Podcasts about elgar's cello concerto

At 17, he won the BBC's Young Musician Competition. Then he performed at the Royal Wedding of Prince Harry and Meghan Markle. He's also appeared on 'Britain's Got Talent' with his six musical siblings. Yet, cellist Sheku Kanneh-Mason, who is just 20 years old and still studies at the Royal Academy of Music, is grounded in the music he loves. He's just released his second solo recording, featuring Elgar's Cello Concerto in E minor and other pieces that are close to his heart.

At 17, he won the BBC's Young Musician Competition. Then he performed at the Royal Wedding of Prince Harry and Meghan Markle. He's also appeared on 'Britain's Got Talent' with his six musical siblings. Yet, cellist Sheku Kanneh-Mason, who is just 20 years old and still studies at the Royal Academy of Music, is grounded in the music he loves. He's just released his second solo recording, featuring Elgar's Cello Concerto in E minor and other pieces that are close to his heart.

Frances Barber first played rock star, screen goddess and drug addict Billie Trix 18 years ago and, along with Jonathan Harvey and the Pet Shop Boys, she is set to reprise the role in cabaret Musik. Charlie Mackesy’s The Boy, the Mole, the Fox and the Horse began as two Instagram posts called “help” and “kind” that were shared a million times. They have been included in a book of life lessons that has become a surprise bestseller here and in the US. Steve Smith is one of America’s most experienced astronauts. He has taken part in four missions and performed seven space walks, including five to repair the Hubble Space Telescope. Rosie Wilby is a comedian and "love researcher" who presents The Break-Up Monologues podcast. And Emeli Sande shares her Inheritance Tracks - Three Little Birds by Bob Marley and Elgar's Cello Concerto performed by Jacqueline Du Pre. Producer: Laura Northedge Editor: Eleanor Garland

Three Little Birds by Bob Marley; Elgar's Cello Concerto performed by Jacqueline Du Pre.

Elgar's Cello Concerto was premiered 100 years ago today, and to mark the anniversary Julian Lloyd Webber joins Gramophone's Editor Martin Cullingford to explore the work, its performance and recording history, and to discuss why it still speaks so powerfully to audiences today. The podcast features excerpts from Julian Lloyd Webber's own recording of the work with Yehudi Menuhin, on the Philips label.

In our September 2019 podcast, we bring you news of the London Philharmonic Orchestra's new conductor, the Royal Philharmonic Society's new membership offer, and a choir that hopes to bring the message of environmentalism to its audience. Plus we introduce our September issue, in which Julian Lloyd Webber delves into the world of Elgar's Cello Concerto, one hundred years after its premiere. He's also the soloist on your free cover CD. And, as ever, we bring along the new recordings that we've been enjoying this month.This episode is presented by editor Oliver Condy, who is joined by editorial assistant Freya Parr and managing editor Rebecca Franks. It was produced by Ben Youatt and Jack Bateman.Recordings:A Scots Tune (From the Rowallan Manuscript) from SoftLoudSean Shibe (guitar)Delphian DCD34213Leopold Mozart Missa SolemnisDas Vokalprojekt, Bayerische Kammerphilharmonie/Alessandro De MarchiAparté AP205Rebecca's choice: 'Allegro Moderato Leggiero (Four to the Floor)' from Gabriel Prokofiev's Bass Drum ConcertoBranford Marsalis, Joby Burgess, Ural Philharmonic Orchestra/Alexei BogoradSignum Classics SIGCD584Freya's choice: Hildegard von Bingen O vos felices radices from Supersize Polyphony Armonico Consort, Choir of Gonville & Caius College, Cambridge/Geoffrey Webber, Christopher MonksSignum Classics SIGCD560Olly's choice: First movement from Bryce Dessner's Concerto for Two PianosMarielle and Katia Labèque (piano); Orchestre de Paris/Matthias PintscherDeutsche Grammophon 4818075Stories:Our September issue is on sale now: http://www.classical-music.com/issue/september-2019Subscribe to the magazine today: http://www.classical-music.com/subscribe/bbc-music-magazine/worldwide Edward Gardner appointed to the London Philharmonic Orchestra: http://www.classical-music.com/news/edward-gardner-announced-next-principal-conductor-london-philharmonic-orchestraRoyal Philharmonic Society: https://www.rhinegold.co.uk/classical_music/royal-philharmonic-society-announces-new-membership-offer/Nature's Voice: https://www.templemusic.org/shop/thesoundofnature/?yr=2019&month=6&dy=&cid=mini See acast.com/privacy for privacy and opt-out information.

