Podcasts about fourth symphony

Inside this Episode with host, Mitch Hampton Christoph Schülren, one of the guests to whom I was so kindly introduced by pianist Beth Levin, will be the first time on our podcast that a musician whose professional career is devoted to the art and practice of conducting has been featured.  I thought it indispensable for many reasons to feature him: musical conducting is ubiquitous in many styles of music yet is perhaps little understood or appreciated outside of the worlds of music.  I was most happy with our discussion: he is quite articulate and able to get into the details of his craft in a relatable way to a most general audience and he has quite an intriguing biography as can be gleamed from our episode. Christoph Schlüren's Biography  “Uniting the well-known with the unknown” Conductor, Music Researcher,Musical Mentor, Music Editor, Program Adviser, Chamber Music, Coach  Christoph Schlüren studied with the late Sergiu Celibidache from 1981 to 1996. Other strong influences were the composers Anders Eliasson, Pehr Henrik Nordgren, and Per Nørgård, the musicians Paul Zukofsky, Sándor Végh, Murray Perahia, Juha Kangas, and many more.  As a conductor (Symphonia Momentum, Deutsche Kammerakademie Neuss am Rhein, St Michel Strings Mikkeli) Christoph Schlüren led first performances of works by Peter Michael Hamel and Anders Eliasson. Some of the lesser established composers he particularly favors are:Heinz Tiessen, Eduard Erdmann, Anders Eliasson, Jean-Louis Florentz, Paul Büttner, John Foulds, Vittorio Giannini, Nicolas Flagello, Giorgio Federico Ghedini, Peter Mennin, Bernard Stevens, Felix Draeseke, Heinrich Kaminski, Max Butting, Reinhard Schwarz-Schilling , Heinz Schubert, Philipp Jarnach,  Emil Bohnke, Matthijs Vermeulen, Harald Sæverud, Georges Migot, Eduard Tubin, Vagn Holmboe, Douglas Lilburn, Robert Simpson, Per Nørgård, Boris Tishchenko, Ketil Hvoslef, Pehr Henrik Nordgren, Tristan Keuris, Halvor Haug, Peter Michael Hamel, John Pickard, Håkan Larsson, and Juan José Chuquisengo.  He combines their works in dramaturgically correlated programs with the established great composers. Read more about conducting He is a music researcher, author and journalist as well (Frankfurter Rundschau, Gramophone, Tempo, Fono Forum, Crescendo, Neue Musikzeitung, Bayerischer Rundfunk, Deutschland Radio, etc.) and works as main editor and researcher on the rare music scores series Repertoire Explorer. Christoph Schlüren wrote the first basic introduction into Musical Phenomenology as it was created as a universal approach to music by Sergiu Celibidache developing further on. As a program adviser he collaborates with orchestras and conductors (Bavarian Radio Symphony Orchestra, Münchner Philharmoniker, Ostrobothnian Chamber Orchestra, Arcos Orchestra, Münchener Kammerorchester, etc.; Lavard Skou Larsen, Juha Kangas, José Serebrier , Mario Venzago, Christoph Poppen, Israel Yinon, etc.), and created commissions for the Musica Viva series of the Bavarian Radio Symphony Orchestra (Anders Eliasson's Fourth Symphony, Cynthia Lee Wong, and Onute Narbutaite, as well as arranging the world première of Artur Schnabel's Third Symphony). Read more essays and evaluations Christoph Schlüren works as a musical mentor with soloists and  chamber ensembles (Rebekka  Hartmann, Ottavia Maria Maceratini, David Frühwirth, Masha Dimitrieva, Omar Rahbany, Margarita Oganesjan, etc.). Read more about mentorship Links to more about Mr. Schlüren's beautiful works  www.christophschlueren.com #classicalmusic #music #opera #bartok #germany #progrock #rock #symphony #classicalmusic #orchestra #strings #brass #woodwind #percussion #piano #concert #theatre #fritzbrun #bethlevin #mozart #whiplash #donellis #tar #cateblanchett #leonardbernstein #brunowalter #frankzappa #contemporarymusic #modernmusic #romanticism #navarrastringquartet #igorstravinsky #antonbruckner #vienna #schoenberg #webern #serialism #tonality #meoldy #harmony #rhythm #baroque #earlymusic  --- Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

