Podcasts about emi classics

Op zes achtereenvolgende zondagavonden laat Vrije Geluiden de zes strijkkwartetten van Belá Bartók horen. Hoekstenen van het moderne strijkkwartettenrepertoire. Omringd door Café Mozart, het bijbelboek Ruth en de lucht boven de woestijn als dak. 23.04 The Vienna Sessions (Challenge Records CR 73535) Markus Burger: Café Mozart Markus Burger 2'04”  23.08 CD the writings (Pentatone PTC 5187 001) David Lang: Where you go Cappella Amsterdam olv Daniel Reuss 10'13”  23.19 CD Bartók - String Quartets 1-6 (EMI Classics – 0946 3 60947 2 4) Béla Bartók: Strijkkwartet nr 1, opus 7 Alban Berg Quartet 29'45”  23.50 CD For Mr Lawrence Piano Music (Brilliant Classics 95389) Ryuichi Sakamoto: The Sheltering Sky Jeroen van Veen [piano] 5'13”  CD For Mr Lawrence Piano Music (Brilliant Classics 95389) Ryuichi Sakamoto: Litany Jeroen van Veen [piano] 5'32” 

Richard Will's treatise, “Don Giovanni Captured”, subtitled “Performance, Media, Myth” (The University of Chicago Press)  reviews the history of recording Mozart's Don Giovanni  - wax cylinders, 78 RPMs, 33⅓ RPMs (long-playing records), CDs, VHSs, DVDs, and streaming.  He supplies us with examples of his analyses with plenty of recorded excerpts in the book's companion website. Listen, as he compares Giovanni's “Serenade” (to Elvira's maid) of Victor Maurel (1904) with Ezio Pinza (1930), and then Joseph Krips's 1955 London mono (later stereo) recording with Cesare Siepi as Giovanni, with Bernard Haitink's 1990 EMI Classics recording, with Thomas Allen playing the libertine, in the Second Act “statue” scene. The book, 12 years in the writing, alludes to the women's movement of the ‘70s and the more recent “Me Too” movement, and how this character (and Richard reminds us that he is a character — a myth), who boasts over 1,600 conquests (with 10 more before curtain) is perceived in both eras. We talk about the extraordinary contribution of librettist Lorenzo DaPonte, the magnificent three stage bands at the conclusion of Act I, and Act II's epilogue following Giovanni's descent to Hell. In short, Don Giovanni for the ages.   And Richard Will was such a pleasure to speak with!

Synopsis One of the greatest of all Italian operas had its first performance on this day in 1887. Otello, by Giuseppe Verdi, was a musical version of Shakespeare's tragedy, Othello. The opera was written when Verdi was in his 70s, years after he had supposedly retired from a long and successful career as Italy's most famous opera composer. It was one of the greatest triumphs of Verdi's career. The premiere took place at La Scala, Milan, with famous singers in the lead roles, and the cream of international society and the music world in the audience. Even the orchestra was distinguished: among the cellists was a young fellow named Arturo Toscanini, who would later become one of the world's most famous conductors. Two of the violinists had the last name of Barbirolli—they were the father and grandfather of another famous conductor-to-be, Sir John Barbirolli. Both Toscanini and Barbirolli would eventually make classic recordings of Verdi's Otello. And speaking of recordings, in the early years of the 20th century, the Italian tenor Francesco Tamago, who created the role of Otello, and the French baritone Victor Maurel, who created the role of Iago, both recorded acoustical phonograph excerpts from Verdi's Otello—the technological marvel of the 20th century—preserving, belatedly, a sonic souvenir of a 19th century Verdi premiere. Music Played in Today's Program Giuseppe Verdi (1813 - 1901) Act I excerpt, from Otello Ambrosian Chorus; New Philharmonia Orchestra; Sir John Barbirolli, conductor. EMI Classics 65296

Synopsis On this day in 1918, Russian composer Serge Prokofiev arrived in America to give a recital of his piano works in New York. He told interviewers that despite the revolution in his homeland and widespread conditions of famine, Russian musicians continued to work. Prokofiev himself, however, stayed away from his homeland for years. His opera “The Love for Three Oranges” and his Third Piano Concerto received their premieres in Chicago in 1921. From 1922 to 1932, Prokofiev lived mainly in Paris before eventually returning home for good. Another temporary expatriate composer, Jón Leifs of Iceland, also has an anniversary today, when in 1950, his “Saga-Symphony” was performed for the first time in Helsinki. Leifs was born in Iceland in 1899 and died there in 1968. He studied in Leipzig, where, in his words, he (quote) “began searching whether, like other countries, Iceland had some material that could be used as a starting-point for new music… some spark that could light the fire.” Leif's years in Germany coincided with the rise of the Nazis, who at first found him a sympathetic Nordic composer. When Leifs married a Jewish woman, however, he soon fell out of favor and eventually fled to Sweden with his family. After the war he returned home and today is honored as Iceland's first great composer. Music Played in Today's Program Sergei Prokofiev (1891-1953): Piano Concerto No. 3 in C, Op. 26 –Martha Argerich, piano; Montréal Symphony; Charles Dutoit, cond. (EMI Classics 56654) Jón Leifs (1899-1968): Saga Symphony –Iceland Symphony; Osmo Vänskä, cond. (BIS 730)

Norra pianist Leif Ove Andsnes esitab Franz Schuberti viimase klaverisonaadi.

Synopsis On today's date in 1993, the first gala preview screening of a new film, "The Age of Innocence," based on the novel by Edith Wharton, took place at the Ziegfield Theater in Manhattan, as a benefit for the New York Historical Society. That was only appropriate, since Wharton's historical novel describes upper-class New York society of the 1870s – an age, if the film is to be believed, so emotionally repressed that the unbuttoning of a woman's glove can be a breathtakingly sensual moment. The new film was directed by Martin Scorsese, famous for decidedly UN-repressed thrillers likes "Taxi Driver," "Raging Bull," and "Cape Fear" – and initially some thought Scorsese a poor choice to film Wharton's novel. The skeptics were proven wrong. Much of the success of the film can be attributed to its ravishing orchestral score by American composer Elmer Bernstein. "It was my personal tribute to the music of Johannes Brahms," said Bernstein, who also credited Scorsese for appreciating the importance of music in bringing a movie to life: Unlike most directors today, Scorsese brought in Bernstein before "Age of Innocence" was filmed – not after. "We started talking about the character of the music long before Scorsese ever shot a frame of film," recalls Bernstein, with admiration. Bernstein's "Age of Innocence" score was nominated for an Academy Award – the 12th time Bernstein had been so honored in his long and productive cinematic career. Music Played in Today's Program Elmer Bernstein (1922-2004) –Farewell Dinner, from “The Age of Innocence” (Studio Orchestra; Elmer Bernstein, cond.) EMI Classics 57451

Synopsis On today's date in 1773, the Austrian Empress Maria Theresa was visiting the country estate of Prince Nikolaus of Esterhazy. Among the attractions there were an opera house, a marionette theater, and the Prince's impressive chamber orchestra led by Franz Joseph Haydn. It's possible that Haydn's Symphony No. 48 was performed for the Empress – in any case, this symphony came to be nicknamed the “Maria Theresa.” We do know that Haydn and his orchestra did perform for the Empress – and that they were all dressed up in Chinese costumes for one performance during her visit! Among other “duties as assigned,” Haydn shot three wild game hens that were cooked up for the Empress's dinner. Ah, the life of a court musician in the 18th century! It's also reported that Haydn told the Empress an amusing story from his childhood in Vienna. Apparently repair work was being done on St. Stephens Cathedral when Haydn was a boy soprano in the Cathedral Choir. The Empress was annoyed at the racket made by choirboys playing on the scaffolding and ordered that the next one caught playing up there would get a spanking. The following day Haydn climbed the scaffold, was caught, and received the promised punishment. Apparently they both got a good laugh out of recalling the story. Music Played in Today's Program Franz Joseph Haydn (1732-1809) –Symphony No. 48 in C (Maria Theresa) (Polish Chamber Orchestra; Jerzy Maksymiuk, cond.) EMI Classics 69767

