Podcasts about English Chamber Orchestra

This week on The Sound Kitchen you'll hear the answer to the question about the seven-time Olympic medallist Kirsty Coventry. There's “The Listener's Corner” with Paul Myers, Erwan Rome's “Music from Erwan”, and the new quiz and bonus questions too, so click the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winners' names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr Tell us why you like the piece of music, too – it makes it more interesting for us all!Facebook: Be sure to send your photos to thesoundkitchen@rfi.fr for the RFI English Listeners Forum banner!More tech news: Did you know we have a YouTube channel? Just go to YouTube and write “RFI English” in the search bar, and there we are! Be sure to subscribe to see all our videos.Would you like to learn French? RFI is here to help you!Our website “Le Français facile avec RFI” has news broadcasts in slow, simple French, as well as bilingual radio dramas (with real actors!) and exercises to practice what you have heard.Go to our website and get started! At the top of the page, click on “Test level”. According to your score, you'll be counselled to the best-suited activities for your level.Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service told me: “Bathe your ears in the sound of the language, and eventually, you'll get it.” She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it!Be sure you check out our wonderful podcasts!In addition to the news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Spotlight on France, Spotlight on Africa, The International Report, and of course, The Sound Kitchen. We also have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. Remember, podcasts are radio, too! As you see, sound is still quite present in the RFI English service. Please keep checking our website for updates on the latest from our journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books that were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!We have new RFI Listeners Club members, Jocelyne D'Errico, a Frenchwoman who lives in New Zealand - and Alexander Konak from Zaporizhzhia, Ukraine.Welcome Jocelyne, welcome Alexander!  So glad you have joined us!You too can be a member of the RFI Listeners Club – just write to me at english.service@rfi.fr and tell me you want to join, and I'll send you a membership number. It's that easy. When you win a Sound Kitchen quiz as an RFI Listeners Club member, you'll receive a premium prize.This week's quiz: On 22 March,I asked you a question about Paul's article “Zimbabwe's aspiring Olympics supremo Coventry targets development of athletes”, which profiled seven-time Olympic medalist Kirsty Coventry, the most decorated African in the 129-year history of the Games.Kirsty Coventry was one of the candidates vying for the presidency of the International Olympic Committee, which was decided a few days after the podcast … and she won! She's the first woman, and the first African, to hold the post. Congratulations Ms. Coventry!You were to send in a list of the medals the swimmer won, along with the dates of the Games in which she won them.The answer is, to quote Paul: “… in 2004 at the Athens Games, she won gold in the 200m backstroke, silver in the 100m backstroke and bronze in the 200m individual medley.In Beijing in 2008, she retained her backstroke title and claimed silver again in the 100m backstroke as well as silvers in the 200 and 400m individual medley.”In addition to the quiz question, there was the bonus question, suggested by Alan Holder from England's Isle of Wight. His question was: “Do you believe that people have a sixth sense - that is, an ability to know something without using the ordinary five senses of smell, sight, taste, hearing, and touch?  Can you recall any personal experiences to justify your belief?”Do you have a bonus question idea? Send it to us! The winners are: RFI Listeners Club member Dipita Chakrabarty. Dipita is also this week's bonus question winner. Congratulations, Dipita, on your double win!Also on the list of lucky winners this week are RFI Listeners Club member Bidhan Chandra Sanyal from West Bengal, India, and Paresh Hazarika, a member of the RFI United Listeners Club in Assam, India. Last but not least, there are RFI English listeners Khondaker Rafiqul Islam from Naogaon, Bangladesh, and Ahmad, who's a member of the International Radio Fan and Youth Club in Khanewal, Pakistan.Congratulations, winners!Here's the music you heard on this week's programme: “Koud Min” by Aurélien Chambaud and Yon Kalawang; “Hip Hotheads” by Rick Braun; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and Antonio Vivaldi's Bassoon Concerto in a minor, RV 499, performed by Daniel Smith with the English Chamber Orchestra conducted by Philip Ledger.Do you have a music request? Send it to thesoundkitchen@rfi.frThis week's question ... you must listen to the show to participate. After you've listened to the show, re-read Paul Myers' article “Nobel prize-winning author Mario Vargas Llosa dies aged 89”, which will help you with the answer.You have until 12 May to enter this week's quiz; the winners will be announced on the 17 May podcast. When you enter, be sure to send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceClick here to learn how to win a special Sound Kitchen prize.Click here to find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club.   

Ursula Jones is “nothing short of a musical icon” – at least according to the Royal Philharmonic Society, who made her an honorary member last year at the age of 92. She has devoted her life to music, and has long championed the work of young performers – she gave Daniel Barenboim his first break as a conductor in London, when he was just 23. Ursula was born in Lucerne in 1932, where her father was one of the founders of the Lucerne Festival, so famous musicians, including the likes of Richard Strauss, were never far away. She came to London in 1954 and worked as a secretary for the Philharmonia Orchestra, moving on to co-found the English Chamber Orchestra in 1960. She married the eminent trumpet player Philip Jones, and later managed his Brass Ensemble. Music isn't her only fascination: she completed a doctorate in archaeology at the age of 60, and in 2021 she cycled 100km to raise money for the charity Brass for Africa. Ursula's choices include music by Britten, Mozart and Handel.

I'm always interested in project management - how big and complex projects come to life. I'm always interested in inspiration - where the ideas come from and the WHY behind them. This interview gives us ALL of that and more!    Born in Dublin, very close to the location of many of Handel's Dublin performances in 1741and 1742, Dr. Desmond Earley is an accomplished harpsichordist, conductor, Baroque- and Choral-Music specialist, educator, arts ambassador, and composer. Hailed by The Irish Times as ‘enterprising and wide ranging', he is an Associate Professor specialising in Performance Studies, Desmond is the founding Artistic Director of the Choral Scholars of University College Dublin. His work with this group has reached listeners in over 150 countries worldwide; recordings of Choral Scholars on the Signum Classics label – released under his direction – have enjoyed over 11 million streams on Spotify, Apple Music and Amazon Music; and, YouTube views of Desmond Earley and Choral Scholars exceed 32 million, with over 100,000 channel subscribers. As a celebrated composer and arranger, Desmond has published works with Music Sales (UK), Hal Leonard Corporation (USA), Alliance Music (USA) and with Seolta Music (IRL) where he serves as editor of the international ‘College Choral Series'. He has created bespoke arrangements for renowned ensembles including the RTÉ Concert Orchestra, the Portland Symphony Orchestra (Maine, USA), Tenebrae (UK), and the Irish Baroque Orchestra. His acclaimed work Body of the Moon (2017), based on a setting of texts by Galileo Galilei, was commissioned by All Classical Radio (USA) to be played during the progress of the total solar eclipse across the United States of America that same year. He was recently awarded an Arts Council of Ireland Bursary and is currently working on a choral/instrumental collection titled 'Dracula Reflected', inspired by Bram Stoker's famous epistolary. As an instrumentalist and director, Desmond has worked with many of the world's finest orchestras including the Irish Chamber Orchestra, Portland Baroque Orchestra, Irish Baroque Orchestra, RTÉ Concert Orchestra, European Union Chamber Orchestra and English Chamber Orchestra. Desmond has also collaborated with some of the world's great musicians including Christopher Hogwood, Monica Huggett, Konrad Junghaenel, and Sir James Galway. Check out the new album! Follow the choral scholars on Instagram or Youtube.  Follow Desmond Earley on Facebook or Instagram.   Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams.  You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!          

Nimrod Borenstein is a brilliant composer, who was a child prodigy as both a composer and performer. His often complex music is beloved by performers and audiences alike, and has been widely recorded and performed internationally. He is also a renowned conductor, and he spoke to me about his difficult decision to cut short his career as a violin soloist in order to find alternate career options as he developed his career as a composer. Vladimir Ashkenazy has been an active champion of Nimrod's music, and you'll hear the charming story of their first meeting.  Ashkenazy first conducted Borenstein's orchestral work The Big Bang and Creation of the Universe op. 52 to great acclaim, and the Chandos label released a very successful album devoted to Borenstein's music conducted by Ashkenazy featuring his Violin Concerto and orchestral works.   Nimrod shares his insights about interpreting music for performers and conductors, the development of his compositional style and his views on creativity in general. Nimrod has an infectious energy in his enthusiasm for the pursuit of beauty.  Nimrod has exceptional parents, and you'll hear how they met, and we start with Nimrod's close relationship to his father the renowned painter Alec Borenstein.  You'll be hearing excerpts from a couple of recordings, with thanks to both SOMM recordings and Naxos; links to Nimrod Borenstein's compositions and recordings below This episode is also a captioned video on YouTube, and you can read the transcript at this link as well: https://www.leahroseman.com/episodes/nimrod-borenstein Nimrod Borenstein website, for his discography, compositions and current projects: https://www.nimrod-borenstein.com/recordings To support this series, please either buy me a coffee or shop at my merchandise store Newsletter sign-up Catalog of Episodes Timestamps: (00:00) Intro (03:27) father Alec Borenstein, sharing ideas about great art and creativity (10:44) Un moment de sérénité Shirim, op. 94, no. 5  performed by pianist Clélia Iruzun with thanks to SOMM recordings (13:24) the importance of contrast (15:06) importance of dynamics, notation, interpretation (18:04) evolution of Nimrod's compositions,  decision to give up career as a violin soloist  (22:37)Concertos (24:51) piano Etudes (30:11) Tango Etude. op. 66 No. 3 on the Naxos label with pianist Tra Nguyen (32:32) piano Etudes, first symphony (35:24) Chopin performed very little, Nimrod's decision to prioritize composition (36:41)decision to conduct (43:47) excerpt from the 3rd movement of the Borenstein Concerto for Piano and Orchestra op. 91, performed by Clélia Iruzun and the Royal Philharmonic Orchestra, Nimrod Borenstein conductor (47:11) conducting, composition and interpretation (55:35)past episodes you may enjoy, different ways to support this series (56:20) English Chamber Orchestra 2025 collaboration Shakespeare Songs (57:16)how Vladimir Ashkenazy became a champion of Nimrod's compositions (01:06:38) evolution of Nimrod's compositional style, use of polyrhythms, finding his voice (01:24:09) excerpt from the 2nd movement of the Borenstein Concerto for Piano and Orchestra, op. 91, performed by Clélia Iruzun and the Royal Philharmonic Orchestra, with Nimrod conducting. (01:27:31) Nimrod's childhood in France, then move to the UK, musical influences, rating composers (01:37:32) Nimrod's family  (01:42:55) piano pedagogy books and approach to teaching (01:48:42) great art separate from the creator photo: Sonia Fitoussi 

 *in englischer Sprache* *in English language*  Der Lehrer von dem Lehrer von dem Lehrer – und alle legendär. Der Weltklasse-Geiger Pinchas Zukerman über seine Ausbildung und das Rezept für einen Turbo-Sound. Man muss als Musiker schon sehr die Ruhe weg haben, wenn man sich im kleinen Zeitfenster zwischen Anspielprobe und Konzert noch eben ins 20. Stockwerk der Elbphilharmonie entführen lässt, um dort einen Podcast aufzunehmen. Pinchas Zukerman, eine der Weltgrößen unter den Geigern seit über 50 Jahren, ist ein solch seltenes Exemplar. Ehe er in der Tripelfunktion als Geiger, Bratscher und Dirigent im Großen Saal vor das English Chamber Orchestra trat, um Musik von Hindemith, Mozart und Telemann aufzuführen, gab er leutselig, entspannt und zugleich sehr engagiert Auskunft über sich und darüber, wie er die Welt und die Musik sieht. 

TRIBUTO: HISTORIAS QUE CONSTRUYEN MEMORIA DE LA SHOÁ, CON CECILIA LEVIT – Anita Lasker-Wallfisch nació en Breslau (actualmente Wrocław, Polonia) en el seno de una familia judía alemana, en 1925. Comenzó a tocar el violonchelo a temprana edad y tocaba música de cámara con sus dos hermanas. Anita y su hermana Renata fueron arrestadas en una estación de tren en Francia y llevadas al campo de concentración de Auschwitz Birkenau a finales de 1943. Sus padres fueron deportados a Lublin y asesinados. Anita pudo sobrevivir al campo de la muerte gracias a la música.  Formó parte de la Orquesta del Campo cuya directora fue Alma Rosé.  En 1945 fue deportada al campo de Bergen Belsen y más tarde, liberada por los británicos. Tras la guerra, Anita emigró a Bélgica y en 1946 a Gran Bretaña. En Londres fue miembro fundador de la English Chamber Orchestra, con la que actuó hasta el año 2000. Viajó varias veces a Alemania, donde dio conferencias en escuelas sobre las consecuencias del antisemitismo. Anita tiene 99 años y vive en el Reino Unido.

A passionate advocate for the bassoon, Amy Harman is much sought after as a soloist, chamber musician, teacher and communicator.   Amy was a professor at the Royal Academy of Music from 2013 to 2024 and gives masterclasses and coaches internationally. She was appointed professor of bassoon at the Robert Schumann Hochshule Düsseldorf in 2024, the first woman to hold such a position in Germany.  Aged 23 Amy was appointed solo bassoon of the Philharmonia Orchestra. Sought after as guest principal with leading orchestras in Europe including Paavo Järvi's EFO and the Mahler Chamber Orchestra, she is currently principal of Aurora Orchestra. She was selected by YCAT in 2014. Solo highlights include premiering Roxanna Panufnik's concerto for bassoon & string orchestra with the Royal Northern Sinfonia, Strauss's Concertino with the English Chamber Orchestra, Mozart's Concerto at the Festival Suoni dal Golfo in Lerici and appearing as a flying soloist at the world premiere of Stockhausen's Mittwoch aus Licht. Amy was the first bassoonist to perform a live broadcast solo recital for BBC radio 3. She performs recitals regularly in UK and Germany with her collaborator Tom Poster. Summary: Amy Harman shares her journey to becoming a bassoonist, including her early musical inspirations and her transition from playing the cello to the bassoon. She discusses her experiences with the Aurora Orchestra and their memorized performances, as shares some practice tips for listeners. Amy also talks about the importance of the Young Classical Artist Trust in shaping her career and the significance of being the first female bassoon professor in Germany, at the Robert Schumann Hochschule in Dusseldörf. In this conversation, Amy discusses the challenges facing the arts industry, particularly in the UK, and offers words of encouragement to young musicians. She emphasizes the importance of creating art and suggests pursuing a portfolio career, and shares her experience of balancing a busy career with being a mother of three. She also mentions upcoming projects she's excited about, including a performance of Elizabeth MacConkey's concertino and various chamber music festivals. Chapters   00:00 Introduction and Amy's Musical Background 07:24 Memorized Performances with the Aurora Orchestra 24:38 The Power of a Portfolio Career 30:35 Finding Inspiration in Different Genres 38:42 The Art of Memorizing Music ************************************ Find out more about Amy here. Amy's Instagram Host: Jo Anne Sukumaran, find out more here. Legends of Reed is sponsored by Barton Cane, enjoy free shipping with coupon code" legendsofreed", on their website. Opening credits: Concert recording of Amy Harman with Castalian Quartet - Cantator and Amanda (2011), by Roxanna Panufnik - courtesy of Young Classical Artist's Trust.Photo credit: Kaupo Kikas

This week on The Sound Kitchen, a special treat: RFI English listeners' musical requests. Just click on the “Play” button above and enjoy! Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday. This week, you'll hear musical requests from your fellow listeners Bidhan Chandra Sanyal from West Bengal, India, Helmut Matt from Herbolzheim, Germany, and Jayanta Chakrabarty from New Delhi, India.Be sure you send in your music requests! Write to me at  thesoundkitchen@rfi.frHere's the music you heard on this week's program: “Aaj Na Chhodenge” by Rahul Dev Burman, sung by Kishore Kumar and Lata Mangeshkar; Simple Symphony by Benjamin Britten, performed by the English Chamber Orchestra conducted by the composer, and “Sun is Shining” by Bob Marley, performed by Bob Marley and the Wailers.The quiz will be back next Saturday, 30 March. Be sure and tune in! 

Chillout Classic w Radiu Spin #40 Tematem jest czterdziestka. W audycji przestawiam utwory na różny sposób związany z numerem 40. Czasem to opus, czasem czterdziesta symfonia a czasem czasy lat czterdziestych, czy tempo 40. Miłego słuchania. 1. J.S. Bach - Wariacje Goldbergowskie, Aria i 1,2,3 wariacja, Andreas Schiff. 2. F. Chopin - Polonez op.40 nr 2 g-moll, Artur Rubinstein. 3. W.A. Mozart - 3 koncert fortepianowy D-dur KV 40, cz.2 Andante, Murray Perahia, English Chamber Orchestra. 4. W.A. Mozart symfonia 40 g-moll ,cz.1 Molto Allegro, Marc Minkowski, Les Musiciens du Louvre. 5. Harold Arlen - Over The Rainbow, Judy Garland 6. Leigha Harline - When You Wish Upon a Star, Cliff Edwards. 7. Max Steiner - Temat Tary z Przeminęło z wiatrem, Itzhak Perlman, John Williams, Boston Pops Orchestra. 8. Herman Hupfeld - As Time Goes By, Billy Holiday. 9. A. Dworzak - IX Symfonia e- moll, cz. 2 Largo, New York Philharmonic, Alan Gilbert.

