Podcasts about fifth symphony

Russian composer Dmitri Shostakovich was one of the greatest musicians of the 20th century. But in 1936, Joseph Stalin attended a performance of Shostakovich's opera, Lady Macbeth of Mtsensk. The Soviet leader was unimpressed and left early. Days later, the state newspaper Pravda published a scathing review titled 'Muddle instead of music', castigating the music as bourgeois. Shostakovich was blacklisted from public life, and feared for his safety during Stalin's ongoing purges. The traditional style of his comeback Symphony No 5 in 1937 was a hit with the authorities, and Shostakovich's reputation was restored. But his true intentions are hugely debated – some experts argue the Fifth Symphony was a cleverly veiled act of dissent. Fifty years on from the composer's death, his son Maxim Shostakovich unfolds the mystery with Ben Henderson.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from the death of Adolf Hitler, the first spacewalk and the making of the movie Jaws, to celebrity tortoise Lonesome George, the Kobe earthquake and the invention of superglue. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: Eva Peron – Argentina's Evita; President Ronald Reagan and his famous ‘tear down this wall' speech; Thomas Keneally on why he wrote Schindler's List; and Jacques Derrida, France's ‘rock star' philosopher. You can learn all about fascinating and surprising stories, such as the civil rights swimming protest; the disastrous D-Day rehearsal; and the death of one of the world's oldest languages.(Photo: Dmitri Shostakovich and his son Maxim Shostakovich. Credit: Express/Getty Images)

Giancarlo Guerrero leads a program from this past January exploring heroism and artistic defiance — including Shostakovich's Fifth Symphony and a colorful violin concerto by Arturo Márquez, performed by Anne Akiko Meyers.

Join the Circle of Interval Magicians: https://www.skool.com/circle-of-interval-magicians/about My mission is to help composers break free from generic progressions and write music that truly stands out. You don't need more theory, you need more MAGIC!

You see, I want you to own your specialness.To not be one of those people caught in the trap of being busy being busy. To be a genuine builder of something that is beautiful, inspiring and great.Yes, I want you to make your Taj Mahal. Create your Fifth Symphony. Make your Mona Lisa.Your life's just too precious to be postponing the pushing of your magic out into the world.This is what my latest book The Wealth Money Can't Buy is all about. Real wealth versus fake success. True winning versus spending your life climbing a mountain, only to find out at the end that it was the wrong one. You can order it now by clicking here.FOLLOW ROBIN SHARMA:InstagramFacebookTwitterYouTube

The cool of the Arctic meets the warmth of Italy. The brooding, majestic themes of Sibelius' Fifth Symphony evoke the remote landscapes of conductor Santtu-Matias Rouvali's native Finland. Tchaikovsky transports listeners to a Roman carnival in his Capriccio Italien. Seong-Jin Cho, lauded for his “expert music-making … miraculous in its execution” (The New York Times), takes on Prokofiev's incendiary Second Piano Concerto. This program will also be performed at Wheaton College on Friday, February 28. Learn more: cso.org/performances/24-25/cso-classical/seong-jin-cho-plays-prokofiev/

It's one of the most famous pieces of classical music, but why? The beginning of Beethoven's Fifth Symphony has an iconic status, but is it one of the best openings to a piece of music? YolanDa, Tom and Cassi dig deeper into those famous four notes and along the way they share other opening bars which are just as recognisable, arresting, or scary. It's a tricky passage to play in sync with other players, so they discuss tips and tricks to ensure it gets off to a successful start. Plus, in the quiz Tom makes a fruit-related promise he's surely going to live to regret…#PitchMeClassicalInstagram: @londonphilharmonicorchestra TikTok: @lporchestraBluesky: @lporchestraFacebook: @londonphilharmonicorchestra YouTube: @londonphilharmonicorchestra Hosted on Acast. See acast.com/privacy for more information.

Professor Luis Seco is a mathematician, educator, and investor. Among many other titles and achievements, he is the Professor of Mathematics at the University of Toronto, Director of the quant research hub Risklab, Chair of the Centre for Sustainable Development at the Fields Institute, and co-founder of the asset management firm Sigma Analysis & Management Ltd. Got all that?! This one was really fun, and not just because Luis is a fellow quant. We discuss how maths resembles Beethoven's Fifth Symphony, the future of the ‘metaversity', the most important lesson Luis gives his students, why investing isn't what it used to be, and much more. I hope you enjoy this conversation as much as I did. For the full transcript, episode takeaways, and bucketloads of other goodies designed to make you go, “Hmm, that's interesting!”, check out our Substack. Important Links: Website Twitter YouTube Show Notes: What Luis learned from the Beethoven of mathematics “Mathematics is the language computers speak” The role of community in an increasingly confusing world Lifelong education & the voyage to the human brain Why to teach is to be human Timebinding & social media as a steam valve What matters more - content or communication? Math as a social science: quantifying risk in a nonlinear world From paper, to numbers, to images: The changing nature of data Why the future of education lies in decentralization Swarm solutions & why we're in the century of collaboration Metaversities & the case for bringing your kids to work Why managing money is now based on words, not numbers Luis as Emperor of the World MORE! Books Mentioned: The Hitchhiker's Guide to the Galaxy; by Douglas Adams The Two Cultures; by C.P. Snow Zen and the Art of Motorcycle Maintenance; by Robert M. Pirsig Manhood of Humanity; by Alfred Korzybski How to Win Friends and Influence People; by Dale Carnegie The Myth of 1926: How Much Do We Know About Long-Term Returns on U.S. Stocks?; by Edward F. Mcquarrie

