Podcast appearances and mentions of Ernest Bloch

Hoy Toca abre su punto de mira para escuchar música sorprendente compuesta para ser interpretada por un instrumento tan personalísimo como el cello. Son piezas provenientes de diferentes fuentes, desde clásicos de autores como Gabriel Fauré o Ernest Bloch hasta composiciones recientes de compositores que están encuadrados en las nuevas músicas. Una de esas creadoras es Iratxe Ibaibarriaga, una jovencísima cellista bilbaína, autora de 3 de las piezas que suenan en el programa y que nos cuenta con todo detalle sus principales fuentes de inspiración y las distintas “aventuras” en las que se ha embarcado en los últimos años. Hoy Carlos está acompañado por la cellista oficial de Clásica FM, Ana Laura Iglesias, con quien comentará las piezas seleccionadas para el programa, una entrega muy especial de Hoy Toca, donde siempre queremos compartir contigo la mejor música del mundo.

De 27. Januar ass net nëmmen de Gebuertsdag vum Wolfgang Amadeus Mozart, mee och den internationale Gedenkdag un d'Affer vum Holocaust. An der Philharmonie organiséieren d'Solistes Européens, Luxembourg dofir ee ganz passende Concert mat ënnert anerem engem Rondo vum Mozart an "From Jewish Life" vum Ernest Bloch. Op der Bün steet e Cello-Piano Duo mam Alexander Hülshoff an dem Andreas Frölich. D'Marie Schockmel huet sech mam Cellist Alexander Hülshoff ënnerhalen an iwwert seng Erënnerunge vu Lëtzebuerg bei sengem éischte Concert geschwat.

El teatro Jofre acogerá mañana la actuación del reconocido Dúo Cassadó que vuelve a Ferrol, una vez más, de la mano de la Sociedad Filarmónica Ferrolana. La prestigiosa formación, integrada por el violonchelista Damián Martínez y la pianista Marta Moll, presenta en esta ocasión Hypnotik, un disco publicado por Warner Classics. Marta Moll destaca que Hypnotik «está concebido como una experiencia personal, que nos invita a conectar con lo más íntimo de nosotros mismos» y ha señalado que «es un viaje musical en el que se pone de manifiesto la esencia del ser humano y la música minimal desde el barroco hasta nuestros días». El concierto comenzará con la tercera Suite para violoncelo solo de Johann Sebastian Bach y acabará con Fratres del compositor estonio Arvo Pärt. El Dúo Cassadó interpretará también obras de Zoltan Kodály, Ernest Bloch y Philip Glass. El galardonado dúo ha actuado en prestigiosos auditorios y festivales de todo el mundo y será un privilegio volver a disfrutar con su música este viernes 20.30 horas en el teatro Jofre.

Two years ago for Halloween, I presented the first of my “Haunted Opera House” episodes. At the time, I had such a plethora of creepy musical material that I produced a bonus episode of material that otherwise would have ended up in the dung heap (like the body of Faust at the end of Schnittke's Faust Cantata, which closes the episode). We also hear music from Damn Yankees featuring the red-hot Gwen Verdon; Dvořák's Rusalka (a stunning duet with Teresa Stratas and Gwendolyn Killebrew); Respighi's comic opera Belfagor (in which a devil [Lajos Miller] encounters his superior in a cunning young woman [Sylvia Sass]; Ernest Bloch's Macbeth (in which Inge Borkh gives a luminous performance of Lady Macbeth's Sleepwalking Scene); Willem Pijper's strange musical drama based on the medieval legend of Halewijn, a Bluebeard of the Lowlands; La Chute de la Maison Usher, (the climax of Claude Debussy's incomplete opera based on Edgar Allan Poe's Fall of the House of Usher); and Antikrist, Rued Langgaard's unique, indescribable, and nearly unstageable mystery play. But it is Iva Bittová's gleefully deranged performance of Alfred Schnittke's gruesome Faust tango which will, I predict, find its way into your nightmares! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Leitmotive, lauter Leitmotive. Und sie kommen nicht nacheinander, sondern sind gern mal auch übereinander geschichtet. Das bedeutet eine ständige Suche nach der richtigen Balance...  Am Morgen nach einer der Opern aus Richard Wagners Ring-Tetralogie kommt Dirigent Gianandrea Noseda zum Morgen-Espresso vorbei, und er bringt auch seinen früheren Lehrer, die Dirigentenlegende Donato Renzetti mit. Zeit zum Erzählen. Über Wagner und Autorennen. (00:34) Aktualität I: Anna Netrebko tritt nicht im KKL auf Am 1. Juni hätte sie singen sollen, aber die Luzerner Regierung zieht die Reissleine. (02:07) Aktualität II: Nemo und der ESC «The Code», der Schweizer ESC-Beitrag zum Eurovision Song Contest. Wie entsteht eigentlich so ein Song? (08:50) Gespräch mit Gianandrea Noseda Gerade läuft an der Zürcher Oper der erste von zwei Ring-Zyklen, also der Gesamtaufführung von Wagners Nibelungen-Tetralogie. Es dirigiert der Chef des Hauses himself, Gianandrea Noseda. (21:35) Neuerscheinungen «Ändler» von Viertaktmotor (Eigenverlag + Koproduktion SRF 2 Kultur) Und: das Debüt-Album des britischen Cellisten Tim Posner mit dem Berner Symphonieorchester und Musik von Ernest Bloch, Max Bruch und Ernö Dohnányi (Claves Records) (45:30) Swiss Corner mit Mario Batkovic Das Berner Symphonieorchester wieder auf Entdeckungsreise. Nach Lo und Leduc, Philipp Fankhauser und Sophie Hunger kommt nun der Akkordeonist an die Aare.