Starting with a ferocious fanfare representing fate, Tchaikovsky pours his soul into his Fourth Symphony, a fearless musical autobiography packed with surging melodies and dazzling colors. Antoine Tamestit brings his “gorgeous smoky sound” (The Guardian) to Walton's Viola Concerto, a work of wistful beauty and quicksilver energy. Learn more: cso.org/performances/24-25/cso-classical/tchaikovsky-4

Susanna Mälkki conducts a thought-provoking program anchored by Gustav Mahler's Fourth Symphony. This celestial score, which includes a cryptic dance of death, is announced with sleigh bells and a rustic melody that ends with a child's view of heaven, delivered here by soprano Ying Fang. Principal Flute Stefán Ragnar Höskuldsson is the soloist in a newly commissioned concerto written for him by the esteemed Lowell Liebermann. Learn more: cso.org/performances/23-24/cso-classical/mahler-4

I speak about Charles Ives with the great Ives connoisseur Thomas Brodhead, whom I got to know when we worked on Ives' Fourth Symphony with the Concertgebouw Orchestra back in 2012. Ives is such a fascinating composer and has been a constant inspiration in my life as a musician. At the moment, I'm preparing his piece Three Places in New England, which I get to conduct for the first time.    Links to the pieces:    Charles Ives: Country Band March  President's Own United States Marine Band https://www.youtube.com/watch?v=avowzDI8uR0   Charles Ives (orch. T. Grahl, 2021): Walt Whitman - (1921) from 114 Songs Klangforum Wien, Thomas Hampson, Bas Wiegers  https://www.youtube.com/watch?v=IqnO8dJJPYs   Charles Ives: Fourth Symphony  Royal Concertgebouw Orchestra, Peter Eötvös, Bas Wiegers, Ralph van Raat Private recording    Charles Ives: March No. 6 for Piano, with Here's to Good Old Yale Charles Ives, piano  https://www.youtube.com/watch?v=DMW0r_ZxFm8&list=OLAK5uy_lE6Eb6U39_HOe_juxz9dJukRFRewUz3xs&index=41   Charles Ives: Three Places In New England - 1. The "St. Gaudens" In Boston Common Boston Symphony Orchestra, Michael Tilson Thomas  https://www.youtube.com/watch?v=AhbutHpwEh8   Charles Ives: They Are There!, second take Charles Ives, piano  https://www.youtube.com/watch?v=Az0iNeRvNts&list=OLAK5uy_lE6Eb6U39_HOe_juxz9dJukRFRewUz3xs&index=39   Charles Ives: Four Transcriptions from Emerson: No. 1 (beg.) Charles Ives, piano https://www.youtube.com/watch?v=3c8lNFR5xWw&list=OLAK5uy_lE6Eb6U39_HOe_juxz9dJukRFRewUz3xs&index=1   Charles Ives: Three Places In New England - 2. Putnam's Camp, Redding, Connecticut Boston Symphony Orchestra, Michael Tilson Thomas  https://www.youtube.com/watch?v=H-Ytm0l0FTU   Charles Ives: The Unanswered Question  Ricciotti Ensemble, Leonard van Goudoever Private Recording    

SynopsisOn today's date in 1975, the Oakland, California, Youth Orchestra gave the first performance of a symphony by a Bay area resident, American composer Lou Harrison. He began sketches for this symphonic score back in 1942 and tinkered with it off and off until the day of its premiere performance, even stapling in 15 additional measures to the young players' parts at their final dress rehearsal.The commission for Harrison's Fourth Symphony, subtitled The Elegiac, came from the Koussevitzky Foundation, and in part was written as a tribute to the memory of Serge and Natalie Koussevitzky, two of the 20th century's greatest new music patrons. But the intensely personal tone of this elegiac symphony was prompted by the death of Harrison's mother, which was followed by the death of his close friend, iconoclastic American composer and instrument inventor Harry Partch.The symphony's first movement is titled “Tears of the Angel Israfel” — the angel of music in Islamic lore — and the score also bears two inscriptions. The first reads “Epicurus said of death: where death is, we are not; where we are, death is not; therefore, death is nothing to us.” The second inscription is a quote from Horace: “Bitter sorrows will grow milder with music.”Music Played in Today's ProgramLou Harrison (1917-2003) Symphony No. 2 (Elegiac); American Composers Orchestra; Dennis Russell Davies, cond. MusicMasters 60204

