met dank aan toondichters: Haydn, Elgar, Beethoven en Moussorgsky.

El próximo miércoles 5 de noviembre, el Teatro Solís recibirá la última fecha de la temporada 2025 del Centro Cultural de Música, con un cierre de lujo a cargo de la prestigiosa Salzburg Chamber Soloists, bajo la dirección del violinista Lavard Skou-Larsen.Reconocido por su interpretación precisa y sensible, Skou-Larsen lidera a este ensamble internacional que combina virtuosismo y elegancia en cada presentación. En esta oportunidad, contarán con la participación especial del Constanze Quartet, destacado cuarteto femenino invitado que asumirá los pasajes solistas del programa.El repertorio recorre distintas estéticas del clasicismo al romanticismo: el Divertimento KV 136 de Mozart, el Quartettsatz D.703 de Schubert, la Introducción y Allegro Op.47 de Elgar —con las solistas del Constanze Quartet— y el Souvenir de Florence Op.70 de Tchaikovsky, como cierre brillante de una temporada dedicada al encuentro entre tradición y excelencia musical.Entradas a la venta por Tickantel.

durée : 00:28:06 - Disques de légende du vendredi 31 octobre 2025 - Le fameux concerto pour violoncelle d'Elgar est ici sublimé par le violoncelle de Paul Tortelier, accompagné de l'Orchestre philharmonique de Londres dirigé par Adrian Boult dans une version de 1973. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:28:06 - Disques de légende du vendredi 31 octobre 2025 - Le fameux concerto pour violoncelle d'Elgar est ici sublimé par le violoncelle de Paul Tortelier, accompagné de l'Orchestre philharmonique de Londres dirigé par Adrian Boult dans une version de 1973. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

One of the most revered and prolific British classical musicians, Thomas Adès made his name with his 1995 opera Powder Her Face, written when he was just 24 years old. His orchestral composition Asyla was nominated for the Mercury Prize for album of the year in 1999. Recordings of his opera The Tempest and, more recently, his score for the ballet The Dante Project have both won Grammy Awards. His ten symphonic works, three operas and numerous chamber pieces are performed all round the world. In 2024 Adès was presented with the Royal Philharmonic Society's prestigious Gold Medal, previous recipients of which include Stravinsky, Brahms and Elgar.Thomas Adès talks to John Wilson about the influence of his family, including his art historian mother who is an expert in surrealism. Through her he was introduced to the surrealist artists, the films of Luis Buñuel and met the painter Francis Bacon. His grandmother introduced him to the work of T.S. Eliot as read by Sir Alec Guinness on a cassette recording, and it was some of these poems that he was to eventually set to music for his first ever composition. Adès also recalls getting to the semi-finals of the BBC's Young Musician of the Year in 1990, a watershed moment for him as it prompted him to pursue music as a composer rather than a pianist. He also cites going regularly to the English National Opera as a formative influence and talks about writing his own operas including Powder Her Face about the Duchess of Argyll, and The Exterminating Angel, based on the film by Luis Buñuel.Producer: Edwina Pitman

Der Geiger Christian Tetzlaff hat Thomas Adès' Violinkonzert zusammen mit Edward Elgars Violinkonzert eingespielt.

Today we celebrate the recorded legacy of Hildegard Behrens, but from an unexpected angle. Like George London and Cesare Valletti, the last two artists heard on the podcast, she is best remembered today for her operatic portrayals. But like both London and Valletti, she was also a recitalist, although this was not, admittedly, a prominent part of her repertoire. Nevertheless, as a recitalist, as in everything she sang, she displayed a keen musical intelligence, a commitment to the inherent drama in the text, and an insistence upon truth in expression. Today, however, we hear the great Wagner and Strauss singer not only in songs by both of those composers, but also less-expected music, including Schumann's Frauenliebe und -leben, as well as songs by Bach, Elgar, and Zumsteeg. This material was featured in her Carnegie Hall recital debut in April 1985 and subsequently recorded in Paris at the legendary (and now no longer extant) Salle Wagram. This recording is supplemented by excerpts from three different orchestral song cycles, Les nuits d'été or Hector Berlioz, the Wagner Wesendonck-Lieder, and Berg's Sieben frühe Lieder. May this episode serve as a tantalizing Vorspiese to an upcoming episode celebrating the operatic career of the great Hildegard! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

durée : 01:29:01 - Jean-Guihen Queyras, la réflexion et l'inspiration - par : Aurélie Moreau - Curiosité, diversité et concentration sur la musique elle-même caractérisent le travail artistique de Jean-Guihen Queyras, violoncelliste passionné, à la grande maîtrise technique. Aujourd'hui : Elgar, CPE Bach, Dvořák, Dutilleux, Rachmaninov, Bach… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