Give your customers stunning goods. The majority is caught up in the “relentless release of stuff.”Most producers rush to deliver many materials rather than investing the time and painstaking care to handcraft a single masterpiece that stands the test of time.I go into great depth on this pivotal subject in The 5AM Club yet for now please consider this: it's wiser to make one Fifth Symphony versus many pieces of mediocrity [that never establish domain dominance].FOLLOW ROBIN SHARMA:InstagramFacebookTwitterYouTube

With his Fifth Symphony, Shostakovich outwitted Soviet authorities with the finesse of a double agent. Threatened by Stalin's regime, the composer skillfully appeased Soviet officials with this gripping work packed with triumphant Russian themes, but also subversive satire and daring irony. Chief conductor of the Ravinia Festival Marin Alsop also leads the CSO in a captivating work about Harriet Tubman and a beloved Chopin concerto featuring pianist Lukáš Vondráček. Learn more: cso.org/performances/24-25/cso-classical/alsop-and-vondracek

There are two primary sources of unhappiness: living focused on the wrong things, and living in a way not in harmony with what matters most to you. Today, McKay opens our eyes to see why we need to discover what matters most to us and how to live in harmony with our values to live a happy and purposeful life. In this episode, McKay tells the story of the integrity possessed by Tony Finau, a man who valued honesty and decided to live with his values. He goes on to discuss the reasons why many are unhappy, the importance of deciding what matters most to you, and ways to identify your governing values. As McKay makes clear here today, when you become a light, and not a judge, and write down your governing values, you become set on your way to a happier and better life. The Finer Details of This Episode: - Tony Finau's integrity- The sources of unhappiness in life- Why you have to decide what matters most- How to live in harmony with what matters most- Beethoven's Fifth Symphony- the pursuit of what matters- How do you determine what matters most to you?- Ways to identify your governing values- Be a light, not a judge- Living in harmony with your chosen values- The power of planning your day Quotes: “To be happy and to pursue a purposeful life we have to decide what matters most and then seek to live in harmony with what matters.” “A deal is a deal. A handshake is a handshake. Integrity is integrity.” “It seems like selfishness, operating without common respect, and other such things, are the trades growing in our society.” “Be yourself, but be that perfectly.” “Our daily actions are in line with what matters most to us.” “Our purpose in life is to become the best we can be, to become a person of noble actions and virtues.” “We only have one life on this earth. I mean, I haven't heard of anyone going around for a second try, and if we aren't doing what matters most, then what in fact are we doing?” “You must take responsibility for your belief window and remove the erroneous beliefs on that window.” Show Links: Open Your Eyes with McKay Christensen

The majority is caught up in the “relentless release of stuff.” Most producers rush to deliver many materials rather than investing the time and painstaking care to handcraft a single masterpiece that stands the test of time. It's wiser to make one Fifth Symphony versus many pieces of mediocrity [that never establish domain dominance].My new book “The Wealth Money Can't Buy” is full of fresh ideas and original tools that I'm absolutely certain will cause quantum leaps in your positivity, productivity, wellness, and happiness. You can order it now by clicking here.FOLLOW ROBIN SHARMA:InstagramFacebookTwitterYouTube

You see, I want you to own your specialness. To not be one of those people caught in the trap of being busy being busy. To be a genuine builder of something that is beautiful, inspiring and great. Yes, I want you to make your Taj Mahal. Create your Fifth Symphony. Make your Mona Lisa. Your life's just too precious to be postponing the pushing of your magic out into the world.My new book “The Wealth Money Can't Buy” is full of fresh ideas and original tools that I'm absolutely certain will cause quantum leaps in your positivity, productivity, wellness, and happiness. You can order it now by clicking here.FOLLOW ROBIN SHARMA:InstagramFacebookTwitterYouTube 

Laura Jackson, Reno Phil Music Director and Conductor, and Jennifer Tibben, director of the Reno Phil Chorus, talk with Chris Morrison about the Reno Phil's “Mahler's Fifth Symphony” concerts, the final concerts of the orchestra's 2023-24 season, on April 20 and 21, 2024. The music includes the Symphony No. 5 by Gustav Mahler as well as the Gloria by Francis Poulenc.

Klaus Mäkelä has been named Riccardo Muti's successor at the helm of the Chicago Symphony Orchestra, a role he assumes in 2027 alongside the post of Chief Conductor of Amsterdam's Royal Concertgebouw Orchestra. Meanwhile, he remains committed to his two European orchestras, the Orchestre de Paris and the Oslo Philharmonic.  Following his Decca debut recording, of the complete Sibelius symphonies in Oslo, Mäkelä has made two much-admired recordings of music commissioned by Serge Diaghilev. The first of these, made with the Orchestre de Paris, was released early last year – Igor Stravinsky's The Rite of Spring and the complete Firebird ballet – and James Jolly spoke to the conductor by Zoom back in February 2023 as Klaus was in Cleveland conducting performances of Mahler's Fifth Symphony. Gramophone Podcasts are given in association with Wigmore Hall

Reno Phil music director and conductor Laura Jackson, composer Paul Novak, violin soloist Charlotte Marckx, and Tacie Moessner of the Davidson Institute for Talent Development speak with Chris Morrison about the Reno Phil's concerts "Shostakovich's Fifth Symphony" on February 24 and 25, 2024. The concerts include longing is an aviary by Paul Novak, the Violin Concerto No. 4 by Wolfgang Amadeus Mozart, and the Symphony No. 5 by Dmitri Shostakovich.