Synopsis You almost feel sorry for the guy – after all, how would you like to go down in history as the fellow who tried to stiff J.S. Bach? That's what happened to Herr Johannes Friedrich Eitelwein, a rich merchant of Leipzig who thought he could avoid paying the customary wedding fee apportioned to that city's church musicians by getting married outside of the city limits. Back then such fees provided a significant portion of their income, and so on today's date in 1733, Bach and two other church musicians sent a letter to the Leipzig City Council complaining that, whether married inside or outside of the city, as a Leipzig resident, and a wealthy one to boot, Eitelwein should pay up. Now in the 18th Century, such petitions required a delicate balance of formal flattery and firm persistence, so the letter begins: “Magnificent, most honorable gentlemen, our wise and learned councilors, distinguished Lords and Patrons: may it please you to condescend to hear how Herr Johannes Friedrich Eitelwein was married on the twelfth of August of the present year out of town, and therefore thinks himself entitled to withhold the fees due us in all such cases, and has made bold to disregard our many kind reminders.” Bach's letter survives, but not any records letting us know if Eitelwein ever paid up! Music Played in Today's Program J.S. Bach (1685–1750) –“Weichet Nur,” from “Wedding” Cantata No. 202 (Elly Ameling, soprano; Academy of St Martin in the Fields; Sir Neville Marriner, cond.) EMI Classics

Synopsis On today's date in 1882, the eminent German conductor Hermann Levi led the first performance of Richard Wagner's new opera, “Parsifal” – a work that would also turn out to be his last, as Wagner would die the following year in Venice. No other Wagner opera would arouse the same level of controversy as “Parsifal.” Some thought it a blasphemous parody of the Catholic Mass, others, like the anti-religious Friedrich Nietzsche, saw it as a sanctimonious sell-out. Wagner helped fuel the controversy by calling the work a “sacred stage festival play.” Despite the notorious anti-Semitism of Wagner and his circle, the bulk of those Bayreuth performances, like the very first, would be conducted by Hermann Levi, who was Jewish. Levi wrote to his father about an unusual occurrence that took place during the final performance of the first run of “Parsifal” at Bayreuth: “Just before the final scene, Wagner appeared in the pit, twisted and turned his way up to my desk, took the baton from my hand and conducted the performance to the end. I remained at his side, because I was afraid he might slip up, by my fears were quite groundless – his conducting was so assured that he might have been nothing but a Kapellmeister all his life. At the end, the audience burst into applause which defies all description.” Music Played in Today's Program Richard Wagner (1813-1883) – Transformation Music, from Parsifal (London Symphony; Sir Adrian Boult, cond.) EMI Classics 62539

Synopsis Today's date marks two events in American musical history – one sad, one happy. It was on today's date in 1937 that George Gershwin died at 10:35 in the morning in a Hollywood hospital after an operation for a brain tumor. He was only 38 years old. Gershwin was the idol of Broadway and Tin Pan Alley, and also admired by the “serious” composers of his day, such as Maurice Ravel and Ralph Vaughan Williams. Even Arnold Schoenberg, the fearsome leader of the 12-tone school – and Gershwin's regular tennis partner in Los Angeles – said, in tribute, “there is no doubt that he was a great composer.” A Gershwin memorial concert was held in the Hollywood Bowl later that year, featuring notables from both classical and popular music, including Otto Klemperer, Fred Astaire, and Lily Pons. The happier anniversary we note is the founding of the Hollywood Bowl itself, on today's date in 1922. This open-air auditorium was constructed in a natural canyon in the Los Angeles area, and hosted its first public concert with the fearsomely-bearded German conductor Alfred Hertz on the podium. An audience of 5,000 cheered music by Wagner, Tchaikovsky, Grieg, and Rossini. Works by those composers still show up on Hollywood Bowl programs today, often alongside selections from now-classic Hollywood film scores, often conducted by their composers – bearded or otherwise. Music Played in Today's Program George Gershwin (1898-1937) – An American in Paris (Hollywood Bowl Orchestra; John Mauceri, cond.) Philips 438 663 Peter Ilyitch Tchaikovsky (1840-1893) – 1812 Overture (Berlin Philharmonic; Herbert von Karajan, cond.) EMI Classics 65690

Kim's  career has taken her from Broadway to the West End to the international concert stage, resulting in a most unusual career path unmatched by any other singer. She continues to specialize in musical theatre, bringing the classic American songbook to leading music venues across the world, both in symphony settings and recital.  She has sung at La Scala in Milan, La Fenice in Venice, the Teatro di San Carlo in Naples, the Accademia Nazionale Santa Cecilia in Rome, the Théâtre du Châtelet and the Opéra Comique in Paris, Concertgebauw in Amsterdam, Carnegie (Weill) Recital Hall in New York, the Musikverein, Konzerthaus and Volksoper in Vienna, the Berliner Philharmonie, the Teatro Nacional de São Carlos in Lisbon, the Snape Maltings Concert Hall in Aldeburgh, and the Mariinsky Theatre in St. Petersburg, not to mention multiple appearances in London at the Wigmore Hall, the Royal Albert Hall, the Barbican, the Royal Festival Hall, the Queen Elizabeth Hall, the Purcell Rooms, Cadogan Hall, and the Linbury Studios at the Royal Opera House, and elsewhere, from Reykjavik, Helsinki, Leipzig and Kaiserslautern, to Athens, Essen, Gothenburg and Bremen, to Tel Aviv, Jerusalem, Hong Kong, Malta, Montpellier, and Moscow, giving her a unique platform among interpreters of the musical theatre repertoire.She has had the pleasure of singing with many of the world's greatest symphony orchestras, ranging from the Berlin Philharmonic and City of Birmingham Symphony Orchestras conducted by Sir Simon Rattle, with whom she has recorded Leonard Bernstein's Wonderful Town in a version that then was repeated as a BBC Proms concert, and as the New Year's Eve Gala in Berlin, to the London Symphony Orchestra, the London Philharmonic Orchestra, the Philharmonia and London Sinfonietta, the Liverpool Philharmonic, the Northern Sinfonia, the Leipzig Gewandhaus, the Orchestre National de Lyon, the Orchestre de Picardie, the Orchestra della Toscana, the Hong Kong Philharmonic, the Toronto and Winnipeg Symphonies, and many, many more. Kim has formed several lasting musical partnerships over the years, leading to both concert and recording opportunities. Conductor/music historian John McGlinn brought her to EMI Classics, which led to several recordings and a personal recording contract, as well as many symphony concerts across America and Europe. With conductor John Wilson, she has explored the world of film music across the UK in concert, including the very popular MGM and Rodgers and Hammerstein Proms concerts, and several solo evenings. Her ongoing recital partnership with conductor/pianist Wayne Marshall has taken the pair to many of the great concert venues in Europe, both as recitalists and in full symphony settings.  Other conductors she has appeared with include Kristjan Jarvi, , Leonard Slatkin, Marin Alsop, Yutaka Sado, Keith Lockhart, Ulf Schirmer, John Axelrod, Kevin Farrell, Carl Davis and Richard Hickox, to name a few.Critically acclaimed for playing “Annie Oakley” in Annie Get Your Gun at London's Prince of Wales Theatre, for which she earned a Olivier Award nomination for Best Actress in a Musical, and for her role as “The Old Lady” in Robert Carsen's productions of Candide at La Scala and the Théâtre du Châtelet, she has also won a Helen Hayes Award for her work in Side by Side by Sondheim. She also starred as “Sally Adams” in Call Me Madam at the Goodspeed Opera House, singing the role of “The Old Lady” in Candide at Chicago's Ravinia Festival, and co-starring with Joseph Fiennes and Charles Edwards in Happy Days in the Art World at NYU's Skirball Center in New York.Kim's Broadway credits include starring as “Lucy”, opposite Sting, in the 3 Penny Opera directed by John Dexter, and appearing in the original Broadway cast of 1982 Best Musical Tony winner Nine, first as Francesca, then taking over the leading role of Claudia. Other Broadway original cast credits include The First, Baby and Star