Today's segment in the Great Baritones division of my Listeners' Favorites series is introduced by my friend, baritone Jeremy Osborne, like me an American expat in Berlin. In the nearly ten years that I have known him, Jeremy has developed into a fine singer of both opera and art song. Through talent, determination, and hard work, Jeremy is forging a well-deserved place for himself in the music world. The singer he has chosen to introduce on this episode is the the great Ukranian-American baritone Igor Gorin (1904-1982). Jeremy shares with us the story of how he first became acquainted with Gorin's exceptional talent. and the context in which he, like me, was bowled over by the sheer beauty of his voice. If one made such ranking lists, in fact, we would probably both place him near the top of a “Most Beautiful Baritone Voices Ever” list. Gorin's is a fascinating life story, beginning in pre-Soviet Ukraine and moving back and forth from Vienna to the United States until finally, with forged documents, he emigrated to the US and became a naturalized citizen. Through a series of happy circumstances, he became one of the top US radio stars of the 1930s and 1940s and eventually appeared as well on early television broadcasts. A career in regional opera resulted, which reached its apex with starring roles at Lyric Opera of Chicago and a single appearance at the Metropolitan Opera at the age of 59. This episode features live, radio, and studio performances by Gorin in opera, operetta, Broadway, and folk and art songs over a period of nearly 40 years, including a  live late career performance of Ernest Bloch's Avodath Hakodesh, in which he returned to his cantorial roots. Whether you, like Jeremy, are already a passionate devotee of this artist, or if this is your first encounter with him, you are in for a treat. A bonus episode on Igor Gorin on my Patreon page, produced at the time this episode was first heard more than three years ago, includes complete performances of two constrasting song cycles by Modest Mussorgsky, The Nursery and the Songs and Dances of Death. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

durée : 01:58:39 - France Musique est à vous du samedi 18 novembre 2023 - par : Gabrielle Oliveira-Guyon - Au programme aujourd'hui : Ernest Bloch et Louise Héritte-Viardot, mais aussi de la musique japonaise au Koto et des chants polyphoniques corses avec I Muvrini... Continuons ce grand écart musical avec VOS suggestions ! - réalisé par : Emmanuel Benito

Ernest Bloch's music is unabashedly pictorial and emblematic of late Romantic-era expressionism, with an impressive catalog of works, many of which draw deeply on his Jewish faith. Alto Records returns these benchmark recordings of three of Ernest Bloch's greatest works, composed during the twentieth century's second decade, to international availability, including the Vanguard recording of Schelomo with cellist Zara Nelsova and the Israel Symphony under the direction of one of Bloch's greatest artistic champions, Maurice Abravanel.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Podcast description   -- Opening song - "Let There Be Love" by Noah Aronson; performed by Temple Israel Cantorial Soloist Happie Hoffman Find sermons, music, conversations between clergy and special guests, and select Temple Israel University (TIU) classes – easily accessible to you through our podcast, Torah to the People. Learn more about Temple Israel-Memphis at timemphis.org.

Synopsis Today marks the anniversary of the first performance of the best-known work of the Swiss-born American composer, Ernest Bloch, whose Hebrew rhapsody, —Schelomo, for cello and orchestra, premiered at Carnegie Hall on today's date in 1917. Schelomo is a meditation on the Book of Ecclesiastes, which describes King Solomon reflecting sadly on the vanity of human endeavor — Schelomo being the original Hebrew pronunciation of Solomon. Schelomo premiered just a year after Bloch came to the United States. In America, Bloch had found encouragement and remarkable acceptance of his music. His Schelomo was premiered at an all-Bloch concert at Carnegie Hall arranged by The Society of the Friends of Music with the Philadelphia orchestra's principal cellist Hans Kindler as soloist. Schelomo was originally written with the Russian cellist Serge Alexander Barjansky in mind, and was dedicated to him and his wife; but it was not until a concert in Rome in 1933, a fateful year for the Jews of Europe, that Bloch got to conduct the work with Barjansky as soloist. Despite his success in America, Bloch tried to resume his career in Europe in the 1930s, but, discouraged by the rise of anti-Semitism and threats of war, he returned to American for good in 1938. Music Played in Today's Program Ernest Bloch (1880 - 1959) Schelomo Mischa Maisky, cello; Israel Philharmonic; Leonard Bernstein, conductor. DG 427 347