When Renaud Capuçon and Semyon Bychkov last appeared together with the CSO, sparks flew. The French violinist “made you aware of a searching musical intellect supported by a superb technical arsenal” (Chicago Tribune). The parties reunite in Saint-Saëns' brilliant Third Violin Concerto. Framing the program are Dvořák's boisterous portrait of a street carnival and Brahms' noble and heart-rending Fourth Symphony. Learn more: cso.org/performances/23-24/cso-classical/bychkov-conducts-brahms

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

The Philadelphia Orchestra and its Music and Artistic Director Yannick Nézet-Séguin continue their pioneering project to revive neglected music by Black American composers. Their latest recording, set for digital release by Deutsche Grammophon out today, captures Florence Price's Symphony No. 4 and William Dawson's Negro Folk Symphony. Listeners have the chance to sample movements from both works ahead of the album's full release, with the “Juba” from Price's Fourth Symphony and “O, Le' Me Shine, Shine Like a Morning Star!” from the Negro Folk Symphony also out now.Track Listing:1 Price: Symphony No. 4 in D Minor: I. Tempo moderato 15:542 II. Andante cantabile 07:183 III. Juba. Allegro 05:244 IV. Scherzo. Allegro 05:165 Dawson: Negro Folk Symphony: I. The Bond of Africa (Live) 12:576 II. Hope in the Night 13:397 III. O, Le' Me Shine, Shine Like a Morning Star!Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Synopsis On today's date in 1873, a new piece by the German composer Johannes Brahms received its first performance by the Vienna Philharmonic. The piece was titled Variations on a Theme by Haydn, and was a big success at its premiere. Brahms must have heaved a great sigh of relief. For the previous 18 years, Brahms had struggled to complete his First Symphony, unconvinced that he had “the right stuff” to pull it off. In the summer of 1873, he wrote his Haydn Variations as a kind of personal test to see how audiences would react—and to bolster his own confidence. Lucky for us, it worked: Brahms returned to work on his First Symphony and went on to write four symphonies in all! On today's date in 1990, the Fourth Symphony of American composer Lou Harrison received its premiere by the Brooklyn Philharmonic. Much of Harrison's music has been influenced by non-Western traditions, especially the Javanese gamelan music, and his Symphony No. 4 is no exception. Harrison was 73 when this symphony premiered, and he dubbed it his “Last Symphony” —apparently agreeing with Brahms that four was enough. When asked what would happen should he decide to write still another, Harrison quipped, “I'll call it the ‘VERY Last Symphony.” Music Played in Today's Program Johannes Brahms (1833-1897) Variations on a theme by Haydn, Op. 56a Cleveland Orchestra; Christoph von Dohnanyi, conductor. Teldec 8.44005 Lou Harrison (1917-2003) Symphony No. 4 (Last Symphony) California Symphony; Barry Jekowsky, conductor. Argo 455 590

Mark Lowther joins Andrew to discuss a huge range of recorded performances of the Fourth Symphony of Ralph Vaughan Williams, who was born 150 years ago this autumn. First performed in 1935, its austerity and directness seem to presage the looming horror of World War II.

Riccardo Muti presents two groundbreaking pieces by the first African American composers to have symphonic works performed by major orchestras. William Grant Still's Mother and Child is a gentle, lilting work inspired by a painting by Sargent Johnson. Florence Price's expressive Third Symphony gives a powerful voice to the African American experience. The first half includes Beethoven's Fourth Symphony, a work of grace, subtlety and drive, whose smallest gestures have large implications. Florence Price was a pioneer in the world of classical music: the first African-American woman to be recognized as a symphonic composer and the first to have her work played by a major orchestra. In honor of these special performances of Price's Symphony No. 3, arrive early to learn more about this fascinating composer. The complete experience will include a free preconcert panel discussion in Orchestra Hall 90 minutes before each performance. The event is moderated by Dr. Toni-Marie Montgomery, Dean of the Henry and Leigh Bienen School of Music, Northwestern University, and featuring Florence Price scholars Dr. Tammy L. Kernodle, Distinguished Professor of Music, Miami University, and Dr. Douglas W. Shadle, Associate Professor of Musicology, Blair School of Music, Vanderbilt University, as well as special guest Jessie Montgomery, CSO Mead Composer-in-Residence. No additional tickets required. Following the discussion, enjoy chamber music performances by Civic Orchestra of Chicago and Chicago Musical Pathways Initiative String Quartets performing works by Price and Montgomery in the Grainger Ballroom and Rotunda at Symphony Center. Thursday, May 5 6:00-6:45p Panel Discussion 6:45-7:15p Preconcert Chamber Performances Friday, May 6 12:00-12:45p Panel Discussion 12:45-1:15p Preconcert Chamber Performances Saturday, May 7 6:30-7:15p Panel Discussion 7:15-7:45p Preconcert Chamber Performances Learn more: cso.org/performances/21-22/cso-classical/muti-conducts-beethoven-still-price