Marina Abramović is an artist renowned for performances and feats of endurance, in which her body is pushed to its limits. She has moved, scandalised and delighted audiences for half a century, and is now celebrated by world-leading galleries and institutions. Marina was born in Belgrade in 1946. Her parents were honoured as war heroes for their work for the Partisan resistance movement, and both took up senior roles in the post-war Yugoslav government. Marina became interested in painting during her childhood, and went on to study art. She first made her name as a performance artist in her 20s, creating events which often shocked viewers – and were equally traumatic for her. In 1974 she placed 72 objects, including sharp tools, a whip and a loaded pistol, on a table and invited gallery goers to use them on her, however they wished. She was attacked and left scarred, and part of her hair went white. For many years she led a nomadic existence, creating works with her partner, the German artist Ulay. In 1997, in response to the war in Bosnia, she created a prize-winning work for the Venice Biennale, in which for four days she attempted to scrub the blood from a vast pile of cow bones. In 2010 her exhibition at the Museum of Modern Art in New York attracted almost a million people, many queuing for hours for a chance to sit opposite her in silence as part of her marathon performance The Artist is Present. More recently her work has been celebrated in a major retrospective exhibition at the Royal Academy in London, along with performances at English National Opera, marking the centenary of Maria Callas. DISC ONE: Aria from The Goldberg Variations. Composed by Johann Sebastian Bach German composer and musician, performed by Igor Levit DISC TWO: Norma, Act 1: "Casta diva". Composed by Vincenzo Bellini, performed by Maria Callas (soprano) and Coro del Teatro alla Scala di Milano DISC THREE: 4 Degrees - Anohni DISC FOUR: Paloma Negra - Chavela Vargas DISC FIVE: Private Dancer - Tina Turner DISC SIX: Sherab Nyingpo Mantra (The Heart Sutra) - Tashi Lhumpo Monks DISC SEVEN: Piano Concerto No. 21 in C Major, K. 467 - 2. Andante. Composed by Mozart and performed by Mitsuko Uchida (piano), with the English Chamber Orchestra, conducted by Jeffrey Tate DISC EIGHT: Rum And Coca-Cola - The Andrews Sisters BOOK CHOICE: In Search of the Miraculous by Peter D Ouspensky LUXURY ITEM: A cashmere blanket CASTAWAY'S FAVOURITE: Sherab Nyingpo Mantra (The Heart Sutra) - Tashi Lhunpo MonksPresenter Lauren Laverne Producer Sarah Taylor

SynopsisNow 18th-century opera is supposed to be a rather staid and stuffy affair. These operas invariably had happy endings, with all the messy human passion and conflicts amicably resolved by the opera's finale.But 18th-century opera could arouse some serious emotion offstage. In 1704, an 18-year-old composer named George Frideric Handel was employed as a violinist and harpsichordist in the orchestra of the Hamburg opera house. He made the acquaintance of another young composer, 23-year-old Johann Mattheson. The two became fast friends until, that is, a December performance of Mattheson's opera Cleopatra, during which Handel refused to turn over the harpsichord to Mattheson.“Hey, it's my opera, after all — move over!” Mattheson must have said, but to no avail. One thing led to another, and the result was a duel. It is said that Handel's life was saved by a button on his coat that deflected one of Mattheson's more lethal sword-thrusts.Thankfully, in the best tradition of 18th-century opera, the two reconciled on today's date in 1704, dining together and attending a Hamburg rehearsal of Handel's first opera, Almira, becoming, as Mattheson put it, “better friends than ever.”Music Played in Today's ProgramGeorge Frederic Handel (1685-1757) Oboe Concerto No. 3; Heinz Holliger, oboe; English Chamber Orchestra; Raymond Leppard, cond. Philips 454 363

SynopsisOh, to have been in Vienna on today's date in 1785! Wolfgang Mozart had just finished a new piano concerto a week earlier and quite likely performed it himself for the first time as an intermission feature at a performance of the oratorio Ester, by Karl Ditters von Dittersdorf, conducted by Antonio Salieri.Now wouldn't that have made for a good scene in the movie Amadeus?Fast forward 11 years for another memorable concert at the Theater an der Wien, when on today's date in 1806, it was Beethoven's turn to premiere one of his new concertos in Emanuel Schikaneder's Viennese theater. Alongside works of Mozart, Méhul, Cherubini and Handel, Beethoven's Violin Concerto was introduced to the world, with Franz Clement as the soloist.Beethoven's friend Czerny recalled that Clement's performance was greeted with “noisy bravos.”But a contemporary Viennese music critic wrote: “While there are beautiful things in the concerto … the endless repetition of some commonplace passages could prove fatiguing.” The reviewer's final assessment? “If Beethoven pursues his present path, it will go ill with him and the public alike.”Music Played in Today's ProgramWolfgang Mozart (1756-1791) Piano Concerto No. 22; Mitsuko Uchida, piano; English Chamber Orchestra; Jeffrey Tate, cond. Philips 420 187Wolfgang Mozart (1756-1791) Magic Flute Overture; Zurich Opera House Orchestra; Nikolaus Harnoncourt, cond. Teldec 95523Ludwig van Beethoven (1770-1827) Violin Concerto; Anne-Sophie Mutter, violin; New York Philharmonic; Kurt Masur, cond. DG 471 349

SynopsisOn today's date in 1738, a once-successful French composer died destitute in an asylum of Charenton. It was a lamentable end for the 56-year-old Jean-Joseph Mouret, who had once served the French king at the Palais Royal and whose operas had once graced the stage of the Paris Opéra.How ironic, then, that Mouret would achieve belated fame in 20th-century America when the “Rondeau” from his Symphonies and Fanfares for the King's Supper was chosen as the theme for the Masterpiece Theatre TV series on PBS. Christopher Sarson, the original executive producer of Masterpiece Theatre, recalls how this came about.“In 1962, my future wife and I went to one of the Club Med villages in Italy. We were in these little straw huts and every morning we were summoned to breakfast by that theme. It was just magic. ... I wanted to use it for Masterpiece Theatre but there was no way I could bear to put a French piece of music on something that was supposed to be English. I went through all kinds of English composers and nothing worked. So, Mouret became the theme.”Music Played in Today's ProgramJean-Joseph Mouret (1682-1738) Rondeau; Wynton Marsalis, trumpet; English Chamber Orchestra; Anthony Newman, cond. Sony 66244

Programa 245 de Los Tres Tenores que siguen dando la nota y repartiendo castañas al ritmo de las buenas melodías.   ADIVINA LA PELÍCULA Mocedades. AMOR DE HOMBRE. SAN TORAL. English Chamber Orchestra. INTERMEDIO de La Leyenda del beso. Sade – I COULDN'T LOVE YOU MORE. CELEBRACIONES. Miguel Ríos. HIMNO A LA ALEGRÍA. Bizet. FARÁNDULA […] The post Los Tres Tenores 08/11/2023 first appeared on Ripollet Ràdio.

How can the experience of music help us learn more about what it means to be human? This is the question Gillian explores with Joe Fort in this episode of the GoHealth podcast.   Joe is a conductor and a musicologist based in London. He has been the director of Music at St Paul's Church in Knightsbridge since 2021, where he conducts a professional choir in the weekly services  He is the director of the chapel choir and lecturer in music at King's College, London. His performances indeed with that choir have been recognised, and I quote as 'English choral singing as at his best, he has released multiple recordings, most recently these include work with the Britten Sinfonia, the English Chamber Orchestra and the Hanover Band. He goes all over the world, conducting, recently appearing in the Festival de Mexico, White Nights Festival in St Petersburg and the Montreal Organ Festival. His training - he holds a PhD in music from Harvard University and his academic interests focus on 18th century music and dance.  Joe outlines his many roles in the world of music and his journey to being a full time musician.  Joe describes and explains the process of conducting music and how it can become a more emotional experience over and above a technical one.  Music is in everyone! Music as a vehicle in worship.  ‘He [sic] who sings, prays twice' Saint Augustine – music transports people towards the divine.   How music connects ourselves with ourselves.  Faure's Requiem – the healing power of music  How music helps us to live in the world as it actually is right now.  Joe describes the brilliant Stroke Oddessys project he has been involved with.  Joe goes into the detail of the exciting ECLAS funded project at St. Paul's Knightbridge researching the relationship between music in liturgy and wellbeing.  Joe gives his one bit of advice for flourishing.  Links: St Paul's Knightsbridge  Cowbridge Music Festival  In Paradisum, Faure's Requiem  Brain Oddessys Charity  ECLAS  Go Health Community Follow GoHealth on Twitter, Instagram and Facebook @guildofhealth  

Chillout Classic w Radio Spin #8 "BACH" Odkryjmy magię muzyki Jana Sebastiana Bacha. Poniższa playlista to bardzo okrojony i subiektywny wybór jego kompozycji, bo przecież muzyki pasującej do tej audycji jest bez liku. Na pewno pokłonie się jeszcze tej genialnej muzyce. Bacha można słuchać i słuchać a jego muzyka idealnie nadaje się na chillout w domowym zaciszu, z dala od zgiełku. Późna pora jest ku temu najlepszym czasem...no i oczywiście wygodny fotel 1. J.S. Bach - Aria z Wariacji Golbergowskich, Andras Schiff. 2. J.S. Bach - Toccata i fuga d-moll, BWV 565, aranżacja na orkiestrę Leopold Stokowski. 3. J.S Bach - Preludium i fuga C-dur, BWV 846, Glen Gould. 4. J.S Bach/C.Gounod - Ave Maria, Nigel Kennedy. 5. J.S. Bach - Sonata for Violin Solo a- moll, BWV 1003, Andante, Henryk Szeryng. 6. J.S. Bach - Cello Suite No. 1 G-dur, BWV 1007, Preludium, Yo-Yo Ma. 7. J.S. Bach - Concerto for 2 Violins d-moll, BWV 1043, Largo ma non tanto, Anne Sophie Mutter, Salvatore Accardo, English Chamber Orchestra. 8. J.S. Bach - Preludium i fuga c-moll, BWV 846, Vikingur Ólafsson. 9. J.S. Bach - Kantata BWV 115, Aria "Bete, betę aber auch dabei", Kathleen Battle, Itzhak Perlmann, Orchestra of St. Luke's, John Nelson. 10. J.S. Bach, Aria z Suity D-dur, Jacques Loussier.

Not every music student or even professional musician has explored classical music, much like not necessarily every classical musician will know something about jazz or any other genre.  However, each genre has certain pieces that one should know from each genre regardless of your preference.  These are 25 of many possible choices, not necessarily "the best", but some pieces you should recognize by title and composer upon hearing. Musical examples used in this episode: 06:53 P. Tchaikovsky: "Dance of the Sugar Plum Fairy" from The Nutcracker - (Montreal Symphony; Charles Dutoit) 12:49 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Hannes Kästner, organ) 13:15 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Czech Philharmonic; Leopold Stokowski) 17:26 S Barber: Adagio for Strings (New York Philharmonic; Thomas Schipps) 19:48 Beethoven: Symphony No. 5 (Vienna Philharmonic; Carlos Klieber) mvt 1 and 4 24:03 Beethoven: Symphony No. 9 (Berlin Philharmonic; Von Karajan) mvt. 4 and 2 28:33 Brahms: Hungarian Dances 4, 5, 6 (Vienna Philharmonic; Claudio Abbado) 30:56 A Copland: "Hoe-Down" from Rodeo (St. Louis Symphony; Leonard Slatkin) 32:33 F Chopin: Grand Valse Brillante op. 18 (Valentina Lisitsa) 34:22 Debussy: Prelude to the Afternoon of a Faun (Royal Concertgebouw; Bernard Haitink) 36:01 Dvorak: Symphony No. 9 "From the New World" mvt 2 (London Philharmonic; Charles MacKerras) 38:16 Grieg: Peer Gynt and Peer Gynt suite no.1 (San Francisco Symphony; Herbert Blomstedt) 40:13 Handel: The Messiah "Hallelujah" (London Symphony; Colin Davis) 40:43 Handel: Water Music selections (English Chamber Orchestra; Raymond Leppard) 41:30 Holst: The Planets "Mars" - (Montreal Symphony; Charles Dutoit) 42:13 Liszt: Hungarian Rhapsody No. 2 (Marc-Andre Hamelin) 43:22 Mendelssohn: Overture and Wedding March from A Midsummer Night's Dream (London Symphony, Andre Previn) 45:11 Mozart: Overture to The Marriage of Figaro (Academy of St Martin in the Fields; Neville Marriner) 46:16 Mussorgsky: Pictures at an Exhibition - Promenade and Great Gate of Kiev (Berlin Philharmonic; Claudio Abbado) 48:25 Rachmaninoff: Piano Concerto No. 2 (Vladimir Ashkenazy; Moscow Symphony; Kirill Kondrashin) 49:38 Ravel: Bolero (Boston Symphony; Seiji Ozawa) 51:42 Ravel: Daphnis & Chloe (Rotterdam Philharmonic; Yannick Nézet-Séguin) 52:46 Rimsky-Korsakov: Flight of the Bumblebee (Berlin Philharmonic; Zubin Mehta) 53:08 Rimsky-Korsakov: Scheherezade mvt IV and III (London Symphony; Charles MacKerras) 55:06 Schubert: Ave Maria (Barbara Booney) 55:31 R Strauss: Also Sprach Zarathustra (Chicago Symphony; Fritz Reiner) 57:15 Stravinsky: Rite of Spring (from Part 1) (New York Philharmonic; Leonard Bernstein) 58:21 Tchaikovsky: Russian Dance, Arabian Dance, Dance of the Reed Flutes from The Nutcracker (Montreal Symphony; Dutoit)   Do you have a different recording of these pieces that you'd recommend?  Let me know by telling me directly at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact  The blog post that goes with this episode can be found here: https://www.davidlanemusic.com/post/25-essential-classical-pieces-to-know You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can also now find the podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of royal incest, religious zeal, religion, Catholicism, execution, scatological references. We're starting a new series of historical films with one of the classics of the genre, long revered as one of the gold standards of historical cinema. Though, to be quite honest, this would be better served as historical fiction, and even then it's pretty boring. Everything that happens in this movie did happen, to some extent, in real life, but trying to spin a 16th century religious zealot as a paragon of individual morality is one heck of a choice. In fact, it's even more misguided than you think, because the man on which this story rests happened to be defending the Catholic Church against the monarchy which was, checking our notes, oh, the popular opinion of the time. The only thing that saves this movie is some outstanding quips and its impeccable performances, which somehow make a mind-numbingly boring story watchable. It's just a shame our writer couldn't give them more to work with. Hold on tight to the golden chain as we start our History Lessons series with 1966's A Man for All Seasons on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "Rondeau from Suite de Symphonies," composed by Jean-Joseph Mouret and performed by the English Chamber Orchestra. Copyright SME (on behalf of SMCMG), Public Domain Compositions, and 4 Music Rights Societies. Excerpt taken from the film A Man for All Seasons is © 1966 Highland Films, Ltd. All rights reserved. Excerpt taken from "Closing Credits" from the original motion picture soundtrack to the film Glory, conducted and composed by James Horner. © 1989 Tri-Star Pictures, Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of sex work, pimps, misogyny, mistreatment, abuse, physical abuse, emotional abuse, murder, death. Our final entry into the Billy Wilder series is, well, a real dud. Mostly because no one grabbed a hold of Billy and his new collaborator, I.A.L. Diamond to tell them this movie was overlong and telling far too much story. In fact, the first 2/3 of this movie drag on and on until the final 30 minutes, and all of a sudden it becomes one of the most bonkers, over-the-top farces in movie history. And none of it is particularly good. Still, Shirley MacLaine and Jack Lemmon have so much chemistry that it's impossible not to be charmed by moments of this movie. It's just not nearly up to the standards Billy's set for himself as one of our greatest directors. Slip on your green stockings as we finish our Billy Wilder series with 1963's Irma la Douce on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the film Irma la Douce is © 1963 Metro-Goldwyn-Mayer Studios Inc. All rights reserved. Excerpt taken from "Rondeau from Suite de Symphonies," composed by Jean-Joseph Mouret and performed by the English Chamber Orchestra. Copyright SME (on behalf of SMCMG), Public Domain Compositions, and 4 Music Rights Societies.

När den svenska ambassadören anländer till London så skall saker ske efter protokollet. Men vad säger egentligen protokollet?Två stater försöker använda den svenska ambassadörens ankomst som en schackpjäs för att flytta fram sina egna positioner och skriva om protokollet till deras favör. Men snart spårar situationen ur och det som omvärlden tror sig se och vad de verkligen ser visar sig vara två vitt skilda ting.

