Podcast appearances and mentions of Fanny Mendelssohn

Fanny Mendelssohn - Characteristic Piece No. 3Heather Schmidt, pianoMore info about today's track: Naxos 8.570825Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

durée : 00:27:41 - France Musique est à vous junior du samedi 08 novembre 2025 - par : Gabrielle Oliveira-Guyon - Au programme ce samedi : un nouvel épisode du podcast Octave et Mélo, une œuvre de jeunesse signée Fanny Mendelssohn, le choix musical de Virgile sur le répondeur des enfants, et dans le labo de Nico : pourquoi les humains ont-ils besoin de musique ? Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In un recente episodio, abbiamo parlato di Clara Schumann, una compositrice di grande talento che era sposata con Robert Schumann. Oggi vorremmo rivolgere la nostra attenzione su Fanny Mendelssohn-Hensel, un'altra compositrice di sorprendente talento che è stata coperta dall'ombra di un uomo famoso. Nel caso di Fanny, l'uomo da cui è stata oscurata era suo fratello Felix Mendelssohn-Bartholdy (1809-1847). E non è cosa da poco. Felix non fu solo uno dei più grandi compositori dell'epoca romantica, fu a dir poco un miracolo. Pensate al suo ottetto, alle sue musiche di scena per Sogno di una notte di mezza estate, alla sua musica da camera, alle sue sinfonie, alla sua musica per pianoforte, ai suoi oratori. Quanti altri compositori come lui conoscete? Senza dimenticare che compose ogni cosa in soli 38 anni: questa fu infatti l'età in cui morì. Eppure, anche accanto a un colosso come Felix, Fanny tiene testa. Se fosse vissuta in un'epoca in cui le donne non erano così emarginate, e se non fosse morta all'età di 41 anni, avrebbe potuto godere del riconoscimento e del rispetto che meritava. Ma oggi sferreremo un piccolo colpo a suo favore. Non possiamo correggere quasi due secoli di dimenticanza in un solo giorno, ma insieme possiamo scoprire di più sulla meravigliosa musica composta da questa donna straordinaria. Piccola biografia di Fanny Mendelssohn-Hensel Fanny Mendelssohn (che prese il nome di Mendelssohn-Hensel dopo il suo matrimonio nel 1829) nacque il 14 novembre 1805 ad Amburgo, in Germania. Era la maggiore di quattro figli di una distinta famiglia ebrea. Suo padre era nipote del filosofo Moses Mendelssohn. (Si noti che, a causa delle norme sociali osservate da alcuni ebrei tedeschi all'epoca, i piccoli Mendelssohn e i loro genitori furono battezzati e divennero luterani nel 1816.) Fanny mostrò un prodigioso talento musicale. Ricevette le sue prime lezioni di pianoforte da sua madre e in seguito studiò con Carl Friedrich Zelter, un importante compositore dell'epoca. Nonostante il suo talento, si astenne dall'esibirsi pubblicamente o dal promuovere le proprie composizioni. Molti dei suoi primi lavori furono pubblicati sotto il nome di suo fratello. Nel 1829 sposò l'artista Wilhelm Hensel. Fanny ha continuato a comporre e a esibirsi in contesti privati. Solo nel 1846 pubblicò una raccolta di canzoni con il suo nome. Morì di ictus il 14 maggio 1847, quando aveva 41 anni. Suo fratello Felix ne fu devastato e morì solo sei mesi dopo, a 38 anni. Eredità Le opere di Fanny Mendelssohn hanno ottenuto un crescente riconoscimento negli ultimi anni, rivelando i suoi significativi contributi al panorama musicale dell'epoca romantica. Le sue composizioni includono un quartetto d'archi, un trio con pianoforte, più di 125 pezzi per pianoforte e più di 250 canzoni. Consigli per l'ascolto Canzoni Eichendorff-Lieder (sei brani di poesie di Joseph von Eichendorff) Sei canzoni, Op. 7 Opere per pianoforte Sei canzoni per pianoforte, Op. 4 e 5 Piano Sonata in C- Musica da camera Trio in re minore per pianoforte, violino e violoncello op. 11 Quartetto d'archi in Mi bemolle Opere corali Oratorio su Scene della Bibbia, per solisti, coro e orchestra