Norwegian pianist Leif Ove Andsnes brings his “effortless command and penetrating clarity” (The New York Times) to Britten's Piano Concerto, a glittering score composed during the lead-up to World War II. Riccardo Muti frames the program with Richard Strauss' contemplative “Dreaming by the Fireside,” from his opera Intermezzo, and Schumann's triumphant Fourth Symphony. Ticket holders are invited to a free preconcert conversation featuring Laura Prichard in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Learn more: cso.org/performances/21-22/cso-classical/muti-andsnes-britten

Against all the odds, the boys were invited backstage to the Ivors Composer Awards. Tune in to hear them try almost too hard to brand themselves the Ant and Dec of the classical music world. Also – the late, great Victoria Wood in this week's analysis of Franz Schmidt's Fourth Symphony, not before some flagrant Handelian recycling.…Music referenced:'Pizzicato' from Delibes's SylviaSometimes Voices by Alex Paxton, performed by HYPER DUOCATAMORPHOSIS by Anna Thorvaldsdottir, performed by the Berlin Philharmonic under Kirill PetrenkoCaroline Kraabel's London 26 and 28 March 2020: Imitation: InversionRiver (O Nodi Re) performed by Zoe & Idris RahmanMartin Iddon's Lampades, performed by Jack Adler-MckeanSarabande from Act 3 of Handel's Almira‘Lascia la spina, cogli la rosa' from Handel's The Triumph of Time and Delusion‘Lascia ch'io pianga' from Act 2 of Handel's RinaldoFranz Schmidt's Symphony No. 4 performed by the Frankfurt Radio Symphony under Paavo Järvi… Buy us a coffee innit: https://ko-fi.com/classicalpod … Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/

In his 2019 CSO subscription debut, Ray Chen “conjured the archetypal 19th-century virtuoso” and “combined vivid rhetoric with impeccable technique” (Chicago Tribune). Chen returns to present Lalo's salute to the vigorous and sultry dance rhythms of Spain. A new work by renowned Finnish composer Magnus Lindberg and Brahms' richly autumnal Fourth Symphony complete this program led by Finnish conductor Hannu Lintu. All ticketholders are invited to a free 30 minute Preconcert Conversation on Armour Stage and will start 75 minutes prior to the scheduled performance time. Learn more: cso.org/performances/21-22/cso-classical/lindberg-lalo-brahms-4

Composer Russell Steinberg discusses Mahler's heavenly Fourth Symphony and the world premiere of Steven Mackey's trumpet concerto. This talk was given at the first performance of Dudamel Conducts Mahler at Walt Disney Concert Hall. Pieces discussed: Jessie MONTGOMERY Strum Steven MACKEY Shivaree: Fantasy for Trumpet and Orchestra (world premiere, LA Phil commission with generous support from Ellen and Arnold Zetcher) MAHLER Symphony No. 4 See this year's Upbeat Live schedule at: laphil.com/ubl. Join us in person for our 2021/22 season! Get tickets: laphil.com/calendar.

Join Russell Gant for this Thursday Concert with The Florida Orchestra with an arrangement of Mahler's Fourth Symphony for just 14 players! 8 PM on Classical WSMR 89.1 & 103.9, online at wsmr.org.

"Music is supposed to have meaning," says Dr. Adolphus Hailstork whose music captures the tribulations and the occasional triumphs of African Americans in this country. Hailstork's 80th birthday year got off to an impressive start with a performance of his music as part of the Presidential Inauguration ceremony of Joe Biden. Since then there has been a world premiere of a concert aria he composed to commemorate the centenary of the Tulsa Massacre and he awaits the premiere of his recently completed Fourth Symphony.