Synopsis In the spring of 1775, shots were fired at Lexington and Concord, Massachusetts, and the sparks of the American Revolution burst into flames at the Battle of Bunker Hill. Far away in Salzburg, Austria, a 19-year-old composer named Wolfgang Mozart was spending most of that year composing five violin concertos. The fifth, in A major, was completed on this day in 1775. At the time, Mozart was concertmaster of the orchestra in the court of the Archbishop of Salzburg. Archbishops don't have their own orchestras now, but they did then—at least in Europe, if not in the American colonies. A century and a half later, America was celebrating its sesquicentennial, and the magazine Musical America offered a prize of $3,000 for the best symphonic work on an American theme. The prize was awarded unanimously to Ernest Bloch, a Swiss-born composer who had arrived in this country only a decade before. But already, sailing into the harbor of New York, he had conceived of a large patriotic composition. Several years later, it took shape in three movements as America—An Epic Rhapsody for Orchestra. It premiered in New York on today's date in 1928, with simultaneous performances the next day in Boston, Philadelphia, Chicago, Cincinnati, San Francisco and Los Angeles. Fifteen other orchestras programmed it within a year. Curiously, although Bloch remains a highly respected composer, his America Rhapsody from 1928 is seldom performed today. Music Played in Today's Program Wolfgang Amadeus Mozart (1756-1791) Violin Concerto No. 5 Jean-Jacques Kantorow, violin; Netherlands Chamber Orchestra; Leopold Hager, conductor. Denon 7504 Ernest Bloch (1880-1959) America: An Epic Rhapsody Seattle Symphony; Gerard Schwarz, conductor. Delos 3135

“Real music goes beyond the intentions of its author for it nourishes itself from a much deeper and more mysterious source than mere intellect. It represents a synthesis of all the vital forces, of all the hidden instincts of an individual..."

Ecos de la Otra Música - Schelomo de Ernest Bloch by Radiotelevisión de Veracruz

Amy Faust gets to know Ellie Kim, one of this year's six winners of Cognizart's Young Artist Debut competition. A junior at Westview High in Beaverton, Ellie has been playing violin since age 5. With her younger sister, Kristen Kim, also being recognized by Cognizart this year for her cello playing, it's surprising to hear that Ellie's parents aren't musicians themselves, but just wanted their daughters to find something to feel passionate about. Although Ellie normally prefers romantic-era compositions, she won her Cognizart slot performing Ernest Bloch's “Baal Shem”, a contemporary piece she connected to through her teacher Carol Sindell. Along with the other finalists Ellie will perform this piece live on November 18th at the Reser Center in Beaverton with members of the Oregon Symphony and the Oregon Ballet Orchestras.

Mark Kosower, principal cello of The Cleveland Orchestra, stops by the FM 91 studio with the Toledo Symphony's Merwin Siu to preview Mark's appearance with the TSO in one of the most passionately expressive works in the cello/orchestra repertoire, Ernest Bloch's Hebraic Rhapsody, Schelomo.

Om vikten av att tala om det svåra, att sätta ord på det vi måste minnas. Just nu firas Pesach inom judendomen, vårens och frihetens högtid till minne av den historiska våren då judarna lämnade slaveriet i Egypten. Varje år läses berättelsen och varje år uppmanas varje person att tala. Det är inte en berättelse om en hjälte eller ledare som Moses utan en berättelse om ett folk, framhåller Ariella Lindström.Vi vet att det är tack vore Moses som Israels barn kom ut ur slaveriet i Egypten men han nämns inte i Haggada boken. För att i Haggada är det vi, Israels barn som är huvudpersonerna Ariella Lindström är föreläsare, författare och medlem i föreningen Abrahams döttrar.TextHaggadaMusikFrom jewish life av Ernest Bloch med Mischa Maisky och Lily Maisky  Producent Neta Norrmo ljudmix Frida Claesson Johansson för Sveriges Radio Göteborg liv@sverigesradio.se

A few months ago, David and I paid a visit to Zurich. The weather was glorious, we ate well, saw interesting theater, and I found a great used record store that was probably the one inexpensive place in the entire city. I had been thinking of doing an episode on Swiss singers ever since I started the podcast nearly three years ago and this experience provided the needed impetus to put this together. It helps that, to paraphrase the bigot, “Some of my favorite singers are Swiss.” Because of the unique polyglot nature of the country, there are many different stylistic trends to be found in Swiss music and Swiss singers. As with my recent episode on Ukraine, I decided to foreground not just the singers, but also the composers, of the featured country. So not only do we get to experience the singing of such favorites as Lisa Della Casa, Charles Panzéra, Ernst Haefliger, Heinz Rehfuss, Hugues Cuénod, and Eric Tappy (with a special nod to Gloria Davy, Ira Malaniuk, and Maria Stader, all naturalized Swiss citizens), but we hear the music of Ernest Bloch, Othmar Schoeck, Arthur Honegger, Frank Martin, Hermann Suter, and others. This is just a dip of the toe into the pure waters of Swiss music and singers: episodes on individual favorites will no doubt follow in due time! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

A viola recital today on Introductions: Sarah Wejman is a high school senior and student of Desirée Ruhstrat. She presents music of JS Bach, H. Leslie Adams, Max Reger and Ernest Bloch, with pianist Liang-yu Wang. Thanks to Delmark Records for hosting this recording session. Sarah Wejman is a senior at New Trier High School, and has played viola since ... The post Sarah Wejman, 17, viola appeared first on WFMT.

The composer Ernest Bloch was born in Switzerland, and after spending time in America, he was thinking of returning to Europe. But a visit in 1922 to the Library of Congress, in Washington DC, convinced Bloch to stay in this country, and to take American citizenship.