Sheku Kanneh-Mason, hailed by The New Yorker as “a cellist of blazing sensitivity,” makes his CSO debut in Elgar's rhapsodic Cello Concerto. Paavo Järvi conducts Nielsen's Fifth Symphony, a visceral, dramatic work exploring humanity's potential for conflict, born in the aftermath of World War I. Beethoven's jubilant hymn to liberty opens the program. Learn more: cso.org/performances/23-24/cso-classical/sheku-kanneh-mason-plays-elgar

For more than a year now, I've been obsessed with TÁR, the 2022 Todd Field film starring Cate Blanchett as an orchestral conductor whose power plays lead to her devastating downfall. Yes, the story is gripping and suspenseful, but it's the music interlaced throughout the film that keeps me coming back. Aside from the two works performed in the film — Mahler's Fifth Symphony and Elgar's Cello Concerto — which were baked into Field's script, the music you hear throughout TÁR is the result of months of work by the film's music supervisor, Lucy Bright. A specialist in the arenas of film and television scoring, Bright has worked with some of today's biggest composers — including Nico Muhly, Michael Nyman, and Volker Bertelmann — on projects ranging from Assassin's Creed to Aftersun and The Iron Claw. But what exactly does a music supervisor do on a film of this scale? Turns out, it's a lot.  From working with a team of on-set sound engineers who specialize in recording symphony orchestras to developing the film's Deutsche Grammophon concept album and recreating Urbie Green's 1967 recording of "Twenty-one Trombones," Bright was kept busy managing countless aspects of the film's musical atmosphere across three countries. In this episode of the Classical Post podcast, I speak with Bright about the expert levels of coordination and collaboration vital to her work, working with the Icelandic composer Hildur Guðnadóttir to realize Lydia Tár's compositions, and what it was like seeing Cate Blanchett raise a baton to conduct Mahler. Plus, she shares her fascinating history with modern architecture, her go-to burger place in New York City, and the therapeutic benefits of swimming in the natural springs of London's Hampstead Heath. Stream TÁR (Music from and Inspired by the Motion Picture) on Spotify, Apple Music, Amazon Music, or wherever you stream music. - Classical Post® is created and produced by Gold Sound Media® LLC, a New York-based marketing agency for the performing arts industry. Explore how we can grow your audience to make a lasting impact in your community.

Via Wikipedia The Symphony No. 5 in C minor, Op. 67, also known as the Fate Symphony (German: Schicksalssinfonie) is a symphony composed by Ludwig van Beethoven between 1804 and 1808. It is one of the best-known compositions in classical music and one of the most frequently played symphonies,[1] and it is widely considered one of the cornerstones of western music. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as "one of the most important works of the time". As is typical of symphonies during the Classical period, Beethoven's Fifth Symphony has four movements. It begins with a distinctive four-note "short-short-short-long" motif, often characterized as "fate knocking at the doorWestern.", the Schicksals-Motiv (fate motif): The symphony, and the four-note opening motif in particular, are known worldwide, with the motif appearing frequently in popular culture, from disco versions to rock and roll covers, to uses in film and television. Like Beethoven's Eroica (heroic) and Pastorale (rural), Symphony No. 5 was given an explicit name besides the numbering, though not by Beethoven himself. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia In general the symphony is sunny and cheerful, with light instrumentation that for some listeners recalls the symphonies of Joseph Haydn, with whom Beethoven had studied a decade before.[13] In a commentary on the symphony Grove comments that Haydn – who was still alive when the new symphony was first performed – might have found the work too strong for his taste.[2] The Fourth Symphony contrasts with Beethoven's style in the previous Third Symphony (Eroica), and has sometimes been overshadowed by its massive predecessor[n 4] and its fiery successor, the Fifth Symphony.[2] --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Reno Phil Music Director and Conductor Laura Jackson talks with Chris Morrison about both the 2023-24 Reno Phil season, as well as the October 14 and 15, 2023 season-opening concerts featuring Richard Strauss's Don Juan and Beethoven's Fifth Symphony. Also, pianist Daniela Liebman talks about her career and the Piano Concerto by Clara Schumann she'll be playing with the Reno Phil at the October concerts.

From its commanding four-note opening to its blazing finish, Beethoven's Fifth Symphony remains the unrivaled expression of struggle and triumph in orchestral music. German baritone Christian Gerhaher, “the foremost art song singer of our time” (The New York Times), performs selections from Mahler's The Youth's Magic Horn. Inspired by Hindustani classical music, Nina Shekhar's shimmering Lumina explores the contrast of light and dark. Learn more: cso.org/performances/23-24/cso-classical/jaap-van-zweden-conducts-beethoven-5

SynopsisOn this date in 1973, Eugene Ormandy conducted the Philadelphia Orchestra in music by Mozart, Brahms, and the American composer, Roy Harris. The program was nothing out of the ordinary, but the concert took place in Beijing and marked the FIRST time an American orchestra had performed in Communist China. The orchestra was invited to China following the famous visit of President and Mrs. Nixon and secretary of state Henry Kissinger.In the audience for one of these historic concerts was a young student of traditional Chinese music named Tan Dun. When Tan heard the Philadelphians perform Beethoven's Fifth Symphony, a work he had never heard before, he decided then and there to become a composer himself. In 1986, Tan Dun came to New York City, and since then has managed to combine elements of East and West into his own musical works.In 1987, for example, he composed a violin concerto titled Out of Peking Opera, which draws on both Chinese and European traditions. In addition to prestigious awards and commissions from major foundations and orchestras, in March of 2001, Tan Dun won an Oscar for his film score to the Ang Lee film, Crouching Tiger, Hidden Dragon.Music Played in Today's ProgramLudwig van Beethoven (1770 - 1827) Symphony No. 5 Royal Philharmonic; René Leibowitz, cond. Chesky 17Tan Dun (b. 1957) Out of Peking Opera Cho-Liang Lin, violin; Helsinki Philharmonic; Muhai Tang, cond. Ondine 864