Pittsburgh Symphony Associate Conductor Earl Lee will lead four concerts at Hartwood Acres in July and August for he Summer With the Symphony series. He discuses his programs on July 30 and 31 with violinist Marta Krechkovsky in the Tchaikovsky Concerto, Rossini's Thieving Magpie Overture and Brahms First Symphony. On August 6 and 7, Maestro Lee joins cellist Will Chow to perform the Tchaikovsky Rococo Variations, Mendelssohn's Scherzo From A Midsummer Nights Dream and dances by Brahms and Dvorak plus Tchaikovsky's Fourth Symphony. He discusses his wife's work as flutist with the New York Philharmonic, studying Mendelssohn in Leipzig, and more in this interview with Jim Cunningham.

Synopsis On today’s date in 1965, the first complete performance of the Fourth Symphony of American composer Charles Ives took place in New York. 38 years earlier, in 1927, also in New York, the British conductor Eugene Goossens had performed the first two movements of Ives’ Fourth Symphony, after many a sleepless night trying to figure out how to perform certain sections of Ives’ score where the bar-lines didn’t jibe—parts where more than one rhythm pattern happened simultaneously. “I remember,” Goosens said, “that I wound up beating two with my stick, three with my left hand, something else with my head, and something else again with my coat tails.” For the 1965 premiere and first recording of Ives’ complete symphony, Leopold Stokowski solved this problem by enlisting the aid of two assistant conductors, David Katz and Jose Serebrier—all three men working simultaneously at times to cue the musicians in the trickiest passages of the score. One of conductors who assisted Stokowski in 1965, Jose Serebrier, went on to recorded Ives’ Fourth again—this time without the aid of assistant conductors, coat tails, or the surgical addition of another set of arms. Music Played in Today's Program Charles Ives (1874-1954) Symphony No. 4 Los Angeles Philharmonic; Gustavo Dudamel, cond. DG 4839505 Jose Serebrier (b. 1938) Partita (Symphony No. 2) London Philharmonic; José Serebrier, cond. Reference 90 On This Day Deaths 1951 - American composer John Alden Carpenter, age 75, in Chicago; 1991 - French-born American composer and arranger Leo (Noël) Arnaud, age 86, in Los Angeles; His tune "Bugler's Dream" (written for a Felix Slatkin LP) became used as a familiar theme for the Olympic Games; Premieres 1738 - Handel: opera "Serse," (Julian date: April 15); 1899 - first version of Sibelius: Symphony No. 1, by the Helsinki Philharmonic, with the composer conducting; A revised, final version of this symphony was performed by the same orchestra on tour in Stockholm on July 4, 1900, conducted by Robert Kajanus; 1915 - Hindemith: String Quartet No. 1 in C, Op. 2, at Dr. Hoch's Conservatory in Frankfurt; 1959 - John Cage: "Fontana Mix," in New York City; 1965 - Ives: Symphony No. 4, at Carnegie Hall by the American Symphony Orchestra, with Leopold Stokowski (assisted by David Katz and José Serebrier); 1970 - Broadway premiere of Sondheim: musical 'Company"; A trial-run in Boston preceded the Broadway premiere; 1990 - John Harbison: Concerto for Double Brass Choir and Orchestra, in Los Angeles, with the Los Angeles Philharmonic, André Previn conducting; 2002 - Michael Hersch: Symphony No. 2, by the Pittsburgh Symphony, Mariss Jansons conducting; Others 1891 - Tchaikovsky arrives in New York to take part in the May 5, 1891, opening concert at New York's newly-constructed "Music Hall"(later known as "Carnegie Hall”). 1926 - American premiere of Monteverdi's 1642 opera "L'Incoronazione di Poppea" (The Coronation of Poppea), at Smith College in Northampton, Mass. Links and Resources On Ives On Serebrier