Donald Macleod traces the musical development of Fanny Hensel née Mendelssohn. Whilst Fanny's famous brother Felix Mendelssohn's career flourished, the equally talented Fanny was often held back by the conventions of the period and at times, by her own brother. Despite this, in her final years, Fanny would go on to publish her own music under her married name, Fanny Hensel. Music Featured:Das Jahr, H-U 385 Piano Quartet in A flat, H-U 55 Ferne, H-U 97 Der Fischer, H-U 85 An Suleika, H-U 148 Mailied, H-U 122 Piano Sonata in C minor, H-U 128 Prelude in G, H-U 243 Der Rosenkranz, H-U 168 Ostersonate, piano sonata in A, H-U 235 Am Flusse, H-U 204 Harfners Lied, H-U 162 Deinem Blick mich zu bequemen, H-U 151 Sonata o Fantasia, H-U 238 Hiob, H-U 258 Oratorio on words from the Bible, H-U 260 (Gott unser Schild) Klavierstück, in F minor H-U 302 (Allegro agitato) Hero und Leander, H-U 262 String Quartet in E flat, H-U 277 Mélodie, Op 4/5 No 4 (Lento appassionato) Overture, H-U 265 Im wunderschönen Monat Mai, H-U 323 Lobgesang, H-U 257 (Chorus: Meine Seele ist stille zu Gott) Warum sind denn die Rosen so blass, H-U 312 Gondellied, H-U 377 Capriccio in A flat, H-U 247 Aus meinen Tränen sprießen, H-U 327 Abschied von Rom, H-U 352 Die frühen Gräber, H-U 222 Dämmrung senkte sich von oben, H-U 392 Piano Trio in D minor, Op 11 Lobgesang, H-U 257 (excerpt) Im Herbste, H-U 416 Vorwulf, H-U 462 Bergeslust, H-U 466Presented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Fanny Mendelssohn (1805-1847) https://www.bbc.co.uk/programmes/m002cym9And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Freya's music is characterized by contrasts between earthy rhythmic play and fragility, luminous spaces, and a sense of the otherworldly. She has been commissioned by numerous institutions and ensemblesHer current season includes Mother Tongue, a new four movement work for the London Philharmonic Orchestra and Ed Gardner; a new work for the Archipelago Collective's 10th anniversary festival on San Juan Island WA; and a new work for classical orchestra for the Orchestra of the Age of Enlightenment in response to Fanny Mendelssohn's Das Jahr. Also upcoming is the release on NMC of Waley-Cohen's Debut Disc, Spell Book, with performances from the Manchester Collective as well as Tamsin Waley-Cohen, Ann Beilby, Nathaniel Boyd, Hèloïse Werner, Fleur Barron and Katie Bray.Other recent successes include the world premiere of Pocket Cosmos, premiered in June 2022 by commissioners London Chamber Orchestra and directed by Pekka Kuusisto, and staging of Freys's contemporary dramatic song cycle Spell Book at Longborough Festival Opera and Waley-Cohen's first opera WITCH, commissioned in celebration of the 200th anniversary of the Royal Academy of Music.Freya was the 2019/20 Associate Composer at Wigmore Hall, which held a day of concerts in March 2023 focused on her music. She was also Associate Composer of St. David's Hall's contemporary music series, ‘Nightmusic', from 2018 – 2021. Winner of a 2017 Royal Philharmonic Society Composition Prize, Freya Waley-Cohen held an Open Space Residency at Snape Maltings from 2015 – 2017 and was 2016 – 2018 Associate Composer of Nonclassical.I spoke to Freya from her home in London.

Carlos Iribarren | La música compuesta por mujeres es la gran protagonista del episodio de hoy, gracias a la pianista madrileña Susana Gómez Vázquez, quien ha publicado un disco delicioso titulado “Sisters of the Moon”. Susana nos ha visitado y nos explica de dónde sale ese título que engloba a 9 compositoras de diferentes épocas y estilos. Así, podremos escuchar piezas para piano de Claudia Montero, Fanny Mendelssohn, Florence Beatrice Price y Helene de Montgeroult. También disfrutaremos de una pieza compuesta por nuestra invitada y otra que escribió la gran pianista Alicia de Larrocha en su colección “Pecados de Juventud”. Carlos Iribarren y Mario Mora comparten hoy micrófonos con una intérprete cuya agenda está repleta de conciertos, en los que seguirá tocando en su instrumento algunas de las piezas que forman la mejor música del mundo: la que suena siempre en Hoy Toca, el programa de Clásica FM que te quiere sorprender.

Wir stellen euch anhand des Buches "Komponistinnen. Frauen, Töne, Meisterwerke" von Aliette de Laleu (Reclam 2024) die vergessenen Komponistinnen der Musikgeschichte vor. Dazu zählen Beatriz de Dia, Barbara Strozzi, Maria Anna Mozart, Fanny Mendelssohn und Clara Schuhmann.

Wir stellen euch anhand des Buches "Komponistinnen. Frauen, Töne, Meisterwerke" von Aliette de Laleu (Reclam 2024) die vergessenen Komponistinnen der Musikgeschichte vor. Dazu zählen Beatriz de Dia, Barbara Strozzi, Maria Anna Mozart, Fanny Mendelssohn und Clara Schuhmann.

Fanny Mendelssohn - NotturnoMichael Landrum, pianoMore info about today's track: Dorian Sono Luminus DSL-92158Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Episodio 165En este episodio de Dirección Coral Online, exploramos la estrecha relación entre Felix y Fanny Mendelssohn, desde su infancia compartida hasta la trágica muerte de Fanny, que marcó el último año de vida de Felix. Analizamos cómo su duelo se reflejó en el *Nunc dimittis*, una de sus últimas composiciones, y su profundo significado como despedida musical.  para acceder a una lista de reproducción de las obras escuchadas en este episodio, y a las partituras analizadas podés visitar este enlace165 espero tus comentarios!

Nach ihrem Gewinn des Concours Géza Anda im Jahr 2018 ging es in ihrer Karriere steil bergauf. Nach diversen Alben mit Musik von Bach bis Rachmaninoff präsentiert Huangci in ihrer neusten Aufnahme nun Stücke aus ihrer Heimat. 01:30 - Aktuell: Blick auf drei Grammy-Gewinner:innen 2025: - «Best Opera Recording» Kaija Saariaho: Adriana Mater (San Francisco Symphony Chorus, San Francisco Symphony, Esa-Pekka Salonen) - «Best Jazz Performance»: Twinkle Twinkle Little Me (Samara Joy Featuring Sullivan Fortner) - «Best Contemporary Classical Composition» Gabriela Ortiz: Revolución Diamantina (Gustavo Dudamel, Los Angeles Philharmonic & Los Angeles Master Chorale) (Moritz Weber) 08:00 - Talk: Die Pianistin Claire Huangci. (Elisabeth von Kalnein) 29:00 - Neuerscheinungen: - «Cité des compositrices» (Webseite, Social-Media-Kanäle). https://citedescompositrices.com/ - «Auf der Jagd nach Romantik», Musik für 2 Hörner von Mozart, Beethoven, Simrock, Rosetti. Bart Aerbeydt, Gijs Laceulle (Naturhorn), Freiburger Barockorchester. (Aparté 2024) (Felix Michel) 53:00 - Swisscorner: «Walpurginsacht»: Halbszenisches Konzert von vokal:orgel mit Musik von Felix Mendelssohn, Fanny Mendelssohn u.a. Junger Kammerchor Basel, Chöre der Gymnasien Muttenz und Laufen und der Steinerschule Birseck, Junge Oper des Theater Basel. Leitung: Abélia Nordmann (11.2., Stadtcasino Basel). (Moritz Weber)

Die aufstrebende Pianistin Gaia Sokoli macht es sich mit ihrer Repertoirewahl nicht gerade leicht. Aber sie bleibt auch auf ihrem zweiten Album Fanny Mendelssohn treu.