At the Mzanzi National Philharmonic concert next Saturday at which the main work will be Mahler's Fifth Symphony conducted by Marin Alsop, the first half will feature dramatic soprano arias sung by Masabane Cecilia Rangwanashe who is based in Europe and who has been dazzling audiences with her radiant voice. She has just sung the Four Last Songs of Richard Strauss at a Proms concert in London and works regularly with Antonio Pappano at the Royal Opera House. Masabane has given solo recitals at the Wigmore hall and has appeared in Washington, Hamburg, Dresden, Atlanta and Chicago. I managed to get her on a zoom connection for this week's People of Note.

SynopsisOn today's date in 1962, the Symphony No. 5 for strings, by the German-born American composer Gene Gutchë, received its premiere performance at Chatauqua, New York.Romeo Maximilian Eugene Ludwig Gutchë was born in Berlin in 1907. His father, a well-to-do European businessman, was not amused by the notion of his son “wasting” his time on music, even though the famous Berlin-based composer-pianist Ferruccio Busoni confirmed the young man's talent. So “Gene” Gutchë ran away from home, abandoning any hope of a sizeable inheritance in the process, and came to America. He studied at the Universities of Minnesota and Iowa, and, in 1950, at age 43, produced his first symphony. Gutchë would go on to compose six symphonies in all, plus an hour-long symphonic work for chorus and orchestra titled “Akhenaten,” premiered by Leonard Slatkin and the St. Louis Symphony in 1983. For most of his life, despite fellowships and commissions, Gutchë lived modestly with his wife, Marion, in a cottage in White Bear Lake, Minnesota.Gutchë died in the fall of 2001—one year after this Cincinnati Symphony recording of his Fifth Symphony was reissued on compact disc. Music Played in Today's ProgramGene Gutchë (1907 - 2001) Symphony No. 5, Op. 34 Cincinnati Symphony; Max Rudolf, conductor. CRI 825

Synopsis In wartime London, on today's date in 1943, a Promenade Concert featured the first performance of the Fifth Symphony of Ralph Vaughan Williams. The composer himself conducted the London Philharmonic Orchestra. Queen's Hall, the traditional home of the annual summertime Proms concerts, had been destroyed by German bombers two years earlier. The Proms concerts had moved into a new and larger venue, the Royal Albert Hall, where the series continues to this day. For the 1943 season, Proms programs started earlier than usual, so that concert goers could get home before the nightly air raids on the city. To London audiences troubled by war fears and many sleepless nights of German bombing, the serene musical world of the Vaughan Williams Fifth must have seemed a real blessing. It's not a "wartime" symphony in the conventional sense, full of defiance and bluster, but rather an evocation and affirmation of England's musical past, blending hints of 16th century hymn tunes and modal folk melodies into symphonic form. For some time, Vaughan Williams had been at work on an opera based on The Pilgrim's Progress, a 17th century allegorical tale by the Puritan writer John Bunyan. Some of the tunes and motives from his projected opera ended up in the symphony, along with a sense of faith and optimism in the face of adversity that must have deeply affected the first audience to hear the work. Music Played in Today's Program Ralph Vaughan Williams (1872 - 1958) Symphony No. 5 London Philharmonic; Bernard Haitink, conductor. EMI 55487

Synopsis There is an ancient curse, popularly attributed to the Chinese, “May you live in interesting times!” The French composer Etienne-Nicolas Mehul, who was born on this date in 1763, certainly lived and worked in an “interesting” time, politically and musically speaking. His creative life spanned both the French Revolution and the Napoleonic Empire, and since Mehul live and worked in Paris, he found himself at the epicenter of some extremely “interesting” events. As one of the leading French composers of his day, he was commissioned to write patriotic works for state occasions, and had friends and supporters in high places, including Napoleon himself. His operas, both dramatic and comic, were greatly admired by his contemporaries, although sometimes these proved too “politically incorrect” for the Parisian censors. Beethoven (not always “P-C” himself) was a Mehul fan and borrowed some striking theatrical effects from one of Mehul's operas to use in his own opera, Fidelio. Apparently this admiration – and the borrowing – was reciprocated. The last movement of Mehul's First Symphony (in g minor) shows the impact of Beethoven's dramatic Fifth Symphony (in c minor) of a few years earlier. Music Played in Today's Program Étienne-Nicolas Méhul (1763 - 1817) Symphony No. 1 Les Musiciens du Louvre; Marc Minkowski, conductor. Erato 45026

Rebecca Miller and I seemed to instantly hit it off and we tended to agree on a lot of topics - a very enjoyable interview to make. We discussed why we both enjoy conducting youth orchestras and how important playing in orchestras is for a young person, we also chatted about the positives and negatives of preparing an orchestra for another conductor, and I heard a fabulous story about Sir Georg Solti conducting the opening of Beethoven's Fifth Symphony! If you want to hear the bonus mini-episode attached to this episode, why not subscribe at https://www.patreon.com/amiconthepodium, and, for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. If you listen via Apple podcasts, please do leave a rating and review - it really helps the podcast get noticed and attract more listeners. If you want to get involved on social media, you can via Facebook (https://www.facebook.com/amiconthepodium) or Twitter (@amiconthepodium). This interview was recorded on 13th December 2022 via Zoom.