Synopsis On today's date in 1899, the English composer Frederick Delius mounted at his own expense an all-Delius concert in London, performed by a hand-picked orchestra and well-rehearsed chorus. Although born and raised in England, Delius had been living as an expat in Europe, so this concert would be the first opportunity for British audiences to hear his music. The opening work on the program, entitled “Over the Hills and Far Away,” could just as well have described the 37-year old composer's prior career to the Brits. The good news was the concert was a great success, with one critic stating "a composer wholly unknown to this country burst upon us with something like the astonishing effect of an unexpected thunderstorm." The bad news was almost immediately after the concert, Delius returned to France. The concert's organizer wrote to him, “I was extremely sorry that you had to go… It was a business mistake, as you would have been the lion of the season... and would have made many useful musical and moneyed friends.” In fact, it wasn't until 1907 that the musical and moneyed British conductor Sir Thomas Beecham would discover and champion Delius's music in his own homeland. Music Played in Today's Program Frederick Delius (1862 - 1934) Over the Hills and Far Away Royal Philharmonic; Sir Thomas Beecham, cond. EMI Classics 94653 and Warner Classics 47509

In this episode, we discuss the influence of point of view on stories and movies presented as stories. Gather around the campfire and prepare for a spooky story as we discuss the 1995 cosmic horror In the Mouth of Madness and the 2017 supernatural drama Ghost Stories. Plus, we discuss Stephen King, the way the human brain processes stories and beliefs, and the way both movies use their scores to different ends. Find us on Twitter @eerie_earfuls Find us on the web at https://eerieearfuls.wordpress.com/ “Baba Yaga”, “Anxiety”, and “Night of Chaos” by Kevin MacLeod Licensed under Creative Commons 3.0 Attribution Logo designed by Justin Dow Our twitters: @whirlingnerdish and @b_d0w_11 Trans & BLM Resources: https://www.healthline.com/health-news/why-arkansas-anti-trans-law-is-so-dangerous-for-lgbtqia-youth https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7073269/ https://www.theguardian.com/society/2021/apr/06/arkansas-transgender-youth-gender-affirming-treatment-ban https://www.intransitive.org/ Black Lives Matter Sources and Extra Reading: "In the Mouth of Madness" by John Carpenter and Jim Lang (In the Mouth of Madness OST, DRG Records, 1995) "Goodman's Theme" by Frank Ilfman (Ghost Stories, Varese Sarabande, 2018) "Threnody to the Victims of Hiroshima" by Krzysztof Penderecki (Matrix 5: Threnody to the Victims of Hiroshima, EMI Classics, 1994) "Dada" by Frank Ilfman (Ghost Stories, Varese Sarabande, 2018) "Into the Woods" by Frank Ilfman (Ghost Stories, Varese Sarabande, 2018) "Snowbound" by Frank Ilfman (Ghost Stories, Varese Sarabande, 2018) "Why" by Anthony Newley (The Very Best of Anthony Newley, Spectrum Music, 1997) "The Monster Mash" by Bobby "Boris" Pickett and the Crypt Kickers (The Original Monster Mash, Hallmark Music & Entertainment, 2013) "Ghost Stories review – Martin Freeman and Paul Whitehouse shine in dreamlike spookfest" by Peter Bradshaw (The Guardian, pub Oct 5, 2017) https://www.theguardian.com/film/2017/oct/05/ghost-stories-review-martin-freeman-paul-whitehouse-london-film-festival-2017 "Ghost Stories" by Maddy Costa (The Guardian, pub Aug 01, 2010) https://www.theguardian.com/stage/2010/aug/01/ghost-stories-theatre-review "Amicus Productions – film production company" by David Flint (Movies and Mania, published Sep 23, 2013) https://moviesandmania.com/2013/09/23/amicus-films-british-horror-film-production-company-overview/ Chibnall, Steve; Petley, Julian (2002). British Horror Cinema. ISBN 9780415230032 "Amicus and the art of the film poster" by Samuel Wigley (BFI, pub Dec 3, 2019) https://www2.bfi.org.uk/news/amicus-and-art-film-poster "The Classics: John Carpenter's 'Apocalypse Trilogy'" by Joshua Topolsky (The Verge, published Sep 2, 2012) https://www.theverge.com/2012/9/2/3279482/the-classics-john-carpenter-apocalypse-trilogy "Cosmic Horror In John Carpenter's 'Apocalypse Trilogy'" by Orrin Grey (Strange Horizons, published Oct 24, 2011) http://strangehorizons.com/non-fiction/articles/cosmic-horror-in-john-carpenters-apocalypse-trilogy/ Newsploitation: In the Mouth of Box Office Sadness by William S. Wilson (Video Junkie, pub Feb 3, 2015) http://www.videojunkie.org/2015/02/newsploitation-in-mouth-of-box-office.html?zx=dc30da4e4a5062cf "We Can’t Ignore H.P. Lovecraft’s White Supremacy" by Wes House (Literary Hub, pub Sep 26, 2017) https://lithub.com/we-cant-ignore-h-p-lovecrafts-white-supremacy/ "A Composer Praises God as One Who Lives in Darkness" by Jack Hiemenz (New York Times, pub Feb. 27, 1977) https://www.nytimes.com/1977/02/27/archives/a-composer-praises-god-as-one-who-lives-in-darkness-penderecki-a.html?ref=oembed "What religion does to your brain" by Ana Sandoiu (Medical News Today, pub July 20, 2018) https://www.medicalnewstoday.com/articles/322539#Different-religions-have-different-effects "The Psychology of Belief" by Kate Morgan (Forge, pub Feb 5, 2019) https://forge.medium.com/amp/p/d1e1f22d8761 "The biochemistry of belief" by T.S. Sathyanarayana Rao, M. R. Asha, K. S. Jagannatha Rao, and P. Vasudevaraju (Indian J Psychiatry, pub Oct-Dec, 2009; 51(4): 239–241) https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2802367/  "Why is green the color of poison?" by Elena Laricheva (MEL Science, pub May 13, 2015) https://blog.melscience.com/en/2015-05-13-why-is-green-the-color-of-poison.html "Mr. Yuk: The History of Poison’s Most Iconic Symbol" by Erin Mccarthy (Mental Floss, pub March19, 2014) https://www.mentalfloss.com/article/55655/mr-yuk-history-poisons-most-iconic-symbol "The History of the Color Green: From a Poisonous Pigment to a Symbol of Environmentalism" by Emma Taggart (My Modern Met, pub June 16, 2020) https://mymodernmet.com/history-of-the-color-green/  "Sisyphus" by Mark Cartwright (World History Encyclopedia, pub Dec 14, 2016) https://www.ancient.eu/sisyphus/#:~:text=Sisyphus%20(or%20Sisyphos)%20is%20a,in%20the%20depths%20of%20Hades "Sisyphus" by Staff (Wikipedia, updated May 2, 2021) https://en.wikipedia.org/wiki/Sisyphus "Repetition and Sisyphus" by Jennifer Jill Fellows (Thoughts Thinking Thoughts, pub Sep 4, 2013) https://fellowsjill.wordpress.com/2013/09/04/repetition-and-sisyphus/comment-page-1/  "Prometheus" by Mark Cartwright (World History Encyclopedia, pub April 20, 2013) https://www.ancient.eu/Prometheus/ "Prometheus" by Staff (Wikipedia, updated May 4, 2021) https://en.wikipedia.org/wiki/Prometheus  "Narcissus & Echo" by Staff (Wikipedia, updated Mar 25, 2021) https://en.wikipedia.org/wiki/Echo_and_Narcissus  "Writing Lines" by Staff (Wikipedia, updated Feb 18, 2021) https://en.wikipedia.org/wiki/Writing_lines  "Summary and Analysis Canto III: The Divine Comedy: The Inferno" by Staff (Cliff Notes, accessed April 15, 2021) https://www.cliffsnotes.com/literature/d/the-divine-comedy-inferno/summary-and-analysis/canto-iii  

