Podcast appearances and mentions of erich kunzel

SynopsisJohann Strauss the Elder, patriarch of the famous waltz dynasty, was born in Vienna on this day in 1804. His music became immensely popular across Europe, and he dreamed of — but never realized — a tour of America.At the height of his fame, Strauss visited Britain, providing music for the state ball on the occasion of Queen Victoria's accession to the throne. His waltz Homage to the Queen of England, quotes Rule, Britannia at its start and God Save the Queen — in waltz tempo, of course — for its finale. The Times reported that in this case, Victoria was amused, as were her subjects. In the spring and summer of 1838, the Strauss orchestra gave 79 performances in London alone.Unfortunately, back home, Strauss was something of a cad. He abandoned his wife and his three talented musical children, Josef, Eduard and Johann Jr. for a mistress with whom he started a new family. He died at 45 of scarlet fever, contracted from one of his illegitimate children.Strauss wrote about 300 works, the most famous being his Radetzky March, the obligatory clap-along selection on every Vienna Philharmonic New Year's Day Concert.Music Played in Today's ProgramJohann Strauss Jr. (1827-1870): ‘Radetzky March'; Cincinnati Pops Orchestra; Erich Kunzel, cond. Vox 5132

För 100 år sedan den 12 februari 1924 är det konsert på Aeolian Hall på 43:e gatan i New York. Ett nytt kapitel i musikhistorien, säger en besökare om Rhapsody in Blue. Lyssna på alla avsnitt i Sveriges Radio Play. På konserten är det knökfullt och på plats finns musikaliska mästare som Rachmaninoff, Kreisler, Stokowski, Heifetz - vissa tycker sig se Stravinskij i publiken.Konserten heter An experiment in Modern Music. Det är en lång och omfattande konsert - och efter 33 nummer, när alla är som tröttast, med en ventilation som är trasig och musik som låtit rätt enahanda, sätter sig den 26-årige sångskrivaren och musikalkompositören George Gershwin vid pianot. Han ska spela det näst sista stycket på programmet. Bandledaren Paul Whiteman höjer taktpinnen - Palais Royale Orchestra är beredda. Rhapsody in Blue hörs för första gången.Den här dagen, för runt ett sekel sedan, klev jazzen definitivt in på den klassiska musikens område. Eller om det var tvärtom...För oss, nu, känns jazzharmonier i klassisk musik naturliga. Men då var det annorlunda vilket man faktiskt kan höra när Rhapsody in Blue drygt tio år senare arrangerades om för en symfoniorkester. Om vi lyssnar på en av de inspelningar som genom åren varit den mest spelade, där Erich Kunzel leder Cincinnatis symfoniorkester, hör vi att allt blivit rakare, stramare och inte så många glidningar i tempo och frasering.Men då Gershwin och Whiteman själv framför Rhapsody in Blue hör vi redan under den här första minuten hur det drygt två-oktavsstora glissandot, tar ut svängarna mer, hur klarinetten nästan skrattar åt sig själv och sitt läte, hur rytmen helt enkelt har flera och kraftiga jazziga betoningar. Accenterna är tydligare.Rhapsody in Blue blev en succé direkt. Under de tre första åren mellan 1924 och 1927 hade Whitemans band spelat den 84 gånger och sålt en miljon plattor.Gershwin själv talade mycket om just Amerikas själ, men många gånger nämner man Rhapsody in Blue som ett porträtt av New York.Konsertrubriken då, den 12 februari 1924, var "Ett experiment inom modern musik". Nu är experimentet en klassiker.Musiken i inslaget är främst från de två inspelningarna gjorda 1924 och 1927 plus den med Erich Kunzel och Cincinnatis symfoniorkester.

SynopsisThe life story of George Gershwin usually runs something like this: an incredible string of successes cut short by Gershwin's tragically early death. But on today's date in 1922, Gershwin suffered one of his rare flops when his one-act opera Blue Monday opened and closed on the same day.For five years, beginning in 1920, Gershwin had provided the music for an annual Broadway review entitled The George White Scandals. The impresario Mr. White provided the money and the leggy showgirls, Mr. Gershwin the catchy tunes and light-hearted dances. But in 1922, Gershwin was eager to try something different: a modern, jazz-age version of an Italian verismo opera. The plot was simple: he does her wrong, and then she shoots him. The reviews were devastatingly bad—one critic suggesting the soprano with the pistol should have shot the rest of the cast before anyone had a chance to sing.And so Mr. White pulled Blue Monday from his revue before it could have a second performance. A concert revival by the Paul Whiteman band at Carnegie Hall in 1925, and a 1953 CBS-TV production didn't fare all that much better. Even today Blue Monday is rarely staged.Music Played in Today's ProgramGeorge Gershwin (1898 – 1937) Blue Monday Cincinnati Pops; Erich Kunzel, conductor. Telarc 80434