Due appuntamenti concludono il progetto «Music in International Days» sostenuto dall'Otto per Mille valdese e Officine d'Arte APS.Si tratta di due concerti all'Auditorium dell'Educatorio della Provvidenza EdP di Torino il 21 novembre, per la «Giornata Internazionale dell'Infanzia» con Gabriele Anglani, Michela Montanaro e Giovanni Melina e il 24 novembre, «Giornata internazionale contro la violenza sulle donne» con Maria Teresa e Carmela Pizzulli, Clara Piccoli, che eseguiranno i due trii di Clara Schumann e Fanny Mendelssohn.Ne parliamo con Maria Teresa Pizzulli.

This episode begins with Mozart—the glorious, peppy last movement of a piano concerto—and ends with Sarah Vaughan, singing a song (“Black Coffee”). In between we have Bill Monroe, Fanny Mendelssohn, Earl Scruggs—a real variety show. But all to a purpose. Mozart, Piano Concerto No. 14 in E flat, K. 449, last movement Clarke, “The Cloths of Heaven” Monroe, “Blue Moon of Kentucky” Bernstein, “Some Other Time” Mendelssohn, Fanny, arr. Masur, Ken-David, “Schöne Fremde” Dunhill, “The Cloths of Heaven” Kern, “Why Was I Born?” Scruggs, “Foggy Mountain Breakdown” Burke, “Black Coffee”

1834. De getalenteerde Fanny Mendelssohn leeft lang in de schaduw van haar broer Felix. Tot ze trouwt met de schilder Wilhelm Hensel, die haar enorm aanmoedigt om te blijven componeren. Een reis naar Rome verandert alles en motiveert Fanny om haar eigen muziek te componeren en uit te geven. Zo schrijft ze op haar 29 een eigenzinnig strijkkwartet, los van alle regels. Moeilijke woorden: fantasie. Uitvoering: Quatuor Ebène.

Harriet Constable is a journalist and filmmaker based in London. Her journalism and documentary work has featured in outlets including the BBC, Economist and New York Times. She is a graduate of Colombia University's School of Journalism summer school, is a Pulitzer Center grantee and a fellow of the Royal Society of Arts. Her first novel is The Instrumentalist. Anna Maria della Pietà: the greatest violinist of 18th century, possibly a composer in her own right, fundamental to Vivaldi's music, grew up in the extraordinary Ospedale della Pietà - the original conservatoire of music Synaesthesia: people think it's seeing music through colour - which it is in The Instrumentalist - but it's more than that. Words can have smells and taste, one sense can trigger another in profound ways. Bach's Cello Suite in G minor while standing on a mountain: anyone can enjoy classical music, it's supposed to be listened to LOUDLY, it's supposed to be magnificent. Go somewhere epic, ideally in nature, and play this piece. Track the mountain with your eyes. The Foundling Museum: the UK's first children's charity, a heartfelt ode to the orphans and their parents. Female musicians: Fanny Mendelssohn, Clara Schulman, Nannerl Mozart, Francesca Caccini - listen to Nocturne in G minor. Spaghetti Aglio Olio This podcast is powered by ZenCast.fm

Fanny Mendelssohn steht mit ihren Klavierwerken keineswegs im Schatten von ihrem Bruder Felix, das macht dieses Album deutlich.

Eager to learn how organizations can innovate their way out of a crisis? You may be surprised that the key to this comes from an arts organization.Tune into a special live recording of our podcast, with John Mangum, the executive director/CEO of the Houston Symphony, and Scott Sonenshein, the Henry Gardiner Symonds Professor of Management – Organizational Behavior at Rice Business. During the pandemic, the performing arts faced an especially grave challenge beyond the shared difficulties with other industries: an existential crisis over the relevance of arts in times of extreme hardship. Professor Scott Sonenshein, a New York Times bestselling author and expert on how employees can create organizational, social and personal change, led a multi-year study of two prominent orchestras (including the Houston Symphony), resulting in a surprising insight with far-reaching applications. Resourcefulness is not just helpful for surviving adversity. It's a strategic framework that enables organizations to become better versions of themselves.In this conversation, John and Scott reflect on how the Houston Symphony transformed their operations and performance delivery during the pandemic, and how business leaders facing disruptions can benefit from critical changes Scott's research uncovered.Following their conversation, musicians from the Houston Symphony perform Fanny Mendelssohn's String Quartet in E-flat major, illustrating the Symphony's commitment to diversity and exploration in music. Musicians:MuChen Hsieh '17, violinAmy Semes '19, violinWei Jiang, violaJeremy Kreutz '20, celloEpisode Guide: 00:36 Exploring resilience and innovation at the Houston Symphony05:16 Deep dive into Scott Sonenshein's research on organizational change10:42 The Houston Symphony's pandemic response and innovation26:30 Leadership, trust, and the future of the Houston Symphony37:26 Closing remarks40:16 Fanny Mendelssohn's String Quartet in E-flat major Owl Have You Know is a production of Rice Business and is produced by University FM.Episode Quotes:What made the Houston Symphony shine during the pandemic?15:48 [Scott Sonenshein]: When you got to see an organization that was relentless in determining to keep playing and keep the music going no matter what form that looked like, you saw a lot of innovation and creativity in finding ways not to just put online what they were doing before but to really reinvent what they were doing so it would be suitable for the format that they could play in. And that's why you saw a lot of the Zoom symphonies and the little boxes, but what the Houston Symphony did was bring musicians into the homes of their audience. And that created a lot of new experiences for their audience. What has the pandemic taught the the Houston Symphony are taking forward for the years to come?36:51 [John Mangum]:  [Music] It's one of the few spaces where you can go and really unplug and just be alone, and that is rare these days. And I think that the symphony is going to continue to scale great artistic heights and commission new works and support young composers and reflect the diversity and energy of our community.How did the pandemic pushed for the Houston symphony to think outside the box21:30 [John Mangum] Even when we had our largest possible audience during that pandemic season, there were only about 400 or 450 people in Jones Hall, which at the time sat 2,900. That was because households had to sit together and then be a certain distance from anyone who wasn't in their household—back to this bubble idea. We weren't under pressure to sell tickets, so that gave us the ability to program whatever we wanted. You didn't have to do a certain number of Beethoven symphonies, or Star Wars in concert, or the kind of things that sell tickets. So we could really explore all kinds of repertoire.Show Links: To Adapt During Crisis, Take a Lesson From JazzHouston SymphonyTranscriptGuest Profiles:John Mangum | LinkedInScott Sonenshein | LinkedInScott Sonenshein | Jones Graduate School of Business at Rice UniversityScott Sonenshein