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Simon Woods joined the League of American Orchestras as President and CEO in 2020. Born in London, England, Mr. Woods earned a degree in music from Cambridge University and a diploma in conducting from the Guildhall School of Music and Drama in London. From the late 1980s to the late 1990s, he worked as a record producer at EMI Classics in London, where he initiated and produced recordings at Abbey Road Studios and on location with many of the world’s foremost classical artists and ensembles. From 1997 to 2004, he was Artistic Administrator and later Vice President of Artistic Planning & Operations at The Philadelphia Orchestra. From 2004 to 2005, he was President & CEO of the New Jersey Symphony Orchestra, before moving back to the UK in 2005 to become Chief Executive of the Royal Scottish National Orchestra, one of the United Kingdom’s leading symphony orchestras. Returning to the US in 2011, he became President & CEO of the Seattle Symphony, a post he held for seven years. In November 2017, Woods was appointed CEO of the Los Angeles Philharmonic, a post he held until September 2019. From February to August 2020, Woods was Interim Executive Director of the Grand Teton Music Festival, in Jackson Hole, Wyoming.Woods brings more than 30 years of experience working with orchestras. He is deeply committed to equity, to the role of arts organizations in community, and to nurturing the next generation of arts leaders. He is known throughout the sector as a highly trusted mentor to orchestra management professionals, emerging leaders, and conductors. For two decades he has contributed to the League of American Orchestras’ professional development programs, including acting as Director of the League’s signature immersive training program, Essentials of Orchestra Management. In March 2020 he joined the Board of Directors of National Arts Strategies.The Question of the Week is, "What are the characteristics of a strong organization in classical music?" Simon and I discuss what it was like becoming President and CEO of the League of American Orchestras during a pandemic, his experience running some of the biggest classical music organizations around the world, the difference between the American and British classical music scenes, what he hopes to pass on to the next generation of leaders, and why he hopes we do not go back to normal. You can find out more about the League of American Orchestras on their website, https://americanorchestras.org.

Kenji Bunch is one of America’s most engaging, influential, and prolific composers. Through an expansive blend of classical and vernacular styles, Bunch makes music that’s “clearly modern but deeply respectful of tradition and instantly enjoyable.” (The Washington Post) Deemed “emotional Americana,” (Oregon ArtsWatch) and infused with folk and roots influences, Bunch’s work has inspired a new genre classification: “Call it neo-American: casual on the outside, complex underneath, immediate and accessible to first-time listeners… Bunch’s music is shiningly original.” (The Oregonian) Hailed by The New York Times as “A Composer To Watch” and cited by Alex Ross in his seminal book The Rest Is Noise, Bunch’s wit, lyricism, unpredictability, and exquisite craftsmanship earn acclaim from audiences, performers, and critics alike. His interests in history, philosophy, and intergenerational and cross-cultural sharing of the arts reflect in his work. Varied style references in Bunch's writing mirror the diversity of global influence on American culture and reveal his deft ability to integrate bluegrass, hip hop, jazz, and funk idioms. Rich, tonal harmonies and drawn-out, satisfying builds characterize Bunch’s work and easily lend themselves to dance and film. Over sixty American orchestras have performed Bunch’s music, which “reache(s) into every section of the orchestra to create an intriguing mixture of sonic colors.” (NW Reverb) Recent works include commissions and premieres from the Seattle Symphony, the Oregon Symphony, the Lark Quartet, the Britt Festival, Music From Angel Fire, Chamber Music Northwest, the Eugene Ballet, and the Grant Park Music Festival. His extensive discography includes recordings on Sony/BMG, EMI Classics, Koch, RCA, and Naxos labels among others. Also an outstanding violist, Bunch was the first student ever to receive dual Bachelor and Master of Music degrees in viola and composition from The Juilliard School and was a founding member of the highly acclaimed ensembles Flux Quartet (1996-2002) and Ne(x)tworks (2003-2011). Bunch currently serves as Artistic Director of Fear No Music, and teaches viola, composition, and music theory at Portland State University, Reed College, and for the Portland Youth Philharmonic.Website: https://www.kenjibunch.netFacebook: https://www.facebook.com/kenjibunchmusic  

On this ripping new episode of Terminus, The Black Metal Guy and The Death Metal Guy run through a trio of new BM releases, from the polished to the raw to the utterly primitive, and some BM-friendly brutal death to boot. We lead off with what is probably our favorite major-label release of the year - Hinsides Vrede by Sweden's Mork Gryning, venerated ancestors back from the burial mound and stronger for it. This band starts from the Swedish Second Wave and sets it racing, gathering up forgotten 90s sounds and coming out ahead of younger bands. Next up is Sardonic Witchery, a Portuguese BM maniac transplanted to Texas. His thunderous low-end rock-BM shows his love of the genre as a whole, and a serious commitment to each of his musical ideas. On the second half of the show we move into weirder territory. The Black Metal Guy brings the primordial Americana-black of Nihil Invocation. There's a lot about this aesthetic we like, but a lot we'd like to hear developed, too. Finally, The Death Metal Guy closes out with multinational project Molecular Fragmentation, who share members with Induced (see Terminus 13). This is the sort of whiplash brutal death that TBMG can really dig, and it leads us back to our ongoing conversation about death metal's future (see Terminus 20, 22). We read the portents, finding only fire and blood. Is "Brutal Death x War Metal" the next big thing? 00:00 - Introductory bullshitting 02:01 - The Death Metal Guy shares a rehearsal track (from a BM band); The Black Metal Guy listens and critiques. 16:43 - Rundown of bands and labels 22:55 - Mork Gryning - Hinsides Vrede (Season of Mist) 01:00:32 - Sardonic Witchery - Moonlight Sacrifice Ritual (War March Records/Niflhel Records/Warhemic Productions/Worship Tapes) 01:34:12 - Interlude - Morte Incandescente - "Black Skull Crushing Metal," fr. Coffin Desecrators (2005, GoatowaRex). Reissued by War Arts Productions, 2015. 01:38:39 - Nihil Invocation - Dead Seed Immersed in Glory (Asrar) 02:22:56 - Molecular Fragmentation - Unparalleled Fatal Collapse (Pathologically Explicit Recordings) 03:06:15 - Outro - Peter Warlock - "Pavane," fr. Capriol Suite (1926). Included on this great comp by EMI Classics. The Curlew, a song-cycle based on poems by Yeats, is another good one to check out. CORRECTION: Peter Warlock died in 1930, not the later 30s. I (TBMG) fudged a few dates as I riffed off of Wikipedia. Terminus links: Terminus on Youtube Terminus on Patreon Terminus on Subscribestar Terminus on Instagram Terminus on Facebook thetrueterminus@gmail.com  

In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Operetta is a delightful kind of entertainment resembling opera, but different; whereas in opera the music tells the story, in operetta the music decorates a story which is usually little more than a joke—a story that nobody could possibly take seriously. Operetta developed, in the late nineteenth century, just as opera began taking itself perhaps too seriously. Operettas from traditions in Paris (Orphée aux enfers), London (The Pirates of Penzance), Vienna (Die Fledermaus) and New York City (Rose-Marie) typify the genre. And although many operettas remained popular for decades, the golden era of creating operetta turned to silver, then iron and finally steel as the twentieth century turned its energy toward making movies and wars. Musical examples on this podcast drawn from the 1997 EMI recording of Orphée aux enfers conducted by Mark Minkowski and starring Ewa Podles and Natalie Dessay, EMI recordings conducted by Sir Malcolm Sargent of The Pirates of Penzance, 1961, H.M.S. Pinafore, 1958, and Iolanthe, 1959; the EMI Classics recording of Die Lustige Witwe, conducted by Franz Welser-Möst; the 1960 Decca recording of Die Fledermaus, conducted by Herbert von Karajan; excerpts from Rose Marie from a Pearl Historical recording of Oscar Hammerstein—the Legacy; and from the 1955 film of Oklahoma starring Gordon MacRae.