Synopsis On today's date in 1965, the New York Philharmonic gave the premiere performance of an orchestral work by Duke Ellington, titled “The Golden Broom and the Golden Apples,” with the composer conducting. On the same program, Lukas Foss conducted the very belated, posthumous premiere of “From the Steeples and the Mountains,” by the Pulitzer Prize-winning American composer Charles Ives. In 1965, Duke Ellington, too, had been nominated for the Pulitzer, but didn't get it. The Pulitzer jury did, however, recommend that Ellington receive a Special Citation in honor of “the vitality and originality of his total productivity.” That recommendation was rejected, and when word leaked out, a scandal ensued. The 66-year old Ellington remained unflappable, and said, with just a tiny hint of irony, “Fate doesn't want me to be too famous too young.” “I work and I write,” said Ellington. “My reward is hearing what I've done. I'm hardly surprised that my kind of music is still without official honor at home. Most Americans will take it for granted that European music – classical music, if you will – is the only really respectable kind. Jazz is like the kind of man you wouldn't want your daughter to associate with.” In 1999, the Pulitzer Committee made amends, and Ellington was awarded a Special Citation – belatedly and posthumously – to commemorate the centennial year of his birth. Music Played in Today's Program Edward Kennedy ("Duke") Ellington (1899-1974) – The Golden Broom and the Green Apple (Duke Ellington, piano; Cincinnati Symphony; Erich Kunzel, cond.) MCA 42318

Synopsis In 1917, on the day the United States declared war in Germany, the American song-writer and former vaudeville showman George M. Cohan composed a song titled “Over There,” based on the first three notes of a military bugle-call. On today's date the following year, the great Italian tenor Enrico Caruso performed Cohan's song for an audience of 10,000 at an open-air concert in Ocean Grove, N.J. Musical America reported (quote): “It was a great opportunity for the rocking-chair brigade, which had never in its whole life witnessed such an outpouring of humans. And the automobiles! The Ocean Grove police department had BOTH its hands busy directing the traffic, extricating Fords from Rolls-Royces and preventing them from parking on the pathways.” Caruso's 1918 rendition of “Over There,” despite his heavily Italian-accented English, was the smash hit. “The audience got up on its 20,000 feet and yelled with delight,” reported Musical America, which also noted that Cohan had completed a brand new patriotic song addressed to the troops overseas, ending with the lines, “When you come back, and you will come back, There's a whole world waiting for you.” In 1936, President Franklin Delano Roosevelt presented Cohan with the Congressional Gold Medal for his contributions to World War I morale, in particular for his songs "You're a Grand Old Flag” and "Over There." Music Played in Today's Program George M. Cohan (1878-1942) (arr. Bennett) – Over There (Cincinnati Pops; Erich Kunzel, cond.) Telarc 80175 George M. Cohan (1878-1942) – Over There (Enrico Caruso, tenor) (recorded July 11, 1918) RCA/BMG 60495

El 4 de Abril, Elmer Bernstein cumpliría 100 años, músico y compositor de grandes bandas sonoras. Bernstein de sólida formación clásica, supo fusionarla con el jazz y aportar un estilo personal único, influenciado por sus admirados Aaron Copland, Jerome Moross y Alex North, de los que fue también discípulo. Su labor, fue siempre valorada y con esfuerzo y una carrera dilatada supo ganarse un nombre entre los grandes. Su trayectoria tuvo gran impacto entre los años 50 y especialmente los 60, donde logro quizás sus mejores trabajos. A continuación escucharemos el tema central de la banda sonora de la película Los Siete Magníficos (1960), de manos de la Cincinnati Pops Orchestra dirigida por Erich Kunzel. Dicho tema, aunque muchos lo relacionen con la melodía de un famoso comercial, convirtió a Bernstein en uno de los compositores más habituales del western.

William Tritt, piano with Erich Kunzel and the Cincinnati Pops Orchestra.