Synopsis The Swiss-born American composer Ernest Bloch was born in 1880 and was in his 30s when he first came to America, where he achieved remarkable success with both critics and audiences. His most famous work, “Schelomo,” subtitled a “Hebraic Rhapsody” for cello and orchestra, premiered in New York in 1917. Despite his popularity in America, Bloch returned to Europe for most of the 1930s. By the end of that decade, the rising tide of anti-Semitism in Germany and Italy led the Jewish composer, then approaching 60, to reconsider making America his permanent home. Bloch's Violin Concerto was premiered in America on today's date in 1938, a month after he arrived, with violinist Joseph Szigeti and the Cleveland Orchestra conducted by Dimitri Mitropoulos. The main theme of Bloch's Concerto was supposedly based on a Native American theme, but the tone of the whole work echoes the Hebrew themes in his other music. Bloch wrote: “Art for me is an expression, an experience of life, not a game or an icy demonstration of mathematical principles. In not one of my works have I tried to be "original" or "modern." My sole desire and single effort has been to remain faithful to my vision.” Music Played in Today's Program Ernest Bloch (1880–1959) — Violin Concerto (Oleh Krysa, violin; Malmo Symphony; Sakari Oramo, cond.) BIS 639

Synopsis On today's date in 1923, the League of Composers presented its first chamber concert in New York City. Their stated mission was to present music by living composers whose works represented new trends in music. Their opening concert included a world premiere: a piano quintet by the Swiss composer Ernest Bloch, who was then living in America. While not a radical work, Bloch's quintet was strong stuff for 1923, and even included some quartertone elements. The New York Times critic was impressed, but not won over, writing: “To the inevitable question, ‘Do you like it?' it seems almost impossible to answer, but if pressed I should say, no, not for any fault in the work but simply because of its too apparent determination to be emotionally stirring.” The British critic Ernest Newmann, on the other hand, singled out Bloch's First Quintet for special praise: “No other piece of chamber music produced in any country during that period can be placed in the same class with it.” For his part, Bloch said simply: “I write without any regard to please either the so-called ‘ultra-moderns' or the so-called ‘old-fashioned.'” Music Played in Today's Program Ernest Bloch (1880 – 1959) — Piano Quintet No. 1 (Portland String Quartet; Paul Posnak, piano) Arabesque 6618

Synopsis On today's date in 1959, the Swiss-born American composer Ernest Bloch died in Portland, Oregon, just short of his 79th birthday. Bloch came to America in 1916, when he was 36 years old. His music made an immediate impression, and an all-Bloch orchestral concert in New York presented the premiere of his most famous work, a rhapsody for cello and orchestra entitled “Schelomo,” after the Hebrew name for King Solomon. The success of that concert led to a contract with the publisher G. Schirmer, who published Bloch's compositions with what was to become a trademark logo – the six-pointed Star of David with the initials E.B. in the center, an imprimatur that firmly established for Bloch a Jewish identity in the public mind.In 1924, Bloch became a naturalized American citizen, and in 1928, he composed an orchestral piece entitled “America,” selected as the winner of a Musical America competition for the best symphonic work glorifying American ideals. In the 1930s, Bloch returned to Switzerland for a time, but, with the rise of anti-Semitism in Germany and Italy, returned to America and settled in Agate Beach, Oregon where he continued to compose, and a new Oregon coast hobby: collecting and polishing agates. Music Played in Today's Program Ernest Bloch (1880 – 1959): America (Seattle Symphony; Gerard Schwarz, cond.) Delos 3135

Synopsis On today's date in 1959, the Swiss-born American composer Ernest Bloch died in Portland, Oregon, just short of his 79th birthday. Bloch came to America in 1916, when he was 36 years old. His music made an immediate impression, and an all-Bloch orchestral concert in New York presented the premiere of his most famous work, a rhapsody for cello and orchestra entitled “Schelomo,” after the Hebrew name for King Solomon. The success of that concert led to a contract with the publisher G. Schirmer, who published Bloch's compositions with what was to become a trademark logo – the six-pointed Star of David with the initials E.B. in the center, an imprimatur that firmly established for Bloch a Jewish identity in the public mind.In 1924, Bloch became a naturalized American citizen, and in 1928, he composed an orchestral piece entitled “America,” selected as the winner of a Musical America competition for the best symphonic work glorifying American ideals. In the 1930s, Bloch returned to Switzerland for a time, but, with the rise of anti-Semitism in Germany and Italy, returned to America and settled in Agate Beach, Oregon where he continued to compose, and a new Oregon coast hobby: collecting and polishing agates. Music Played in Today's Program Ernest Bloch (1880 – 1959): America (Seattle Symphony; Gerard Schwarz, cond.) Delos 3135

Alex speaks to cellist Catherine Lark about her seven tracks of the moment featuring music by Robert Schumann, Ernest Bloch, John Tavener, Camille Saint-Saëns and Pyotr Ilyich Tchaikovsky as well as music from The Sound of Music and Into the Woods. Listen to the full selection of music on the Spotify playlist available at https://www.alexpatterson.co.uk/