Kirnberger was een leerling van Bach, en werd de leraar van Prinses Amalia van Pruisen. Een groot muziekliefhebster, voor wie Wilhelm Friedemann Bach ook muziek componeerde. Als je eenmaal in de geschiedenis van Kirnberger duikt, kom je gelukkig van alles tegen. Johann Philipp Kirnberger Musikalisches Vielerley: Komm, Gott, Schöpfer, Heiliger Geist Laurence Dean, traverso Andrew Lawrence-King, orgel Christophorus CHE0214-2 3’30’’ Johann Sebastian Bach Koraalbewerking voor orgel BWV.694, “Wo soll ich fliehen hin” Jacques van Ootmerssen, orgel Challenge Classics CC72061 4’29’’ Wilhelm Friedemann Bach Fuga’s F.31, nr.7 in Bes gr.t. Christophe Rousset, klavecimbel Harmonia Mundi 901305 0’50’’ Anna Amalia, Prinses van Pruisen Sonate voor fluit en b.c. – deel I. “Adagio” Emanuel Pahud, fluit Jonathan Manson, cello Trevor Pinnock, klavecimbel EMI Classics 0842202 2’58’’

In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Verismo was a late nineteenth-century reaction against the excesses of the great tradition. The aim was immediate, powerful, realistic opera, with post-Wagnerian music of titanic passion setting stories about simple, everyday, relatable characters. The vogue for verismo dominated opera as the older art form gave birth to the cinema. Leoncavallo’s masterpiece Pagliacci (1892) serves as a well-known example of verismo; Il tabarro (1918), by Puccini, isn’t so well-known but is every bit as great. Musical examples on the podcast drawn from Seattle Opera recordings of Andrea Chenier, 1996, conducted by Steven Mercurio; La bohème, 2007, conducted by Vjekoslav Sutej and starring Karen Driscoll and Philip Cutlip; Turandot, 2012, conducted by Asher Fisch and starring Antonello Palombi; the 1953 EMI Classics recording of PAGLIACCI conducted by Renato Cellini; and the 1956 EMI recording of Il tabarro conducted by Vincenzo Bellezza and starring Tito Gobbi and Margaret Mas. Stay tuned for another podcast introducing another kind of opera next week!

À propos du livre : « Alfred Cortot » Paru aux éditions Fayard Pianiste virtuose, chef d’orchestre, chambriste, pédagogue aux méthodes et aux conceptions innovantes, musicographe, collectionneur, administrateur d’institutions, Alfred Cortot (1877-1962) brille aujourd’hui à travers ses enregistrements, ses écrits et ses « Éditions de travail », mais également par le biais de l’École normale de musique, qu’il a fondée en 1919. Interprète par excellence de Chopin, vaillant beethovénien, schumannien exalté, grand lisztien, wagnérien militant, cet héritier de l’âge romantique fut aussi le défenseur et le propagateur de la musique française de son temps à travers le monde. Pendant l’Occupation, il a exercé des fonctions administratives et politiques. Motivée par sa germanophilie culturelle, son adhésion à l’idéologie vichyste ne fait pas de doute, pas plus que son ambition politique de réformer les conditions de la vie musicale française. Persistant dans ses convictions collaborationnistes jusqu’en 1944, il se voit violemment reprocher son attitude à la Libération. Il s’éloigne de la France et continue sa carrière de pianiste, donnant encore quelque cent à cent cinquante concerts par an et parcourant inlassablement le monde. Portrait d’artiste scrutant avec finesse ce qui caractérise le jeu et l’héritage de Cortot dans son immense répertoire, cet ouvrage n’est ni un réquisitoire ni une tentative de réhabilitation. Adossée à d’incontestables documents, au carrefour de l’histoire culturelle et de la musicologie, cette nouvelle biographie entend dépasser les ambiguïtés de la mémoire d’Alfred Cortot. Elle présente sans concessions et dans tous ses aspects le génie protéiforme de l’un des plus illustres musiciens français de la première moitié du XXe siècle. François Anselmini est agrégé d’histoire. Il a participé à l’ouvrage La Musique à Paris sous l’Occupation dirigé par Myriam Chimènes et Yannick Simon (Fayard, 2013). Rémi Jacobs, diplômé du CNSMDP, doctorant en musicologie, a été directeur de collections chez EMI Classics. Il est l’auteur d’une biographie d’Heitor Villa-Lobos (Bleu Nuit éditeur, 2010). Ils sont tous les deux les auteurs d’une biographie du Trio Cortot-Thibaud-Casals (Actes Sud, 2014).

In this episode, we're exploring the fascinating area of classical music marketing and PR with Dr Marius Carboni. He was formerly the Press and Promotions Manager at EMI Classics and the Press Manager at Decca Classics, and now runs his own independent PR and marketing consultancy Carboni Classical Media. He has worked with a number of leading artists and organisations, including Bernard Haitink, the BBC Symphony Orchestra, the Royal Philharmonic Orchestra, BBC Radio 3 and the BBC Proms. He was awarded a PhD in 2010 from the University of Hertfordshire, examining the changes in business models and marketing techniques in the classical music industry over twenty years from 1989. He currently leads a course in Music Business at the University of Hertfordshire, and teaches at City University London. Originally published on 22 December 2018. Conversation recorded on 18 December 2018. *For best results, please listen with headphones or turn the volume up to maximum on your device.* Follow Talking Classical online SoundCloud - soundcloud.com/talkingclassicalpodcast Twitter - twitter.com/tc_podcasts Facebook - https://bit.ly/2CvJ7rD Blog - talkingclassicalpodcast.wordpress.com

Underbarnet som vid 60 år fortfarande konserterar lokalt och globalt. Michala Petri har gjort mer än 70 CD-inspelningar och 4 000 konserter sedan hon var 11 år. Michala Petri är en av de främsta blockflöjtvirtuoserna i världen och har en enorm repertoar av klassiska och nutida kompositioner. Kuriosa: Vivaldis Blockflöjtskonsert i C-dur, har hon spelat över tusen gånger på konserter. Hennes första CD-inspelning gjorde hon efter en konsert i London med Academy of St. Martin-in-the-Fields, endast 17 år gammal. Nyfiken och öppen för alla musikaliska genrer har hon spelat med så olika artister som Sir Neville Marriner, Keith Jarrett, Gidon Kremer och Bjørn Svin. När Michala Petri var 11 år fanns det ingen i Köpenhamn som kunde lära henne något mer på blockflöjten, så hennes mamma Hanne Petri, som själv är pianist, tog med Michala till professor Ferdinand Conrad i Hannover. Han bad henne omgående starta sina studier vid Musikkonservatoriet där. Michala Petri slutade genast sin skolgång i Danmark för att satsa helt på sin professionella bana som musiker. Varje måndag morgon tog hon och hennes mamma nattåget till Hannover. Lektioner väntade på eftermiddagen och under tisdagen. På onsdagen for de hem för att öva och sedan vidtog samma procedur varje vecka. - Du måste ha både råstyrka och vara intuitiv och mottagande för att gå upp på en scen, uppträda och sända ut så mycket energi till en publik, säger hon. Det är energi jag förmedlar med blockflöjten. Att spela svagt kan också vara otroligt energiskt, säger Michala Petri, som spelat instrumentet sedan hon var 3 år. 12 år gammal fick hon en tvärflöjt, men hon kände sig som en lurendrejare när hon spelade på den eftersom tvärflöjten är betydligt lättare att intonera på. För Michala Petri var blockflöjten en utmaning hon inte kunde motstå. Hon spelar på fyra olika storlekar, sopraninon, sopranen, som är den vanligaste, och så alt- och tenorblockflöjten. Hon har många exemplar av varje storlek. Jag räknade till ett fyrtiotal hemma hos henne. Michala Petri köper ständigt nya flöjter, eftersom hon byter hela tiden. Efter ett par timmars spel tar en flöjt skada om den inte får vila. Hon vet aldrig från början om en flöjt kommer att hålla måttet eller inte. Kanske känns den bra i starten, men efter några månader kan den utveckla en usel klang. Å andra sidan kan en flöjt som inledningsvis inte klingar särskilt bra plötsligt utveckla en mycket fin klang efter ett halvår. Kanske är blockflöjter precis som människor. När Michala Petri gav konsert i samband med Mostly Mozart Festival i Lincoln Center i New York tog Keith Jarrett kontakt med henne. Hon kände honom bara till namnet, hade inte hört honom spela. Men det visade sig att Keith Jarrett även spelade blockflöjt och cembalo. De träffades i hans hem och spelade några Händelsonater och några Bachsonater. Senare tog Michala Petri kontakt med Jarrett som tackade ja till den här inspelningen. - Keith Jarrett är en otroligt fin musiker, säger Michala Petri. Han lyssnar intensivt och fångar upp de signaler man sänder ut för att omgående svara på dem. Jag har spelat med klassiska musiker som har samma begåvning för att uppfånga musikaliska intentioner. Jag lyssnade mycket på vad Keith Jarrett gjorde och tänkte mindre på vad jag själv hade förberett. När hon var barn kände hon att musiken var det enda som gav henne identitet. Hade hon inte musiken så var hon ingenting. -När jag har utvecklat mig, fött mina två döttrar och mognat som människa så har även spelet förändrats, säger hon. Michala Petri har bl a fått Léonie Sonnings Musikpris, Europeiska solistpriset, Nordiska Rådets musikpris och 2016 vann hon priset som bästa barock-instrumentalist vid International Classical Music Awards. Michala Petri är fortfarande mycket aktiv och ger både lokala och globala konserter. Den 7 juli 2018 fyller hon 60 år och Tivoli i Köpenhamn firar henne den 1 juli 2018 med en Festkonsert. Alexander Shelley dirigerar då Tivoli Copenhagen Phil.   LÅTLISTA:   Yemandja Angelique Kidjo, sång, m fl Aye Island Records Mango 74321 16646 2   Partita in c BWV 1013 - 1 Allemande J S Bach Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. JS Bach   Souvenir RCA Victor 09026 62530 2   Concerto For Piano And Orchestra No. 1 Rondo. Allegro Non Troppo, Brahms Nikolaj Koppel, piano. DR's Symfoniorkester. Thomas Dausgaard, dir Retrospect EMI CLASSICS 50999 6287362 8       Fem Klaverstykker, Op. 3 Mignon Carl Nielsen Nikolaj Koppel, piano. Retrospect  EMI CLASSICS 50999 6287362 8   Intermezzi, Op. 117 - 2. Andante Non Troppo Johannes Brahms Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8   Piano Concerto #1 In D Minor, Op. 15 - 2. Adagio Johannes Brahms Nikolaj Koppel, piano. Thomas Dausgaard: Danish National Radio Symphony Orchestra Retrospect EMI CLASSICS 50999 6287362 8   Préludes, Book 1 - La Sérénade Interrompue       Claude Debussy Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8   Scarlatti (D): Harpsichord Sonata In E, K 20 Domenico Scarlatti Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8   Rong (Fusion) Yao Hu Michaela Petri Recorders. Chen Yue Xiao & Dizi Dialogue East Meets West OUR Recordings 6.220600   Ancient Chinese Beauty- Clay Figurines Chen Yi Michala Petri. Copenhagen Philharmonic; lan Shui Chinese Recorder Concertos OUR Recordings 6.220603   Flute Quartet In G Major K.285a - 2. Tempo Di Menuetto W A Mozart Michala Petri (Re), Carolin Widmann (Vn), Ula Ulijona (Va), Marta Sudraba (Vc) Mozart Flute Quartets OUR Recordings 6.220570   Nele's Dances - 10 In a symphony of galloping hooves Thomas Koppel Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir RCA Victor 09026 62530 2                   Nele's Dances - 3 And I'm still feeling you in my arms Thomas Koppel Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir  RCA Victor 09026 62530 2   Sonata G RV 59 - 2 Allegro ma non presto Vivaldi Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir     RCA Victor 09026 62530 2   Concerto C-Major; Largo Vivaldi Michala Petri, blockflöjt. Kremerata Baltica Michala Petri 50th Birthday Concert OUR Recordings 8.226905