Corey Dundee, who is now a member of the award winning Kenari Quartet, appeared on From the Top as a teenager. Here his teen performance of Russell Peck's "The Upward Stream" with the Cincinnati Pops under the direction of Erich Kunzel

In today's episode of THE FLAGSHIP SHOW on the CINEMATIC SOUND RADIO PODCAST, we celebrate the Halloween season once again by highlighting horror score re-recordings including selections from THE NIGHTMARE BEFORE CHRISTMAS (Elfman), BRAM STOKER'S DRACULA (Kilar), CREATURE FROM THE BLACK LAGOON (Mancini), HOUSE OF FRANKENSTEIN (Salter), ED WOOD (Shore), WORLD WAR Z (Beltrami) and many more. Featured artists include Erich Kunzel, Dirk Brosse, Antoni Wit, John Morgan, William T. Stromberg, Joel McNeely, Lynda Kavina, and Nic Raine. Featured performing groups include The Cincinnati Pops, The London Philharmonic, The Polish National Radio Symphony, Cracow Philharmonic Chorus, The Mancini Pops, The Moscow Symphony Orchestra, The Brussels Philharmonic and The City of Prague Philharmonic. Enjoy! Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Mindtrickzz, Joe Wiles, Rich Alves, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Douglas Lacey, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Kadya, Elizabeth & Claytemple Media. —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Det är den 12 februari 1924 och det är konsert på Aeolian Hall på 43:e gatan i New York. Ett nytt kapitel i musikhistorien, säger en besökare efteråt. Rhapsody in Blue hörs för första gången. På konserten är det knökfullt och på plats finns musikaliska mästare som Rachmaninoff, Kreisler, Stokowski, Heifetz - vissa tycker sig se Stravinskij i publiken.Konserten heter An experiment in Modern Music. Det är en lång och omfattande konsert - och efter 33 nummer, när alla är som tröttast, med en ventilation som är trasig och musik som låtit rätt enahanda, sätter sig den 26-årige sångskrivaren och musikalkompositören George Gershwin vid pianot. Han ska spela det näst sista stycket på programmet. Bandledaren Paul Whiteman höjer taktpinnen - Palais Royale Orchestra är beredda. Rhapsody in Blue hörs för första gången.Den här dagen, för runt ett sekel sedan, klev jazzen definitivt in på den klassiska musikens område. Eller om det var tvärtom...För oss, nu, känns jazzharmonier i klassisk musik naturliga. Men då var det annorlunda vilket man faktiskt kan höra när Rhapsody in Blue drygt tio år senare arrangerades om för en symfoniorkester. Om vi lyssnar på en av de inspelningar som genom åren varit den mest spelade, där Erich Kunzel leder Cincinnatis symfoniorkester, hör vi att allt blivit rakare, stramare och inte så många glidningar i tempo och frasering.Men då Gershwin och Whiteman själv framför Rhapsody in Blue hör vi redan under den här första minuten hur det drygt två-oktavsstora glissandot, tar ut svängarna mer, hur klarinetten nästan skrattar åt sig själv och sitt läte, hur rytmen helt enkelt har flera och kraftiga jazziga betoningar. Accenterna är tydligare.George Gershwin och Paul Whiteman hörs i inslaget i en inspelning från 1927. Den där speciella, nästan gnäggande inledningen där på 20-talet kom fram under repetitionerna då Whitemans klarinettist Ross Gorman skojade lite och Gershwin hakade på direkt. Gör så där på konserten också, sa han, "waila" så mycket som du kan.Rhapsody in Blue blev en succé direkt. Under de tre första åren mellan 1924 och 1927 hade Whitemans band spelat den 84 gånger och sålt en miljon plattor.Men vägen dit var lite krokig. Gershwin och Whiteman hade faktiskt talat om en jazzkonsert under flera år, men när plötsligt en konkurrent också skulle ha en stor jazzklassisk-konsert där i New York satte arbetet i gång på allvar.Så runt jul, med bara fem veckor kvar, satt Gershwin på ett tåg till Boston och, som han sa, hörde musik i alla stökiga ljud. Rytmerna från stålet, hjulen mot rälsen, och vagnarnas krängande blev till ett musikaliskt kalejdoskop. "Plötsligt såg jag hur jag skulle konstruera allt och en massa idéer som jag redan hade kunde smältas samman och då skildra nationen Amerikas självkänsla och vårt galna storstadstemperament. När jag kom fram till Boston hade jag en struktur på stycket."Gershwin själv talade mycket om just Amerikas själ, men många gånger nämner man Rhapsody in Blue som ett porträtt av New York.Det finns hela fem grundversioner och det som skiljer dem åt är till exempel om det är med jazzorkester eller symfoniorkester. Samtliga versioner finns i flera olika inspelningar - några svårfångade, andra snabbt tillgängliga.Trots klarinetten i början är det ju ändå ett verk för piano och orkester.Namnet Rhapsody in Blue berodde just på att man var tvungen att skriva musiken snabbt. En konsert för piano och orkester skapar förväntningar på ett flersatsigt verk där olika teman jobbar mot och med varandra. Men en rapsodi behöver inte stöpas i en välkänd form. Det ger kompositören möjlighet att leka mera med formen och lägga in fler improvisationer och arbeta mera med starka kontraster.I Rhapsody in Blue finns just en lösare struktur där solopartier snabbt övergår i breda symfoniska delar.Rytmerna är sen en underbar blandning av jazz från alla håll. Kubanskt, charleston, ragtime och sedan sångbara delar som kunde vara både från opera och populära visor. Tio år senare skrev Gershwin operan Porgy and Bess. Där hade blandningen förfinats ytterligare.Vad Rhapsody in Blue har bevisat, bland mycket annat, är att det populära och det seriösa kunde förenas. Och det blev tydligt att konstmusiken kunde hämta inspiration från jazzen och inte bara från folkmusiken som tidigare. Förut hade jazzen och den klassiska musiken i princip bara hälsat på hos varandra och artigt konverserat.Men Gershwins musik gjorde mer än så. Han smälte samman sätten att spela i en enda klang.Konsertrubriken då, den 12 februari 1924, var "Ett experiment inom modern musik". Nu är experimentet en klassiker.Per Feltzin per.feltzin@sverigesradio.seMusiken i inslaget är främst från de två inspelningarna gjorda 1924 och 1927 plus den med Erich Kunzel och Cincinnatis symfoniorkester.