Artist and art historian LUCIENNE ALLEN was born into a family of artists, and in her case rather accomplished and famous artists. Her grandmother was Lucienne Bloch, the widely renowned muralist, photographer and sculptor. She had a close friendship with Frida Kahlo and Diego Rivera and together they formed a mutual admiration society that lasted a lifetime. If you’re a Frida or Diego fan, this is a talk that should interest you. Lucienne’s great-grandfather was a name familiar to most Classical music lovers-: Swiss-American composer Ernest Bloch.So listen in for a unique perspective on Frida, Diego, and what it's like to do the super nice work of keeping your family legacy burning bright. > The greatest book written by a 9-year-old in ever> Lucienne Bloch> Ernest Bloch> Frank Lloyd Wright> Frida Kahlo> Diego Rivera> Mark Ryden> Common Misperceptions about Frida Kahlo> Old Stage Studios NICE LINKSAmazing Lucienne + Frida Photos: https://www.instagram.com/luciennebloch/Lucienne Allen on IG: https://www.instagram.com/lucienne_allen/

I recently rediscovered the great Ukranian-American baritone Igor Gorin (1904-1982) and was bowled over by the sheer beauty of his voice. In fact, I am tempted to call his the most beautiful baritone voice I have ever heard. His is a fascinating life story, beginning in pre-Soviet Ukraine and moving back and forth from Vienna to the United States until finally, with forged documents, he emigrated to the US and became a naturalized citizen. Through a series of happy circumstances, he became one of the top US radio stars of the 1930s and 1940s and eventually appeared as well on early television broadcasts. A career in regional opera resulted, including starring roles at Lyric Opera of Chicago and one single appearance at the Metropolitan Opera at the age of 59. This episode features live, radio, and studio performances by Gorin in opera, operetta, Broadway, and folk and art songs over a period of nearly 40 years, including exceptional a live late career performance of Ernest Bloch’s Avodath Hakodesh, in which he returned to his cantorial roots. If you do not (or do) already know this artist, you are in for a treat. A bonus episode on Igor Gorin for my Patreon subscribers includes complete performances of two constrasting song cycles by Modest Mussorgsky, The Nursery and the Songs and Dances of Death. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

Auschwitz-Birkenau was liberated 76 years ago this week, and to mark Holocaust remembrance day in late January, the corridors of UN Headquarters are normally filled with the stories of survivors who come to bear witness.  But this year, the annual commemoration programme was held online for the first time ever, due to COVID-19, under the theme “Facing the Aftermath: Recovery and Reconstitution after the Holocaust”.   For this latest edition of our Lid is On podcast, Ana Carmo brings you some of those voices of survival, along with the poignant contribution of German leader, Angela Merkel, and leading UN officials, speaking out against intolerance and racism, with neo-Nazism seemingly on the rise.   Music Credits: Cantor Julia Cadrain; and violinist and UNESCO Artist for Peace, Renaud Capuçon performing Nigun from the Baal Shem Suite by Ernest Bloch. Mr. Capuçon is accompanied by the pianist, Guillaume Bellom. 

At just 15 years old Jamie Miles is the youngest musicmaker in this podcast series - but don’t underestimate him, he may be still in high school but he’s a rising star in the making! Meet him at this very important stage of his musical journey to hear about his upbringing as a musical native, his exciting ideas about the nature and role of music, and explore his first major work of composition, his Suite for Solo Viola, in this interview with Teddy Darling. Join Jamie and Teddy live for the musical sequel to this interview with a full-length feature broadcast of Jamie’s music on Melbourne in Concert at 6PM Sunday 6 December, only on 3MBS Fine Music Melbourne. Coming up next in the Musicmakers series, Teddy Darling meets the other half of the Miles Duo to explore the exciting cello adventures of Jamie’s older sister, Charlotte miles. *** Jamie’s music recommendations: Viola Sonata by Rebecca Clark. Tune into to the feature broadcast with Jamie Miles at 103.5FM, on digital, or stream it live at 3mbs.org.au.. Or listen to it on-demand after it airs at 3mbs.org.au/programs/melbourne-in-concert *** Credits:This episode was written, hosted, and produced by Teddy Darling, with support from Adrian McEniery, Frank Prain, Stewart McMillan, and other staff members from 3MBS Fine Music Melbourne. This episode features the following music with the permission of the artists: ‘Suite for Solo Viola’ (excerpts) written and performed by Jamie Miles live at the Lady Marigold Southey Performance Studio 3MBS Fine Music Melbourne.‘Suite for Solo Viola’ (excerpts) written by Max Reger and performed by Jamie Miles.'Suite for Viola and Piano' (1919) by Ernest Bloch (excerpts), performed by Konrad Olszewski and Jamie Miles.'Sonata for Viola and Piano in F Minor' (No.1) by Johannes Brahms (excerpts) performed by Konrad Olszewski and Jamie Miles. ‘Grotesque’ by Rebecca Clark, performed by the Miles Duo (Jamie Miles viola and Charlotte Miles cello).