My guest today is the American creator of one of 2022's funniest games. In Trombone Champ, you play as a trombonist and must blast your way through a setlist of classical pieces, national anthems, and traditional songs in a brilliant and riotously silly reinterpretation of Guitar Hero. After a journalist for PC Gamer posted a video of himself ruining Beethoven's Fifth Symphony in the game last year, Trombone Champ became a viral sensation, propelling my guest and his wife collaborator into the spotlight. Colleen Wheeler of the International Trombone Association told the Guardian: “It is abundantly clear that this is the finest video game ever created.” Riding high on that success, my guest and his wife recently made a webgame to promote Gabrielle Zevin's smash hit novel ‘Tomorrow and Tomorrow and Tomorrow'. “I don't know why there's not more comedy in games,” he once said. “Because games can be so funny.” Welcome Dan Vecchitto.Clips under discussion:At Doom's Gate (Robert Prince).Damn Puzzle (Nathan Wang).Intro (Glenn Stafford).Results (Bjørn Lynne).All other music by Simon Parkin Thank you for listening to My Perfect Console. Please consider becoming a supporter; your small monthly donation will help to make the podcast sustainable for the long term, contributing toward the cost of equipment, editing, and hosting episodes. https://plus.acast.com/s/my-perfect-console. Hosted on Acast. See acast.com/privacy for more information.

On December 7, 1842, a group of musicians gathered in the Apollo Rooms in Lower Manhattan and performed – for the first time – as the Philharmonic Society of New York. The first piece they played? Beethoven's Fifth Symphony. In this episode, we try to listen to that most famous of famous symphonies as our 1842 audience would have: as if for the very first time. And, host Jamie Bernstein follows the twists and turns on the journey an early musician, Solidor Milon, took to get to that stage. Even today, the path that NY Phil musicians take to Lincoln Center is a breathtaking one, as we hear in the story of concertmaster Frank Huang.A transcript of this episode is available on our website: nyphilstory.com

Robert Powell is one of our best-known actors, with a career that began in the late sixties and exploded into almost instant fame; since then, there have been some fifty films, including “The Thirty-Nine Steps” and “The Italian Job”, numerous theatre roles, and television appearances which have included six years on Holby City. For many people, though, he will always be Gustav Mahler thanks to Ken Russell's 1973 biopic; for some, he became a memorable representation of Jesus Christ, thanks to his starring role in Zeffirelli's six-hour epic. Robert Powell begins by choosing Mahler's famous Adagietto from the Fifth Symphony. He listened to Mahler non-stop when rehearsing for the role, but was still surprised by some of the eccentric things Ken Russell asked him to do: he will never forget floating for hours in a freezing lake. He talks about the impact of early fame, conjuring up the excitement of the King's Road in the “swinging sixties”, and meeting his wife, Babs, who danced with Pan's People. And he tells the story of how, when he was playing Jesus, he delivered the Sermon on the Mount and “something really extraordinary happened”. These days he is a devoted grandfather, making up for the time he couldn't spend with his family when he was away filming. Other music choices include Stravinsky, Bach, Janacek, and his hero Bob Dylan. A Loftus Media production for BBC Radio 3 Produced by Elizabeth Burke

Synopsis It's all a matter of timing.  In 1942, the Soviet Union was America's wartime ally, and the Soviet composer Dmitri Shostakovich made the cover of TIME magazine.  Seven years later, the war was over, but the Cold War was on – with a vengeance. On March 25, 1949, Shostakovich arrived in New York for his first visit to America as part of the Soviet delegation to a “Cultural and Scientific Congress for World Peace.” By then the anti-Communist tide of American public opinion resulted in pickets and protests.  Those who spoke at the congress, including the American composer Aaron Copland, felt compelled to preface their comments with unambiguously anti-Communist manifestos. Shostakovich nervously read the equally unambiguous speech prepared for him by his Soviet minders, attacking American imperialism in general and the expatriate Russian composer, Igor Stravinsky, in particular.  It was embarrassing for everyone concerned. But while he was in New York, Shostakovich got to play a piano reduction of the Scherzo from his Fifth Symphony for a huge crowd at Madison Square Garden.  That, at least, resulted in a big ovation – and maybe that was how he privately approached the whole, sad affair – as a kind of grim scherzo, or joke. Music Played in Today's Program Dmitri Shostakovich (1906 - 1975) Symphony No. 5 USSR Cultural Ministry Symphony; Gennady Rozhdestvensky, conductor. MCA 32128

Klaus Mäkelä's second recording for Decca finds him at the helm of his French orchestra, the Orchestre de Paris. They recorded Igor Stravinsky's The Rite of Spring and the complete Firebird ballet. James Jolly spoke to the conductor by Zoom when Klaus was in Cleveland conducting performances of Mahler's Fifth Symphony. Gramophone Podcasts are given in association with Wigmore Hall

The Venezuelan conductor Rafael Payare was appointed Music Director of the Orchestre symphonique de Montréal (Montreal SO) at the start of the 2022-23 season and one of their first projects together, Mahler's Fifth Symphony, has just been released by Pentatone. Rafael Payare was in London recently conducting a run of much-praised performances of Rossini's Il barbiere di Siviglia at Covent Garden, and Gramophone's James Jolly took the opportunity to catch up with him to talk about his work in Montreal and the new Mahler recording. Gramophone Podcasts are given in association with Wigmore Hall.