In today's episode, I wanted to celebrate 50 episodes in style by bringing someone who's work has had a profound impact on generations of musicians: bass player and author of The Inner Game of Music, Barry Green.  I'm very happy and honored that Barry accepted to be on the show to have this very, very important conversation with me because his authentic approach to music-making has inspired and influenced thousands of musicians and redefined careers throughout the years. In today's conversation, Barry talks about some principles of the Inner Game, including what we should focus on, why we need to “Turn Up the Music” and how this simple act can transform our playing and change our life, how we can reach a state of relaxed concentration, how effective experience-lead learning is, and how to set effective goals. He expands further on: How “When you are playing the inner game, the quality of your experience becomes just as important as your actual success.” How the only game we have control over is doing what we do best How putting our focus on the things that we can control means that we can experience what we're doing fully How we can reach the state of relaxed concentration using: Awareness techniques (what we see, hear, feel, etc.) Commitment techniques (how well we prepare) Trust skills (physical memory and advanced preparation) Experience-lead learning: “Do” instructions VS “Awareness” instructions Having more fun and accomplishing more while practicing Setting productive and effective goals It was a true honor to have Barry on the show and I hope you enjoy his wisdom as much as I did and walk away inspired and motivated! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!!! GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com   MORE ABOUT BARRY: Website: https://www.innergameofmusic.com/ YouTube videos featuring Barry and Inner Game principles: HERE   Barry Green, a native Californian, served as Principal Bassist of the Cincinnati Symphony for 28 years, and more recently Principal Bassist of the California Symphony and ‘Sun Valley, Idaho Summer Symphony. As former Executive Director of the International Society of Bassists, he is currently living in San Diego while teaching at the U. of Calif. Santa Cruz and active as a bass soloist, clinician and motivational speaker. Examples of his lectures can be found on his website at: www.innergameofmusic.com. Green was the first bass soloist ever to solo with the Cincinnati Symphony in 1970 when he commissioned Frank Proto to write the Concerto for Bass and Orchestra conducted by Erich Kunzel. He has since twice appeared with the Cincinnati Symphony under the late Maestro Thomas Schippers who personally commissioned the Frank Proto Violin and Double Bass Concerto (with Ruggiero Ricci). In 1993 Green performed Jon Deak's concerto Jack and the Beanstalk conducted by Jesus Lopez-Cobos. He most recently performed the Deak concerto in February 2005 with the US Air Force Band in Washington DC, Constitution Hall and Duluth Symphony. Barry is known for his creative and eclectic ‘Green Machine' and “Green Man” concerts including the bass in jazz, folk, rock, funk, hip-hop contemporary and world music in combination with, dance, voice, art and theater.   Green has written three books on the ‘mind-body and spirit' of performing musicians. He is author of the Doubleday book The Inner Game of Music, with W. Timothy Gallwey, and DVD (1986) which deals with musicians reaching their potential in performance and learning which has sold over 250,000 copies worldwide. He has written seven Inner Game of Music Workbooks published by GIA Music for keyboard, voice, instruments and ensembles. Green's 2nd book, The Mastery of Music, Ten Pathways to True Artistry was published by Broadway/Doubleday in May 2003. The Mastery of Music is based on interviews with over 120 world famous musicians on topics of courage, passion, creativity, discipline, humility etc. It deals with qualities of greatness from the human spirit that transcend all professions. Jazz and classical artists interviewed include Dave Brubeck, Bobby McFerrin, Joshua Bell, Frederica von Stade, Christopher Parkening, Evelyn Glennie, Gary Karr, Jeffrey Kahane and many more. Green's most recent book (and DVD) is called Bringing Music to Life and was published by GIA Music. The book is exploring three techniques of breath, pulse and movement that allow the musician to channel expression through their bodies. This work is based on exploring creativity and inspiration through collaboration with the great improvisation cellist David Darling and his organization called Music for People.   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/    