At just 15 years old Jamie Miles is the youngest musicmaker in this podcast series - but don't underestimate him, he may be still in high school but he's a rising star in the making! Meet him at this very important stage of his musical journey to hear about his upbringing as a musical native, his exciting ideas about the nature and role of music, and explore his first major work of composition, his Suite for Solo Viola, in this interview with Teddy Darling. Join Jamie and Teddy live for the musical sequel to this interview with a full-length feature broadcast of Jamie's music on Melbourne in Concert at 6PM Sunday 6 December, only on 3MBS Fine Music Melbourne. Coming up next in the Musicmakers series, Teddy Darling meets the other half of the Miles Duo to explore the exciting cello adventures of Jamie's older sister, Charlotte miles. *** Jamie's music recommendations: Viola Sonata by Rebecca Clark. Tune into to the feature broadcast with Jamie Miles at 103.5FM, on digital, or stream it live at 3mbs.org.au.. Or listen to it on-demand after it airs at 3mbs.org.au/programs/melbourne-in-concert *** Credits:This episode was written, hosted, and produced by Teddy Darling, with support from Adrian McEniery, Frank Prain, Stewart McMillan, and other staff members from 3MBS Fine Music Melbourne. This episode features the following music with the permission of the artists: ‘Suite for Solo Viola' (excerpts) written and performed by Jamie Miles live at the Lady Marigold Southey Performance Studio 3MBS Fine Music Melbourne.‘Suite for Solo Viola' (excerpts) written by Max Reger and performed by Jamie Miles.'Suite for Viola and Piano' (1919) by Ernest Bloch (excerpts), performed by Konrad Olszewski and Jamie Miles.'Sonata for Viola and Piano in F Minor' (No.1) by Johannes Brahms (excerpts) performed by Konrad Olszewski and Jamie Miles. ‘Grotesque' by Rebecca Clark, performed by the Miles Duo (Jamie Miles viola and Charlotte Miles cello).Support the show: https://3mbs.org.au/donateSee omnystudio.com/listener for privacy information.

Listen now | Our performance of Ernest Bloch’s Poems of the Sea, B. 46, played by our host and pianist Eliana Zebro.  Subscribe at pianohistories.substack.com

Listen now  Subscribe at pianohistories.substack.com

The Bridge Trio presented a concert at the Neel Performing Arts Center in Bradenton called "Coming to America," featuring the Dvořák Piano Trio in F Minor as well as music by John Adams and Ernest Bloch. Bethany Cagle welcomes the trio, led by Sarasota Orchestra violinist Felicia Brunelle, to our Sarasota Performance and Broadcast Studio. They engage in conversation and live performance to commemorate the passing of Paul Wolfe, former Music Director of Sarasota Orchestra.

durée : 00:28:23 - Zara Nelsova, une des premières Reines du violoncelle - Zara Nelsova, une des 1ères grandes dames du violoncelle, avant la britannique Jacqueline Dupré. Dans la presse, on la surnommait la Reine du violoncelle et le compositeur Ernest Bloch la surnomma « Madame Schelomo ».

durée : 01:57:56 - Adam, Marcello, Serkin et Bloch - par : François-Xavier Szymczak - Dans l' Eté classique matinal toute cette semaine, François-Xavier Szymczak s'appuiera chaque jour sur des dates anniversaires de naissance et de décès... ce matin il rendra hommage à Adolphe Adam, Benedetto Marcello, Peter Serkin et Ernest Bloch. - réalisé par : Lionel Quantin

Today marks the anniversary of the first performance of the best-known work of the Swiss-born American composer, Ernest Bloch, whose "Hebrew rhapsody—Schelomo," for cello and orchestra, premiered at Carnegie Hall on May 3 in 1917. "Schelomo" is a vivid meditation on the Book of Ecclesiastes in the Bible, which describes King Solomon reflecting sadly on the vanity of human endeavor—"Schelomo" being the original Hebrew pronunciation of Solomon. "Schelomo" premiered just a year after Bloch came to the United States. In America, Bloch had found encouragement and remarkable acceptance of his music. His "Schelomo" was just one of several works premiered at an all-Bloch concert at Carnegie Hall arranged by The Society of the Friends of Music, and performed by an orchestra made up chiefly of New York Philharmonic members with the Philadelphia orchestra's principal cellist Hans Kindler as soloist. "Schelomo" was originally written with the Russian cellist Serge Alexander Barjansky in mind, and was dedicated to him and his wife; but it was not until a concert in Rome in 1933, a fateful year for the Jews of Europe, that Bloch got to conduct the work with Barjansky as soloist. Despite his success in America, Bloch tried to resume his career in Europe in the 1930s, but, discouraged by the rise of anti-Semitism and threats of war, he returned to American for good in 1938, where he continued to compose, conduct, and teach until his death in 1959.

Today marks the anniversary of the first performance of the best-known work of the Swiss-born American composer, Ernest Bloch, whose "Hebrew rhapsody—Schelomo," for cello and orchestra, premiered at Carnegie Hall on May 3 in 1917. "Schelomo" is a vivid meditation on the Book of Ecclesiastes in the Bible, which describes King Solomon reflecting sadly on the vanity of human endeavor—"Schelomo" being the original Hebrew pronunciation of Solomon. "Schelomo" premiered just a year after Bloch came to the United States. In America, Bloch had found encouragement and remarkable acceptance of his music. His "Schelomo" was just one of several works premiered at an all-Bloch concert at Carnegie Hall arranged by The Society of the Friends of Music, and performed by an orchestra made up chiefly of New York Philharmonic members with the Philadelphia orchestra's principal cellist Hans Kindler as soloist. "Schelomo" was originally written with the Russian cellist Serge Alexander Barjansky in mind, and was dedicated to him and his wife; but it was not until a concert in Rome in 1933, a fateful year for the Jews of Europe, that Bloch got to conduct the work with Barjansky as soloist. Despite his success in America, Bloch tried to resume his career in Europe in the 1930s, but, discouraged by the rise of anti-Semitism and threats of war, he returned to American for good in 1938, where he continued to compose, conduct, and teach until his death in 1959.