DescriptionWhen a Cello Speaks: The Heartbreaking Opening of Elgar's Concerto in 60 Seconds. Take a minute to get the scoop!Fun FactElgar's Cello Concerto premiered in 1919—and flopped. Overshadowed by rehearsal mishaps, it wasn't until Jacqueline du Pré's 1965 recording that the piece gained fame. Today, its opening bars are considered some of the most emotionally gripping in classical music—proof that some masterpieces just need time to be heard.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.You can FOLLOW ME on Instagram.

durée : 01:28:04 - Une heure et plus, un compositeur : Edward Elgar - par : Aurélie Moreau - Edward Elgar, gentleman discret de la musique anglaise, naît en 1857 près de Worcester. Échappant aux conservatoires, il apprend la musique chez lui, guidé par son père organiste. Autodidacte, il conquiert le monde avec ses célèbres Variations Enigma. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Angel: Jessye Norman Gerontius: Stuart Burrows Priest/Angel of Agony: John Shirley-Quirk Tanglewood Festival Chorus Boston Symphony Orhcestra Conductor: Colin Davis Symphony Hall 2 December 1982 Broadcast

We would love to hear from you, wherever you are!https://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

Wenn es eine offizielle Liste der "legendären Konzertsaalkatastrophen" gäbe, hätte "The Dream of Gerontius" einen fest Platz darin. Der Komponist Edward Elgar hatte einfach Pech bei der Uraufführung. Von Christoph Vratz.

Donald Macleod delves into some of Edward Elgar's greatest passions.Edward Elgar was a man of many passions, from cycling to chemistry. This week, Donald Macleod explores five Elgar's greatest passions. Music Featured: Pomp and Circumstance March No 1 Caractacus, Op 35 (Scene 3, excerpt) Pomp and Circumstance March No 3 in C minor The Spirit of England, Op. 80 (No 3, For the Fallen) Coronation Ode, Op 44 (Crown the King) Salut D'Amour, Op 12 The Wind at Dawn 2 Partsongs, Op 26 (No 2, Fly, Singing Bird) String Quartet in E minor, Op 83 (2nd mvt) Cello Concerto in E minor, Op 85 Ave Verum Corpus, Op 2, No 1 The Dream of Gerontius, Op 38 (excerpt from Part 2) The Apostles, Op 49 (excerpt from Part 1) The Kingdom, Op 51 (Prelude) Te Deum, Op 34 No 1 Enigma Variations, Op 36 Violin Concerto in B minor, Op 61 (2nd mvt) Carissima Five Part-songs from The Greek Anthology, Op 45 Sea Pictures, Op 37 (No 2, In Haven) Introduction & Allegro for strings, Op 47 Land of Hope and Glory Symphony No 1 in A flat major, Op 55 (4th mvt)Presented by Donald Macleod Produced by Alice McKee for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Edward Elgar (1857-1934) https://www.bbc.co.uk/programmes/m002bw86 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Daniela Candillari grew up in Serbia and Slovenia.  She holds a Doctorate in Musicology from the Universität für Musik in Vienna, a Master of Music in Jazz Studies from the Indiana University Jacobs School of Music, and a Master of Music and Bachelor's degree in Piano Performance from the Universität für Musik in Graz. She is also a Fulbright Scholarship recipient.Daniela is in her fourth season as principal conductor at Opera Theatre of Saint Louis. In celebration of its 50th anniversary season, she is conducting the company's 44th world premiere, This House, with music by Ricky Ian Gordon and libretto by Pulitzer Prize-winner Lynn Nottage and her daughter, Ruby Aiyo Gerber.Daniela made her New York Philharmonic debut in its inaugural season in the new David Geffen Hall, conducting cellist Yo-Yo Ma in Elgar's Cello Concerto.  And she made her “Carnegie Hall Presents” debut leading the American Composers Orchestra in a program of premieres.  Other engagements include debuts with the Metropolitan Opera and Deutsche Oper Berlin, and productions with Lyric Opera of Chicago, Minnesota Opera, Detroit Opera, Orchestre Métropolitan Montreal, and Classical Tahoe Festival.Finally, Daniela has been commissioned by established artists including instrumentalists from the Boston, Cleveland, Detroit, and Pittsburgh Symphonies, as well as the three resident orchestras of Lincoln Center: the Metropolitan Opera Orchestra, the New York Philharmonic, and the New York City Ballet. She is deeply involved with Music Academy of the West's programming for young artists and she recently participated in master classes and discussions at DePaul University, Chicago Humanities Festival, and Valissima Institute.It's a pleasure to have her with me on this episode.