In this episode, we're talking with Jay Evans, the principal trombonist of the Alabama Symphony Orchestra. We talk about the Grand Teton Music Festival, training for an triathlon event, what setting personal records in his musical practice, and much more. I hope you enjoy the episode!Mastering engineer - Brandon JochumJay Evans is currently Principal Trombonist of the Alabama Symphony Orchestra, a position he has held since October, 2000. As soloist, Jay has performed in numerous concerts including Jim Pugh's Concerto for Trombone and Nino Rota's Concerto for Trombone and Orchestra. He was also featured in a memorable concert with Olivia Newton-John and the ASO, performing on the Australian Aboriginal instrument, the Didgeridoo.Spending his early years in Iowa, Jay's parents were tremendously supportive of his music studies. His father, a former tuba player, would humbly quote "...and I modestly took my place as the only and only bass, and I oompahed up and down the square" in reference to his being the only tubist of the Mason City High School band, inspiring Meredith Willson, while visiting, to include these lyrics in his musical, "The Music Man."Jay received a Bachelor of Music degree at Morningside College in Sioux City, Iowa, while holding the position of Principal Trombone of the South Dakota Symphony Orchestra. He later received a Master of Music degree from North Texas State University, during which time he performed with the Dallas Cowboys Band. He later moved to New York City to perform monthly with the National Orchestral Association in Carnegie Hall, and frequently performed with the Metropolitan Opera, New York Philharmonic, American Symphony, New York City Opera National Company, the Springfield (MA) Symphony and Miss Saigon on Broadway.As a Fellow in Trombone at the Tanglewood Music Center, Jay performed with notable conductors Leonard Bernstein, Seiji Ozawa and Jeffrey Tate. He was also a participant at the Spoleto Festival Due dei Monde in Spoleto, Italy, and Charleston, SC. Jay toured extensively throughout North America, Japan and Australia with the broadway production of, The Music of Andrew Lloyd Webber in Concert, starring Michael Crawford and Sarah Brightman. And as a member of the highly acclaimed, 'Dallas Brass', Jay performed throughout the United States. Special appearances included solos with the New York Pops with Skitch Henderson in Carnegie Hall, the Philadelphia Pops with Peter Nero and the Cincinnati Pops with Erich Kunzel conducting.Before settling in Alabama, Jay held positions with The Lyric Opera of Chicago and the Grant Park Orchestra. He still returns regularly to perform with Chicago's Music of the Baroque, and spends summers as a member of the Grand Teton Music Festival.Jay Evans is currently a Low Brass Instructor at the Alabama School of Fine Arts, the University of Montevallo, and UAB, and maintains an active private teaching studio. He is a Shires Instruments Artist/Clinician. Support the show (https://thatsnotspit.com/support/)