Oh, un nouvel épisode de Baroque en stock ! Cette semaine, c'est la lettre O comme Orphée, le père fondateur de l'opéra : vous saurez pourquoi Orphée sait si bien orner. O comme opéra et oratorio, opéra bouffe et opéra sérieux, et O comme Ovide qui sait si bien se métamorphoser, devenir narcissique ou faire entendre un écho. Et O comme… ouvrez grand les oreilles et en route avec Pauline Lambert et Christophe Rousset dans Baroque en stock ! Références musicales :   Monteverdi, L'Orfeo, “Possente spirto”, Valerio Contaldo (ténor), Cappella Mediterranea, Leonardo García Alarcón (dir.)  Corelli, Sonate op. 5 n°1, 1er mouvement, Stefano Montanari (violon), Accademia Bizantina, Ottavio Dantone (dir.)  Monteverdi, Vêpres de la Vierge, Chœur de chambre de Namur, Cappella Mediterranea, Leonardo García Alarcón (dir.)  Haendel, Semele, “Hence, Iris hence away”, Joyce DiDonato, Les Talens Lyriques, Christophe Rousset (dir.)  Monteverdi, Le Couronnement de Poppée, Anne Sofie von Otter puis Constance Backes en duo avec Roberto Balconi, The English Baroque Soloists, Sir John Eliot Gardiner (dir.)  Cimarosa, Le Mariage secret, English Chamber Orchestra, Daniel Barenboim (dir.)  Rossini, Aureliano in Palmira, ouverture reprise par Rossini dans Elisabeth reine d'Angleterre puis dans Le Barbier de Séville, Orchestre de chambre de Genève, Michael Hofstetter (dir.)  Cavalli, La Calisto, “Dolcissimi baci”, Sandrine Piau et Anne Sofie von Otter, Cappella Mediterranea, Leonardo García Alarcón (dir.)   Réalisation : Lucile Metz Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Synopsis Amy Marcy Cheney Beach was born in Henniker, New Hampshire, on today's date in 1867. Amy Beach – or, Mrs. H.H.A. Beach, as she was also called – was one of America's first major women composers and a gifted concert pianist to boot We probably have Mr. Beach to thank for Amy's decision to devote herself more to composition than performance. In the spring of 1885, at the age of 18, Amy debuted as a soloist with the Boston Symphony, and it seemed a major concert career was in the offing. But later that same year, she married Dr. Henry Harris Aubrey Beach, a prominent New England physician. In respect to his wishes and the custom of the day for women in high society, Mrs. H.H.A. Beach curtailed her concert career and concentrated instead on writing music. Her first published work was a setting of a poem by Henry Wadsworth Longfellow, a long-time family friend. Only after her husband's death in 1911, did Amy revive her career as a concert pianist with a concert tour throughout Germany, returning to America at the outbreak of World War I. In her later years, she acted as mentor to a whole new generation of American women pursuing careers in music. She died in New York in 1944. Music Played in Today's Program Amy Beach (1867-1944) –Piano Concerto in c#, Op. 45 (Joanne Polk, piano; English Chamber Orchestra; Paul Goodwin, cond.) Arabesque 6738

In this episode, we look at the soundtrack of the 2009 mini-series of Jane Austen's Emma, written by Samuel Sim. We look at how the main theme tells Emma's journey and how it changes for her love story with Mr. Knightley. We compare the use of the cello for Mr. Knightley and Mr. Elton, look at how the clarinet is used for Emma just as it was in the 1996 movie, and the variety of themes and styles to tell the story and reflect the characters, including the use of electronics for memories. Music included in podcast: "Piano Concerto No. 26 in D, K 537 "Coronation": 1. Allegro" - Mitsuko Uchido - Mozart: Piano Concertos, music by Wolfgang Amadeus Mozart, performed by English Chamber Orchestra, Jeffrey Tate & Mitsuko Uchido, 1988 "Emma Woodhouse was born" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Emma Main Titles" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Unaccompanied Cello Suite No. 1 in G major, BWV 1007: I. Prelude" - Six Evolutions - Bach: Cello Suites, music by Johann Sebastian Bach, performed by Yo-Yo Ma, 2018 "Knightley's Walk" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Love Story" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The Last Dance" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Blind Endeavors" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Without Suspicion" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The Seaside" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Dolls" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Expansion Project" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Playing Harriet" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Cello Sonata in C minor, G. 2: III. Allegro" - Boccherini Cello Sonatas, music by Luigi Boccherini, performed by Jesper Christensen, Gaetano Nasillo, Alessandro Ciccolini & Marco Vitali, 2012 "Superior Men" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Mr. Elton" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Violin Sonata in A minor, Op. 27, No. 2: 1. Prelude "Obsession"" - Bach and Beyond Part 1, music by Eugene Ysaye, performed by Jennifer Koh, 2012 "Walk of Shame" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The World has Left Us Behind" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Rescued by the Gypsies" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Secrets" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Danse Macabre, Op. 40" - Saint-Saens: Danse Macabre, music by Camille Saint-Saens, performed by Philharmonia Orchestra & Charles Dutoit, 1981 "Arrival of Little Knightleys" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "It's Snowing and Heavily" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Biscuits Darling" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "A Ball" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The Town Square" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The Ship's Cook" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The Bluebells of Scotland" - Raised on Songs and Stories, music by Dora Jordan, performed by John McDermott, 2015 "Piano Sonata No. 21 in C major, Op. 53 "Waldstein": I. Allegro con brio" - Beethoven: Favorite Piano Sonatas, music by Ludwig van Beethoven, performed by Vladimir Ashkenazy, 1997 "World of Soundtracks" - title music by Edith Mudge, graphics by Lindsey Bergsma

Welcome to Bittersweet Symphony, a podcast about the bitter, the sweet and the bittersweet of life for classical musicians when the music suddenly stopped. Hosted and produced by me, Cliodhna Ryan, a violinist, it's an intimate and heart-warming exploration of the human spirit. My guest in episode thirteen is oboist Dan Bates, my colleague in the Irish Chamber Orchestra. After an initial sense of exhilaration in the first few weeks of lockdown, Dan shares his experience of a crushing depression, the treatment he was offered, and the impact this had on him. His sweet memory is of the three chickens he reared; Anastasia, Garbo and Clemmie Bunting. His bitter was witnessing the effect of lockdowns on his Mum. This conversation was recorded in September 2021. Daniel Bates (MA CANTAB, FRSM, FTCL, ARAM, AGSMD) is principal oboe with the Irish Chamber Orchestra, the City of London Sinfonia and co-principal oboe of the Orchestra of the Age of Enlightenment. Previously, he also held the principal oboe position with the Royal Northern Sinfonia at the Sage, Gateshead. He has played guest principal for all the major UK orchestras as well as various international orchestras such as the National Orchestra of Colombia, the Swedish Chamber Orchestra, the Bergen Philharmonic Orchestra and the West Australian Symphony Orchestra. As a session musician, he has recorded for numerous pop acts and films, including the Harry Potter franchise and for Barbra Streisand, Mary J Blige, Rihanna and Stevie Wonder. Born in London, Daniel attended the Purcell School of Music. He was subsequently offered scholarships to every music college in the country and chose to study at the Royal Academy of Music under Celia Nicklin and Dougie Boyd. This was followed by a music scholarship to study at Pembroke College, Cambridge, where he read Music and the History of Art. He has performed solo concertos with the London Symphony Orchestra, the City of London Sinfonia, the Irish Chamber Orchestra, the Brasov Filharmonica, the Turin Philharmonic Orchestra, the London Mozart Players and the English Chamber Orchestra. Solo recitals include venues such as the Wigmore Hall, the Queen Elizabeth Hall, the Usher Hall and the Purcell Room. Internationally, he has given solo recitals in venues such as the Pushkin Museum in Moscow and at various European festivals partnered with musicians of international renown including Jörg Widmann, Elizabeth Leonskaya, Joan Rodgers and Anthony Marwood. As an actor, having studied classical acting at the London Academy of Music and Dramatic Art, his credits include the title role in The Picture of Dorian Gray (Vienna's English Theatre), Fedotik in The Three Sisters (alongside Kristen Scott Thomas and Eric Sykes in the West End) and Adrian Green in Casualty (BBC TV). Daniel is the founder and Artistic Director of FitzFest (www.fitzfest.co.uk), a community chamber music festival, based in Fitzrovia, central London. GET IN TOUCH WITH DAN/LINKS Dan's Website Instagram FitzFest Website GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony CREDITS Thumbnail Art || Colm MacAthlaoith Writers || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Patrick Stefan Groenland

In this episode, we look at the soundtrack of the 1995 movie of Sense and Sensibility by Patrick Doyle. We explore the themes used for the sisters contrasting both a classical style with emotional impactful moments and how their journey is told throughout. “Orchard House (Main Title)” - Little Women: Original Motion Picture Soundtrack by Thomas Newman, 1994 “My Father's Favorite” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “Concerto in F Major for Piano and Orchestra, K 413: II Larghetto” - Mozart: The Piano Concertos, music by Wolfgang Amadeus Mozart, performed by Murray Perahia and the English Chamber Orchestra, 2006 “Quintet No. 1 for Guitar and Strings in D minor G. 445” - Boccherini: the Guitar Quintets, music by Luigi Boccherini, performed by Pepe Romero and Academy of St. Martin in the Fields, 1993 “A Particular Sum” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “My Father's Favourite (From “Sense and Sensibility”)” - The Music of Patrick Doyle: Solo Piano, music by Patrick Doyle, 2015 “All the Delights of the Season” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “Third and Last Book of Songes, No. XV.  Weep you no more, sad fountains” - Dowland: The Collected Works, music by John Dowland, performed by Consort of Music, Anthony Rooley & Dame Emma Kirkby, 1978 “Weep You No More Sad Fountains” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, performed by Jane Eaglen, 1995 “All the Better for Her” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “Patience” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “To Die for Love” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “The Dreame” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, performed by Jane Eaglen, 1995 “Devonshire” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “Grant Me An Interview” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995 “Leaving London” - Sense and Sensibility - Original Motion Picture Soundtrack, music by Patrick Doyle, 1995

Programa nº 190.  Dos horas a base de buena música y anécdotas curiosas, además de los habituales apartados.   LA PREGUNTA Milt Jackson – PUT OFF. SANT-TORAL Unión Musical Santa Cruz. ABANILLA EN FIESTAS. Ramon Evaristo. LA CONGA DEL JARUCO. CELEBRACIONES. Charles Mingus – SO LONG ERIC. English Chamber Orchestra. AMPARITO ROCA. Tip y Coll. TRAJE […] The post Los Tres Tenores 04/05/2022 first appeared on Ripollet Ràdio.

“If I perish, I perish.” Queen Esther Biblical queen of Persia   The Artwork: Esther's portrait  in the Fearless Portrait project consists of an Ink drawing of her on an 1843 map of Persia and surrounding region. The portrait is based on 19th and early 20th century painter Kate Gardiner Hastings' painting called “Esther.”  The Story: Haman, the highest ranking official in the Persian court of King Xerxes, nursed a grudge against a Jewish man and conspired to have all the Jews in Xerxes' realm killed. A royal decree was sent out for their destruction.  When Mordecai heard of the murderous plot, he brought the news to the young woman he had raised as a daughter—Esther, the Queen of Persia. At Mordecai's urging, Esther kept her Jewish heritage secret when she became queen. This time, he instructed her to go before the king and beg for mercy for her people. At this time, it was a death sentence to appear before the king without an invitation and it had been 30 days since the king had called for Esther. Yet Mordecai appealed to Esther, saying, “Who knows but that you have come to your royal position for such a time as this?” Esther responded to Mordecai, “Go, gather together all the Jews who are in the city. Do not eat or drink for three days, night or day. I and my attendants will fast as you do. When this is done, I will go to the king, even though it is against the law. And if I perish, I perish.” On the third day, dressed in her royal robes, Esther entered the throne room. Seeing the queen, the king was pleased with her and asked, “What is it, Queen Esther? What is your request? Even up to half the kingdom, it will be given to you.” Knowing her husband's fondness for food and wine, Esther invited the king and Haman to a series of banquets. After eating and drinking, the king again asked Esther, “What is your petition? It will be given to you. What is your request? Even up to half the kingdom, it will be granted.” Esther answered, “If I have found favor with you, Your Majesty, and if it pleases you, grant me my life—this is my petition. And spare my people—this is my request. For I and my people have been sold to be destroyed, killed and annihilated.” By the end of the evening, Haman was dead, Mordecai elevated in his place, and a fresh edict issued to cancel out the original murderous plan.  From that time to the present, Jews around the world celebrate Queen Esther's bravery in saving her people from genocide with the Purim holiday (usually in March).   Background on Esther: Esther's ascent to the heights of the Persian royal court was an unlikely trajectory. Born in exile away from the Jewish homeland around 592 BC, Esther was an orphan. Her cousin, Mordecai raised her as his own daughter. She would have had a normal life if it were not for an unusual series of events that kicked off when she was a young woman—perhaps just a teenager.  After a weeklong bender with all the men of his capital city, King Xerxes commanded Queen Vashti to come out before his guests wearing nothing but the royal crown. When she refused, his advisors counseled the king that this offense was not only against the king but against all the men of the kingdom and if not dealt with harshly, would cause all the wives in the realm to disrespect their husbands. So, Vashti was disposed of, never to be heard of again.  Xerxes commissioned a search for a new queen and all the beautiful virgins of the kingdom were brought to the palace. After undergoing months of beauty treatments, the women were sent to the king one by one for him to sleep with. Esther won the king's favor, and he made her queen.    Music: This episode contains music from Geovane Bruno and the English Chamber Orchestra performing the Overture to George Friderich Handel's oratorio “Esther”   Sources:  Brown, E. (2020, March 8). Esther, Sex, and Power. The Atlantic. https://www.theatlantic.com/ideas/archive/2020/03/esther-sex-and-power/607534/ Crispe, S. E. (n.d.). Esther: Hidden Beauty. Chabad.Org. https://www.chabad.org/theJewishWoman/article_cdo/aid/367185/jewish/Esther-Hidden-Beauty.htm Encyclopedia.com. (n.d.). Esther | Encyclopedia.com. https://www.encyclopedia.com/philosophy-and-religion/bible/old-testament/esther Esther (NIV). (n.d.). Bible Gateway. https://www.biblegateway.com/passage/?search=Esther%202&version=NIV Friedlander, R. (n.d.). Five Things About Esther That Nobody Talks About. Jews for Jesus. https://jewsforjesus.org/publications/inherit/five-things-about-esther-that-nobody-talks-about Isbouts, J. (2021, May 4). Did Queen Esther's beauty or bravery foil a massacre? National Geographic. https://www.nationalgeographic.com/culture/article/queen-esther-beauty-bravery-foil-massacre Koren, Y. (2018, February 26). The harem of violated women in Megillat Esther. The Times of Israel. https://blogs.timesofisrael.com/the-harem-of-violated-women-in-megillat-esther/ Wikipedia contributors. (2022, March 6). Esther. Wikipedia. https://en.wikipedia.org/wiki/Esther

Joris en Guido duiken in troebel water met de vraag: maken foute mensen ook foute muziek? Ze stuiten op een moordenaar, een jodenhater, twee collaborateurs, een paar #MeToo-gevallen en een veroordeelde ontuchtpleger. Schrik niet, er valt nog genoeg te lachen! Muziekfragmenten: - Carlo Gesualdo, Moro, lasso, La Compagnia del Madrigale - Richard Wagner, Ouverture Tannhäuser, Concertgebouworkest o.l.v. Willem Mengelberg - Henk Badings, Altvioolconcert, deel 3, Allegro molto, Dana Zemtsov - Gustav Mahler, Tweede symfonie, deel 1, Allegro maestoso, Koninklijk Concertgebouworkest o.l.v. Daniele Gatti - Nicolas Gombert, Media vita in morte sumus, Oxford Camerata o.l.v. Jeremy Summerly - Michael Haydn, Introitus, Requiem voor aartsbisschop Siegmund, Choir of the King's Consort & The King's Consort o.l.v. Robert King - Benjamin Britten, Was I wrong to come?, Death in Venice, English Opera Group Chorus & English Chamber Orchestra o.l.v. Steuart Bedford

Jess Gillam is joined by the conductor Oliver Zeffman to share some of the music they love. Including a rare and beautiful song by Tchaikovsky, a banging tune by Lizzo, plus possibly THE greatest ending in all of music with Mahler's 8th Symphony. Playlist: Mozart - Piano Concerto No. 21, in C Major, K. 467; II. Andante [Mitsuko Uchida (piano), English Chamber Orchestra, Jeffrey Tate] Alex Baranowski - Constellations Lizzo - Good as Hell Pauline Oliveros – The Beauty of Sorrow [extract] Jordan Rakei - Brace Tchaikovsky - None but the Lonely Heart, Op. 6, TH 93, No. 6 [Dmitri Hvorostovsky (baritone), Ivari Ilja (piano)] Abdullah Ibrahim - Maraba Blue Mahler - Symphony No. 8 in E-Flat Major – ‘Symphony of a Thousand' Part 2: Finale [Leonard Bernstein, The London Symphony Orchestra, Leeds Festival Chorus]

Jess Gillam and cellist Gabriella Swallow share the music they love including Scott Walker's Sleepwalkers Woman, Barbara Hendricks singing Britten, electricity and fire from CPE Bach, love and longing from Carole King and Stravinsky is at The Fair. Playlist: Stravinsky – Petrushka First Tableau: The Shrovetide Fair [Concertgebouw, Riccardo Chailly] Chilly Gonzales - Overnight Benjamin Britten – Les Illuminations, Op. 18 IX. Depart [Barbara Hendricks, English Chamber Orchestra, Sir Colin Davis] Alfa Mist - Mulago John Adams – Shaker Loops IV. A Final Shaking [Orchestra Of St. Luke's, John Adams] Carole King – So Far Away CPE Bach: Flute Concerto in A minor, Wq.166, H.431 1. Allegro Assai [Emmanuel Pahud, Kammerakademie Potsdam, Trevor Pinnock] Scott Walker – Sleepwalkers Woman

Described by Downbeat Magazine as "an exquisite singer-songwriter", Joanna's music conveys a beauty of a many-coloured sort that speaks to straight to the human condition. Her songs reveal personal truths about love, loss, adventure, home and hope. World Music Report described it as "quintessential heart-music by a vocalist who seems to have connected with the deepest recesses of her being emerging into brightness again with songs of haunting beauty." Joanna is a master in the art of live vocal looping and as a multi-instrumentalist plays baritone ukulele, piano, flute, Indian shruti box, kalimba and melodica. Her music defies genre classification as she effortlessly imbues her songs with nuances of jazz, classical, art-song, and folk, carrying her "clear-eyed poetry" (Boston Globe) and "striking vocals" (Hothouse). Her songwriting extends beyond just lyrics and melody - Joanna also arranges for ensembles including string quartets, winds, a cappella voices and more.  Joanna's career has taken her around the globe.  She first studied to be a painter at Central Saint Martins, London. This led her to Paris, where she sang on the bridges of the Seine with the "Rene Miller Wedding Band". Following this formative time she did a masters in jazz at Guildhall School of Music and Drama.  In 2012 she moved to New York City where she forged an indelible musical path, appearing and collaborating with musicians including Dan Tepfer, Wynton Marsalis, Kenny Werner, Sam Newsome, Lee Konitz, to name a few. She released her debut album, Wild Swan, in 2011, featuring Joe Martin, Sam Newsome, Rob Garcia and Art Hirahara. In 2015 she signed with Sunnyside Records who released The Origin of Adjustable Things, an intimate duo project with pianist Dan Tepfer. As a follow up to this success she recorded Gardens In My Mind, her third album of self-penned songs and arrangements, featuring the award winning string ensemble The Sacconi Quartet, and Dan Tepfer on piano. In 2018 she self-released her fourth record, Blood and Bone, which London Jazz said, "overflowed with creativity and musical resources." 2019 marks the release of her fifth record entitled Far Away From Any Place Called Home.  Joanna's unique musical background shines through in her own compositional style, evoking her classical routes with her love of jazz, art-song, folk and pop, pushing boundaries of genre and stylistic expectations. Her musical heritage is something to behold. Raised by classical musician parents, Australian violinist Elizabeth Wallfisch and London born cellist Raphael Wallfisch, her grandmother Anita Lasker Wallfisch, now 94, survived Auschwitz because she played the cello in the camp's women's orchestra. Post liberation she became a founding member of the English Chamber Orchestra. Brother Simon is a renowned cellist and opera singer, and eldest brother Benjamin is an Oscar and Grammy nominated film composer. The Great Song Cycle: An adventurer at heart, in August 2016 Joanna embarked on a solo concert tour of the West Coast of the USA, by bicycle. Over the course of 1,154 miles she performed 16 solo shows between Portland and Los Angeles carrying her instruments, camping gear, and everything else she needed upon her bike. In her inimitable way she turned this once-in-a-lifetime experience into a 60-minute song-cycle, a recorded album and a memoir. She has performed the live piece in theatres including: National Sawdust, NYC, Boston Court Performing Arts Centre, LA, The Edinburgh Fringe Festival, UK, Phoenix Theatre, UK and Joe's Pub, NYC. In June, 2019 Joanna celebrates the release of her fifth album Far Away From Any Place Called Home, and her debut memoir "The Great Song Cycle; Portland to Los Angeles on Two Wheels and a Song", which is being published by Australian Publishers UWA Press.