Dr. Gail Archer is a GRAMMY-nominated internationally touring concert organist and trail-blazer for women organists.  She has fantastic advice on not only approaching a career in music, but in living life to it's fullest. We talked about learning languages, some fascinating history, the magic of choirs and much more. This episode features music from several of her acclaimed recordings, and we discuss women composers, and the challenges facing women organists. We also speak about Musforum the international network for wormen organists that she founed. Gail's work highlighting composers from many Eastern European countries including Poland, Ukraine, Bulgaria and Russia was a big part of this conversation and you'll hear some of this music as well as that of Fanny Mendelssohn, a discussion of the Bach revival and interesting details about J.S. Bach himself, and one of Gail's recordings of one of his sublime Chorale preludes. I learned a lot about the history of the pipe organ and gained not only a better understanding of the instrument and it's vast repertoire, but I also gained important insights into the work of choir directors. One of the main topics Gail addressed was how to build a robust career and live a full life, with sensivity, curiosity,  intelligence and determination.  Gail Archer website: http://www.gailarcher.com/ Musforum network for women organists: https://musforum.org/ This is also available on YouTube, and the transcript is linked there as well: https://www.leahroseman.com/episodes/gail-archer  I really do need the help of my listeners to keep this project going; please consider buying me a coffee through my support page which is linked to Paypal: https://ko-fi.com/leahroseman photo: Stephanie Berger Timestamps:  (00:00) Intro (03:32) playing on different organs (05:55) J.S. Bach Chorale preludes, Fritz organ (08:30)  Chorale Prelude An Wasserflüssen Babylon, By the Waters of Babylon, from Gail Archer's album "J. S. Bach The Transcendent Genius" (13:02)  history of the organ (26:17)Fanny Mendelssohn Prelude in G major from Gail Archer's album “Mendelssohn in the Romantic Century” (28:36) Musforum and sexist challenges facing women organists  (36:47) please support this series! (38:23) scene in England and Europe for women organists (39:25) Eastern European organs, Chernivsti (45:22) Chacona by Svitlana Osgtrova from album Chernivsti (48:28) St. John Cantius in Chicago rescued organ from Canada, Polish album (51:28) excerpt from Grazyna Baciewisz Esquisse on album Cantius (51:53) interpreting repertoire, choosing registers, Messiaen, Bulgarian project (58:08) Baroque performance practice (01:00:01) choir director, the magic of choirs, building her career, Harriman institute at Columbia (01:07:07) learning Russian and Italian (01:10:02) choral director, priorities working with choirs (01:15:10) books and history, Mendelssohn family, Clara Schumann, Bach revival (01:24:02) advice, how Gail built her career --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Mit ihrer Ostersonate schreibt die junge Fanny 1828 ein virtuoses Meisterwerk über das Auferstehungsfest und wandelt darin auf den Spuren Bachs. Lange schrieb man es fälschlich ihrem Bruder Felix zu. Erst vor wenigen Jahren kam die Wahrheit ans Licht. Von Ben Süverkrüp.

Charlie Russell discusses with Ivan six things which should be better known. Charlie Russell she/her. Creative Associate and co-founder at Mischief. Trained at LAMDA. Work with Mischief includes Groan Ups (West End); The Play That Goes Wrong (UK Tour, West End, Broadway); Peter Pan Goes Wrong (Pleasance, West End, BBC1 adaptation, Broadway); The Comedy About A Bank Robbery (West End); The Goes Wrong Show (BBC Sitcom); Improviser, Mischief Movie Night (West End, UK Tour), Austentatious, Yes Queens. Charlie wrote and performed a run of her first solo show, Charlie Russell Aims To Please, at the Edinburgh Fringe Festival in 2022. Other acting work includes Kat in Kite Strings (Short Film), Doctors (BBC 1), And Then There Were None (BBC1 & Mammoth Screen) #FindTheGirl (BBC3 Online) and A Twist Of Dahl (BBC Radio 4). Charlie can next be seen starring in Fanny at The Watermill Theatre in May 2024. 500 Acts of Kindness group https://www.facebook.com/groups/2074795452542346/ Fanny Mendelssohn https://www.nytimes.com/1996/03/23/arts/music-review-fanny-mendelssohn-was-audacious-too.html The game Worldle https://thinkygames.com/reviews/worldle-a-treasure-trove-for-geography-nerds/ Improv https://www.hooplaimpro.com/improv-comedy-club-london-bridge.html A Short History of Queer Women by Kirsty Loehr. https://www.gscene.com/arts/books/book-review-a-short-history-of-queer-women-by-kirsty-loehr/ Therapy https://www.nhs.uk/mental-health/talking-therapies-medicine-treatments/talking-therapies-and-counselling/benefits-of-talking-therapies/ This podcast is powered by ZenCast.fm