Jefferson Russo and Erich Kunzel.   An omnipotent entity once was quoted as saying “All good things must come to an end,” and the time has come to say good bye to Trek FM’s podcast on the music of Star Trek after 85 episodes and three supplemental releases. With the arrival of the newest Star Trek television series, Star Trek: Discovery, the baton has been passed to a young mind with fresh ideas, and in this episode, your hosts try and examine where these ideas will take us. In this episode of Melodic Treks, hosts Colin Higgins and Brandon-Shea Mutala discuss several projects in the career of Jefferson Russo, the new composer for Star Trek: Discovery. In the second part of the episode, host Brandon-Shea Mutala is joined by film score expert Erik Woods to discuss conductor Erich Kunzel, and how he contributed to the rise of the home media release of film scores. Chapters Intro (00:00:00)  Part 1: Welcome to the Final Episode/Welcome Back, Colin (00:00:00)  “If You Could Only See Me” (performed by Tonic) (00:14:45)  Fargo Main Title (00:21:18)  Tut Main Title (00:24:51)  The Night Of Main Title (00:29:01)  “Caper One” from Legion (00:33:50)  “Milton’s Tower” from What Remains of Edith Finch (00:42:58)  “Edith’s Theme” from What Remains of Edith Finch (00:44:02)  Star Trek: Discovery Main Title (00:49:05)  Messages (01:00:44)  “Into the Final Frontier” (01:07:20)  Part 2: Erich Kunzel (01:08:23)  “Cybergenesis”/”Terminator: Theme” (01:15:19)  “The Raiders’ March” (01:22:25)  “The Imperial March” (01:29:00)  Star Trek: Voyager Main Title (01:35:31)  Star Trek II: The Wrath of Khan Main Title (01:43:19)  Closing (01:45:48) “Farewell” (composed by D. McCarthy) (01:49:43)  (all music in Part One composed by J. Russo, except “If You Could Only See Me” and all music in Part Two conducted by E. Kunzel, except “Farewell”) Hosts Colin Higgins and Brandon-Shea Mutala Guest Erik Woods Production Brandon-Shea Mutala (Editor and Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Executive Producer) Norman C. Lao (Associate Producer) Tony Robinson (Associate Producer) Stephen Boyd (Associate Producer) Richard Marquez (Production Manager) Tony Robinson (Show Art) Brandon-Shea Mutala (Patreon Manager)

Today we’ll be paying tribute to the Cincinnati Pops late conductor Erich Kunzel. Starting in 1977, Erich Kunzel recorded 90 albums on the Telarc label with the Cincinnati Pops Orchestra many of which were dedicated to film and TV music.  He won multiple awards for his work with the CPO and toured around the world guest conducting some of the greatest orchestral ensembles in the world. Erich Kunzel’s distinguished career was personified by his 2006 National Medal of Arts, presented by President and Mrs. Bush at a ceremony in the Oval Office at The White House in 2007. Erich Kunzel died on September 1, 2009, at the age of 74. He was battling cancer and died at his home in Maine. For the next two hours, you will hear some of the finest film and TV music ever recorded as today we celebrate the life and career of conductor Erich Kunzel and his magnificent work with the Cincinnati Pops Orchestra. Cinematic Sound Radio http://www.cinematicsound.net WROCK Radio http://www.wrockradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com Also available through Podtyrant http://www.podtyrant.com

Over the past few years, we hear at CINEMATIC SOUND RADIO have been paying our respects to two-time Academy Award winning composer James Horner with various radio specials including a four hour plus special produced a few days after his death. We also produced a two-part series last year featuring some of his lesser known film scores. Jason Drury has also been producing an epic three-part radio documentary in Horner’s honour. The third and final part of that program is scheduled to be released next week right here on CINEMATIC SOUND RADIO. James Horner was part of a holy trinity of film composers I grew up with admiring. The others were John Williams and Jerry Goldsmith. Those three brought me into the world of film music with their timeless and classic scores and made me a fan of this art form for life. Todays program is dedicated to re-recorded James Horner music. Fans of the show know of my love for re-recordings or new recordings of previously existing scores so I thought this would be a unique way to mark the 2nd anniversary of James Horner’s passing. Today’s program will include performances by The City of Prague Philharmonic, The Cincinnati Pops Orchestra, The Boston Pops Orchestra, Royal Liverpool Philharmonic Orchestra and the Royal Scottish National Orchestra. Solo performers include flutist Sara Andon, pianist Jean-Michel Bernard, pianist Dan Redfeld, and violinist Mari Samuelsen. Conductors include Nic Raine, John Scott, John Williams, Erich Kunzel, David Arnold, Joel McNeely and John Debney. Cinematic Sound Radio http://www.cinematicsound.net WROCK Radio http://www.wrockradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com Also available through Podtyrant http://www.podtyrant.com