Synopsis When grandma turns 90, you can bet by her age she's gotten just about EVERYTHING imaginable as a birthday gift. That was the quandary facing the Prince of Wales in 1990, when HIS granny, Her Royal Majesty Queen Elizabeth of England—or “The Queen Mum” as just about everybody called her—was about to celebrate her 90th. As Prince Charles wrote: “The idea for a concert came to me when I was trying to think of an original birthday present for my grandmother. It suddenly struck me that here was a wonderful reason for commissioning some new music to celebrate a very special occasion.” Since Charles liked the music that the Scottish composer Patrick Doyle had written for Kenneth Branagh's film of Shakespeare's “Henry V,” Doyle was asked to write a song cycle. The Russian cellist Mstislav Rostropovich heard about the planned birthday concert, and for his part commissioned the British composer David Matthews. The Swiss conductor and new music impresario Paul Sacher commissioned a third new work from the British composer Patrick Gowers. All three pieces were premiered in the Ballroom of Buckingham Palace on today's date in 1990, two days before the Queen Mum's 90th birthday. Music Played in Today's Program Patrick Doyle (b. 1953) — The Thistle and the Rose (Marie McLaughlin, soprano) Patrick Gowers (b. 1936) — Suite for Violin (Jose Luis Garcia, violin) David Matthews (b. 1943) — Romanza (Mstislav Rostropovich, cello; English Chamber Orchestra; Raymond Leppard, cond.) All three pieces on EMI 54164

“ZENPod” Season-3, episode 8, featuring Shri Gaurav Mazumdar, a Grammy nominated musician, Renowned Sitar player, A Teacher, Collaborator, Composer, Music conductor and an Educator. A Music composer for the Ballet “Siddhartha” based on the book by Nobel laureate, Herman Hesse. “Spirituality is a ‘State of Mind'; Feeling or having a certain calm within you, feeling of sublime, feeling pure, feeling beautiful, feeling harmony, feeling everything is in sync with each other, feeling that everything in this world happens, not without a divine intervention, and we are all connected and part of that BIG plan!, and that we all co-exist, relate and belong to each other!”.- says Shri Gaurav Mazumdar in his conversation with Venkatesh Mahadevan A Grammy Nominated musician, Gaurav Mazumdar is born to the illustrious Mazumdar family of Allahabad reaching the zenith of his music education with the legendary Pt. Ravi Shankar. His initial Gurus were his father Dulal Mazumdar, Pt. Nandakishore Vishwakarma, cousins Kamala Bose and Jayashree Roy and Uncle J.D. Mazumdar. An approved artiste of All India Radio and National Television and an empanelled artiste of ICCR (Ministry of External Affairs) for over 2 ó decades, Gaurav as a performer has appeared at premier festivals and venues across the globe, spanning the expanse of Asia, Australia, Europe, Africa, and America. This includes Scottish Symphony for BBC 2019, The Chicago Symphony Hall 1997 & 2018, Royal Albert Hall 2002, 2012 & 2017, Belt & Road Festival, China 2017, Kennedy Centre 2007, Bath Festival 2006, Menuhin Festival-Gstaad 2006, Acropolis for Greece Olympics 2004, Netaji Indoor Stadium 2004, Perth Festival 2004, Kijani Festival Kenya 2004, Music Academy Chennai 2000, Vatican 1999 and Tata Theatre Mumbai 1999 amongst others. His performances include appearances with Pt. Ravi Shankar, Pt. Kishan Maharaj, Philip Glass, The Royal Philharmonic, Britten Sinfonia, Shenzhen Symphony, Slovak Philharmonic, English Chamber Orchestra, Chicago Sinfonietta, Scottish Symphony Orchestra and others. As a composer, Gaurav has composed music for the Ballet ‘Siddhartha' – based on the book by Nobel Laureate Hermann Hesse, Ballet ‘Ritu Shringar', ‘Woman Baring'. Gaurav has also composed music for the Film ‘Shwet' and was, for a decade, the National Conductor for Britain's Youth Orchestra, ‘SAMYO'. Gaurav's albums include, ‘Echoes from India', ‘In Search of Peace', 'Neemrana', 'Soul Strings', 'Grammy nominated' - 'East Meets West', ‘Orion'(recorded live at the historic concert in the Acropolis in Greece to commemorate the 2004 Olympics), ‘Gaurav Mazumdar', 'Offerings', ‘Strings in Harmony', ‘Walking Together', ‘Shambala' (a historic sitaar/violin double concerto), 'Colours from the Rainbow' (a composition for western orchestra), ‘Hesse', ‘Afternoon Serenade' and ‘Shringaar'. As a teacher and collaborator, Gaurav has extended his knowledge to pupils all across the globe teaching, conducting residencies and lectures in Universities and for other instituitions. Today, Gaurav as a performer, composer, conductor and educator, has earned a unique place as a foremost musician of his generation contributing towards making Music accessible and truly Global, both in appreciation and in understanding. www.gauravmazumdar.com “ZENPod” is a Podcast series that features trailblazers from different walks of life, with a purpose to build an empowered eco-system where learnings and experiences from these enlightened professionals, will be available within “arms reach of desire” for those who aspire to scale higher and wish to contribute, in their life's pursuit.

Katey Sagal & The Forest Rangers - Bob Dylan - Eddie Vedder - English Chamber Orchestra & Benjamin Britten - The Green Book Copacabana Orchestra - Tomatito & Sheikh Al Tuni - The Soggy Bottom Boys T'as passé la semaine à trimer à côté de la photocopieuse au boulot ou à l'agence dite du boulot ? T'es bloqué dans les bouchons de ta rocade préférée ? Le coin du Périf enchantant et ses Playlists guillerettes vont essayer de te faire passer un bon moment même si tu roules au pas. Courage ! Le Coin du Périf Enchantant : https://www.radiolocalitiz.fr/le-coin-du-perif-enchantant/ Titres diffusés :  Katey Sagal & The Forest Rangers - Greensleeves (From Sons of Anarchy) : https://music.apple.com/fr/album/greensleeves-from-sons-of-anarchy/947603124?i=947603133 Bob Dylan - It's Alright, Ma (I'm Only Bleeding) : https://music.apple.com/fr/album/its-alright-ma-im-only-bleeding/177964575?i=177965878 Eddie Vedder - Guaranteed : https://music.apple.com/fr/album/guaranteed/1440897227?i=1440897636 English Chamber Orchestra & Benjamin Britten - "Playful Pizzicato" from Simple Symphony, Op. 4 : https://music.apple.com/fr/album/playful-pizzicato-from-simple-symphony-op-4/1440746731?i=1440747146 The Green Book Copacabana Orchestra - That Old Black Magic : https://music.apple.com/fr/album/that-old-black-magic/1500818630?i=1500818631 Tomatito & Sheikh Al Tuni  - Flamenco Soufi  : https://youtu.be/meFa5U_lHHs The Soggy Bottom Boys - I Am a Man of Constant Sorrow (feat. Dan Tyminski) : https://music.apple.com/fr/album/i-am-man-constant-sorrow-feat-dan-tyminski-radio-station/1469575447?i=1469575561      

Praised by critics for her "astounding virtuosic gifts" (Boston Herald), "achingly pure sound” (The Toronto Star), and “impressive technical and interpretive control” (The New York Times), TRICIA PARK enjoys a diverse and eclectic career as a violinist, educator, curator, writer, and podcaster.Tricia is the producer and host of the podcast, “Is it Recess Yet? Confessions of a Former Child Prodigy.” She received the prestigious Avery Fisher Career Grant and was selected as one of "Korea's World Leaders of Tomorrow" by the Korean Daily Central newspaper. Since appearing in her first orchestral engagement at age 13 with the Baltimore Symphony Orchestra, she has performed with the English Chamber Orchestra, St. Paul Chamber Orchestra, Frankfurt Radio Symphony Orchestra, and National Symphony Orchestra of South Africa; the Montreal, Dallas, Cincinnati, Seattle, Honolulu, Nevada, and Lincoln Symphonies; and the Calgary, Buffalo, and Westchester and Naples Philharmonics. Tricia has given recitals throughout the United States and abroad, including a highly acclaimed performance at the Ravinia Rising Stars series. She also performs as half of the violin-fiddle duo, Tricia & Taylor, with fiddler-violinist, Taylor Morris.Tricia is the founder of the Solera Quartet, the winner of the Pro Musicis International Award and the first American chamber ensemble chosen for this distinction. Acclaimed as “top-notch, intense, stylish, and with an abundance of flare and talent,” the Solera Quartet performed their debut recital at Carnegie Hall’s Weill Hall to celebrate their addition to Pro Musicis’ roster. The Soleras’ debut album, Every Moment Present, features music by Janacek, Mendelssohn, and Caroline Shaw and was hailed by the New York Times hailed as “intoxicating….The quartet’s playing on the recording is sensitive and finely articulated throughout and the sound bright and vivid.”Other career highlights include Tricia’s recital debut at the Kennedy Center, appearances at the Lincoln Center Festival in Bright Sheng's The Silver River, her Korean debut performance with the Korean Broadcasting System (KBS) Orchestra and collaborations with composer Tan Dun. As First Violinist of the Maia Quartet from 2005-2011, she performed at Lincoln Center and the 92nd Street Y in New York and Beijing’s Forbidden City Hall and was on faculty at the University of Iowa.Passionate about arts education and community development, Tricia is the co-founder and artistic director of MusicIC, a chamber music festival that explores the connections between music and literature. In 2019, Tricia received an MFA from the Writing Program at the School of the Art Institute of Chicago, where she was a recipient of the New Artist Society Scholarship and was awarded a Writing Fellow Prize. Her writing has been published in Cleaver, Alyss and F News Magazines.Tricia received her Bachelor and Master of Music from the Juilliard School where she studied with Dorothy DeLay. She was a recipient of the Starling-DeLay Teaching Fellowship at the Juilliard School. She has studied and performed chamber music with Felix Galimir, Pinchas Zukerman, Cho-Liang Lin, Michael Tree, Gary Hoffman, Paul Neubauer, Robert McDonald, and members of the American, Guarneri, Juilliard, and Orion String Quartets as well as the new music group, Eighth Blackbird. Other former teachers include Cho-Liang Lin, Donald Weilerstein, Hyo Kang and Piotr Milewski.Currently, Tricia is an Artist-in-Residence and Lecturer in Chamber Music and Violin and Viola Performance at the University of Chicago.Connect with her here. RESOURCESDr. Derald Wing SuCitizen, by Claudia RankineI would like to thank Tricia for the music in episode - Cesar Franck's Violin Sonata performed with the pianist Domenic Cheli.Photo credit - Denise Karis  

En el episodio de hoy tenemos como invitado a Joaquin Valdepeñas, clarinete solista de la Orquesta Sinfónica de Toronto. Joaquin es además fundador del Ensemble Amici, profesor de clarinete en la Glenn Gould School of Music en Toronto, profesor en el Festival de Aspen desde hace más de 25 años, ha realizado decenas de grabaciones para diferentes sellos discográficos, mantiene activa su actividad como director de orquesta y además de todo esto, saca tiempo para dedicarse a una de sus aficiones, la pintura. Un artista muy completo y una gran trayectoria que le ha permitido colaborar con grandes orquestas, tocar junto a grandes músicos y tenemos el placer de tenerlo aquí para que comparta toda su experiencia con nosotros. En el programa hablaremos sobre toda su carrera, su etapa estudiando con Kalman Bloch y Michelle Zukovsky, sobre John Corigliano y su concierto de clarinete, de grabaciones discográficas y en especial, una grabación que nunca olvidará, en la que grabó el concierto para clarinete de Mozart con la English Chamber Orchestra. De todo esto y mucho más hablaremos en este episodio. Si queréis saber más sobre él y los proyectos que se trae entre manos, podéis visitar su web aquí. Como siempre, academiadeclarinete.com, la primera academia de clarinete online para hispanohablantes donde podrás encontrar clases grabadas en vídeo con ejercicios, técnicas y consejos para ayudarte a mejorar como clarinetista. Nuevas clases todas las semanas, y recuerda que te puedes suscribir a la lista de correo donde mando emails a mis suscriptores. Ahora, ¡vamos con la entrevista! (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "//forms.aweber.com/form/75/1002537775.js"; fjs.parentNode.insertBefore(js, fjs); }(document, "script", "aweber-wjs-lxvwl76h6"));

Ep. 106: Yolanda Kondonassis, one of the world's premier solo harpists. Let's Talk Off The Podium with Tigran Arakelyan. Yolanda Kondonassis is celebrated as one of the world’s premier solo harpists and is widely regarded as today’s most recorded classical harpist. Hailed as “viscerally exciting” (The Chicago Tribune) and a “brilliant and expressive player” (The Dallas Morning News), she has performed around the globe as a concerto soloist and in recital, bringing her unique brand of musicianship and warm artistry to an ever-increasing audience. Also a published author, speaker, professor of harp, and environmental activist, sheweaves her many passions into a vibrant and multi-faceted career. Kondonassis has sold hundreds of thousands of albums and downloads worldwide and her extensive discography includes over twenty titles. She continues to be a pioneering force in the harp world, striving to make her instrument more accessible to audiences and push the boundaries of what listeners expect of the harp. She was nominated for a Grammy Award for Best Classical Instrumental Solo for the world premiere recording of Jennifer Higdon’s Harp Concerto with The Rochester Philharmonic Orchestra (Azica Records, 2019). Her 2008 album of music by Takemitsu and Debussy, Air (Telarc), was also nominated for a Grammy Award. Since making her debut at age 18 with the New York Philharmonic and Zubin Mehta, Kondonassis has appeared as soloist with major orchestras in the United States and abroad including The Cleveland Orchestra, English Chamber Orchestra, and Hong Kong Philharmonic, to name a few. Other engagements include performances at renowned festivals including the Marlboro Music Festival, Spoleto Festival,Tanglewood Music Festival, and she has been featured on CNN and PBS, as well as Sirius XM Radio’s Symphony Hall, NPR’s All Things Considered and Tiny Desk Concerts,St. Paul Sunday Morning, and Performance Today.   Kondonassis is committed to the advancement of contemporary music for the instrument, with recent premieres including works by Bright Sheng, and Jennifer Higdon. Her extensive discography includes works by Rorem, Rochberg, Erb, Liebermann, Paulus, Fitch, Lash, Montsalvatge,Takemitsu, Cage, and Carter, among others. Her most recent book,The Composer’s Guide to Writing Well for the Harp, was released in 2019. In addition to her active solo, chamber music and recording schedule, Kondonassis heads the harp departments at Oberlin Conservatory of Music and The Cleveland Institute of Music, and presentsmasterclasses around the world.   In this podcast we talk about premieres, her new book, passion for writing, life changing moments and hobbies. Ms. Kondonassis also speaks about her non-profit, Earth at Heart and much more. For more information about Yolanda Kondonassis please visit: https://www.yolandaharp.com © Let's Talk Off The Podium, 2020