durée : 01:59:16 - Zig Zag du samedi 13 janvier 2018 - par : Renaud Machart - ## Programmation Musicale **Benedictus Appenzeller**: Psaume 130: “_Du Fond de ma pensée_” Ensemble Clément Janequin Harmonia Mundi HMC 901672 **Lili Boulanger**: Psaume 130 “_Du fond de l’abîme_” City of Birmingham Symphony Chorus BBC Philharmonic Orchestra Yan Pascal Tortelier (direction) Chandos CHAN 9745 **Lili Boulanger**: **Nocturne** pour violon et piano Frédéric Bednarz (violon) Natsuki Hiratsuka (piano) metis islands music MIM – 0006 **Maurice Ravel**: _Vocalise en forme de Habanera_ Natalie Dessay (soprano) Berliner Sinfonie Orchester Michael Schønwandt (direction) EMI Classics 7243 5 56565 2 0 **Claude Debussy**: _Épigraphes antiques_ (extraits) Katia et Marielle Labèque (pianos) DG 4814716 **Claude Debussy:** Symphonie en si (orchestration de Tony Finno) Orchestre national de Lyon Jun Märkl (direction) Naxos 8509002 **Ennio Morricone**: _Voci dal silenzio_ (“canto per tutte le tragedie, per tutte le stragi del mondo””) Halidon H6514 **Pascal de l’Estocart**: _Octonaires De La Vanité Et Inconstance Du Monde_ - Ambition, Volupté, Orfevre Taille Moy Une Boule, Ce Mond' Est Un Pèlerinage - Je Vis Un Jour - Celuy Qui Pense Pouvoir - Où Est La Mort ? Ensemble Clément Janequin Harmonia Mundi HMC 901672 - réalisé par : Laurent Lefrançois

Empezamos la temporada viajando a nuestra Plaza Mayor, que este año 2017 celebra el 400 aniversario del inicio de su construcción. Esta plaza tan querida, tan presente en las vidas de la mayoría de los madrileños, está llena de secretos, rincones curiosos, personajes, comercios tradicionales y anécdotas interesantes, algunas de ellas poco conocidas y tremendamente curiosas. Hablaremos de ello con Piedad (@madridistinto) (www.madriddistinto.com). Contaremos con la visita del Duque de Lerma, valido de Felipe III, que nos honrará hablando para el programa... Presentan Sara Black y el Prof. Valnadú. _______________________________________________ GUÍA PARA LA ESCUCHA 00:00 - Presentación del programa. 00:05 - Origen de la Plaza Mayor. 00:09 - Primeros proyectos de reforma. 00:11 - Construcción de la nueva plaza en el siglo XVII. 00:14 - Inauguración de la nueva Plaza Mayor. 00:16 - El mercado en la Plaza Mayor. 00:19 - Historia de la escultura ecuestre de Felipe III. 00:27 - Los ajusticiamientos en la Plaza Mayor. 00:30 - La Plaza Mayor en llamas. 00:32 - El callejón del Infierno. 00:35 - Los Autos de Fe en la Plaza Mayor. El Gran Auto de Fe de 1680. 00:50 - Tertulia de los 4 Gatos. Hablamos con Piedad (@madridistinto) sobre curiosidades de la Plaza Mayor, desde las diferentes fiestas que allí se realizaron y realizan, hasta los locales tradicionales, el mercado de Navidad o lo sucedido en la Francesada. __________________________________________________________ MÚSICA QUE PUEDE ESCUCHARSE EN ESTE PROGRAMA: - "Stella Splendens", El llivre vermell (S.XIV). Capilla Musical y Escolanía de la Abadía de la Santa Cruz del Valle de los Caídos. Dir. Luis Lozano. Atrium musicae. EMI Classics. - Marionas - Gaspar Sanz (1640 - 1710). - Variaciones sobre un tema de Mozart, de Fernando Sor. Interpretado a la guitarra por Manuel Barrueco. - ¡AY, QUE ME ABRASO DE AMOR EN LA LLAMA! - Sebastián Durón (1660 - 1716). - Como no la andaré yo. Jordi Savall y Hespèrion XX. - AMOR CON FORTUNA - Juan del Encina (1468 - 1529) La Capella Reial de Catalunya - Hespérion XXI - Director: Jordi Savall. - Kyrie, BSO El Nombre de la Rosa. - Títulos finales, BSO El Nombre de la Rosa. - Local Hero. "Politics", de Yellowjackets. ________________________ Puedes contactar con nosotros en: www.podcastizo.com oyentes@podcastizo.com Twitter: @PodCastizo www.facebook.com/podcastizo/ Instagram: PodCastizo __________________________________ Todos los audios de PodCastizo se distribuyen bajo licencia Creative Commons: Licencia Reconocimiento-NoComercial-SinObraDerivada 4.0 Internacional. Esta licencia está permanentemente ubicada en http://creativecommons.org/licenses/by-nc-nd/4.0/. "PodCastizo" (R) Es una marca registrada. Todos los derechos reservados.