DescriptionElgar's Triumphant Soundtrack: From Studio to Stadium in 60 Seconds. Take a minute to get the scoop!Fun FactPomp and Circumstance March No. 1 was so beloved at its debut that the audience demanded an encore—twice. Elgar reportedly walked home overwhelmed by the applause, later saying, “I've got it, I've got it.” The melody's transformation into a graduation theme was entirely unplanned but became iconic worldwide.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Saftige Wiesen, kantige Berge und zünftige bayerische Volksmusik: Da lacht das britische Komponistenherz. Ohne seine Frau hätte Edward Elgar seine Tänze allerdings nicht schreiben können. Die hat sich nämlich im Dorf genau umgehört.

40 years after founding Crouch End Festival Chorus, conductor David Temple chats with Eamonn about teaching, commissioning and his passion for Elgar's The Kingdom.MUSIC LINKSFanny Mendelssohn - Hiob, H-U 258: III. Chor "Leben und Wohltat hast du an mir getan" / Crouch End Festival Chorus / London Mozart Players / David Temple; Listen on Apple Music - https://apple.co/3FTBX3BJames McCarthy - Codebreaker: Wondrous Light / BBC Concert Orchestra / Hertfordshire Chorus / David Temple; Listen on Apple Music - https://apple.co/3XN6OoqSupport this show http://supporter.acast.com/choral-chihuahua. Hosted on Acast. See acast.com/privacy for more information.

Today in the ArtZany Radio studio Paula Granquist welcomes guests from the Cannon Valley Regional Orchestra (Paul Niemisto, Deesa Staats, Richard Collman) and the FiftyNorth Band (Dan Bergeson, Sandra Voelker, Eric Johnsrud) to preview their upcoming spring concerts. Cannon Valley Regional Orchestra (CVRO): ENGLISH GARDEN Conductor, Paul Niemisto. Performing the music of Holst, Handel, Coates, Elgar, & Purcell. Featuring Mezzo […]

durée : 00:28:25 - Musique à programme : l'ouverture de concert (4/4) : De Brahms à Elgar - par : Christian Merlin - L'ouverture a tellement gagné en autonomie que certains opéras sont tombés dans l'oubli… sauf leur ouverture. Il n'en fallait pas plus pour donner à certains compositeurs l'idée de composer des ouvertures réservées au concert. Exemples choisis chez Beethoven, Mendelssohn, Schumann, Berlioz, Brahms. - réalisé par : Marie Grout

Mixing ceremonial pomp with pastoral splendor, this survey of British classics features Haydn's last and grandest symphonic statement, the London Symphony; exquisite gems by Elgar and Britten, and the soaring beauty of Vaughan Williams' The Lark Ascending with violinist Stella Chen, winner of the prestigious Queen Elisabeth Competition and Gramophone's 2023 Young Artist of the Year. Marking the 150th anniversary of Ravel's birth, the program crosses the English Channel for the composer's beguiling Tzigane. CSO Concertmaster Robert Chen has withdrawn from his planned solo appearances in these performances due to rotator cuff tendinitis symptoms. Learn more: cso.org/performances/24-25/cso-classical/glover-and-english-classics

Experience one of the greatest American choral works of all time, American composer Robert Nathaniel Dett's The Ordering of Moses, performed by hundreds of combined voices from the Fairfield County Chorale, Heritage Chorale of New Haven, and New Haven Chorale. From Music Director Perry So: “Finally after almost a century this great work is starting to receive its due. The Ordering of Moses was never forgotten – church choirs, community groups and others have kept the piece in our ears – but the first performance at Carnegie was only in 2014, and the British premiere in 2022. What remarkable sound worlds are contained in the piece: lush late-Romanticism with echoes of Wagner and Elgar, but as a context for the immediacy of the African-American spiritual that sounds stark and timeless. The sound of actual chains being pulled emanate from the orchestra against harmonies that dissolve into suggestions of near-Eastern scales. All in the service of the story and the emotion contained at the core of the work – a young Moses discovering his calling to lead his people out of slavery, perhaps the most eloquent musical cry against oppression in the American tradition.”

Kanneh-Mason Plays Elgar - Broadcast by CSO Association