Fanny Mendelssohn Hansel (1805-1847) was a German composer and pianist. She wrote hundreds of works, but for generations it has gone largely unnoticed and in some cases was attributed to her brother, Felix.  For Further Reading: Who was Fanny Mendelssohn, the unsung composer whose music was published under her brother's name? Fanny Mendelssohn Hensel finally moves out of her brother's shadow Fanny Mendelssohn Hensel, 1805-1847 This month, we're pulling back the curtain to reveal women overlooked in their own lifetimes or in our historical accounts of the eras in which they lived. We're talking about the activists, thinkers, leaders, artists, and innovators history has forgotten. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures.  Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, and Abbey Delk. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

The short-lived, San Francisco-based Women's Philharmonic, founded in 1981 and disbanded in 2004, had an enormous impact on America's classical music scene, promoting not only the music of woman composers but performances by prominent woman conductors and soloists. In 1992, they made their first recording for the Koch International Classics label under the direction of conductor JoAnn Falletta. Musical Concepts is pleased to return this recording, featuring works by Fanny Mendelssohn, Clara Schumann, Germaine Tailleferre, and Lili Boulanger, to international availability.TracksFanny Mendelssohn Ouverture (arr. Falletta) (10:32)Clara SchumannPiano Concerto in A Minor, Op. 7 (1836) I. Allegro maestoso (6:34) II. Romanze (Nina Flyer, cello) (4:51) III. Finale (10:24) Germaine TailleferreConcertino for Harp and Orchestra I. Allegretto (7:26) II. Lento (3:32) III. Rondo (5:03) Lili Boulanger D'un Soir Triste (arr. Falletta) D'un Matin de Printemps (arr. Falletta) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Det er en stor glede å få lov til å ønske velkommen på Nerdelandslaget, dyreelsker, kanskje tidenes beste gjennomskuer av forrædere i TV2-programmet Forræder og sjakkens Fanny Mendelssohn med hundre jern i ilden: Heidi Røneid!

Ukraine claims it has identified 20,000 children who it alleges have been abducted by Russia since the start of the war. Arrest warrants have been issued to President Putin and his Commissioner for Children's Rights. It's the subject of the latest work from film maker Shahida Tulaganova, whose documentary Ukraine's Stolen Children airs on ITV tonight. Now you may have heard of German composer Felix Mendelssohn but what about his sister, Fanny? A composer in her own right, Fanny was long ignored by the classical music world in favour of her brother. And despite being forbidden a musical career, Fanny persevered and composed 450 works. A new documentary, Fanny The Other Mendelssohn, explores her life and features never-before-heard or recorded pieces by her. Its director, BAFTA winner Sheila Hayman is also Fanny's 3x great granddaughter and she joins Emma to discuss it. An extra course of chemotherapy could cut the risk of death from cervical cancer by up to two fifths, according to a new study by scientists. The drugs used are already licensed for use in the UK so those involved say it should be straightforward to roll out because the treatment is 'cheap and accessible'. GP Dr Phillipa Kaye who is also an ambassador for Jo's Cervical Cancer Trust and Comedian, Ambassador for Eve Appeal and cervical cancer survivor Karen Hobbs both join Emma Barnett to discuss it. Designer Sarah Burton has stepped down as Creative Director of the fashion brand Alexander McQueen, meaning that there are now only a tiny number of women designing clothes for the rest of us. So why are there so few female designers at the top fashion houses? And does it actually make a difference when the clothes women wear are designed by men? Presenter: Emma Barnett Producer: Emma Pearce

Fanny Mendelssohn - The Year: Autumn: SeptemberLiana Serbescu, pianoMore info about today's track: CPO 999013-2Courtesy of Naxos of America, Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Charlotte Maclet is an award winning violinist who first performed a Mendelssohn concerto at age nine! She has performed as a soloist in her native France and abroad. She led the acclaimed quartet Camerata Alma Viva and is now first violinist for Zaïde Quartet. She and Emma discuss her recent recording with Zaïde, Invisible, which places the music of Fanny Mendelssohn and Clara Schumann alongside the more famous men who share a surname, how to lead a quartet as democratically as possible and why she chose life in chamber music over a solo career.Quatuor ZaïdeBuy their record: InvisibleThe 3 Questions:What piece of art changed everything for you?The work of Gustav KlimtWhat piece of art do you respect rather than like?The work of Marina AbrahmovitchGive us a recommendation...Listen to Glen Gould! And read Haruki Murakami's Absolutely On Music

Fanny Mendelssohn - NotturnoMichael Landrum, pianoMore info about today's track: Sono Luminus DSL-92158Courtesy of Naxos of America, Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

One of the pieces Fanny published under her own name during her lifetime. Twitter: @PianoRhapsody Email: pianorhapsodypodcast@gmail.com Find PianoRhapsody on SoundCloud for this recording and more!