Empezamos la temporada viajando a nuestra Plaza Mayor, que este año 2017 celebra el 400 aniversario del inicio de su construcción. Esta plaza tan querida, tan presente en las vidas de la mayoría de los madrileños, está llena de secretos, rincones curiosos, personajes, comercios tradicionales y anécdotas interesantes, algunas de ellas poco conocidas y tremendamente curiosas. Hablaremos de ello con Piedad (@madridistinto) (www.madriddistinto.com). Contaremos con la visita del Duque de Lerma, valido de Felipe III, que nos honrará hablando para el programa... Presentan Sara Black y el Prof. Valnadú. _______________________________________________ GUÍA PARA LA ESCUCHA 00:00 - Presentación del programa. 00:05 - Origen de la Plaza Mayor. 00:09 - Primeros proyectos de reforma. 00:11 - Construcción de la nueva plaza en el siglo XVII. 00:14 - Inauguración de la nueva Plaza Mayor. 00:16 - El mercado en la Plaza Mayor. 00:19 - Historia de la escultura ecuestre de Felipe III. 00:27 - Los ajusticiamientos en la Plaza Mayor. 00:30 - La Plaza Mayor en llamas. 00:32 - El callejón del Infierno. 00:35 - Los Autos de Fe en la Plaza Mayor. El Gran Auto de Fe de 1680. 00:50 - Tertulia de los 4 Gatos. Hablamos con Piedad (@madridistinto) sobre curiosidades de la Plaza Mayor, desde las diferentes fiestas que allí se realizaron y realizan, hasta los locales tradicionales, el mercado de Navidad o lo sucedido en la Francesada. __________________________________________________________ MÚSICA QUE PUEDE ESCUCHARSE EN ESTE PROGRAMA: - "Stella Splendens", El llivre vermell (S.XIV). Capilla Musical y Escolanía de la Abadía de la Santa Cruz del Valle de los Caídos. Dir. Luis Lozano. Atrium musicae. EMI Classics. - Marionas - Gaspar Sanz (1640 - 1710). - Variaciones sobre un tema de Mozart, de Fernando Sor. Interpretado a la guitarra por Manuel Barrueco. - ¡AY, QUE ME ABRASO DE AMOR EN LA LLAMA! - Sebastián Durón (1660 - 1716). - Como no la andaré yo. Jordi Savall y Hespèrion XX. - AMOR CON FORTUNA - Juan del Encina (1468 - 1529) La Capella Reial de Catalunya - Hespérion XXI - Director: Jordi Savall. - Kyrie, BSO El Nombre de la Rosa. - Títulos finales, BSO El Nombre de la Rosa. - Local Hero. "Politics", de Yellowjackets. ________________________ Puedes contactar con nosotros en: www.podcastizo.com oyentes@podcastizo.com Twitter: @PodCastizo www.facebook.com/podcastizo/ Instagram: PodCastizo __________________________________ Todos los audios de PodCastizo se distribuyen bajo licencia Creative Commons: Licencia Reconocimiento-NoComercial-SinObraDerivada 4.0 Internacional. Esta licencia está permanentemente ubicada en http://creativecommons.org/licenses/by-nc-nd/4.0/. "PodCastizo" (R) Es una marca registrada. Todos los derechos reservados.

Hur påverkar själva livet musikens uttryck? Hur påverkar musiken det liv som utövaren lever? Och hur påverkas sångdiktare och musiker av sina medmänniskors liv? I detta femte och sista program medverkar två danska musiker som båda började som underbarn vid tre års ålder. En av dem, fortsatte sin karriär och kan idag lägga 55 års spelande till sitt CV. Hon valde musiken framför äktenskapet. Den andre slutade, 30 år gammal, och satsar idag på annat. Han valde familjen framför musiken. Nikolaj Koppel, som kommer från den kända musikfamiljen Koppel i Köpenhamn, blir den förste danske pianist som spelar in ett storverk, Brahms första Pianokonsert. Som 30-åring drar Nikolaj Koppel sig plötsligt undan konsertlivet. Jag vet inte riktigt vem jag är, skrattar Nikolaj Koppel. I 20 år var jag konsertpianist. Att befinna sig i den klassiska musikens övre lager innebar en enorm press och en cynisk tillvaro där man aldrig är bättre än sin senaste konsert. Att hela tiden leva upp till de höga idealen, nej det var inte min melodi. Det medförde alltför mycket av extrem kontroll. Nikolaj Koppel bröt med myten om den klassiske konstnärssjälen som viger sitt liv i musikens tjänst för att ge oss andra skönhetsupplevelser. -Idag använder jag musiken mer frigjort, säger Nikolaj Koppel, som nu prövar olika jobb inom dansk Radio och TV.   Blockflöjtvirtuosen Michala Petri har, sedan debuten som 11-åring, turnerat med de största musikerna till de främsta konserthusen och festivalerna i världen. Hon är utnämnd till Riddare av Dannebrog och har tilldelats det stora Sonningpriset, liksom tidigare bl a Igor Stravinskij, Leonard Bernstein, Birgit Nilsson och Sofia Gubajdolina. I mitt inre är det musiken som ligger bakom allt annat. Jag finner paralleller mellan musiken och det dagliga livet och kan inte skilja det ena från det andra. Blockflöjt är det mest direkta instrument som finns, mest sårbart och du kan aldrig dölja dina andetag. Kanske är blockflöjten det instrument som står livet närmast, säger Michala Petri. Den musik hon skall spela tycker hon per definition om. Hon använder ingen energi på att ta ställning till om musiken är bra eller dålig. Ett sådant recensentsyndrom tycker hon uttrycker en fattig syn på livet. I 25 år spelade hon även tillsammans med sin tidigare make, lutenisten och gitarristen Lars Hannibal. Deras musikaliska samarbete ger stor trygghet och fortsätter efter skilsmässan, som var ett oändligt svårt beslut, eftersom familjeliv och musikliv var sammanvävt som en stor matta. Men för Michala Petri är livet större än äktenskapet och musiken är större än livet.   Spellista:   Yemandja Angelique Kidjo, sång, m fl Aye Island Records Mango 74321 16646 2     Partita in c BWV 1013 - 1 Allemande J S Bach Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. JS Bach  Souvenir RCA Victor 09026 62530 2     Concerto For Piano And Orchestra No. 1 Rondo. Allegro Non Troppo, Brahms Nikolaj Koppel, piano. DR's Symfoniorkester. Thomas Dausgaard, dir Retrospect EMI CLASSICS 50999 6287362 8        Fem Klaverstykker, Op. 3 Mignon Carl Nielsen Nikolaj Koppel, piano. Retrospect  EMI CLASSICS 50999 6287362 8     Intermezzi, Op. 117 - 2. Andante Non Troppo Johannes Brahms Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8     Piano Concerto #1 In D Minor, Op. 15 - 2. Adagio Johannes Brahms Nikolaj Koppel, piano. Thomas Dausgaard: Danish National Radio Symphony Orchestra Retrospect EMI CLASSICS 50999 6287362 8     Préludes, Book 1 - La Sérénade Interrompue     Claude Debussy Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8     Scarlatti (D): Harpsichord Sonata In E, K 20 Domenico Scarlatti Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8     Rong (Fusion) Yao Hu Michaela Petri Recorders. Chen Yue Xiao & Dizi Dialogue East Meets West OUR Recordings 6.220600     Ancient Chinese Beauty- Clay Figurines Chen Yi Michala Petri. Copenhagen Philharmonic; lan Shui Chinese Recorder Concertos OUR Recordings 6.220603     Flute Quartet In G Major K.285a - 2. Tempo Di Menuetto W A Mozart Michala Petri (Re), Carolin Widmann (Vn), Ula Ulijona (Va), Marta Sudraba (Vc) Mozart Flute Quartets OUR Recordings 6.220570     Nele's Dances - 10 In a symphony of galloping hooves Thomas Koppel Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir RCA Victor 09026 62530 2                     Nele's Dances - 3 And I'm still feeling you in my arms Thomas Koppel Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir RCA Victor 09026 62530 2     Sonata G RV 59 - 2 Allegro ma non presto Vivaldi Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir      RCA Victor 09026 62530 2     Concerto C-Major; Largo Vivaldi Michala Petri, blockflöjt. Kremerata Baltica Michala Petri 50th Birthday Concert OUR Recordings 8.226905