Synopsis On today’s date in 1965, the first complete performance of the Fourth Symphony of American composer Charles Ives took place in New York. 38 years earlier, in 1927, also in New York, the British conductor Eugene Goossens had performed the first two movements of Ives’ Fourth Symphony, after many a sleepless night trying to figure out how to perform certain sections of Ives’ score where the bar-lines didn’t jibe—parts where more than one rhythm pattern happened simultaneously. “I remember,” Goosens said, “that I wound up beating two with my stick, three with my left hand, something else with my head, and something else again with my coat tails.” For the 1965 premiere and first recording of Ives’ complete symphony, Leopold Stokowski solved this problem by enlisting the aid of two assistant conductors, David Katz and Jose Serebrier—all three men working simultaneously at times to cue the musicians in the trickiest passages of the score. One of conductors who assisted Stokowski in 1965, Jose Serebrier, went on to recorded Ives’ Fourth again—this time without the aid of assistant conductors, coat tails, or the surgical addition of another set of arms. Music Played in Today's Program Charles Ives (1874-1954) Symphony No. 4 Los Angeles Philharmonic; Gustavo Dudamel, cond. DG 4839505 Jose Serebrier (b. 1938) Partita (Symphony No. 2) London Philharmonic; José Serebrier, cond. Reference 90 On This Day Deaths 1951 - American composer John Alden Carpenter, age 75, in Chicago; 1991 - French-born American composer and arranger Leo (Noël) Arnaud, age 86, in Los Angeles; His tune "Bugler's Dream" (written for a Felix Slatkin LP) became used as a familiar theme for the Olympic Games; Premieres 1738 - Handel: opera "Serse," (Julian date: April 15); 1899 - first version of Sibelius: Symphony No. 1, by the Helsinki Philharmonic, with the composer conducting; A revised, final version of this symphony was performed by the same orchestra on tour in Stockholm on July 4, 1900, conducted by Robert Kajanus; 1915 - Hindemith: String Quartet No. 1 in C, Op. 2, at Dr. Hoch's Conservatory in Frankfurt; 1959 - John Cage: "Fontana Mix," in New York City; 1965 - Ives: Symphony No. 4, at Carnegie Hall by the American Symphony Orchestra, with Leopold Stokowski (assisted by David Katz and José Serebrier); 1970 - Broadway premiere of Sondheim: musical 'Company"; A trial-run in Boston preceded the Broadway premiere; 1990 - John Harbison: Concerto for Double Brass Choir and Orchestra, in Los Angeles, with the Los Angeles Philharmonic, André Previn conducting; 2002 - Michael Hersch: Symphony No. 2, by the Pittsburgh Symphony, Mariss Jansons conducting; Others 1891 - Tchaikovsky arrives in New York to take part in the May 5, 1891, opening concert at New York's newly-constructed "Music Hall"(later known as "Carnegie Hall”). 1926 - American premiere of Monteverdi's 1642 opera "L'Incoronazione di Poppea" (The Coronation of Poppea), at Smith College in Northampton, Mass. Links and Resources On Ives On Serebrier

The Viennese are notorious for the passion with which they can despise a composer one moment and lionize them the next. Here, for example, is one critic’s reaction to the 1886 Vienna premiere of the Fourth Symphony by Johannes Brahms: “Conspicuous is the crab-like progress in the output of Brahms. It has, to be sure, never reached beyond mediocrity, but such nothingness, emptiness, and hypocrisy as prevails throughout this E-minor symphony has not appeared in any previous work of Brahms in so alarmingly. The art of composing without ideas has found in Brahms its worthiest representative. Just like the good Lord, Herr Brahms is a master at making something from nothing.” And yet, 11 years later, on today’s date in 1897, when this same symphony was performed again in Vienna, each movement was greeted by prolonged cheers from the audience. Not only had the Viennese come to admire the music, but also the man–and they knew their beloved Herr Brahms was dying. And so, when the gaunt and sickly composer attended a matinee performance of his 4th symphony, at the Musikverein’s Golden Hall, the audience took the opportunity to acknowledge him and his music for the very last time.

The Viennese are notorious for the passion with which they can despise a composer one moment and lionize them the next. Here, for example, is one critic’s reaction to the 1886 Vienna premiere of the Fourth Symphony by Johannes Brahms: “Conspicuous is the crab-like progress in the output of Brahms. It has, to be sure, never reached beyond mediocrity, but such nothingness, emptiness, and hypocrisy as prevails throughout this E-minor symphony has not appeared in any previous work of Brahms in so alarmingly. The art of composing without ideas has found in Brahms its worthiest representative. Just like the good Lord, Herr Brahms is a master at making something from nothing.” And yet, 11 years later, on today’s date in 1897, when this same symphony was performed again in Vienna, each movement was greeted by prolonged cheers from the audience. Not only had the Viennese come to admire the music, but also the man–and they knew their beloved Herr Brahms was dying. And so, when the gaunt and sickly composer attended a matinee performance of his 4th symphony, at the Musikverein’s Golden Hall, the audience took the opportunity to acknowledge him and his music for the very last time.