What was life like for a 19th century female composer? Today, we celebrate a woman who was forced to watch her brother shine from the sidelines for a majority of her career, and what she did to make a name for herself. We discuss Christmas trees, Roman goddesses, and singing queens. Twitter: @PianoRhapsody Email: pianorhapsodypodcast@gmail.com Find PianoRhapsody on SoundCloud for this recording and more!

durée : 00:36:59 - Les Nuits de France Culture - par : Albane Penaranda - Si les noms de Clara Schumann, Alma Mahler et Fanny Mendelssohn nous sont connus, c'est surtout en tant que femme ou sour de .... et ceux de Louise Farrenc, Hélène de Montgeroult ou Pauline Viardot rayonnent encore de façon confidentielle, c'est tout le propos de cette émission. On ne saurait mieux le dire que l'historienne Mélanie Traversier, directrice, avec Alban Ramaut, de l'édition de l'ouvrage intitulé La musique a-t-elle un genre ? : * "Toutes les femmes artistes qu'elles soient musiciennes, autrices, peintres, cinéastes, ont subi les mêmes processus d'invisibilisation - ou en tout cas de disqualification. Si leur stade suprême est l'oubli total, ils passent aussi par des discours qui minorent le rôle des femmes dans l'histoire des arts, les plaçant par exemple sous une tutelle masculine, réduisant ces artistes à n'être que 'la sour de', 'la fille de.', 'l'épouse de.', 'la muse de', 'la maîtresse de.' comme on l'a vu avec Germaine Tailleferre, grande compositrice mais souvent qualifiée de 'mascotte du Groupe des Six'. Si les noms de Clara Schumann, Alma Mahler et Fanny Mendelssohn nous sont connus, c'est surtout en tant que femme ou sour de .... Et ceux de Louise Farrenc, Hélène de Montgeroult ou Pauline Viardot rayonnent encore de façon confidentielle. C'était tout le propos de cette émission diffusée diffusé le 17 juillet 2015 en direct et en public depuis Montpellier à l'occasion des trente ans du Festival Radio France. L'existence et les ouvres de femmes compositrices du XIXe siècle étaient salués dans un numéro de "Continent musiques d'été" au cours duquel Anna Sigalevitch s'entretenait avec la musicologue Florence Badol-Bertrand et la mezzo-soprano Marianne Crebassa. "Reconnaissance et statut des femmes compositrices au XIXe siècle",  Par Anna Sigalevitch  Réalisation : Charles Le Gargasson Extrait : Continent musiques d'été - Reconnaissance et statut des femmes compositrices au XIXe siècle (1ère diffusion : 17/07/2015) Indexation web : Documentation Sonore de Radio France

Town Square with Ernie Manouse airs at 3 p.m. CT. Tune in on 88.7FM, listen online or subscribe to the podcast. Join the discussion at 888-486-9677, questions@townsquaretalk.org or @townsquaretalk. First, Sarah Rothenberg, Artistic Director of DACAMERA, joins us with a preview of the upcoming 2023-2024 season of the arts organization, which includes a new suite from jazz trumpeter and composer Terence Blanchard from his history-making opera “Fire Shut Up in My Bones”, two world premieres from Etienne Charles and composer Matthew Aucoin and director Peter Sellars, and a celebration of composer Fanny Mendelssohn in concert and film. To learn more about DACAMERA'S 2023-2024 Season, click here. Plus, June 16 – 23, DACAMERA is offering a free virtual streaming event of its recent production of Kendrick Scott's “Unearthed”, which is a memorialization of the Sugar Land 95 through original music, poetry, and visual art. For more information, click here. The Sugar Land 95 refers to 95 African-American individuals whose remains were uncovered during construction of a new school in Fort Bend Independent School District in 2018. Our conversation on The Sugar Land 95 continues with the co-hosts of a new Texas Newsroom podcast Sugar Land, Journalist Brittney Martin and Southwestern University Assistant Professor of Anthropology Dr. Naomi Reed.  Their podcast explores details about who The Sugar Land 95 were, the systemic issues around them, and what progress has been made in the five years since they were discovered. The first two episodes of the Sugar Land podcast will be released Friday, June 16, 2023, on HoustonPublicMedia.org and all major podcast platforms. The remainder of the 8 episodes will be released weekly, every Thursday. Guests: Sarah Rothenberg  Artistic Director, DACAMERA Brittney Martin  Independent Journalist Co-Host & Executive Producer, Sugar Land podcast Dr. Naomi Reed Assistant Professor of Anthropology, Southwestern University Co-Host & Senior Producer, Sugar Land podcast Town Square with Ernie Manouse is a gathering space for the community to come together and discuss the day's most important and pressing issues. We also offer a free podcast here, on iTunes, and other apps

Difficile de rentrer directement dans une simple énumération de ces femmes qui ont été pour la plupart oubliées ou ont connu un destin « d'étoile filante ». Certaines auront été le reflet de leur époque, des mœurs et la place de la femme dans celles-ci ! En compagnie de Jean-Claude Mory, ancien Régisseur général de l'Opéra de Paris, nous allons revenir sur cette grande histoire, en plusieurs épisodes ... « Oublions que je suis une femme et parlons musique » s'agaçait la grande Nadia Boulanger au siècle dernier. Les femmes furent sans cesse renvoyées à leur condition, celle d'épouse, mère ou sœur, priées de disparaitre en raison des conventions sociales ou au profit d'un frère comme Maria Anna Mozart, Fanny Mendelssohn, d'un mari pour Alma Mahler ou Clara Schumann ! et bien d'autres... La présence d'une femme sur « scène » pose problème ! Au XIXe siècle, une violoniste et sa gestuelle vigoureuse donc « virile » avec l'archet font dire à certains que c'est scandaleux de voir jouer une femme du violon comme de la voir fumer en public ! Le violoncelle où la femme écarte les jambes pour tenir l'instrument et en sortir des sons graves est indécent sans oublier les instruments à vent comme flûte, trombone, trompette et autres instruments classés dans la catégorie « cuivres » ! Malgré ces interdits, les femmes ont usé de stratagèmes pour contourner les interdits, emprunter des noms d'hommes pour les compositrices ou placer les instruments d'une façon différente comme pour la harpe ou le violoncelle…. Malheureusement, en les accusant de superficialité, voire d'user de leurs charmes, en les réduisant à leur apparence, on dénigre leur talent artistique et dès la fin du XIXe siècle certaines musiciennes défendront « la cause féminine » ! Égalité de traitement, de droits divers, d'être reconnues pour leur art et leurs compétences comme les hommes. Outre les obstacles rencontrés de leur vivant, beaucoup de ces musiciennes entrées dans cette volonté, subiront le sort de ne pas rester dans la postérité et tomberont pour la plupart dans l'oubli ! Si nous pouvions par cette chronique réécrire leur histoire, non pas parce que ce sont des femmes, mais de grandes musiciennes qui ont marqué leur temps voire l'histoire de leur instrument. Nous mettons l'accent sur leurs succès mais aussi sur leurs combats, leurs parcours de vie dans toute leur complexité et leur diversité.