De Joodse componist Ernest Bloch liet zich in de jaren ’50 van de vorige eeuw, sterk inspireren door Bach. In korte tijd schreef hij drie Suites voor cello-solo. Laat je verrassen! Johann Sebastian Bach Suite voor cello nr.3, BWV.1009 – deel I, “Prelude” Emmanuelle Bertrand, cello Harmonia Mundi 902293.94 3’29’’ Ernest Bloch Suite voor cello nr.1 Emmanuelle Bertrand, cello Harmonia Mundi 901810 10’57’’

Ahead of Raphael Wallfisch's new season of concerts, Jon Jacob speaks to the cellist about his formative classical music experiences, cellist Zara Nelsova, Jacqueline du Pre, and the music of Ernest Bloch. For regular updates, concert previews, and recording recommendations, support the podcast via https://www.patreon.com/thoroughlygood.

The scripture reading for this Sunday, August 25, was Hebrews 11:16-29. Jacy Grannis played Processional from Suite Hébraïque by Ernest Bloch on the viola. Rev. Laura Mayo gave the proclamation. #Theseareoursacredstories

Il 15 luglio 1959 muore a Portland Ernest Bloch. Massimo Acanfora Torrefranca lo racconta a WikiMusic

KINETIC, the conductorless ensemble performs music from their second ever concert, with works by Bloch, Ysaye, and Ireland.

Diffusée le 13 décembre 2016

Mark Kosower, principal cello of The Cleveland Orchestra, stops by the FM 91 studio with the Toledo Symphony's Merwin Siu to preview Mark's appearance with the TSO in one of the most passionately expressive works in the cello/orchestra repertoire, Ernest Bloch's Hebraic Rhapsody, Schelomo.  

Mysteries Of The Deep Podcast, Chapter XLII. Myriad Myriad by Matthew Patterson Curry & Abby Echiverri. Cover photo courtesy of Candace Price. Matthew and Abby perform live at Mysteries III on Friday October 30th in New York. http://www.residentadvisor.net/event.aspx?748881 Tracklist: 1. Abby Echiverri - Plume  2. Igor Wakhevitch - Amenthi 3. Porest - Life Sentence 4. Douglas Quinn - Weddell Seals 5. Tim Clark - Invisible Universe 6. Prima Materia - Tail of the Tiger 7. Tod Dockstader - Wave 8. Tujurikkuja - Ahmak 9. Jonas Reinhardt - Ecstatic Invokations 10. Rafael Toral - Wave Field 6 11. Lang Elliot - Northwood Dawn 12. Daniel Menche - A Hollow Mesmer 13. Else Marie Pade - Faust Suite: Faust & Margrethes Kærlighed 14. Chessie - Electro Motive 15. Main - Part III 16. Karma Moffet - Golden Bowls of Compassion 17. Zeena Parkins and Ikue Mori - Blue Noon 18. Papua New Guinea - Yafar/Melody on Harmonics/Beetle 19. Moondog - Invocation 20. Richard Pinhas - Sur Le Theme De Bene Gesserit II 21. Arp and Anthony Moore - Piano Waves 22. Roland Kayn - Tanar Part 1 23. Yko - Shiro (Max Loderbauer remix) 24. Ernest Bloch  - 5 Sketches in Sepia (Uncertainty) 25. Bent Lorenzen - Shining Rainbows 26. Strategy - Wurlitzer Tapeloop 27. Tuxedomoon - Ghost Sonata 28. Sa Pa - Epiphanic 29. Taiwan Aborigines (Bunun) - Song for Harvest 30. Ellen Fullman and Monique Buzzarte - Fluctuation 2 31. Moebius Story Leidecker - Flathead 32. Can - Obscura Primavera https://soundcloud.com/safetyscissors https://soundcloud.com/echiverri

Andrew talks with leading team members, and shares music from, Chicago Opera Theater's new production — and the Chicago premiere — of the early 20th-century Macbeth by composer Ernest Bloch.   [...]

Songs by Antoine Tamestit and Ying-Chien Lin, and Musicians from Ravinia's Steans Institute:Clarke: Sonata for Viola and Piano (1919)Fauré: Piano Quartet No. 1 in C MinorThis week, we’ll hear two works by young composers who benefited mightily from various efforts to support the creation of new chamber music—one in 20th-century Massachusetts, and the other in 19th-century France.First up is the Sonata for Viola and Piano by Rebecca Clarke, a name that is likely new to many of us. She was an accomplished violist, and after leaving home in 1910, she supported herself by performing throughout England, the British colonies, and the US.In 1919, Elizabeth Sprague Coolidge—an influential patron of contemporary chamber music—invited Clarke to enter a composition competition she sponsored each year through the Berkshire Festival of Chamber Music. A work by Ernest Bloch won, but Clarke’s viola sonata went on to earn an enduring place in the viola repertoire. Clarke, alas, wrote relatively few works over the course of her career; in total, about 100 works survive, and of those only 20 were ever published. Looking back, Clarke called the viola sonata “my one little whiff of success.” We’ll hear it performed by violist Antoine Tamestit and pianist Ying-Chien Lin.Next, we’ll hear a chamber work from a more familiar source: Gabriel Fauré. The composer himself premiered the work with the National Music Society—an organization dedicated to the presentation of new chamber music, founded by Saint-Saëns in 1871. The founding of the society brought new opportunities for the performance of instrumental chamber music, and with it the impetus to compose such works. On today’s podcast, we’ll hear it performed by Musicians from Ravinia’s Steans Institute. We begin, however, with Rebecca Clarke’s viola sonata.