David Owen Norris explains the inspiration behind Elgar's Cello Concerto

Santtu-Matias Rouvali, Principal Guest Conductor and Alistair Mackie, Principal Trumpet in conversation ahead of the Philharmonia's concert on Sunday 24th April, which included Elgar's Cello Concerto performed by Alban Gerhardt and Holst's 'The Planets'. This Pre-Concert Talk was also broadcast live on Facebook, which can be found at the following link: www.facebook.com/philharmoniaorch…154213671097202/ Rouvali's next concert with the Philharmonia is on Thursday 5th October 2017, the programme for which will include Mussorgsky's 'Pictures at an Exhibition'. Book tickets here: www.philharmonia.co.uk/concerts/1716…an_exhibition

Dr John Sentamu, Archbishop of York, is a special guest for Christmas Day. In Private Passions, he talks to Michael Berkeley about being the middle child of thirteen children, in Uganda. His father had a small gramophone and they all learned to sing Handel's Messiah with great gusto. John Sentamu practised as a lawyer and was a judge in the country's High Court by the age of 25, but when Idi Amin came to power the rule of law collapsed. Sentamu was imprisoned and tortured; "it was not so much a prison as a killing field". He heard his friends being shot. He talks movingly about how his Christian faith never wavered during his imprisonment and miraculous escape. He came to Britain in 1974 and trained as a priest, spending most of his career in some of the most deprived areas of London. Dr Sentamu became Bishop for Stepney and then Bishop for Birmingham; he was appointed Archbishop of York in 2005. Poverty and social inequality has always been at the heart of his Christian mission; he strongly believes he has a political role and a duty to speak out in a divided society. He talks too about his involvement in the campaign against knife crime in Birmingham, and being taken blindfolded to visit gang leaders. Dr Sentamu was Adviser to the Stephen Lawrence Judicial Inquiry and he chaired the Damilola Taylor Murder Review. Archbishop Sentamu reveals the music which has sustained him through an extraordinary and challenging life: Elgar's Cello Concerto, for instance: the Archbishop played the Jacqueline du Pre recording on the hour every hour from 6am to 6pm at York Minster for a week as part of a Vigil of prayers for peace. He introduces music from his local church in Uganda; and the choir of York Minster singing the Archbishop's favourite carol: "Hark the Herald Angels Sing". The programme ends with Ralph Vaughan Williams' Fantasia on Christmas Carols, as John Sentamu reflects on the great pleasures of Christmas - including his love of cooking. If all else fails, his children say, he could always open a restaurant. And his signature dish would be - brussels sprouts Produced by Elizabeth Burke A Loftus production for BBC Radio 3.

Michael Berkeley's guest is Anna Pavord, the distinguished writer about gardens and landscape. Her best-known book is The Tulip, a biography of the bulb that created a mania in the 17th century, but she's written extensively about plants, and places, and spent years as gardening columnist of the Independent. Her latest book "Landskipping: painters, ploughmen and places", is an exploration of how, through the ages, we have responded to the land. The programme is recorded on location in the landscape of west Dorset where Anna Pavord has lived, and gardened, for much of her life. She talks about what this landscape means to her, and why it is that we respond to certain kinds of natural beauty. She discusses her scholarly research into landscape mania in the 18th century, and tells moving personal stories too, such as the time she refused morphine after an operation for cancer, discovering that a mask of sweet peas was more effective - and much more pleasurable. Walking round her garden, Anna Pavord reflects on the therapeutic value - and marvelous madness - of a life spent gardening. Music choices include the Welsh Hymn Cwm Rhondda; the poet R.S.Thomas reading his own work; Bach's Wedding Cantata; two pieces by Schubert; Elgar's Cello Concerto - and a 1929 recording by Cleo Gibson: "I've got Ford engine movements in my hips".