On today’s date in 1918, the celebratory “American Fantasy” of the Dublin-born American composer Victor Herbert opened the first program of the newly-formed Cleveland Orchestra. Cleveland had reason to celebrate. World War I had ended one month earlier, and, for some time, city organizers had been trying to build a hometown orchestra. In December of 1918, Father John Powers of St. Ann’s Church wanted to give a concert to raise some money for his parish, and, as Father Powers also happened to be a fine Irish tenor, offered to perform on the same bill as the new orchestra, just in case the untried ensemble of 54 didn’t prove to be a sufficient box-office attraction. So, along with Father Power’s songs and Herbert’s “American Fantasy,” conductor Nikolai Sokoloff lead the Orchestra in Bizet’s “Carmen” Suite, Tchaikovsky’s Fourth Symphony, Liadov’s tone poem “The Enchanted Lake,” and, for a rousing closer, Liszt’s tone poem “Les Preludes.” Over the next 100 years, especially during the period when George Szell was music director of the Cleveland Orchestra, the ensemble came to be regarded as one of the best in the world.

On today’s date in 1918, the celebratory “American Fantasy” of the Dublin-born American composer Victor Herbert opened the first program of the newly-formed Cleveland Orchestra. Cleveland had reason to celebrate. World War I had ended one month earlier, and, for some time, city organizers had been trying to build a hometown orchestra. In December of 1918, Father John Powers of St. Ann’s Church wanted to give a concert to raise some money for his parish, and, as Father Powers also happened to be a fine Irish tenor, offered to perform on the same bill as the new orchestra, just in case the untried ensemble of 54 didn’t prove to be a sufficient box-office attraction. So, along with Father Power’s songs and Herbert’s “American Fantasy,” conductor Nikolai Sokoloff lead the Orchestra in Bizet’s “Carmen” Suite, Tchaikovsky’s Fourth Symphony, Liadov’s tone poem “The Enchanted Lake,” and, for a rousing closer, Liszt’s tone poem “Les Preludes.” Over the next 100 years, especially during the period when George Szell was music director of the Cleveland Orchestra, the ensemble came to be regarded as one of the best in the world.

On today’s date in 1975, the Oakland, California, Youth Orchestra gave the first performance of a symphony by a Bay area resident, American composer Lou Harrison. Harrison began sketches for this symphonic score back in 1942 and tinkered with it off and off until the day of its premiere performance, even stapling in 15 additional measures to the young players’ parts at their final dress rehearsal. The commission for Harrison’s Fourth Symphony, subtitled “The Elegiac,” came from the Koussevitzky Foundation, and in part was written as a tribute to the memory of Serge and Natalie Koussevitzky, two of the 20th century’s greatest new music patrons. But the intensely personal tone of this elegiac symphony was prompted by the death of Harrison’s mother, which was followed by the death of his close friend, the iconoclastic American composer and instrument inventor Harry Partch. The symphony’s first movement is titled “Tears of the Angel Israfel”—the angel of music in Islamic lore—and the score also bears two inscriptions: The first reads “Epicurus said of death: where death is, we are not; where we are, death is not; therefore, death is nothing to us.” The second inscription is a quote from Horace: “Bitter sorrows will grow milder with music.”

On today’s date in 1975, the Oakland, California, Youth Orchestra gave the first performance of a symphony by a Bay area resident, American composer Lou Harrison. Harrison began sketches for this symphonic score back in 1942 and tinkered with it off and off until the day of its premiere performance, even stapling in 15 additional measures to the young players’ parts at their final dress rehearsal. The commission for Harrison’s Fourth Symphony, subtitled “The Elegiac,” came from the Koussevitzky Foundation, and in part was written as a tribute to the memory of Serge and Natalie Koussevitzky, two of the 20th century’s greatest new music patrons. But the intensely personal tone of this elegiac symphony was prompted by the death of Harrison’s mother, which was followed by the death of his close friend, the iconoclastic American composer and instrument inventor Harry Partch. The symphony’s first movement is titled “Tears of the Angel Israfel”—the angel of music in Islamic lore—and the score also bears two inscriptions: The first reads “Epicurus said of death: where death is, we are not; where we are, death is not; therefore, death is nothing to us.” The second inscription is a quote from Horace: “Bitter sorrows will grow milder with music.”

The fourth in a series of five special episodes takes a close look at Tchaikovsky’s Fourth Symphony. This powerfully dramatic work was partly inspired by Beethoven’s Fifth Symphony... and partly by one particularly tumultuous year in Tchaikovsky’s own turbulent life. Fortunately, he endured his troubles with the help of one remarkable woman, to whom music-lovers everywhere are forever indebted.