ECP safely transported to Boston, Massachusetts, where the next week of shows will be recorded. Despite technical difficulties and a snow 'event,' nothing stops us from celebrating the first full week of spring! First up: The spring songs of Tchaikovsky Op. 54: 16 Songs for Children. Pardon any and all pronunciation mistakes. Special thanks to Emily Ezust, www.lieder.net, for translation permissions. We hope to get the sounds right for tomorrow, but, enjoy the beautiful music! Heard on Today's Episode: Podington Bear/Just Watching/Freemusicarchive.org Tchaikovsky 16 Songs for Children Op. 54 Gennady Pishchayev, tenor Alexander Bakhciev, piano Firma Melodia 1980 John McCormack; Gerald Moore https://archive.org/details/78_legend-christ-in-his-garden_john-mccormack-gerald-moore-lockwood-tchaikovsky_gbia0076973b Tchaikovsky: Music For Cello & Orchestra by Rafael Wallfisch; English Chamber Orchestra; Geoffrey Simon Chandos Records Ltd. (CHAN8347) P.Tchaikovsky. "Legend". Words by A.Pleshcheyev The State Chamber Choir of the USSR Russian Conducting School. Valery Polyansky 1996 Talents of Russia --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/chorantine/support

Paul McCartney zag Bach’s Brandenburgs Concert nr.2 live op televisie. Vooral dat hoge, juichende trompetje… dat was nu net de finishing touch voor het nummer Penny Lane! De trompettist, David Mason, kwam naar Abbey Road en blies de solo in. Fantastische muziek, Bach meets Beatles, kan het beter… Ik vond een opname met David Mason op trompet, olv de componist Benjamin Britten. The Beatles (Lennon & McCartney), Penny Lane Johann Sebastian Bach, Brandenburgs Concert nr.2, BWV.1047, English Chamber Orchestra olv Benjamin Britten

[Intro: 3:35 | English transcript: http://bit.ly/GRchomksy | Br. Portuguese transcript: http://bit.ly/2DhFNQa] In this episode, I speak with political dissident, linguist and author Noam Chomsky. In this brief discussion, we begin with Professor Chomsky examining the current state and trajectory of the United States empire within the broader scope of recent history, fitting the recent “withdrawal” of the US military presence in Northeast Syria, under Kurdish governance, as an indication of what the U.S. geopolitical influence in the region currently is. As Noam states, “the United States, didn't leave Northeast Syria, they just moved its troops to the oil producing regions. The number of troops is about the same,” with more troops being sent to Iraq and Saudi Arabia “to support their murderous war in Yemen.” Secondly, we discuss the responsibility of journalists, especially in this time, to challenge state power and stand for those that are willing to risk everything to expose the crimes of the state and its corporate allies. To highlight this, we focus on the current situation of Wikileaks founder and editor Julian Assange, currently imprisoned in the high-security Belmarsh Prison in London, awaiting an extradition hearing set for February 2020, after his asylum was revoked from the Ecuadorian government and handed over to British authorities April this year. “Assange basically is being murdered by the British government,” as his health continues to rapidly deteriorate from his time holed up in the Ecuadorian Embassy and his treatment by British authorities more recently. Assange faces “18 charges, including conspiracy to hack government computers and violation of espionage law, and could spend decades in prison if convicted,” (http://bit.ly/2Cjdrof) with the real possibility of him being “extradited to the United States, where he'll be tried with crimes that, even theoretically, can lead to the death sentence, which he's already practically suffering [from] now.” Noam compares this attack on press freedoms and whistleblowers to the Red Scare post-WWI, in which “thousands of people were deported. The independent press was virtually crushed. There was a massive attack on human rights. The so-called McCarthy period was about the same. The Trump period is innovating in a way which is familiar [to] totalitarian states. The entire system in the United States under Trump is becoming a kind of proto-fascism without the ideology, just the pertinences of fascism.” We get into this and more in this episode. Considered the founder of modern linguistics, Noam Chomsky is one of the most cited scholars in modern history. He is a laureate professor in the Department of Linguistics at the University of Arizona and professor emeritus at the Massachusetts Institute of Technology, where he taught for more than 50 years. Episode Notes: - Learn more about Noam and his work: https://chomsky.info - I cite the article ‘‘I can’t think properly’: Assange fights back tears and struggles to say own name as he appears in court over US extradition’ from The Independent: http://bit.ly/2Cjdrof - The song featured is "Playful Pizzicato" by the English Chamber Orchestra. WEBSITE: https://www.lastborninthewilderness.com PATREON: https://www.patreon.com/lastborninthewilderness DONATE: https://www.paypal.me/lastbornpodcast DROP ME A LINE: Call (208) 918-2837 or http://bit.ly/LBWfiledrop EVERYTHING ELSE: https://linktr.ee/patterns.of.behavior

Panelen känner sig attackerad av en dansk mästares filmmusik, dividerar om smärtan i en ny Orfeus och Eurydike och gillar hur dirigenten Daniel Barenboim lyfter fram den dramatiska sidan hos Brahms. Veckans skivor: BRAHMS - THE SYMPHONIES Symfonier 1-4 av Johannes Brahms Berliner Staatskapelle, orkester  Daniel Barenboim, dirigent Deutsche Grammophon 4835251 Betyg: 4 WHIRL'S WORLD Musik av Per Nörgård MidtVest-ensemblen DaCapo 8.226136 Betyg: 5 ORFEO ED EURIDICE Opera av Christoph Willibald Gluck  Sångare: Iestyn Davies, Sophie Bevan La Nuova Musica, orkester och kör David Bates, dirigent Pentatone PTC 5186805 Betyg:4 Veckans val: Berlioz stora dödsmässa i allhelgonatid Vi fördjupar oss i amerikanske John Nelsons sprillans nya tolkning av Berlioz "Requiem" som spelades in i St Pauls Cathedral i London i mars. Referensen: Brahms fjärde symfoni - Det perfekta tempot Vi jämför Staatskapelle Berlin och Daniel Barenboims aktuella inspelning av Brahms symfonier med en äldre version, den inspelning som gjordes 1968 av Cleveland Orchestra under ledning av George Szell. Referensen: Klagoarian i Orfeus och Eurydike - Countertenor vs sopran Den älskade arian "Che farò senza Euridice" ur Glucks opera "Orfeus och Eurydike" har spelats in hur många gånger som helst och alla tänkbara sångare från Janet Baker till Pavarotti har sjungit den. Vi jämför den aktuella inspelningen med countertenoren Iestyn Davies med en inspelning från 1975 med den stora Dame Janet Baker, tillsammans med English Chamber Orchestra under ledning av Raymond Leppard. En svalt återhållen tolkning möter en romantisk, utlevande version av arian.

Today, I'm very excited to have the brilliant violinist, violist, and conductor Julian Rachlin on the show! At the end of this very busy week, playing with and conducting the Chicago Symphony, Julian graciously took the time to sit with me and discuss meticulous practicing, mindful music-making, and his deep love of the art form! He covers many topics, including studying with Boris Kuschnir and Mr. Kuschnir's thorough approach to mastering the instrument, his views on the lifelong path that is growing as an artist, his daily practice regimen, and how playing the viola and conducting have allowed him to explore music from different angles. Julian elaborates on: How he believes we are never done learning How the fact that his parents never made him practiced helped foster his deep love of music His daily practice regimen Why the responsibility to grow as an artist lies with the student How musicians are a community How playing the viola and conducting allow him to explore music from different angles Why we should brush our taste as often as we brush our teeth Finding the right balance between being completely open-minded and fully convinced (and when to be which)   MORE ABOUT JULIAN RACHLIN: Website: http://www.julianrachlin.com/ YouTube channel: https://www.youtube.com/channel/UCm_Eyb3YAt3m7_ic4VTA84A Facebook: https://www.facebook.com/julianrachlin/ Instagram: https://www.instagram.com/julianrachlin/ Elisabeth Gilels: Daily Exercises for the Violinist Boris Kuschnir: http://www.boriskuschnir.com/   Violinist, violist and conductor Julian Rachlin is one of the most exciting and respected musicians of our time. In the first thirty years of his career, he has performed as soloist with the world's leading conductors and orchestras. Mr. Rachlin is Principal Guest Conductor of the Royal Northern Sinfonia, Turku Philharmonic Orchestra and Kristiansand Symphony Orchestra. He also leads the "Julian Rachlin & Friends Festival" in Palma de Mallorca. Highlights of Mr. Rachlin's 2018/19 season include performances with the St. Petersburg Philharmonic and Mariss Jansons, Montreal Symphony Orchestra and Christoph Eschenbach, Boston Symphony Orchestra and Juanjo Mena, Pittsburgh Symphony Orchestra and Manfred Honeck, as well as the KBS Symphony Orchestra and Myung-Whun Chung. Alongside soloist Sarah McElravy and the Royal Northern Sinfonia, he will perform the UK premiere of Penderecki's Double Concerto for Violin and Viola, which is dedicated to him. Additionally, Mr. Rachlin will conduct among others the Vienna Symphony Orchestra, Berlin Konzerthaus Orchestra, Naples Philharmonic, Moscow Philharmonic, St. Petersburg Symphony, Essen Philharmonic, Strasbourg Philharmonic, Slovenian Philharmonic, Zagreb Philharmonic and Trondheim Symphony Orchestra. Julian Rachlin's recent highlights include a residency at the Prague Spring Festival and his own cycle at the Vienna Musikverein. He also performed with the St. Petersburg Philharmonic Orchestra and Yuri Temirkanov, Filarmonica della Scala and Riccardo Chailly, Munich Philharmonic and Zubin Mehta, Philharmonia Orchestra and Jakub Hrůša, Orchestra del Maggio Musicale and Vladimir Ashkenazy, as well as the Vienna Symphony Orchestra and Lahav Shani. As conductor, he toured Europe with the English Chamber Orchestra, and led the Royal Northern Sinfonia across South America and Japan. Additionally, he conducted the State Academic Symphony Orchestra of Russia, Hungarian National Philharmonic, Royal Liverpool Philharmonic Orchestra, Orchestra della Svizzera Italiana, National Taiwan Symphony Orchestra, Prague Philharmonia, and made his USA conducting debut at the Grand Teton Music Festival. In recital and chamber music, Mr. Rachlin performs regularly with Itamar Golan, Denis Kozhukhin, Denis Matsuev, Mischa Maisky, Sarah McElravy, Vilde Frang and Janine Jansen. Born in Lithuania, Mr. Rachlin immigrated to Vienna in 1978. He studied violin with Boris Kuschnir at the Vienna Conservatory and with Pinchas Zukerman. After winning the "Young Musician of the Year" Award at the Eurovision Competition in 1988, he became the youngest soloist ever to play with the Vienna Philharmonic, debuting under Riccardo Muti. At the recommendation of Mariss Jansons, Mr. Rachlin studied conducting with Sophie Rachlin. Since September 1999, he is on the violin faculty at the Music and Arts University of Vienna. His recordings for Sony Classical, Warner Classics and Deutsche Grammophon have been met with great acclaim. Mr. Rachlin, a UNICEF Goodwill Ambassador, is committed to educational outreach and charity work. Julian Rachlin plays the 1704 "ex Liebig" Stradivari and a 1785 Lorenzo Storioni viola, on loan to him courtesy of the Dkfm. Angelika Prokopp Privatstiftung. His strings are kindly sponsored by Thomastik-Infeld.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

做一档有灵魂的读书节目。每天更新一期。 主播：潮羽，365天每天更新一期。微信公众号：「365读书」（dus365) 微博：365读书v。 文字版已在微信公众号【365读书】发布 。QQ：648902354 背景音乐：1.Candy_Wind - 静之守候；2.Fabrizio Paterlini - My Piano, The Clouds；3.Anne Akiko Meyers,English Chamber Orchestra & Steven Mercurio - Orchestral Suite No. 3 in D Major, BWV 1068：＂Air＂；4.曲婉婷 - 双城单心。

做一档有灵魂的读书节目。每天更新一期。 主播：潮羽，365天每天更新一期。微信公众号：「365读书」（dus365) 微博：365读书v。 文字版已在微信公众号【365读书】发布 。QQ：648902354 背景音乐：1.Candy_Wind - 静之守候；2.Fabrizio Paterlini - My Piano, The Clouds；3.Anne Akiko Meyers,English Chamber Orchestra & Steven Mercurio - Orchestral Suite No. 3 in D Major, BWV 1068：＂Air＂；4.曲婉婷 - 双城单心。

做一档有灵魂的读书节目。每天更新一期。 主播：潮羽，365天每天更新一期。微信公众号：「365读书」（dus365) 微博：365读书v。 文字版已在微信公众号【365读书】发布 。QQ：648902354 背景音乐：1.Candy_Wind - 静之守候；2.Fabrizio Paterlini - My Piano, The Clouds；3.Anne Akiko Meyers,English Chamber Orchestra & Steven Mercurio - Orchestral Suite No. 3 in D Major, BWV 1068：＂Air＂；4.曲婉婷 - 双城单心。

Helloooo all long hairs and tea people... Here it is once again our second Classical show....yes it's Classical music. We thought since we have been covering all spectrum's of rock & roll, we would switch gears and do one for the fans of Classical music. So here's our second show....... Intro: The Vikings Theme-Sdtk 1. Hawaiian War Chant-Morton Gould 2. Polka-Kiril Kondrashin 3. Pomp & Circumstance # 4-Sir Arthur Bliss & The London Symphony Orchestra 4. Sonata In D Minor-Raymond Ericson 5. The Forest Battle-John Williams & The Boston Pops Orchestra 6. Sherzo-The Budapest String Quartet 7. Dixie-Morton Gould 8. Sanota # 14-Pavel Josef Vejvanovsky 9. Wasser Music-Nicholas Harnorcourt 10. Alegro--(Concereto in D. Minor)-for guitar-John Williams & the English Chamber Orchestra 11. William Tell Overture-(Final)-Fritz Reiner 12. Sonata In F. Minor (For The Recorder)-Ferdinad Conrad 13. A String Quartet # 73-Pretty With Variations-Mike Beier & THe Copenhagen Strings Trio 14. Faithfully Yours-The Melachrino Strings Outro: When Your Young-Fritz Reinhaerdt & The Vienna Society Orchestra Time Approx: 60 Minutes

权力如何做出决策，总被人讳莫如深，禀赋相近的地区，往往也展现出截然不同的经济活力。复旦大学经济学院教授章奇做客本期《忽左忽右》，为我们拨开云雾，探索地方政治精英们的取舍之道。 【主持】 程衍樑（新浪微博：@GrenadierGuard2） 杨一（新浪微博：@杨一1） 【嘉宾】 章奇，复旦大学经济学院教授 [04:40]地方政治精英的决策模式 [07:00]积极分子容易站错队 [08:35]“天高皇帝远”不完全是技术问题 [10:30]浙江在极左时代迎来了民营经济的迸发 [12:05]浙江与江苏的资料完整度差别 [13:20]“南下干部”与“游击队干部” [15:55]广东的冲突与古大存蒙冤 [17:40]每个人对自己的禀赋、环境判断不同 [18:25]老百姓能给予干部政治力量吗？ [21:40]社会力量在改革开放后的壮大 [22:05]冯克利的父亲在文革时受到乡亲保护 [23:45]浙江的游击队干部抓住了稍纵即逝的机会 [26:30]政治资源与政治智慧 [36:50]潮汕商帮背后也有政治力量与文化力量 [42:50]越南的南北经济差异 [46:30]经济学的数理模型早已进入其他学科 [47:45]新政治经济学在研究啥 【延伸资料】 《权力结构、政治激励和经济增长:基于浙江民营经济发展经验的政治经济学分析》，章奇、刘明兴 著，格致出版社 《带刺的红玫瑰——古大存沉冤录》，杨立 编著，中共广东省委党史研究室 【音乐】 "Billboards On Fire"（Carter Burwell·Three Billboards Outside Ebbing, Missouri·2017·Varèse Sarabande） "The Last Rose of Summer"（Renée Fleming, the English Chamber Orchestra, Jeffrey Tate·Three Billboards Outside Ebbing, Missouri·2017·Varèse Sarabande） 【logo设计】杨文骥 【收听方式】 推荐您使用「苹果播客」、Spotify或任意安卓播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM、蜻蜓FM、荔枝FM、网易云音乐收听。 【本节目由JustPod出品】 【互动方式】 微博：@忽左忽右leftright 微博：@播客一下 微信公众号：忽左忽右 微信公众号：播客一下

权力如何做出决策，总被人讳莫如深，禀赋相近的地区，往往也展现出截然不同的经济活力。复旦大学经济学院教授章奇做客本期《忽左忽右》，为我们拨开云雾，探索地方政治精英们的取舍之道。 【主持】 程衍樑（新浪微博：@GrenadierGuard2） 杨一（新浪微博：@杨一1） 【嘉宾】 章奇，复旦大学经济学院教授 [04:40]地方政治精英的决策模式 [07:00]积极分子容易站错队 [08:35]“天高皇帝远”不完全是技术问题 [10:30]浙江在极左时代迎来了民营经济的迸发 [12:05]浙江与江苏的资料完整度差别 [13:20]“南下干部”与“游击队干部” [15:55]广东的冲突与古大存蒙冤 [17:40]每个人对自己的禀赋、环境判断不同 [18:25]老百姓能给予干部政治力量吗？ [21:40]社会力量在改革开放后的壮大 [22:05]冯克利的父亲在文革时受到乡亲保护 [23:45]浙江的游击队干部抓住了稍纵即逝的机会 [26:30]政治资源与政治智慧 [36:50]潮汕商帮背后也有政治力量与文化力量 [42:50]越南的南北经济差异 [46:30]经济学的数理模型早已进入其他学科 [47:45]新政治经济学在研究啥 【延伸资料】 《权力结构、政治激励和经济增长:基于浙江民营经济发展经验的政治经济学分析》，章奇、刘明兴 著，格致出版社 《带刺的红玫瑰——古大存沉冤录》，杨立 编著，中共广东省委党史研究室 【音乐】 "Billboards On Fire"（Carter Burwell·Three Billboards Outside Ebbing, Missouri·2017·Varèse Sarabande） "The Last Rose of Summer"（Renée Fleming, the English Chamber Orchestra, Jeffrey Tate·Three Billboards Outside Ebbing, Missouri·2017·Varèse Sarabande） 【logo设计】杨文骥 【收听方式】 推荐您使用「苹果播客」、Spotify或任意安卓播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM、蜻蜓FM、荔枝FM、网易云音乐收听。 【本节目由JustPod出品】 【互动方式】 微博：@忽左忽右leftright 微博：@播客一下 微信公众号：忽左忽右 微信公众号：播客一下