Sowohl Fanny Mendelssohn als auch ihr dreieinhalb Jahre jüngerer Bruder Felix saßen sonntags vormittaqs regelmäßig am Klavier im Speisezimmer der Familie und gaben Konzerte fürs staunende Publikum. Es ging nicht nur ums musikalische Miteinander, es gab wohl auch einen geschwisterlichen Wettbewerb der beiden Genies.

Music by Fanny Mendelssohn, Ludwig van Beethoven, Frédéric Chopin, and Maurice Ravel. The post Tyler Wang, 17, piano appeared first on WFMT.

How do you see Brahms Symphony No. 4? For Scottish orchestral bassist and abstract painter Kirsty Matheson, music—like days of the week— have color. Kirsty shares how she balances her professional music life with her painting career that took flight during a 100 Day project in 2021. This fascinating conversation allows us to dip into synesthesia, a neurological condition shared by Kirsty and many other creative minds that creates a crossover between senses, in Kirsty's case allowing her to paint classical music.  Find Kirsty: Kirsty's Website: www.kirstymatheson.com Kirsty's Instagram: @kirsty_matheson_art   Kirsty's Twitter: @KirstyM_Art    Mentioned:Justin Mortimer | artist  (learn)Esperanza Spalding | American bassist, singer and composer (listen) Ju-Fang Liu | Principal Bass, Indianapolis Symphony Orchestra (learn) Kristen Bruya | Principal Bass, Minnesota Orchestra (learn) Aspen Music Festival (explore) Dido and Aeneas Overture , Henry Purcell (listen) John Butt |University of Glasgow | Director, Dunedin Consort (listen) Kirsty's 100 Day Project (explore) BBC3 Tom Service Interview, Music in the Moment, May 31, 2021 (listen) Maggie Hambling | British painter and sculptor (learn) Synesthesia | neurological condition involving an overlap of senses (learn) Famous synaesthetes, BBC article  (learn) Wassily Kandinsky (1866-1944) | Russian painter (learn) Mozart, Symphony No. 40 in G Minor (listen) Fanny Mendelssohn (1805 –1847) | composer (listen) Seonaid Aitken | Scottish jazz violinist (listen) BBCThe Afternoon Show Podcast | Kirsty's review  movie Tár (listen)  BBC Scottish Symphony Orchestra (learn)Find Me, Kristy Darnell Battani:Website:    https://www.kristybattani.comInstagram:  kristybattaniartSupport the show

Jess Gillam is joined by the Mumbai-born pianist Shivank Menon, to talk about the records that they love. Their playlist includes Rostropovich playing Bach, Sviatoslav Richter playing Chopin, songs by Ravel, Fanny Mendelssohn and Donny Hathaway, and a recording of Bill Evans duetting with himself. Playlist: MORELENBAUM2 & RYUICHI SAKAMOTO: Sabia J S BACH ARR. KODALY: Vater unser im Himmelrich, BWV 762 (Mstislav Rostropovich, cello; Herbert Tachezi (organ) CHOPIN: Polonaise No 7 in A flat, Op 61 (Sviatoslav Richter, piano) ROBERT DE VISÉE: Sarabande from Suite No 7 in D minor (Thomas Dunford, archlute; Jean Rondeau, harpsichord) FANNY MENDELSSOHN: Schwanenlied, Op 1 No 1 (Dorothea Craxton, soprano & Babette Dorn, piano + Benjamin Appl, baritone & James Baillieu, piano) RAVEL: Soupir from 3 Poèmes de Stéphane Mallarmé (Anne Sofie von Otter, mezzo-soprano) DONNY HATHAWAY: A Song for You BILL EVANS: Emily

A vida de Fanny Mendelssohn poderia ter sido contada por Jane Austen. Assim foi a história das mulheres há 200 anos.See omnystudio.com/listener for privacy information.

Un saludo amigos y mecenas. Acabamos con este audio la serie que hemos consagrado a Comte. Hoy hablamos de su moral y hacemos un poco de recapitulación crítica. Saludos cordiales y gracias por sus escuchas. ***** Música de la época: Trío para piano en re menor op. 11 de Fanny Mendelssohn (la hermana mayor del famoso compositor decimonónico Félix Mendelssohn). ****** Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa ¡Muchas gracias a todos!

Fanny Mendelssohn - In this episode and the series that follow, Joe highlights the lives and music of women composers through the centuries, whose compositions were discouraged, suppressed and even forbidden. The following are links to some of her compositions. https://youtu.be/ti1eZ2B63Ro ,  https://youtu.be/MxlMuaO5hng

Komponiert habe sie nichts, schreibt Fanny Hensel 1840. Denn es „kräht ja doch kein Hahn danach“, stellte die hochmusikalische Schwester von Felix Mendelssohn fest. Einige Jahre später aber entstand ihr Klaviertrio d-Moll. Heute finden komponierende Frauen Gehör. Wenn man sie zu Gehör bringt, wie hier das Trio Gaspard.

Fanny Mendelssohn - Adagio Heather Schmidt, piano More info about today's track: Naxos 8.570825 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

She was a composer whose music was wrongfully neglected and was sometimes attributed and published under her brother's name. Join Evan Keely and John Banther as they discuss the unique challenges she faced, her letters, late success in publishing, and more.  Support Classical Breakdown: https://weta.org/donatefm See omnystudio.com/listener for privacy information.