Synopsis Two interesting symphonies had their premieres on today's date just eight years apart. Oddly enough, they were composed nearly ninety years apart. The first was the Symphony in C by George Bizet, written in 1855 when the composer was only 17. It was mislaid in his papers, ignored by Bizet himself as a naive youthful exercise, and not revived until 1935. It was performed for the first time on the 26th of February that year in Basel, Switzerland under the baton of Felix Weingartner, who found a copy of the score that had been kept in the Paris Conservatory. The other work that premiered today was the Fifth Symphony of the American composer Roy Harris. It was written in 1942, during the Second World War, and was reportedly inspired by reports of heroic resistance by the Soviet Union to the Nazi invasion. Harris dedicated this symphony to the Red Army in honor of its 25th anniversary. The first performance—given by Koussevitzky and the Boston Symphony on February 26th, 1943—was broadcast via short wave to the Soviet Union. Ironically, despite Harris's unquestionable credentials as a loyal American and enthusiastic patriot, his pro-Soviet Symphony No. 5 was to become something of an embarrassment when our one-time Soviet allies became Public Enemy No. 1 during the long Cold War period that followed the end of the Second World War. Music Played in Today's Program Georges Bizet (1823 - 1892) Symphony No. 1 in C ORTF Orchestra; Jean Martinon, conductor. DG 437 371 Roy Harris (1899 - 1979) Symphony No. 5 Louisville Orchestra; Robert Whitney, conductor. Albany 012

In his Fifth Symphony, Mahler embraces all aspects of life. After a tumultuous funeral march, the work's five movements include folk-inspired dances, a tender love song and a boisterous finale. Noted for his "great affinity with Mahler" (Le Monde), Finnish conductor Klaus Mäkelä pairs the composer's Fifth Symphony with the U.S. premiere of Aino by Peruvian American composer Jimmy López Bellido. Explore the music in the free preconcert conversation featuring Steve Rings in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets are needed. Learn more: cso.org/performances/22-23/cso-classical/makela-conducts-lopez-and-mahler-5

Have you ever wondered why classical music always seems to be performed too fast in the concert halls? Wonder no more. Wim Winters, an organist and pianist from Belgium, challenges modern performance practice of Beethoven, Chopin and others from the Classical period via his controversial YouTube channel Authentic Sound. Winters' point is simple: the metronome indications of works by the likes of Beethoven have been misread for more than a century, a claim made evident by historical proof that the current tempi is up to twice as fast as the original (!) Pianists today need physiotherapy in their attempts to follow painstaking speeds and even the fastest fall short. Among Winters' numerous reconstructions are Beethoven's Fifth Symphony and Moonlight Sonata, at first appearing shockingly slow. But on closer inspection, could it be that only a return to the original tempi will release the true emotional potential of the Western musical canon?

Synopsis If ever there was a red-letter day in American music, November 14th must surely be it. For starters, it's the birthday of Aaron Copland, who was born in New York City on today's date in 1900—and then there's all that happened on November 14th in the life of Leonard Bernstein. Here's how Bernstein himself explained it: “I never forget a Copland birthday. Two of the most important events of my life happened on November 14—the first in 1937 when Aaron and I met for the first time… Now, I worried and complained terrifically back then and always took my troubles to Aaron, who would tell me to 'stop whining.' He seemed to have such complete confidence in me that he didn't show a bit of surprise when on Sunday, November 14, 1943, I made a dramatic success by filling in for the ailing Bruno Walter and conducting the New York Philharmonic. All Aaron's predications came true—and on his birthday!” As if that weren't enough, in 1954, again on Copland's birthday, Bernstein made his TV debut presenting Beethoven's draft sketches for the opening of his Fifth Symphony. It proved a smash success—and led to Bernstein's televised Young Person's Concerts that brought classical music to millions of Americans coast to coast. Music Played in Today's Program Aaron Copland (1900-1990) Piano Blues No. 3 James Tocco, piano MPR 201

A portrait of a creative genius, a conductor and composer played by Cate Blanchett, explores the dark and unacknowledged heartlessness behind the vigor and prestige of a famous artist. Tár is the name of a new film written and directed by Todd Field. The main character, Lydia Tár, is a prominent American classical music conductor and composer, played by Cate Blanchett. We meet her at the height of her career, after heading several world-class orchestras, now the first female conductor of the Berlin Philharmonic, arguably the most prestigious position in the symphonic world. The film opens with her being interviewed at a New York film festival, where the brilliance of her intellect shines freely, discussing conducting in general, and her upcoming recording of Gustav Mahler's Fifth Symphony. Behind Tár's smooth and articulate presentation, there is a hint of something else, and I think it's deliberate: smug condescension. Perhaps the supreme self-confidence of such a person will inevitably cast this shadow. Lydia is a fictional character, of course, but Field has created an extraordinary and multifaceted personality for Blanchett to bring to life. It's all very well to indicate that your heroine is in fact a genius. It's quite another to write a character who makes you really believe it. Lydia's talk is so sophisticated that we can truly admire, while at the same smile a little at the ironic touches the director adds to the portrait, the will of steel underneath the suave exterior, the strongly held convictions that drive every aesthetic statement, every literary allusion. The film presents us with a convincingly brilliant artist. But of course the writing depends on the performer for its realization. Field had in mind Cate Blanchett, one of our best living film actors, from the beginning. Lydia has an extremely busy and complicated life. On the personal side, she is openly lesbian, living with her partner Sharon, the orchestra's head violinist, played by the great Nina Hoss, with whom she has adopted a girl. We see her as a teacher, outspoken and even ruthless in her attitude towards what she sees as the timidity of some of her students. We see her as the super-efficient manager of her own career, so competent and controlling that she intimidates even those who work closest with her. The extraordinary thing is that in the midst of all this, we are made to suspect intuitively that there is a kind of emptiness at work, a big impressive show without a center. Todd Field knows that classical tragedy portrays the fatal defects of larger-than-life figures. His screenplay and direction achieve a novelistic density, so that when events start to go wrong, it's not really about hubris, but about a host of uncomfortable questions concerning artists and the needs that drive artistic creation, about the self-seeking that dominates people, about passion and its discontents. Lydia has apparently had a habit of picking out female musicians to fall in and out of love with, brief infatuations and affairs. One of these young women angered her when they broke up, and instead of letting the matter go, Lydia decided to make sure that this poor girl would be blacklisted from getting a job in any orchestra. This is the start of things unraveling, but there are depths and shadows here that are more significant than just this one transgression, and they are slowly revealed. Blanchett appears in a lot of genre pieces, as any steadily working Hollywood actress has to do, but here once more she is given the chance at something great, and she takes it even further than we expect. The musical sequences are stunning. Tár is a film of lavish beauty and desolating insight.  