A bank holiday special of material from our recent Japanese Playback event held at Spiritland in London, featuring the one and only Clive Bell. http://www.clivebell.co.uk/ --- CLIVE BELL is a musician, composer and writer with a specialist interest in the shakuhachi, khene and other Far Eastern wind instruments. He has travelled extensively in Japan (where he studied the shakuhachi ­ or Japanese flute with the master Kohachiro Miyata), Thailand, Laos and Bali, researching music and meeting local practitioners. In 2011 he played with Jah Wobble at Ronnie Scott’s and the Glastonbury Festival, and toured the UK with Mugenkyo Taiko drummers (contemporary Japanese drumming). Clive is the shakuhachi player on Karl Jenkins’s album Requiem on EMI Classics, and the final two Harry Potter movies. His shakuhachi playing was featured in a live solo session on Radio 3’s Late Junction, and in 2013 on Radio 3’s In Tune. A musician who regularly joins David Ross, Sylvia Hallett and Peter Cusack in improvisation duos and trios, Clive Bell has a substantial recording history as both a solo artist (his solo album, Shakuhachi: The Japanese Flute was reissued in 2005 by ARC Records) and as a composer for film, TV and theatrical productions (Complicite, IOU, Whalley Range Allstars). Kazuko Hohki, Jah Wobble, Jaki Liebezeit, Harry Beckett, Robert Lippok, David Sylvian, David Toop, Jochen Irmler of Faust, Paul Schütze and Bill Laswell number among Clive Bell’s collaborators. As a record producer, his latest release is Taeko Kunishima’s Late Autumn on 33Jazz (2011). Based in London, he writes regularly for the music monthly The Wire.

Wagner's Tristan und Isolde is an extraordinary journey through the human psyche, and through the two most powerful forces guiding our lives: love and death. From the opening bars of the Prelude, the music draws us in with an intense and restless longing that doesn't loosen its grip until the final, transcendent moments of the opera.  This week on He Sang/She Sang, Merrin Lazyan speaks with writer Paul Thomason about the intoxicating magnetism of Tristan und Isolde, and tenor Stuart Skelton compares singing the role of Tristan to climbing the Himalayas.  Paul's YouTube pick (Kirsten Flagstad): Merrin's YouTube pick (Birgit Nilsson):  This episode features excerpts from the following album: Wagner: Tristan und Isolde (EMI Classics, 2005)— Plácido Domingo, tenor; Nina Stemme, soprano; Mihoko Fujimura, mezzo-soprano; Orchestra of the Royal Opera House, Covent Garden conducted by Antonio Pappano

Gioachino Rossini was only 37-years-old when he wrote his final opera, William Tell. Although he lived for another 40 years, this epic work would remain a swan song of sorts. The libretto — based on a French play by Friedrich Schiller — tells the story of a Swiss community fighting for political freedom under Hapsburg rule. Through the music, we understand Tell's struggle to keep his family together while serving the greater good, and we experience a love that transcends tribal and national boundaries.  On this week's episode of He Sang/She Sang, hosts Merrin Lazyan and Julian Fleisher are joined by author Fred Plotkin to discuss the glorious music of Rossini's final opera, William Tell. We also speak with the Tony-nominated set designer George Tsypin about the themes of nature and freedom that inspired him.  Fred's YouTube pick (Luciano Pavarotti):  Merrin's YouTube pick (Mary Schneider):  Julian's YouTube pick:  This episode features excerpts from the following album: Rossini: William Tell (EMI Classics, 2011)— Gerald Finley, baritone; Marie-Nicole Lemieux, contralto; Elena Xanthoudakis, soprano; Malin Byström, soprano; John Osborn, tenor; Orchestra dell'Accademia Nazionale di Santa Cecilia conducted by Antonio Pappano

The 1875 premiere of Carmen at the Opera Comique in Paris was met with shocked gasps and raised eyebrows. Both the story and its seductive heroine were shockingly risque for the audience and the critics in attendance. But the genius of Bizet's music was irrepressible, and the opera was a resounding success within a few short months. It remains among the most-performed operas in history.   On this week's episode of He Sang/She Sang, hosts Merrin Lazyan and Julian Fleisher speak with conductor Asher Fisch all about Bizet's masterpiece. We discuss why this opera is loved by opera newbies and connoisseurs alike, and Fisch shares a few of his tips and tricks for keeping an opera on track when it all starts to fall apart. We also speak with mezzo-soprano Clémentine Margaine, who is making her Metropolitan Opera debut as opera's famous femme fatale -- an independent, sexually liberated gypsy woman who trades her life for freedom.   Julian's YouTube pick (from Gilligan's Island): Merrin's YouTube Pick (Maria Callas, 1962): This episode features excerpts from the following album: Bizet: Carmen (EMI Classics, 2003)— Angela Gheorghiu, soprano; Roberto Alagna, tenor; Orchestre National du Capitole de Toulouse conducted by Michel Plasson  

This week, the He Sang/She Sang team is joined by WQXR morning show host Jeff Spurgeon to discuss Charles Gounod's Romeo and Juliet. Hear how this opera is really a vehicle for four gorgeous love duets, how opera companies protect their "gazillion dollar voices" from dangers on stage and what makes the brand-spanking-new production at the Metropolitan Opera so great. He Sang/She Sang Bonus Episode: Head Over Heels with Diana Damrau Merrin Lazyan's Pick (Diana Damrau, "Je veux vivre")   Jeff Spurgeon's Pick (Franco Corelli & Anna Moffo, "O nuit divine")   Mike Shobe's Pick (Anna Netrebko, "Amour, ranime mon courage")   This episode features excerpts from the following album: Gounod: Romeo et Juliette (EMI Classics, 1994)— Franco Corelli, tenor; Mirella Freni, soprano; Paris Opera Theater Orchestra conducted by Alain Lombard

Nagasaki, Japan at the turn of the 20th century; the trees are laden with cherry blossom and a beautiful young Geisha’s fate is about to be determined by her marriage to a handsome American. In this podcast, explore Madama Butterfly, Puccini’s heartbreakingly beautiful exploration of a clash between East and West. With contributions from Glyndebourne Dramaturg, Cori Ellison, Fusako Innami from the Japanese studies department of the University of Durham, and Alexandra Wilson, Reader in Music at Oxford Brookes University. Presenter: Katie Derham ​​Produced by Katherine Godfrey for Whistledown Productions for Glyndebourne Tour 2016. Music from the EMI Classics recording of Madama Butterfly featuring Sir John Barbirolli conducting the Orchestra e Coro del Teatro dell’Opera di Roma.

Rossini’s Il barbiere di Siviglia - a comedy with a dark heart and some of the greatest operatic earworms ever written. Widely held to be Rossini’s comic masterpiece, it is an opera with real depth, explored here by Stephen Wadsworth, Director of Opera Studies at The Julliard School, Francesco Izzo, Professor of Music at Southampton University and the internationally renowned soprano Danielle de Niese. ​Presenter: Katie Derham ​​Produced by Katherine Godfrey for Whistledown Productions for Festival 2016. Music from the EMI Classics recording of Il barbiere di Siviglia featuring Vittorio Gui conducting the Royal Philharmonic Orchestra

Ariadne auf Naxos brings together the 'high art' of opera seria and the lighter, comic entertainment of the commedia dell'arte. Peggy Reynolds provides a historical and musical introduction to this ambitious, witty and intricately crafted collaboration between Richard Strauss and his librettist, the poet and playwright Hugo von Hofmannsthal. With contributions from the writer and broadcaster David Nice, who provides expert insight into Strauss's use of the orchestra to explore the theme of 'high' versus 'low' art. From theatre director Didi Hopkins of Commediaworks, who explains the history of the commedia dell'arte and introduces us to some of the art form's stock characters. And from the writer Michael Kennedy who explores the - at times rather fraught - working relationship between Strauss and Hofmannsthal and discusses the genius of Strauss's music. [Producer: Mair Bosworth for Festival 2013] (Musical extracts used with kind permission of EMI Classics.)