En este episodio conoceremos a la compositora romántica Fanny Hensel Mendelssohn, antiguamente conocida más como "la hermana de Félix Mendelssohn", pero que recientemente se está ganando su propio lugar dentro de los compositores reconocidos de la primera mitad del siglo XIX.  La música de Fanny Mendelssohn que vas a escuchar en este episodio 00:30 Allegro grazioso No. 1, WV 294, interpretado por Elżbieta Sternlicht. 05:04. String Quartet in E-Flat Major (H. 277), interpretado por Quatuor Ébène. 10:36. 4 Lieder, Op. 6: No. 4, Il saltarello romaNo. Allegro molto, interpretado por Ana Markovic & Yen-Ling Liu. 13:56 Six mélodies pour le Piano, Op. 4 & Op. 5: Andante soave in E-Flat Major, interpretado por Beatrice Rauchs. 15:36. Das Jahr: 12 Characterstucke (original version): No. 4. April, interpretado por Wolfram Lorenzen. 16:45. 6 Lieder, Op. 1: No. 1, Schwanenlied, interpretado por Jerilyn Chou & Chiaki Kotobuki. 18:26. Overture in C Major, interpretado por The Women's Philarmonic, JoAnn Falletta.    

We're given a preview of Saturday night's concert at Carthage College that will feature the music of Felix and Fanny Mendelssohn. Dr. Ed Kawakami is Director of Choral Activities, and Dr. Dimitri Shapovalov is interim conductor of the Carthage Choir. They are serving as co-chairs of the music department. Saturday night's concert includes the Overture in C by Fanny Mendelssohn as well as Felix Mendelssohn's setting of Psalm 42 for choir and orchestra.

Fanny Mendelssohn - Notturno Michael Landrum, piano More info about today's track: Dorian Sono Luminus DSL-92158 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Though many societies either forbade or looked down on women who wanted to be composers, many persevered. This show highlights Francesca Caccini, Elizabeth Claude Jacquet de la Guerre, Louise Farrenc, Cecile Chaminade, Germaine Tailleferre, Hildegard von Bingen, Marianna Martines, Fanny Mendelssohn, Amy Beach, Florence Price, and Queen Lili'oukalani.

The Unthank sisters, writers Lucy Holland and Oyinkan Braithwaite and historian and feminist activist Sally Alexander join Shahidha Bari for a conversation about what it means to be a sister on International Women's Day 2022. You could make a family from recent novels depicting sisterhood from Oyinkan Braithwaite's My Sister the Serial Killer, to Daisy Johnson's Sisters and Brit Bennett's The Vanishing Half but literary sisterhood goes back via Jane Austen and the Brontës to Chekhov, King Lear's daughters, Cinderella and Greek myths about the seven sisters who formed the Pleiades, or Antigone and Ismene. And if you're looking at feminist history the idea of the sisterhood has been a cornerstone of political action. Is it right that sisters will have a particular bond and sound if they perform music together? All of this and more in tonight's Free Thinking conversation. The Unthank sisters will be on tour with their latest album Sorrows Away visiting a range of venues from Norwich, Poole, Northampton, Middlesborough, Belfast, Edinburgh, Dublin and a range of places in between starting on March 13th in Lincoln Lucy Holland has written Sistersong set in Anglo-Saxon Britannia. She also presents Breaking the Glass Slipper, a podcast celebrating women in genre. You can hear a reading of Oyinkan's novel My Sister the Serial Killer by Weruche Opia on BBC Sounds https://www.bbc.co.uk/sounds/series/p08q6q19 Sally Alexander, Professor Emerita at Goldsmiths, is founding editor of the History Workshop Journal and is working on a history of psycho-analysis. Producer: Kevin Core You might also be interested in the most recent episode of Radio 3's Words and Music on Sisters, with its curated playlist of readings and music of all kinds ranging from Wordsworth, Jane Austen, Brit Bennet and Arifa Akbar to Fanny Mendelssohn, Errollyn Wallen, Hildegard of Bingen and the Labeque Sisters performing Ravel. And tomorrow's programme explores new research into women's history. And there's a playlist on the Free Thinking programme website called Women in the World https://www.bbc.co.uk/programmes/p084ttwp

En el episodio de hoy de nuestro cuento musical para niños, Jugando con Tchai, el pequeño Tchai y su familia se van de vacaciones a un pueblo llamado Puercoespín Carabonda, en las cercanas montañas a su pueblo. Pero, ¿qué se le olvida empacar para su corto viaje? Y, ¿a quién se encuentra en una tienda cercana? La música que podrán escuchar en este episodio.  La historia de hoy con música de la compositora del mes, Fanny Mendelssohn: los niños podrán escuchar partes de su Sonata de Pascua, en especial los movimientos I y III.    00:38 Ostersonate: I. Allegro Assai Moderato por Fanny Mendelssohn, interpretado por Gaia Sokoli.  03:38  Ostersonate: III. Scherzo. Allegretto por Fanny Mendelssohn, interpretado por Gaia Sokoli.    Paula también pregunta a los niños cuál es su episodio de Tchai favorito ya que ella lo ha pasado genial creando la historia de este episodio.   Si te gusta el episodio, califícalo en tu app favorita  o puedes dejar tu review. :)  No te pierdas ningún episodio. Suscríbete a la newsletter en allegromagico.com/suscribirme y aprendan conmigo sobre música clásica. Síguenos en: Facebook, Twitter, Instagram y Pinterest.  Web: allegromagico.com    ¿Quieres aprender lo básico de música clásica de forma fácil? Checa nuestra guía para jóvenes y adultos.  ¿Ya han escuchado tus niños uno de los cuentos musicales más llamativos que existen? Las Cuatro Estaciones de Vivaldi es una obra ideal para niños.