Det är den 12 februari 1924 och det är konsert på Aeolian Hall på 43:e gatan i New York. Ett nytt kapitel i musikhistorien, säger en besökare efteråt. Rhapsody in Blue hörs för första gången. På konserten är det knökfullt och på plats finns musikaliska mästare som Rachmaninoff, Kreisler, Stokowski, Heifetz - vissa tycker sig se Stravinskij i publiken.Konserten heter An experiment in Modern Music. Det är en lång och omfattande konsert - och efter 33 nummer, när alla är som tröttast, med en ventilation som är trasig och musik som låtit rätt enahanda, sätter sig den 26-årige sångskrivaren och musikalkompositören George Gershwin vid pianot. Han ska spela det näst sista stycket på programmet. Bandledaren Paul Whiteman höjer taktpinnen - Palais Royale Orchestra är beredda. Rhapsody in Blue hörs för första gången.Den här dagen, för runt ett sekel sedan, klev jazzen definitivt in på den klassiska musikens område. Eller om det var tvärtom...För oss, nu, känns jazzharmonier i klassisk musik naturliga. Men då var det annorlunda vilket man faktiskt kan höra när Rhapsody in Blue drygt tio år senare arrangerades om för en symfoniorkester. Om vi lyssnar på en av de inspelningar som genom åren varit den mest spelade, där Erich Kunzel leder Cincinnatis symfoniorkester, hör vi att allt blivit rakare, stramare och inte så många glidningar i tempo och frasering.Men då Gershwin och Whiteman själv framför Rhapsody in Blue hör vi redan under den här första minuten hur det drygt två-oktavsstora glissandot, tar ut svängarna mer, hur klarinetten nästan skrattar åt sig själv och sitt läte, hur rytmen helt enkelt har flera och kraftiga jazziga betoningar. Accenterna är tydligare.George Gershwin och Paul Whiteman hörs i inslaget i en inspelning från 1927. Den där speciella, nästan gnäggande inledningen där på 20-talet kom fram under repetitionerna då Whitemans klarinettist Ross Gorman skojade lite och Gershwin hakade på direkt. Gör så där på konserten också, sa han, "waila" så mycket som du kan.Rhapsody in Blue blev en succé direkt. Under de tre första åren mellan 1924 och 1927 hade Whitemans band spelat den 84 gånger och sålt en miljon plattor.Men vägen dit var lite krokig. Gershwin och Whiteman hade faktiskt talat om en jazzkonsert under flera år, men när plötsligt en konkurrent också skulle ha en stor jazzklassisk-konsert där i New York satte arbetet i gång på allvar.Så runt jul, med bara fem veckor kvar, satt Gershwin på ett tåg till Boston och, som han sa, hörde musik i alla stökiga ljud. Rytmerna från stålet, hjulen mot rälsen, och vagnarnas krängande blev till ett musikaliskt kalejdoskop. "Plötsligt såg jag hur jag skulle konstruera allt och en massa idéer som jag redan hade kunde smältas samman och då skildra nationen Amerikas självkänsla och vårt galna storstadstemperament. När jag kom fram till Boston hade jag en struktur på stycket."Gershwin själv talade mycket om just Amerikas själ, men många gånger nämner man Rhapsody in Blue som ett porträtt av New York.Det finns hela fem grundversioner och det som skiljer dem åt är till exempel om det är med jazzorkester eller symfoniorkester. Samtliga versioner finns i flera olika inspelningar - några svårfångade, andra snabbt tillgängliga.Trots klarinetten i början är det ju ändå ett verk för piano och orkester.Namnet Rhapsody in Blue berodde just på att man var tvungen att skriva musiken snabbt. En konsert för piano och orkester skapar förväntningar på ett flersatsigt verk där olika teman jobbar mot och med varandra. Men en rapsodi behöver inte stöpas i en välkänd form. Det ger kompositören möjlighet att leka mera med formen och lägga in fler improvisationer och arbeta mera med starka kontraster.I Rhapsody in Blue finns just en lösare struktur där solopartier snabbt övergår i breda symfoniska delar.Rytmerna är sen en underbar blandning av jazz från alla håll. Kubanskt, charleston, ragtime och sedan sångbara delar som kunde vara både från opera och populära visor. Tio år senare skrev Gershwin operan Porgy and Bess. Där hade blandningen förfinats ytterligare.Vad Rhapsody in Blue har bevisat, bland mycket annat, är att det populära och det seriösa kunde förenas. Och det blev tydligt att konstmusiken kunde hämta inspiration från jazzen och inte bara från folkmusiken som tidigare. Förut hade jazzen och den klassiska musiken i princip bara hälsat på hos varandra och artigt konverserat.Men Gershwins musik gjorde mer än så. Han smälte samman sätten att spela i en enda klang.Konsertrubriken då, den 12 februari 1924, var "Ett experiment inom modern musik". Nu är experimentet en klassiker.Per Feltzin per.feltzin@sverigesradio.seMusiken i inslaget är främst från de två inspelningarna gjorda 1924 och 1927 plus den med Erich Kunzel och Cincinnatis symfoniorkester.