In this episode, we talk with world-class Julliard-trained violinist Tricia Park about her experiences as a child prodigy. We discuss how learning to play the violin and perform for world-class audiences at a very young age made her feel special all the while contributing to a limited sense of identity. She shares her unique insights into what it’s like to live a big life as a quiet and painfully shy child and she discusses simple ways that educators can help their exceptional students rise about the pressures associated with achievement and perfectionism. For more information about Tricia, including links to some of her amazing work with the Solera Quartet, the Music IC Organization or her other projects, visit triciapark.com or check out the shownotes at smallactbigimpact.com for all of the related links to her performances and work. Praised by critics for her "astounding virtuosic gifts" (Boston Herald) and "achingly pure sound” (The Toronto Star), concert violinist TRICIA PARK enjoys a diverse and eclectic career as soloist, chamber musician, concertmaster, educator, and festival curator. Tricia is a recipient of the prestigious Avery Fisher Career Grant and was selected as one of "Korea's World Leaders of Tomorrow" by the Korean Daily Central newspaper. Since appearing in her first orchestral engagement at age 13 with the Baltimore Symphony Orchestra, she has performed with the English Chamber Orchestra, St. Paul Chamber Orchestra, Frankfurt Radio Symphony Orchestra, and National Symphony Orchestra of South Africa; the Montreal, Dallas, Cincinnati, Seattle, Honolulu, Nevada, and Lincoln Symphonies; and the Calgary, Buffalo, and Westchester and Naples Philharmonics. She has also given recitals throughout the United States and abroad, including a highly acclaimed performance at the Ravinia Rising Stars series. As First Violinist of the Maia Quartet from 2005-2011, she performed at Lincoln Center and the 92nd Street Y in New York and Beijing’s Forbidden City Hall and was on faculty at the University of Iowa. Other career highlights include Tricia’s recital debut at the Kennedy Center, appearances at the Lincoln Center Festival in Bright Sheng's The Silver River, her Korean debut performance with the Korean Broadcasting System (KBS) Orchestra and collaborations with composer Tan Dun, Cho-Liang Lin, Paul Neubauer, Timothy Eddy and Steven Tenenbom. An appearance with the Metamorphosen Chamber Orchestra at Jordan Hall garnered a glowing review from the Boston Herald that stated, "If you see the name Tricia Park in any future programs, buy a ticket." Recent season highlights include a performance of Lalo Symphonie Espagnole with the South Bend Symphony; a recital at Carnegie Hall with Ensemble Peripherie; a performance of the Brahms Double Concerto with the Notre Dame Symphony; a collaborative performance with violist Daniel Avshalomov; and a recording of works by Per Bloland on the TZADIK label with the ECCE Ensemble. Tricia is also the founding member of the Solera Quartet, the new Quartet-in-Residence at the University of Notre Dame. Tricia maintains an ongoing interest in new music and non-classical styles. She has performed with jazz musicians Matt Ulery and Zach Brock, has appeared with the rock band, Another Dead Clown and performs duo violin recitals with fiddler-violinist, Taylor Morris. Passionate about arts education and community development, Tricia is the co-founder and artistic director of MusicIC, a summer chamber music festival that takes place in downtown Iowa City. MusicIC presents free concerts and events focus on music for small ensembles inspired by works of literature, both prose and poetry. Tricia received her Bachelor and Master of Music from the Juilliard School where she studied with Dorothy DeLay. She is a recipient of the Starling-DeLay Teaching Fellowship at the Juilliard School. She has studied and performed chamber music with Felix Galimir, Pinchas Zukerman, Cho-Liang Lin, Michael Tree, Gary Hoffman, Paul Neubauer, Robert McDonald, and members of the American, Guarneri, Juilliard, and Orion String Quartets as well as the new music group, Eighth Blackbird. Other former teachers include Cho-Liang Lin, Donald Weilerstein, Hyo Kang and Piotr Milewski. Currently, Tricia is full-time Violin Faculty and Artist-in-Residence at the University of Notre Dame. The New Yorker Article Tricia Mentioned...by Malcolm Gladwell https://www.newyorker.com/magazine/2008/10/20/late-bloomers-malcolm-gladwell Tricia Park Founding member, Solera Quartet Founding Artistic Director, MusicIC Violinist and Fiddler, Tricia and Taylor - Violin and Fiddle duo www.triciapark.com www.soleraquartet.com www.musicic.org www.triciaandtaylormusic.com

Classicos IPB. Destacando o trabalho do musico, compositor e maestro ingles, Patrick Hawes. Coral, Conventus. Orquestras, English Chamber Orchestra e Royal Philharmonic Orchestra. Regencia, Patrick Hawes. Apresentacao, Natsan Matias. Producao, Artur Mendes / APECOM. ​

"Taller de composici

Eine spannende Frau, Jahrgang 1932, die viel erlebt hat: In ihrem Luzerner Elternhaus ging die Musikelite von Furtwängler und Rubinstein bis Strauss ein und aus, in London dann wird sie die Ehefrau des Trompeteres Philipp Jones und zur Managerin seines Brass-Ensembles, gründet das English Chamber Orchestra, fördert Barenboim, Zukerman und Jacqueline du Pré. Bis heute engagiert sich Ursula Jones für den Musiknachwuchs. Jetzt ist ihre Biographie erschienen.

Wynton Marsalis joined us for Behind The Note Podcast today! We talked many things including leadership, building a team, and turning vision into reality. Rate Behind The Note Podcast on the platform you're using right now to read this script and to listen to the show. Press Play. Enjoy. Share. ---------------------------------------------------------------------------- Here is Wynton's Bio straight from his website: Wynton Marsalis is an internationally acclaimed musician, composer, bandleader, educator and a leading advocate of American culture. He is the world’s first jazz artist to perform and compose across the full jazz spectrum from its New Orleans roots to bebop to modern jazz. By creating and performing an expansive range of brilliant new music for quartets to big bands, chamber music ensembles to symphony orchestras, tap dance to ballet, Wynton has expanded the vocabulary for jazz and created a vital body of work that places him among the world’s finest musicians and composers. The Early Years Wynton was born in New Orleans, Louisiana, on October 18, 1961, to Ellis and Dolores Marsalis, the second of six sons. At an early age he exhibited a superior aptitude for music and a desire to participate in American culture. At age eight Wynton performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker, and at 14 he performed with the New Orleans Philharmonic. During high school Wynton performed with the New Orleans Symphony Brass Quintet, New Orleans Community Concert Band, New Orleans Youth Orchestra, New Orleans Symphony, various jazz bands and with the popular local funk band, the Creators. At age 17 Wynton became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center. Despite his youth, he was awarded the school’s prestigious Harvey Shapiro Award for outstanding brass student. Wynton moved to New York City to attend Juilliard in 1979. When he began to pick up gigs around town, the grapevine began to buzz. In 1980 Wynton seized the opportunity to join the Jazz Messengers to study under master drummer and bandleader Art Blakey. It was from Blakey that Wynton acquired his concept for bandleading and for bringing intensity to each and every performance. In the years to follow Wynton performed with Sarah Vaughan, Dizzy Gillespie, Sweets Edison, Clark Terry, John Lewis, Sonny Rollins, Ron Carter, Herbie Hancock, Tony Williams and countless other jazz legends. Wynton assembled his own band in 1981 and hit the road, performing over 120 concerts every year for 15 consecutive years. With the power of his superior musicianship, the infectious sound of his swinging bands and an exhaustive series of performances and music workshops, Marsalis rekindled widespread interest in jazz throughout the world. Wynton embraced the jazz lineage to garner recognition for the older generation of overlooked jazz musicians and prompted the re-issue of jazz catalog by record companies worldwide. He also inspired a renaissance that attracted a new generation of fine young talent to jazz. A look at the more distinguished jazz musicians of today reveals numerous students of Marsalis’ workshops: James Carter, Christian McBride, Roy Hargrove, Harry Connick Jr., Nicholas Payton, Eric Reed and Eric Lewis, to name a few. Classical Career Wynton’s love of the music of Bach, Beethoven, Mozart and others drove him to pursue a career in classical music as well. He recorded the Haydn, Hummel and Leopold Mozart trumpet concertos at age 20. His debut recording received glorious reviews and won the Grammy Award® for “Best Classical Soloist with an Orchestra.” Marsalis went on to record 10 additional classical records, all to critical acclaim. Wynton performed with leading orchestras including the New York Philharmonic, Los Angeles Philharmonic, Boston Pops, The Cleveland Orchestra, Saint Louis Symphony Orchestra, English Chamber Orchestra, Toronto Symphony Orchestra and London’s Royal Philharmonic, working with an eminent group of conductors including: Leppard, Dutoit, Maazel, Slatkin, Salonen and Tilson-Thomas. A timeless highlight of Wynton’s classical career is his collaboration with soprano Kathleen Battle on their recording Baroque Duet. Famed classical trumpeter Maurice André praised Wynton as “potentially the greatest trumpeter of all time.” Record Production To date Wynton has produced over 80 records which have sold over seven million copies worldwide including three Gold Records. His recordings consistently incorporate a heavy emphasis on the blues, an inclusive approach to all forms of jazz from New Orleans to modern jazz, persistent use of swing as the primary rhythm, an embrace of the American popular song, individual and collective improvisation, and a panoramic vision of compositional styles from dittys to dynamic call and response patterns (both within the rhythm section and between the rhythm section and horn players). Always swinging, Marsalis blows his trumpet with a clear tone and a unique, virtuosic style derived from an encyclopedic range of trumpet techniques. The Composer Wynton Marsalis is a prolific and inventive composer. The dance community embraced Wynton’s inventiveness by awarding him with commissions to create new music for Garth Fagan (Citi Movement-Griot New York & Lighthouse/Lightening Rod), Peter Martins at the New York City Ballet (Jazz: Six Syncopated Movements and Them Twos), Twyla Tharp with the American Ballet Theatre (Jump Start), Judith Jamison at the Alvin Ailey American Dance Theatre (Sweet Release and Here…Now), and Savion Glover (Petite Suite and Spaces). Marsalis collaborated with the Lincoln Center Chamber Music Society in 1995 to compose the string quartet At The Octoroon Balls, and again in 1998 to create a response to Stravinsky’s A Soldier’s Tale with his composition A Fiddler’s Tale. With his collection of standards arrangements, Wynton reconnected audiences with the beauty of the American popular song (Standard Time Volumes I-VI). He re-introduced the joy in New Orleans jazz with his recording The Majesty Of The Blues. He extended the jazz musician’s interplay with the blues in Levee Low Moan, Thick In The South and other blues recordings. With Citi Movement, In This House On This Morning and Blood On The Fields, Wynton invented a fresh conception for extended form compositions. His inventive interplay with melody, harmony and rhythm, along with his lyrical voicing and tonal coloring assert new possibilities for the jazz ensemble. In his dramatic oratorio Blood On The Fields, Wynton draws upon the blues, work songs, chants, call and response, spirituals, New Orleans jazz, Ellingtonesque orchestral arrangements and Afro-Caribbean rhythms; and he uses Greek chorus-style recitations to move the work along. The New York Times Magazine said the work “marked the symbolic moment when the full heritage of the line, Ellington through Mingus, was extended into the present.” The San Francisco Examiner stated, “Marsalis’ orchestral arrangements are magnificent. Duke Ellington’s shadings and themes come and go but Marsalis’ free use of dissonance, counter rhythms and polyphonics is way ahead of Ellington’s mid-century era.” Wynton extended his achievements in Blood On The Fields with All Rise, an epic composition for big band, gospel choir, and symphony orchestra – a classic work of high art – which was performed by the New York Philharmonic under the baton of Kurt Masur along with the Morgan State University Choir and the Lincoln Center Jazz Orchestra (December 1999). Marsalis collaborated with Ghanaian master drummer Yacub Addy to create Congo Square, a groundbreaking composition combining elegant harmonies from America’s jazz tradition with fundamental rituals in African percussion and vocals (2006). For the anniversary of the Abyssinian Baptist Church’s 200th year of service, Marsalis blended Baptist church choir cadences with blues accents and big band swing rhythms to compose Abyssinian 200: A Celebration, which was performed by the Jazz at Lincoln Center Orchestra and Abyssinian’s 100 voice choir before packed houses in New York City (May 2008). In the fall of 2009 the Atlanta Symphony Orchestra premiered Marsalis’ composition Blues Symphony. By infusing blues and ragtime rhythms with symphonic orchestrations Wynton creates a fresh type of enjoyment of classical repertoire. Employing complex layers of collective improvisation, Marsalis further expanded his repertoire for symphony orchestra with Swing Symphony, premiered by the renowned Berlin Philharmonic in June 2010, creating new possibilities for audiences to experience a symphony orchestra swing. Marsalis’ rich and expansive body of music for the ages places him among the world’s most significant composers. Television, Radio & Literary In the fall of 1995 Wynton launched two major broadcast events. In October PBS premiered Marsalis On Music, an educational television series on jazz and classical music. The series was written and hosted by Marsalis and was enjoyed by millions of parents and children. Writers distinguished Marsalis On Music with comparisons to Leonard Bernstein’s celebrated Young People’s Concerts of the 50s and 60s. That same month National Public Radio aired the first of Marsalis’ 26-week series entitled Making the Music. These entertaining and insightful radio shows were the first full exposition of jazz music in American broadcast history. Wynton’s radio and television series were awarded the most prestigious distinction in broadcast journalism, the George Foster Peabody Award. The Spirit of New Orleans, Wynton’s poetic tribute to the New Orleans Saints’ first Super Bowl victory (Super Bowl XLIV) received an Emmy Award for Outstanding Short Feature (2011). From 2012 to 2014 Wynton served as cultural correspondent for CBS News, writing and presenting features for CBS This Morning on an array topics from Martin Luther King, Nelson Mandela and Louis Armstrong to Juke Joints, BBQ, the Quarterback & Conducting and Thankfulness. Marsalis has written six books: Sweet Swing Blues on the Road, Jazz in the Bittersweet Blues of Life, To a Young Musician: Letters from the Road, Jazz ABZ (an A to Z collection of poems celebrating jazz greats), Moving to Higher Ground: How Jazz Can Change Your Life and Squeak, Rumble, Whomp! Whomp! Whomp! a sonic adventure for kids. Awards and Accolades Wynton Marsalis has won nine Grammy Awards® in grand style. In 1983 he became the only artist ever to win Grammy Awards® for both jazz and classical records; and he repeated the distinction by winning jazz and classical Grammys® again in 1984. Today Wynton is the only artist ever to win Grammy Awards® in five consecutive years (1983-1987). Honorary degrees have been conferred upon Wynton by over 25 of America’s leading academic institutions including Columbia, Harvard, Howard, Princeton and Yale (see Exhibit A). Elsewhere Wynton was honored with the Louis Armstrong Memorial Medal and the Algur H. Meadows Award for Excellence in the Arts. He was inducted into the American Academy of Achievement and was dubbed an Honorary Dreamer by the “I Have a Dream Foundation.” The New York Urban League awarded Wynton with the Frederick Douglass Medallion for distinguished leadership and the American Arts Council presented him with the Arts Education Award. Time magazine selected Wynton as one of America’s most promising leaders under age 40 in 1995, and in 1996 Time celebrated Marsalis again as one of America’s 25 most influential people. In November 2005 Wynton Marsalis received The National Medal of Arts, the highest award given to artists by the United States Government. United Nations Secretary-General Kofi Annan proclaimed Wynton Marsalis an international ambassador of goodwill for the Unites States by appointing him a UN Messenger of Peace (2001). In 1997 Wynton Marsalis became the first jazz musician ever to win the Pulitzer Prize for Music for his epic oratorio Blood On The Fields. During the five preceding decades the Pulitzer Prize jury refused to recognize jazz musicians and their improvisational music, reserving this distinction for classical composers. In the years following Marsalis’ award, the Pulitzer Prize for Music has been awarded posthumously to Duke Ellington, George Gershwin, Thelonious Monk and John Coltrane. In a personal note to Wynton, Zarin Mehta wrote: “I was not surprised at your winning the Pulitzer Prize for Blood On The Fields. It is a broad, beautifully painted canvas that impresses and inspires. It speaks to us all … I’m sure that, somewhere in the firmament, Buddy Bolden, Louis Armstrong and legions of others are smiling down on you.” Wynton’s creativity has been celebrated throughout the world. He won the Netherlands’ Edison Award and the Grand Prix Du Disque of France. The Mayor of Vitoria, Spain, awarded Wynton with the city’s Gold Medal – its most coveted distinction. Britain’s senior conservatoire, the Royal Academy of Music, granted Mr. Marsalis Honorary Membership, the Academy’s highest decoration for a non-British citizen (1996). The city of Marciac, France, erected a bronze statue in his honor. The French Ministry of Culture appointed Wynton the rank of Knight in the Order of Arts and Literature and in the fall of 2009 Wynton received France’s highest distinction, the insignia Chevalier of the Legion of Honor, an honor that was first awarded by Napoleon Bonaparte. French Ambassador, His Excellency Pierre Vimont, captured the evening best with his introduction: “We are gathered here tonight to express the French government’s recognition of one of the most influential figures in American music, an outstanding artist, in one word: a visionary… I want to stress how important your work has been for both the American and the French. I want to put the emphasis on the main values and concerns that we all share: the importance of education and transmission of culture from one generation to the other, and a true commitment to the profoundly democratic idea that lies in jazz music. I strongly believe that, for you, jazz is more than just a musical form. It is tradition, it is part of American history and culture and life. To you, jazz is the sound of democracy. And from this democratic nature of jazz derives openness, generosity, and universality.” Jazz at Lincoln Center In 1987 Wynton Marsalis co-founded a jazz program at Lincoln Center. In July 1996, due to its significant success, Jazz at Lincoln Center was installed as new constituent of Lincoln Center, equal in stature with the New York Philharmonic, Metropolitan Opera, and New York City Ballet – a historic moment for jazz as an art form and for Lincoln Center as a cultural institution. In October 2004, with the assistance of a dedicated Board and staff, Marsalis opened Frederick P. Rose Hall, the world’s first institution for jazz. The complex contains three state-of-the-art performance spaces (including the first concert hall designed specifically for jazz) along with recording, broadcast, rehearsal and educational facilities. Jazz at Lincoln Center has become a preferred venue for New York jazz fans and a destination for travelers from throughout the world. Wynton presently serves as Managing and Artistic Director for Jazz at Lincoln Center. Under Wynton’s leadership, Jazz at Lincoln Center has developed an international agenda presenting rich and diverse programming that includes concerts, debates, film forums, dances, television and radio broadcasts, and educational activities. Jazz at Lincoln Center is a mecca for learning as well as a hub for performance. Their comprehensive educational programming includes a Band Director’s Academy, a hugely popular concert series for kids called Jazz for Young People, Jazz in the Schools, a Middle School Jazz Academy, WeBop! (for kids ages 8 months to 5 years), an annual High School Jazz Band Competition & Festival that reaches over 2000 bands in 50 states and Canada. In 2010 the Jazz at Lincoln Center Orchestra established its first residency in Cuba with a rich cultural exchange of performances with Cuban musicians including Chucho Valdes and Omara Portuondo and education programs for kids. Education In 2011 Harvard University President Drew Faust invited Wynton to enrich the cultural life of the University community. Wynton responded by creating a 6 lecture series which he delivered over the ensuing 3 years entitled Hidden In Plain View: Meanings in American Music, with the goal of fostering a stronger appreciation for the arts and a higher level of cultural literacy in academia. From 2015 to 2021 Wynton will serve as an A.D. White Professor at Cornell University. A.D. White Professors are charged with the mandate to enliven the intellectual and cultural lives of university students. Giving Back Wynton Marsalis has devoted his life to uplifting populations worldwide with the egalitarian spirit of jazz. And while his body of work is enough to fill two lifetimes, Wynton continues to work tirelessly to contribute even more to our world’s cultural landscape. It has been said that he is an artist for whom greatness is not just possible, but inevitable. The most extraordinary dimension of Wynton Marsalis, however, is not his accomplishments but his character. It is the lesser-known part of this man who finds endless ways to give of himself. It is the person who waited in an empty parking lot for one full hour after a concert in Baltimore, waiting for a single student to return from home with his horn for a trumpet lesson. It is the citizen who personally funds scholarships for students and covers medical expenses for those in need. Immediately following Hurricane Katrina, Wynton organized the Higher Ground Hurricane Relief Concert and raised over $3 million for musicians and cultural organizations impacted by the hurricane. At the same time, he assumed a leadership role on the Bring Back New Orleans Cultural Commission where he was instrumental in shaping a master plan that would revitalize the city’s cultural base. Wynton Marsalis has selflessly donated his time and talent to non-profit organizations throughout the country to raise money to meet the many needs within our society. From My Sister’s Place (a shelter for battered women) to Graham Windham (a shelter for homeless children), the Children’s Defense Fund, Amnesty International, the Sloan Kettering Cancer Institute, Food For All Seasons (a food bank for the elderly and disadvantaged), Very Special Arts (an organization that provides experiences in dance, drama, literature, and music for individuals with physical and mental disabilities) to the Newark Boys Chorus School (a full-time academic music school for disadvantaged youths) and many, many more – Wynton responded enthusiastically to the call for service. It is Wynton Marsalis’ commitment to the improvement of life for all people that portrays the best of his character and humanity. In 2011 Wynton joined with Harvard University President, Drew Faust to present a series of 6 lectures to the student body over 3 years. The series entitles Hidden In Plain View: Hidden Meanings in American Music was developed to foster a stronger appreciation of the arts and a higher level of cultural literacy amount college students.