A journey from brooding despair to rousing triumph, Shostakovich's Fifth Symphony rescued him from the grips of official Soviet disfavor. But to many listeners, it's a more subversive critique of life under Stalin. This program, led by Manfred Honeck, also showcases the U.S. premiere of Lera Auerbach's Diary of a Madman, composed for and performed by Gautier Capuçon. Ticket holders are invited to a free preconcert conversation featuring Laura Sauer-Shah in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Learn more: cso.org/performances/22-23/cso-classical/honeck-capucon-and-shostakovich-5

Cate Blanchett can be heard on the album conducting rehearsals of Mahler's Fifth Symphony (as Lydia Tár) with great skill. She describes her collaboration with the Dresdner Philharmonie and its concertmaster Wolfgang Hentrich as “a great, and life-changing, privilege”. “How truly blessed I am,” adds Blanchett, “to have my name appear anywhere near this ridiculously talented assembly of musicians.” Her skill as a pianist is on evidence here too, as she performs a Prelude from Bach's Well-tempered Clavier as part of one of Lydia's teaching sessions. Purchase the music (without talk) at:Inspired by the movie TAR (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).  

Join us as Maestro Couturiaux chats with RSO's concertmaster Elisabeth Adkins and principal violist Susan Dubois about the upcoming November 5th concert featuring pieces by London-born composer Anna Clyne, Mozart's most masterful example of a hybrid symphony plus concerto, and concluding with the most famous opening notes in all of classical music when the orchestra performs Beethoven's exhilarating and monumental Fifth Symphony.

We welcome concert pianist, conductor, professor, food and wine aficionado and all-around bon vivant Awadagin Pratt for a backstage discussion about his appearance with the Toledo Symphony. Awadagin brings a new work by Jessie Montgomery to the Peristyle, alongside two works that pay tribute to Music Director Alain Trudel and his five years at the helm of the TSO: Beethoven's iconic Fifth Symphony and Schubert's miraculous Symphony No. 8, the "Unfinished" Symphony.

Synopsis On this day in 1904, in Cologne, Germany, Gustav Mahler conducted the first performance of his Fifth Symphony. It was not a success. Applause was light, with loud hissing from some in the audience. Even Mahler's wife, Alma, complained so much about the orchestration that Mahler kept tinkering with the score until the last year of his life. Despite this inauspicious beginning, Mahler's Fifth has become a popular showpiece for virtuoso orchestras and its slow movement, marked Adagietto -- supposedly Mahler's musical love to Alma -- has become one of Mahler's best-loved pieces. The American composer Jerome Moross also had a symphony premiered on today's date. The year was 1943, Moross was 30 years old, and Sir Thomas Beecham conducted its premiere performance with the Seattle Symphony. Unlike Mahler, Moross wrote only ONE symphony, and the American hobo tune inspired the slow movement of his “The Midnight Special.” Jerome Moross is best known his work in Hollywood. His 1958 score for “The Big Country” was nominated for an Academy Award. Moross also wrote the music for “Wagon Train,” a popular TV Western. As Moross once said: “a composer must reflect his landscape and mine is the landscape of America. I don't do it consciously, it is simply the only way I can write.” Music Played in Today's Program Gustav Mahler (1860-1911) Symphony No. 5 Chicago Symphony; Claudio Abbado, cond. DG 427 254 Jerome Moross (1913-1983) Symphony No. 1 London Symphony; JoAnn Falletta, cond. Koch 7188

As Great Britain endured the Blitz in 1943, the 71-year-old Vaughan Williams produced his Fifth Symphony. To celebrate 150 years since the composer's birth, Edward Gardner conducts this work of warmth and gentle contemplation. Christian Tetzlaff, “a meticulous and refined virtuoso” (The New York Times), presents Bartók's rhapsodic Second Violin Concerto. Wagner's serene and somber prelude to Act 3 of Die Meistersinger von Nürnberg opens the program. Ticket holders are invited to a free preconcert conversation featuring Steve Rings in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Classic Encounter Thursday, November 3: Preconcert lecture hosted by Chicago's favorite radio DJ, WXRT's Terri Hemmert, with co-host and CSO viola Max Raimi. You will have the opportunity to add Classic Encounter to your order after selecting your seats for the concert. Learn more: cso.org/performances/22-23/cso-classical/wagner-bartok-and-vaughan-williams