This is our first new show in two weeks as I desperately needed last week off. But I’m back and this week I decided to featuring another IN THE SPOTLIGHT episode. This is a program that I initially produced in January of 2006. The reason for presenting it again – newly recorded and edited to fit the new WROCK two-hour format – was that a few days ago Erich Kunzel’s recording of the Silverado themes with the Cincinnati Pops Orchestra popped up on my iPod while driving home from work. The western genre always reminded me of warm, summer weather and since summer temperatures are finally upon us here in Southern Ontario I decided to present the show you will hear today! So we are skipping the normal format, which will return next week, so you can enjoy two hours of Bruce Broughton western scores, which will include music from SILVERADO, O PIONEERS!, TOMBSTONE, TRUE WOMEN, THE BALLAD OF LUCY WHIPPLE, ROUGHING IT and TEXAS RISING! Cinematic Sound Radio http://www.cinematicsound.net WROCK Radio http://www.wrockradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com Also available through Podtyrant http://www.podtyrant.com

On episode nine of CINEMATIC SOUND RADIO ON WROCK we will be playing music from four brand new scores. You’ll hear selections from THE HUNTSMAN: WINTER’S WAR by James Newton Howard. Rachel Portman’s inspiring score to RACE and Edward Shearmur’s groovy music for ELVIS & NIXON will also be featured. Plus, Jason Graves’ new score to FAR CRY PRIMAL will be our video game score of the week.Our John Williams album of the week is one of his earliest gems, HEIDI released in 1968. We open the film music vault and pull out Bronislau Kaper’s fabulous swashbuckling adventure score to QUENTIN DURWARD released in 1955.. Our re-recording of the week is dedicated to the late Henry Mancini whose birthday would have been on April 16th. We’ll hear selections from two Cincinnati Pops Orchestra albums featuring conductor Erich Kunzel; MANCINI’s GREATEST HIT and STAR TRACKS II featuring music from THE PINK PANTHER, THE WHITE DAWN and LIFEFORCE.And we’ll end the program with a special tribute to the music of Prince, who passed away on April 21st. We’ll play “Batdance” from his 1989 album inspired by the film BATMAN. We’ll also hear music from the last ever Academy Award winning song score, PURPLE RAIN. We’ll play the title song from that album to end off the program.Cinematic Sound Radiohttp://www.cinematicsound.netCinematic Sound Radio Fanfare and Theme by David Coscinahttps://soundcloud.com/user-970634922Bumper voice artist: Tim Burdenhttp://www.timburden.com

Episode four of CINEMATIC SOUND RADIO ON WROCK is a Batman/Superman themed program. The show opens up with new music by Hans Zimmer and Tom Holkenborg (Junkie XL) from BATMAN v SUPERMAN: DAWN OF THE JUSTICE. Our John Williams album of the week comes from 1978’s SUPERMAN: THE MOVIE. Our re-recording of the week is Danny Elfman’s BATMAN from the album FANTASTIC JOURNEY featuring conductor Erich Kunzel and the Cincinnati Pops Orchestra. Our video game score of the week is BATMAN: ARKHAM ORIGINS with music by Christopher Drake. And we’ll end the program with three end title pieces from SUPERMAN: THE ANIMATED SERIES by Shirley Walker, BATMAN: THE ANIMATED SERIES by Shirley Walker & Danny Elfman and SON OF BATMAN by Frederik Wiedmann.We’ll also be playing new music from non-Batman/Superman themed films including Bear McCreary’s brilliant score to 10 CLOVERFIELD LANE and Clint Mansell’s impressive score to HIGH-RISE.

Episode four of CINEMATIC SOUND RADIO ON WROCK is a Batman/Superman themed program. The show opens up with new music by Hans Zimmer and Tom Holkenborg (Junkie XL) from BATMAN v SUPERMAN: DAWN OF THE JUSTICE. Our John Williams album of the week comes from 1978’s SUPERMAN: THE MOVIE. Our re-recording of the week is Danny Elfman’s BATMAN from the album FANTASTIC JOURNEY featuring conductor Erich Kunzel and the Cincinnati Pops Orchestra. Our video game score of the week is BATMAN: ARKHAM ORIGINS with music by Christopher Drake. And we’ll end the program with three end title pieces from SUPERMAN: THE ANIMATED SERIES by Shirley Walker, BATMAN: THE ANIMATED SERIES by Shirley Walker & Danny Elfman and SON OF BATMAN by Frederik Wiedmann.We’ll also be playing new music from non-Batman/Superman themed films including Bear McCreary’s brilliant score to 10 CLOVERFIELD LANE and Clint Mansell’s impressive score to HIGH-RISE.