The English Chamber Orchestra, under its Charitable Trust’s new artistic director Lawrence Power, launches an exciting new season at Kings Place this autumn, featuring Christian Zacharias, Nicolas Altstaedt, Vilde Frang, Mark Padmore and Alison Balsom. kingsplace.co.uk/ECO

Hör musikalisk kreativitet ihop med förmåga till unika associationer, att vara excentrisk, too much, heldeppig, gränsöverskridande eller hyperaktiv? Kort sagt - allt annat än mainstream. Del 2 av 4. Konsertpianisten Nick van Bloss har haft svårartad Tourettes syndrom sedan han var sju år.- Så snart jag satte mig vid pianot försvann mina fåniga och dumma ticks, men när jag slutade spela och lämnade pianot, återvände kriget i min kropp och de okontrollerade rörelserna tog över, berättar han. I sin bok busy body - my life with tourettes syndrome, ungefär rastlös kropp mitt liv med tourettes syndrom, kallar Nick van Bloss sig själv Tourettist och radar upp alla de symptom som han har: han blinkar och rullar med ögonen, han trutar med munnen och blåser ljudligt ut luften, han knycker våldsamt med huvudet framåt och skakar det åt sidorna, han hoppar och sparkar och slår med knytnävarna rakt in i sin egen mage, han knäböjer, slår ihop käkarna om och om igen, tänder och släcker ljuset i sovrummet hundra gånger innan han lägger sig, räknar stegen till och från skolan, spottar in i människors vänstra öga, knyter och knyter upp skosnörena tio gånger, låter alla tio fingrar samtidigt ta tag i okända människors flottiga näsor, kinder, örsnibbar, käkar, nackar, ögonlock, armbågar och knän! Han knyter musklerna i vadorna om och om igen, hyperventilerar, skrattar och uttallar olika läten väldigt högt. Allt detta sker mot hans egen vilja. Tourette har tagit kommandot över Nick van Bloss.Å det grövsta blir han mobbad i skolan. Av både elever och lärare. Hans liv är ett helvete. Och varken han själv eller hans familj vet varför allt detta sker. Men när Nick van Bloss är elva år finner han och föräldrarna ett piano vid vägkanten med en påklistrad, handskriven lapp: Gott hem önskas! - Det blir min allra första kärlek, säger Nick van Bloss. Jag finner frihet, jag drömmer mig bort från mitt olidliga liv. Ljuden jag skapar är vackra, kraftfulla och arga. Det jag inte kan säga i ord säger jag i toner. Från 15 års ålder studerar Nick van Bloss piano vid Royal Music Conservatory i London. Efter stora framgångar med flera priser tappar han dock lusten att fortsätta i karriärkarusellen inom den klassiska musiken. Han är trött på stress och krav från andra som styr hans liv. Han avskyr de obligatoriska tävlingarna, och vägrar ställa upp på de sexuella krav som ofta ställs på musikerna för att bli uttagen att deltaga. Nick van Bloss säljer sin fina flygel och flyttar från London. Han möter sin stora kärlek, en man. Musiken fortsätter dock att spela i hans huvud och han studerar in Bachs Goldbergvariationer helt utan piano. - Det finns stora känslor bakom Bachs välordnade musik. Bachs musikaliska kontroll hindrar även mig att brista ut i Bach som skulle kunna ske om jag överrumplas av mina olika ticks, förklarar Nick van Bloss. Och det känns så bra! Jag är bättre än jag kunnat drömma om. Jag känner att livet var värt att leva. Tankar kring tidigare tillkortakommanden, min dåliga självkänsla och mina tvivel försvinner. 2007 gör BBC Horizon en dokumentär Mad but Glad om Tourettes syndrom där han medverkar. Efter 15 års frånvaro gör Nick van Bloss i april 2009 comeback då han spelar en konsert av Bach och Beethovens Kejsarkonsert med English Chamber Orchestra i Cadogan Hall i London. En triumf utropar recensenterna! Nick van Bloss turnerar sedan dess internationellt och har spelat in skivor med musik av Bach, Chopin och snart med Mozart. Musikproducent Michael Haas anser att Nick van Bloss i polyfon musik, såsom Bachs musik, erbjuder en övermänsklig presicion och individualitet utan att förlora överblicken. Nick van Bloss känner stark gemenskap främst med Mozart och Chopin, två tonsättare som han anser ofta blir missförstådda. - De var komplicerade själar, som led, älskade, kände ångest, vrede, elände   och plågades av pengabrist och åkommor. Båda dog unga. Så visst känner jag en samhörighet med dem, förklarar Nick van Bloss. - Det skrämmande med Mozarts musik är att du tror att det blir en lätt match att spela den, men när du prövar märker du att lättheten är bedräglig. Under några minuter flyter allt fint och så bopp, händer något. Hans musik är som en gupp-väg kantad av blommor. Vilken blomma skall du närskåda, vilket gupp skall du undvika? Så Nick van Bloss gör fingrarna så mjuka och smidiga som möjligt så att de får en mänsklig röst med andning och flöde. Mozart behöver det, han kräver det, förklarar Nick van Bloss. Finns det någon situation i livet som gör att dina kroppsliga rörelser och ticks försvinner, undrar jag? - Nej, säger Nick van Bloss, som försökt allt. Jag är alltid spänd, och min kropp rör sig ständigt! Det är mitt normala jag. - Hur är det i kärlek och under erotiska upplevelser, försöker jag? - Nej. Alla mänskliga sinnesrörelser och känslor existerar sida vid sida med min kropp som ständigt rör sig. Det förändras aldrig! Jag vet att det enda som hjälper är att spela piano. Så min stackars kropp får aldrig vila, förklarar konsertpianisten Nick van Bloss. Manus och produktion, Birgitta Tollan.Musiklista:Fire And ImprovisationJonason, Emil,Jonason, EmilREHABAmy Winehouse,Amy WinehouseAmy WinehouseISLAND RECORDS 00407, 171 782 3Cp SkräckMbuyamba MbuyambaMad OddsPrelude In B-Flat Minor, Op. 28 No 16Chopin,Nick Van BlossNimbus Records, NI6215Keyboard Concerto In D, Bwv - 3. AllegroJohann Sebastian Bach,Nick Van Bloss, English Chamber OrchestraNimbus Records, NI6141 Goldberg Variations 'Aria Mit Verschiedenen Veränderungen' BWV 988_ AriaJ S Bach,Nick Van BlossNimbus Records, NI6136 Minor, BWV 1056 - 3.PrestoNick Van Bloss, English Chamber OrchestraNimbus Records, NI6141 Goldberg Variations 'Aria Mit Verschiedenen Veränderungen' BWV988/ Variation 1J S Bach,Nick Van BlossNimbus Records, NI6136 Goldberg Variations 'Aria Mit Verschiedenen Veränderungen' BWV988/ Variation 1J S Bach,Nick Van BlossNimbus Records, NI6136Goldberg Variations 'Aria Mit Verschiedenen Veränderungen' BWV988/ Variation 1J S Bach,Nick Van BlossNimbus Records, NI6136 Fire And ImprovisationJonason Emil,Jonason EmilSonata No 12 In F Major, K. 332 Ii. AdagioW A Mozart,Nick Van BlossKONSERT FOR PIANO & ORKESTER NR 18 B-DUR KV 456Wolfgang Amadeus Mozart,Martha Argerich/ EugenJ ochum / Bayerska Radions Symfoniorkester(München)BR KLASSIK 31999, 90070109KONSERT FOR PIANO & ORKESTER NR 26 D-DUR KV 537Wolfgang Amadeus Mozart,Friedrich Gulda/ NikolausHarnoncourt / Concertgebouw Orkest. (Amsterdam)TELDEC 03706, 8.42970KONSERT FOR PIANO & ORKESTER NR 20 D-MOLL KV 466Wolfgang Amadeus Mozart,Mitsuko Uchida / JeffreyTate / English Chamber Orchestra (London)PHILIP S00305, 416 381-2KONSERT FOR PIANO & ORKESTER NR 2 B-DUR KV 39Wolfgang Amadeus Mozart,Murray Perahia / English Chamber Orchestra (London)SONY CLASSICAL 15676, 82876872302Sonata No 12 In F Major K. 332 Ii. AdagioW A Mozart,Nick Van Bloss4th (Final) Movement Of Sonata No 3 In B Minor Presto AgitatoChopin,Nick Van BlossNimbus Records, NI62154th (Final) Movement Of Sonata No 3 In B Minor Presto AgitatoChopin,Nick Van BlossNimbus Records, NI621516 Prelude In B-Flat Minor Op. 28 No 16Chopin,Nick Van BlossNimbus Records, NI6215

  PART 1: LATE TO THE PARTY Andres Segovia. Even the mention of his name elicits tones of hushed reverence in certain circles. But in the 70’s, there was a backlash against the style of playing that Segovia popularized. I began my guitar studies at a time when the guitar world was reassessing Segovia’s legacy. As a result, I was a latecomer to recognizing the genius of Andres Segovia.   Recordings: David Russell, Capriccio Arabe by Fransisco Tárrega from Reflections of Spain “Ding Dong the Witch is Dead” from The Wizard of Oz Oscar Ghiglia, “Allegro Moderato” from Sonata III by Manuel Ponce from Ponce Guitar Collection Volume 3 Theme Music: Matthew Cochran, “Cicadas at the Equinox” from Vapor Trail from a Paper Plane   Commercial Break: Season Sponsor, Strings By Mail Music Bed: Pat Metheny, “Fast” from Electric Counterpoint by Steve Reich   PART 2: SEGOVIA ON RECORD Approaching Segovia’s recordings requires that you set aside a few modern expectations. We’re used to hearing music that’s been created in pristine conditions—soundproof booths, advanced microphone technology, digital editing software, etc. Segovia came along at a time when recorded music was just getting started. On his 1920’s recordings, you’re hearing the guy through a ribbon microphone with no processing, no reverb, very few edits, if any at all. What you’re hearing is just him. It’s basically a live performance captured on the best sound equipment available at the time.   Recordings: Andrés Segovia, Recuerdos de la Alhambra by Francisco Tàrrega from The Art of Segovia Andrés Segovia, “Allegro Con Spirito” from Guitar Sonata Op 77, “Omaggio a Boccherini” by Mario Castelnuovo-Tedesco from The Art of Andres Segovia Vol. 5 Andrés Segovia, “Canción” from Suite Compostelana by Frederic Mompou, from The Segovia Collection Andrés Segovia, Sevillana by Joaquín Turina from The Art of Segovia Lionel Loueke, “Ami-O” from Mwaliko   PART 3: A GUITARIST WITH A MISSION STATEMENT…THAT’S RIGHT, A MISSION STATEMENT Nicholas Goluses talks about Segovia’s vision for the guitar. Nick is Professor of Guitar at the Eastman School of Music. He’s been there for over 20 years now and in that time has racked up enough awards and honors to fill up his own garage and maybe yours and mine as well. Oh, and he’s a total badass guitar player.   Recordings: Nicholas Goluses, Variations and Fugue on La Folia d’España by Manuel Ponce from From Afar John Williams, “Allegro Preciso” from Concerto for Guitar & Small Orchestra by Heitor Villa-Lobos. English Chamber Orchestra conducted by Daniel Barenboim.   Commercial Break: Peghead Nation Music bed: Punch Brothers, “Flippen” from Who’s Feeling Young Now?   PART 4: GRAN TORINO, OR GET YOUR FILTHY HANDS OFF MY FINGERINGS Segovia had a hands-on approach when it came to commissioning pieces from composers. We talk about Segovia’s fruitful and affectionate relationship with the Mexican composer Manuel Ponce, and the collaboration between the two.   For die-hard enthusiasts and aspiring professional classical guitarists, THE way to learn Segovia’s approach was to play for him in a masterclass. But that could get a bit dicey. The old guy could be cantankerous, especially if you didn’t cotton to his ideas. There’s a certain poignancy to all of this that, a lot of times, gets missed in the conversation. Yeah, Segovia was a bully. And, yeah, he had a tendency to be snobbish and dictatorial about his approach to the guitar. But you know, through his efforts to popularize the guitar as a respected concert instrument, he created a necessary reaction against his own vision of beauty. We hear from David Foster Wallace’s 2005 commencement address titled “This is Water”, and ask some fundamental questions about the responsibility inherent in artistic life to think independently.    But thankfully, some of those people who cultivated their own vision of beauty continue to draw from Segovia’s enormous well. Nicholas Goluses has the last word about how his approach to the guitar has changed over the years, and how that approach is at least partially influenced by Segovia.   Recordings: Andrés Segovia, “Allegro Moderato” from Sonata Romantica by Manuel Ponce, from Andrés Segovia, Dedication Andrés Segovia, “Gavotte en Rondeau” from Violin Partita in E Major, BWV 1006 by Johann Sebastian Bach, from The Art of Andrés Segovia David Foster Wallace, “This is Water” Andrés Segovia, “Asturias” from Suite Española No 1, Op 47 from The American Decca Recordings   Videos referenced: https://www.youtube.com/watch?v=DJrEl4Nsmsg https://www.youtube.com/watch?v=PWA0HEOFHpo https://www.youtube.com/watch?v=x2xh0YW1R4o https://www.youtube.com/watch?v=CNjNXuGQaAE https://www.youtube.com/watch?v=fVV10Higj9E https://www.youtube.com/watch?v=wiAbqfaYGwk https://www.youtube.com/watch?v=7aINpJzg5Bs https://www.youtube.com/watch?v=1GY3i8EqYPA https://www.youtube.com/watch?v=3OFXIG_3P40 https://www.youtube.com/watch?v=1nXJ744velc https://www.youtube.com/watch?v=s-69wdduiOE https://www.youtube.com/watch?v=4_neeq6ObEM&spfreload=1 https://www.youtube.com/watch?v=XZDA1crTi9A https://www.youtube.com/watch?v=QxWCYLLZRNw  