The 2022/23 season will mark 70 years since Sergei Prokofiev's death. Riccardo Muti conducts Prokofiev's Fifth Symphony, composed in 1944, which ranks among his greatest achievements. Mozart's Symphony No. 39 has grandeur and intensity that foreshadows the mature symphonies of Beethoven. The overture to Rossini's Journey to Reims gathers several of the composer's buoyant and picturesque themes. Ticket holders are invited to a free preconcert conversation featuring Daniel Schlosberg in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Learn more: cso.org/performances/22-23/cso-classical/muti-conducts-mozart-and-prokofiev

A generation after King Cyrus had let the Jews back into Israel, the Temple still had not been rebuilt. Sometimes, tasks seem so gargantuan that we do not know where to start, causing us to never start at all. When Beethoven wrote the Fifth Symphony, all he needed was four notes to get going. And to practice yoga, the hardest move is the one onto your mat.

We take our cue from the TSO's Masterworks series concert Tchaikovsky's Fifth, which features, well, Tchaikovsky's Fifth Symphony. The concert marks a return to Toledo for the conductor Giordano Bellincampi, and star violinist Benjamin Beilman (who plays the concerto by Samuel Coleridge-Taylor on the concert) joins us by phone for a getting-to-know-you session (including a Twitter smackdown quiz!).

Jess Gillam and cellist Edgar Moreau share some of the music they love, with shimmering piano pieces by Debussy and Rachmaninov, and epic emotion from Serge Reggiani and Dusty Springfield. Abdullah Ibrahim is playing the soprano saxophone and Edgar takes us back to his very first orchestral experience with Tchaikovsky's Fifth Symphony. Playlist: Debussy - Suite bergamasque for piano: Clair de lune Jean-Yves Thibaudet (piano) Offenbach - Harmonies des bois, Op. 76; No. 3 Les Larmes de Jacqueline Mischa Maisky (cello), Dania Hovora (piano) Abdullah Ibrahim - Ishmael Abdullah Ibrahim (soprano saxophone), Cecil McBee (double bass), Roy Brooks (drums) Serge Reggiani - Ma fille Bremer/McCoy - Ordet Rachmaninov - Suite No 1 op 5 Fantaisie Tableaux, Barcarolle Martha Argerich, Alexandre Rabinovitch (piano) Dusty Springfield – You Don't Have to Say You Love Me Tchaikovsky - Symphony No. 5 in E Minor, Op. 64; II. Andante cantabile… Berliner Philharmoniker, Kirill Petrenko

We take our cue from the TSO's Masterworks series concert Tchaikovsky's Fifth, which features, well, Tchaikovsky's Fifth Symphony. The concert marks a return to Toledo for the conductor Giordano Bellincampi, and star violinist Benjamin Beilman (who plays the concerto by Samuel Coleridge-Taylor on the concert) joins us by phone for a getting-to-know-you session (including a Twitter smackdown quiz!).

Deanna and Chris chat about their Thanksgiving festivities, how the kids are coming over for Kidsgiving, the fact that Chris loves decorating the outside of the house for the holidays, and how Deanna's sleep schedule is way off these days. Then Chris talks about how the music in our lives can have a profound effect on our physical and mental state. He quizzes Deanna on well-known songs (that almost cause her "ugly laugh" to come out) before taking us all on a journey to Budapest, Hungary. After sightseeing around the city, they attend an amazing event at the Mupa Budapest Concert Hall to see the Danubia Orchestra perform Beethoven's Fifth Symphony. This performance is a very special one for very special people. It's an event where the attendees and the musicians become one with the music and where everyone is truly able to EXPERIENCE THE POWER.THE GOOD ALL AROUND US podcast is a celebration of uplifting stories and events from around the world.Each week, hosts Deanna and Chris Ley will alternate telling stories of good things that have happened to real people all across the globe.It's time to celebrate THE GOOD ALL AROUND US!It's time to HAPPY UP YOUR LIFE!Please make sure to subscribe so you can stay up to date on all new podcast releases....and if you like us, please give a 5-star rating in Apple Podcast or Podchaser. It will only take a sec! We'd appreciate it!...and if you really, really like us, head on over to Patreon and become our Neighbor! By joining our Patreon Community at the link below, you can get some fun GOODies, including access to our private Facebook group, monthly bonus episodes, and other awesome stuff. Best of all, you will be our Neighbor! You can move right in to the GOOD 'HOOD by clicking here.Be sure to follow us on social media!It's where we share about all the goings-on here at THE GOOD ALL AROUND US podcast.Facebook at THE GOOD ALL AROUND USInstagram at @TheGoodAllAroundUsPodcastTwitter at @HappyUpYourLifeYouTube at THE GOOD ALL AROUND US PodcastLinkedIn at THE GOOD ALL AROUND US PodcastGet your GOOD GOOD Merch!Grab some fun (and funny) gear at the Get GOOD Merch Store.Access everything above and so much more in one easy place - our website!www.TheGoodAllAroundUs.comJoin our Facebook group PODAPALOOZA where podcast creators and podcast listeners unite!Email us at any time at Hello@TheGoodAllAroundUs.com! We'd love to hear from you! Music courtesy of the amazingly talented Timur Khakimov. Check him out at OCHTAHEDRONMUSIC.Support the show (https://www.patreon.com/thegoodallaroundus)