Zina Schiff, violin, and Lois Brandwynne, piano, 2008-09 artists-in-residence at UC Davis, perform Ernest Bloch's Sonata No. 2 (Poeme Mystique).

http://www.andystreasuretrove.com/andystreasuretrove.com/Media/ATTSF%20Episode%20%232%20Levelated.mp3.mp3 ()In Episode #2 we'll join a media preview tour of San Francisco's new http://www.thecjm.org/ (Contemporary Jewish Museum) and spend time with its architect Daniel Libeskind, museum President Rosalyn Swig, Director Connie Wolf, artists http://www.alanberliner.com/ (Alan Berliner) and http://en.wikipedia.org/wiki/Trenton_Doyle_Hancock (Trenton Doyle Hancock), and others. We'll also talk to Liam Passmore about San Francisco's own literary festival, http://www.litquake.org/ (Litquake), coming up in October, and about the horror of those yearly visitors, the Blue Angels. Then, because they got such a great response after Episode #1, we'll hear another piece from the Ernest Bloch Bell Ringers, this one entitled “All Things Bright and Beautiful.” This episode is 37 minutes long. See photos and videos below, under the keywords. Keywords for this episode: Contemporary Jewish Museum, San Francisco, Daniel Libeskind, Rosalyn (“Sissy”) Swig, Connie Wolf, Liam Passmore, Litquake, Ernest Bloch Bell Ringers, Jewish Community Foundation Building, Jessie Street Power Station, Willis Polk, Alan Berliner, Trenton Doyle Hancock, Mierle Laderman Ukeles, Matthew Richie, Kay Rosen, Ben Rubin, Shirley Shor, Genesis, Pamela Rourke Levy, “Playing God,” Blue Angels, “All Things Bright and Beautiful,”

http://www.andystreasuretrove.com/andystreasuretrove.com/Media/Andy%27s%20Treasure%20Trove%20San%20Francisco,%20Episode%20%231%20LEVandMONO.mp3 ()Episode #1 includes an interview with Don Bachardy, noted portrait artist and longtime partner of British author Christopher Isherwood, along with Tina Mascara and Guido Santi, the creators of a new documentary called “Chris and Don, A Love Story” about Bachardy's and Isherwood's 30-year relationship. Then we'll hear a short story written and read by Philadelphia defense attorney Mike Carroll, an astrological forecast for September from JoAnne Brasil, and end the episode with a lovely piece of music—Antonio Vivaldi's Variations on a Theme performed by the Ernest Bloch Bell Ringers. This episode is 31 min. long. See photos under the keywords below. Keywords for this episode: San Francisco, art, culture, Don Bachardy, Christopher Isherwood, “Chris and Don, A Love Story,” Guido Santi, Tina Mascara, James White, “Birdsong,” “The Persian Oven,” “California Exit,” Christopher Isherwood Foundation, Bette Davis, Jerry Brown, Frameline32, San Francisco International LGBT Film Festival, Michael York, Tennessee Williams, Igor Stravinsky, Thomas Mann, Greta Garbo, “The Berlin Stories,” “Cabaret,” David Hockney, Mike Carroll, “The Bench Warrant,” JoAnne Brasil, astrology, Ernest Bloch Bell Ringers, Mendonoma, Antonio Vivaldi, “Variations on a Theme”

Am 28. August 2012 fand die neunte Zeitgeschichtliche Sommernacht der Bundesstiftung zur Aufarbeitung der SED-Diktatur in der St.-Elisabeth-Kirche in Berlin-Mitte statt. Der Theologe Prof. Dr. Sándor Fazakas von der Reformierten Theologischen Universität Debrecen in Ungarn analysierte in seinem Festvortrag das Verhältnis von Versöhnung und Aufarbeitung im internationalen Vergleich. Wissenschaftliche und gesellschaftliche Aufarbeitung seien die Grundlage für einen demokratischen Neuanfang, argumentierte Fazakas. Anschließend beantwortete er die Fragen der Chefredakteurin des Deutschlandfunks, Birgit Wentzien. Die diesjährige Sommernacht der Bundesstiftung bot neben dem Vortrag und dem Gespräch auch die passende musikalische Begleitung: Der Bürgerrechtler und frühere SPD-Bundestagsabgeordnete Stephan Hilsberg am Klavier und die junge Musikerin Angela Lasota de Andres an der Violine spielten vor, zwischen und nach den Wortbeiträgen Stücke von Ernest Bloch, Sergej W. Rachmaninoff und Edgar Fauré. Schlussrede: Rainer Eppelmann.