Anne Akiko Meyers plays a centuries-old Guarneri del Gesu violin once used by Itzhak Perlman, Henri Vieuxtemps and Yehudi Menuhin, but it doesn’t reveal its beauty easily. "It definitely doesn’t play itself,” Meyers said. “When you have such a powerful instrument you want to dig in deeper and soak in the juice. But with this instrument, almost less is more. It’s counterintuitive. “You have to really finesse it in a certain way,” she added, noting how she is learning how to find the sweet spots and bring them out. The 1741 Guarneri, known as the Vieuxtemps, was sold in 2012 for what was reported to be more than $16 million and its anonymous owner has loaned it to Meyers for life. She recently put the instrument to the test with a recording of Vivaldi’s Four Seasons with the English Chamber Orchestra. Days after the album's release she brought the instrument to the WQXR Café to offer repertoire in a somewhat more unusual vein. The internationally known Meyers, who is performing this spring with the Chicago Symphony and Orpheus Chamber Orchestra, demonstrated its lyrical qualities with an arrangement of Charlie Chaplin’s “Smile.” One of the salient features of the Vieuxtemps is its enormous, rich sound, which Meyers attributes to its excellent state of preservation. “It doesn’t have one crack on it and it doesn’t even have the normal sound post patch, which almost every violin has,” Meyers explained. “And it’s a muse for so many violin makers and violinists because nobody knows why it’s in such pristine condition. And this condition has helped the sound of the violin just soar.” For one thing, the wood inside the violin was thicker, owing to the fact that previous owners did not alter it in a (misguided) attempt to draw out a deeper sound. Meyers added that the instrument had been mostly sitting under a bed for the past 50 years and as a result, “Even now, it’s still growing.” A Japanese folk tune arrangement revealed its tone in more virtuosic passagework. Certainly, there has been ongoing debate over the relative merits of old and modern violins, and whether Guarneri and Stradivarius models are really better than the new ones. Blind tests have even suggested that experts couldn’t tell the difference between the two. Meyers notes, however, that contemporary makers still look to the centuries-old instruments for inspiration and guidance. “There was one Monet, there was one Picasso, there was one Guarneri del Gesu," she said. "We try to emulate these incredible makers but they were artists that were transcendent. It’s so important to cherish these instruments as much as we can.” Below: Meyers introduces and performs the "Star-Spangled Banner." Video: Amy Pearl; Sound: Norko Okabe; Text & Production: Brian Wise; Interview: Jeff Spurgeon

With John Wilson. Anita Lasker-Wallfisch survived Auschwitz by playing the cello in the Auschwitz Women's Orchestra. After the war she joined the English Chamber Orchestra and her son is the renowned cellist Raphael Wallfisch. On Sunday they both take part in a concert in Vienna marking the 75th anniversary of Kristallnacht. Anita Lasker-Wallfisch's reflects on her time in the prison camp, described in her memoir Inherit the Truth, which is republished this week. Gary Barlow discusses why it has taken him 14 years to produce a new solo record, how it felt to be dropped from his record label after Take That split, and what he thinks of criticism of The X Factor. A new British Library exhibition, Georgians Revealed: Life, Style and the Making of Modern Britain makes the case that the Georgians were the architects of modern Britain, introducing many of the interests and pursuits that endure today. Historian Amanda Vickery reviews. Producer Ellie Bury.

Konsertpianisten Nick van Bloss har haft svårartad Tourettes syndrom sedan han var sju år - Så snart jag satte mig vid pianot försvann mina fåniga och dumma ticks, men när jag slutade spela och lämnade pianot, återvände kriget i min kropp och de okontrollerade rörelserna tog över, berättar han. I sin bok ”busy body - my life with tourette’s syndrome”, ungefär ”upptagen kropp – mitt liv med tourettes syndrom”, kallar Nick van Bloss sig själv Tourettist och radar upp alla de symptom som han har: han blinkar och rullar med ögonen, han trutar med munnen och blåser ljudligt ut luften, han knycker våldsamt med huvudet framåt och skakar det åt sidorna, han hoppar och sparkar och slår med knytnävarna rakt in i sin egen mage, han knäböjer, slår ihop käkarna om och om igen, tänder och släcker ljuset i sovrummet hundra gånger innan han lägger sig, räknar stegen till och från skolan, spottar in i människors vänstra öga, knyter och knyter upp skosnörena tio gånger, låter alla tio fingrar samtidigt ta tag i okända människors flottiga näsor, kinder, örsnibbar, käkar, nackar, ögonlock, armbågar och knän! Han knyter musklerna i vadorna om och om igen, hyperventilerar, skrattar och uttallar olika läten väldigt högt. Allt detta sker mot hans egen vilja. Tourette har tagit kommandot över Nick van Bloss. Å det grövsta blir han mobbad i skolan. Av både elever och lärare. Hans liv är ett helvete. Och varken han själv eller hans familj vet varför allt detta sker. Men när Nick van Bloss är elva år finner han och föräldrarna ett piano vid vägkanten med en påklistrad, handskriven lapp: Gott hem önskas!  - Det blir min allra första kärlek, säger Nick van Bloss. Jag finner frihet, jag drömmer mig bort från mitt olidliga liv. Ljuden jag skapar är vackra, kraftfulla och arga. Det jag inte kan säga i ord säger jag i toner.  Från 15 års ålder studerar Nick van Bloss piano vid Royal Music Conservatory i London. Efter stora framgångar med flera priser tappar han dock lusten att fortsätta i karriärkarusellen inom den klassiska musiken. Han är trött på stress och krav från andra som styr hans liv. Han avskyr de obligatoriska tävlingarna, och vägrar ställa upp på de sexuella krav som ofta ställs på musikerna för att bli uttagen att deltaga. Nick van Bloss säljer sin fina flygel och flyttar från London. Han möter sin stora kärlek, en man. Musiken fortsätter dock att spela i hans huvud och han studerar in Bachs Goldbergvariationer helt utan piano. - Det finns stora känslor bakom Bachs välordnade musik. Bachs musikaliska kontroll hindrar även mig att ”brista ut i Bach” som skulle kunna ske om jag överrumplas av mina olika ticks, förklarar Nick van Bloss. Och det känns så bra! Jag är bättre än jag kunnat drömma om. Jag känner att livet var värt att leva. Tankar kring tidigare tillkortakommanden, min dåliga självkänsla och mina tvivel försvinner. 2007 gör BBC Horizon en dokumentär ”Mad but Glad” om Tourettes syndrom där han medverkar. Efter 15 års frånvaro gör Nick van Bloss i april 2009 comeback då han spelar en konsert av Bach och Beethovens Kejsarkonsert med English Chamber Orchestra i Cadogan Hall i London. ”En triumf” utropar recensenterna! Nick van Bloss turnerar sedan dess internationellt och har spelat in skivor med musik av Bach, Chopin och snart med Mozart. Musikproducent Michael Haas anser att ”Nick van Bloss i polyfon musik, såsom Bachs musik, erbjuder en övermänsklig presicion och individualitet utan att förlora överblicken”. Nick van Bloss känner stark gemenskap främst med Mozart och Chopin, två tonsättare som han anser ofta blir missförstådda. - De var komplicerade själar, som led, älskade, kände ångest, vrede, elände   och plågades av pengabrist och åkommor. Båda dog unga. Så visst känner jag en samhörighet med dem, förklarar Nick van Bloss. - Det skrämmande med Mozarts musik är att du tror att det blir en lätt match att spela den, men när du prövar märker du att lättheten är bedräglig. Under några minuter flyter allt fint och så bopp, händer något. Hans musik är som en gupp-väg kantad av blommor. Vilken blomma skall du närskåda, vilket gupp skall du undvika? Så Nick van Bloss gör fingrarna så mjuka och smidiga som möjligt så att de får en mänsklig röst med andning och flöde. Mozart behöver det, han kräver det, förklarar Nick van Bloss. Finns det någon situation i livet som gör att dina kroppsliga rörelser och ticks försvinner, undrar jag? - Nej, säger Nick van Bloss, som försökt allt. Jag är alltid spänd, och min kropp rör sig ständigt! Det är mitt normala jag. - Hur är det i kärlek och under erotiska upplevelser, försöker jag? - Nej. Alla mänskliga sinnesrörelser och känslor existerar sida vid sida med min kropp som ständigt rör sig. Det förändras aldrig! Jag vet att det enda som hjälper är att spela piano. Så min stackars kropp får aldrig vila, förklarar konsertpianisten Nick van Bloss. Manus och produktion, Birgitta Tollan.

Our series on the Mystic Minimalists continues with John Tavener, whose encounters with Eastern thought changed him into one of the most spiritually-connected composers to ever write music. Hosted by Seth Boustead Produced by Jesse McQuarters The Protecting Veil (excerpt), LSO/Rozhdestvensky; Isserlis, vc. The Whale, I, London Sinfonietta/Tavener Little Requiem for Father Malachy Lynch (excerpt) English Chamber Orchestra & Westminster Abbey Choir/Martin Neary Akethist of Thanksgiving (excerpt) BBC Symphony Orchestra, Westminster Abbey Choir & BBC Singers/Martin Neary The Dormition fr. The Protecting Veil, LSO/Rozhdestvensky; Isserlis, vc. Pushkin & Lermontov & Smert fr. Akhmatova Songs Patricia Rozario & the Vanbrugh Quartet Song for Athene, English Chamber Orchestra & Westminster Abbey Choir/Neary Prayer of the Heart, Björk & the Brodsky String Quartet

„Ich bin jeden Tag sehr früh aufgestanden“ – Anne-Sophie Mutter erinnert sich an die Vorbereitung zur Uraufführung des2. Violinkonzertes von Krzysztof Penderecki.Der „Süddeutschen Zeitung“ vom 24. Mai 1995 sagte sie in einem Interview: „Es ist ein sehr schwieriges Stück. Es ist alles drin, was sich ein Geiger wünscht und was er sich nicht wünscht … Es ist mein erster Penderecki, für mich also eine völlig neue Sprache sozusagen.“ Gemeint hatte Anne-Sophie Mutter das 2. Violinkonzert des polnischen Altmeisters Krzysztof Penderecki, das der Komponist für sie geschrieben hat. Die Violinistin stand damals schon auf dem Podest einer internationalen Karriere. Anne-Sophie Mutter wurde am 29. Juni 1963 in Rheinfelden geboren. Den Musikunterricht bekam sie schon sehr früh – im Alter von fünf Jahren kam zunächst das Klavier, einige Zeit später dann der Umstieg zur Violine. Diese Entscheidung sollte sich später als völlig richtig erweisen, denn bereits mit sechs Jahren gewann sie beim Bundeswettbewerb "Jugend musiziert" den „ersten Preis mit besonderer Auszeichnung.“ Der Grundstein für die weitere Karriere war gelegt. Nach einer umfassenden Musikausbildung kam nun das entscheidende Datum: am 11. Dezember 1976 spielte sie bei Herbert von Karajan vor – der weltberühmte Dirigent lud darauf die erst dreizehnjährige Violinistin als Solistin zu den Salzburger Festspielen 1977 ein. Der internationale Durchbruch war geschafft. Noch im selben Jahr spielte sie mit dem English Chamber Orchestra und bereits 1980 gab sie ihr Debüt in den USA. Konzertauftritte in aller Welt in den berühmtesten Häusern und immer wieder neue Schalplattenaufnahmen festigten ihren Ruf eines Weltstars. Unzählig sind auch die Preise und Auszeichnungen, mit denen sie geehrt wurde. Sicherlich nicht wenige Ehrungen sind auch dem Komponisten zuteil geworden, von dem Anne-Sophie Mutter in dem zitierten Interview sprach. Denn: Krzysztof Penderecki war im Jahr 1977 - dem Jahr des internationalen Debüts von Mutter – bereits ein Weltstar unter den Komponisten. Er wurde am 23. November 1933 in Debica bei Krakau geboren. Seiner frühen Musikerziehung und schließlich 1951 einem Studium am Krakauer Konservatorium – wobei er zugleich Philosophie, Kunst- und Literaturgeschichte an der Jagellonen-Universität studierte - schloss sich noch ein Kompostionsstudium an der Krakauer Staatsakademie für Musik an, das er 1958 mit dem Staatsexamen beendete. Von da an ist sein Aufstieg in die Reihen der führenden Komponisten unserer Zeit unaufhaltsam geworden. Das Jahr 1960 markiert den internationalen Durchbruch Pendereckis – die Uraufführung von "Anaklasis" für 42 Streichinstrumente bei den Donaueschinger Musiktagen. In den Folgejahren entwickelte er eine große Affinität zu Deutschland. Auftragswerke, Professuren und unzählige Ehrentitel (unter anderem ist er Träger des Großen Verdienstkreuzes des Verdienstordens der Bundesrepublik Deutschland) säumen bis heute seinen musikalischen Weg. Im März 2006 wurde ihm die Ehrendoktorwürde der Westfälischen Wilhelms-Universität in Münster verliehen. Im September 1995 traf DW-Redakteur Dieter Glave Anne-Sophie Mutter und Krzysztof Penderecki in Leipzig und sprach mit den Künstlern über das 2. Violinkonzertes vor seiner Uraufführung im Leipziger Gewandhaus.

The castaway in Desert Island Discs this week is the cellist Anita Lasker-Wallfisch. One of the most distinguished members of the English Chamber Orchestra, she has toured all over the world with them.However, as she will be telling Sue Lawley, up until the early 1980s, she always refused to visit one country - Germany. For it was from there that her Jewish parents were taken away by the Gestapo, never to be seen again. From the age of 18, she herself was taken away to Auschwitz. There, because she was able to play the cello, she survived, and played in the camp's orchestra. However, when she was later moved to Belsen, she nearly didn't. She'll be talking about playing in the orchestra at Auschwitz, about the importance of music in sustaining life both then and now, and about her feelings towards Germany and the Germans more than 50 years after the events of her early life.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Piano Sonata Opus 111 by Ludwig van Beethoven Book: The History of the World by J M Roberts Luxury: Cello

The castaway in Desert Island Discs this week is the cellist Anita Lasker-Wallfisch. One of the most distinguished members of the English Chamber Orchestra, she has toured all over the world with them. However, as she will be telling Sue Lawley, up until the early 1980s, she always refused to visit one country - Germany. For it was from there that her Jewish parents were taken away by the Gestapo, never to be seen again. From the age of 18, she herself was taken away to Auschwitz. There, because she was able to play the cello, she survived, and played in the camp's orchestra. However, when she was later moved to Belsen, she nearly didn't. She'll be talking about playing in the orchestra at Auschwitz, about the importance of music in sustaining life both then and now, and about her feelings towards Germany and the Germans more than 50 years after the events of her early life. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Piano Sonata Opus 111 by Ludwig van Beethoven Book: The History of the World by J M Roberts Luxury: Cello

The castaway in this week's Desert Island Discs is Jeffrey Tate, principal conductor of the English Chamber Orchestra and the Royal Opera House, and chief guest conductor of the Geneva Opera. Until the age of 27, his chosen profession was medicine, but once a fully-qualified doctor, he switched his career to become one of the most sought-after conductors of his time - both in Britain and abroad. This is an achievement impressive enough in itself, but doubly so given that since childhood he has suffered from a condition which has resulted in curvature of the spine and a paralysed left leg, which means that, for the most part, he conducts sitting on a high stool.[Taken from the original programme material for this archive edition of Desert Island Discs] Sue Lawley will be talking to Jeffrey Tate about his transition from medicine to a stunning musical career and the problems he has overcome to achieve such extraordinary success.Favourite track: I'll Be Seeing You by Billie Holiday Book: The collected works by Jane Austen Luxury: Nativity painting from the National Gallery

The castaway in this week's Desert Island Discs is Jeffrey Tate, principal conductor of the English Chamber Orchestra and the Royal Opera House, and chief guest conductor of the Geneva Opera. Until the age of 27, his chosen profession was medicine, but once a fully-qualified doctor, he switched his career to become one of the most sought-after conductors of his time - both in Britain and abroad. This is an achievement impressive enough in itself, but doubly so given that since childhood he has suffered from a condition which has resulted in curvature of the spine and a paralysed left leg, which means that, for the most part, he conducts sitting on a high stool. [Taken from the original programme material for this archive edition of Desert Island Discs] Sue Lawley will be talking to Jeffrey Tate about his transition from medicine to a stunning musical career and the problems he has overcome to achieve such extraordinary success. Favourite track: I'll Be Seeing You by Billie Holiday Book: The collected works by Jane Austen Luxury: Nativity painting from the National Gallery