Why would anyone fear Elgar's Cello Concerto? It's lovely, after all. Well, maybe because of Jacqueline du Pre. Maybe she's the one to blame.

For those who take pleasure in classical music, the name Jacqueline du Pré is most closely associated with Elgar's Cello Concerto in E Minor. The British cellist's passionate and energizing style made her "one of the most stunningly gifted musicians of her time." But for the average Joe, it's more likely that you would recognize the name as the heroine of Anand Tucker's 1998 film 'Hilary and Jackie.' The film is based on the memoir 'A Genius in the Family' by Piers and Hilary du Pré, brother and sister to the musical prodigy. The story has been criticized by those close to Jacqueline, with disagreements arising from differing perceptions of the musician's personality. Nonetheless, these criticisms do little to stop us from appreciating the movie. Tucker exalts the value of sisterhood and in the place of sibling rivalry, we observe Hilary willingly sharing everything she has, despite Jackie's insistence on owning everything that belongs to her sister. Although both sisters are equally endowed in the musical arts, Jackie is the one who gains all the necessary attention and training to become a world famous musician. And as if that was not enough, Jackie also lays claim to a share of Hilary's familial bliss, as she goes about sharing Hilary's husband. Hilary acquiesces in her sister's actions because she is the only one that truly understands Jackie. The movie offers viewers an insight into the life of a world-class musician, the life of someone pushed into the spotlight because of her skills with a cello; an instrument which, unfortunately, she doesn't even enjoy playing. On her road to stardom, Jackie loses almost everything that makes for an ordinary life. Emily Watson delivers the character to its full length. Portraying a superstar on the rise, her passion and vivacity elevates viewers. In her efforts to depict the veteran musician after being struck down with multiple sclerosis, Watson leaves a deep, lasting impression through her forlorn and melancholic performance. Aside from the incredible acting, I also have to bring your attention to the film's soundtrack. Music is of the essence to this film. Not only can you enjoy the classical pieces spinning out of the character's instruments, but the casual resonance of the music in the background also soothes and excites. "Hilary and Jackie" is a good introduction to the world of classical music. It also presents viewers with a question: if you were endowed with the necessary aptitude to become a leading figure in a certain area, how much would you be willing to give up? This is a question certainly worth thinking about at a time when people place such an emphasis on fame and money. On a scale from one to ten, I give "Hilary and Jackie" an eight.

Writer Pat Barker is fascinated by the First World War; for twenty years now, her award-winning novels have returned again and again to the trauma and grief and erotic intensity of wartime. Her novels draw on the experiences of real people: Siegfried Sassoon, Wilfred Owen, and in particular the army doctor W.H. Rivers, a pioneering psychiatrist who treated victims of shell shock. As this centenary year opens, with all its commemorations of the First World War, Pat Barker talks about why and how we should remember War - and about the power of fiction to tell historical truth. She reveals that her fascination with war began as a child; she was brought up by her grandparents, and her grandfather had a bayonet wound which she saw every time he washed at the kitchen sink. 'Through my grandfather and my stepfather, I have a direct link through to the world before the war - for me it's not simply reading history.' Pat Barker herself was a war baby - born in 1943 after her mother, a Wren, had a one-night stand with a man in the RAF. She never traced her father, and that central mystery in her life, 'half my identity missing', was part of what drove her to write. She talks about the stigma her mother faced as an unmarried mother, and in a moving section of the interview she wishes she could speak to her mother now to tell her 'It doesn't matter'. Pat Barker's music choices include her grandfather's favourite music hall song - his party piece as a boy in the 1890s; Anton Lesser reading two poems by Wilfred Owen, and Benjamin Britten's setting of Wilfred Owen in his 'Nocturne'; Butterworth's 'The Banks of Green Willow'; original cast recordings from Joan Littlewood's 'Oh What a Lovely War'; and Elgar's Cello Concerto, in the famous recording by Jacqueline du Pré. First broadcast 05/01/2014.