We're joined today by Alex Amsel, Assistant Conductor of the Fort Worth Symphony and a friend of the pod, to break down Mahler's heavenly Fourth Symphony! www.attentiontodetailpod.com

About This Performance The culmination of Dudamel's unique look at Ives and Dvořák shows the individualistic American expanding his harmonic and rhythmic language even further in the stunningly complex Fourth Symphony. Dvořák's final symphony was composed from Native-American and African-American source materials, from which he drew unforgettable melodies and dramatic harmonies that gelled into his most popular creation. Program IVES - The Unanswered Question IVES - Symphony No. 4 Intermission DVOŘÁK - Symphony No. 9, “New World” Artists Los Angeles Philharmonic Gustavo Dudamel, conductor Los Angeles Master Chorale Grant Gershon, artistic director

About This Performance: Experience Dudamel conducting Bruckner's awe-inspiring Fourth Symphony, to which Bruckner himself applied the nickname “Romantic,” evoking images of knights riding forth at dawn, impassioned lovers, and an exuberant hunting party, all tied together by a heroic, brass-blazing finale.    Program: BRUCKNER: Symphony No. 4, “Romantic”   Artists: Los Angeles Philharmonic Gustavo Dudamel, conductor   FRI / NOV 1, 2019 – 8:00PM   Upcoming concerts: www.laphil.com/calendar Upbeat Live schedule, details, and speaker bios: www.laphil.com/ubl

The Fourth Symphony was a product of the most turbulent time of Tchaikovsky's life - 1877, when he met two women (Nadezhda von Meck, a music-loving widow of a wealthy Russian railroad baron, and Antonina Miliukov, an unnoticed student in one of his large lecture classes at the Moscow Conservatory), who forced him to evaluate himself as he never had before.

On an extended journey through Italy in 1830 and 1831, Felix Mendelssohn began work on his Fourth Symphony.  A wildly talented composer who wrote his famous Octet when he was only sixteen, Mendelssohn was prompted to finish the work when the London Philharmonic Society requested a symphony from him (and offered payment of a hundred guineas).  Mendelssohn called it the jolliest music he had ever composed. Although he remained dissatisfied with the symphony and planned numerous revisions, the Italian Symphony still stands as one of his most easily recognizable works. 

Complementing the artist line-up of Giancarlo Guerrero and the Nashville Symphony on this recording are the Violins of Hope, a poignant collection of restored instruments that survived the Holocaust. Jonathan Leshnoff wrote his Symphony No. 4 with this unique set of orchestral voices in mind; Raymond Bisha introduces the performance and the background to its conception. Leshnoff is one of America’s most frequently performed living composers and the programme on this new recording also includes Starburst, his most frequently performed work, and his Guitar Concerto, which Guerrero considers “one of the greatest additions to guitar and orchestra repertoire in recent years.” The soloist is Jason Vieaux.

Mark and Matthew listen to The Philharmonia's 1957 recording of the first movement of Mahler's 4th symphony, conducted by Paul Kletzki, discovering the tension between the grace, beauty and simplicity of its dancelike themes and the metronomic insistence of its accompanying motives.

About the Performance: Back in the 1930s, the LA Phil performed William Grant Still's music conducted by the composer. Now, Thomas Wilkins leads a program combining jazz and orchestral music, including Still's Fourth Symphony and a new tribute to Still. Program: ELLINGTON : Three Black Kings GERSHWIN : Second Rhapsody Intermission Adolphus HAILSTORK : Still Holding On (world premiere, LA Phil commission) STILL : Symphony No. 4, "Autochthonous" Artists: Los Angeles Philharmonic Thomas Wilkins conductor Aaron Diehl piano SUN / FEB 17, 2019 - 8:00PM Upcoming concerts: www.laphil.com/calendar Upbeat Live schedule, details, and speaker bios: www.laphil.com/ubl

"Music is life, and, like life, inextinguishable" wrote Danish composer Carl Nielsen of his Fourth Symphony, written during the early years of World War I. His life-affirming composition is preceded by Strauss' poignant Four Last Songs, which has been called "the most beautifully delivered farewell in all of music."

Conductor Marek Janowski and the CSO, both great masters of music from the Austro-German tradition, perform a program of works by Weber, Beethoven and Wagner. Janowski, in his subscription series debut, leads the CSO in glorious orchestral excerpts from two of Wagner's grandest operas. Also on the program is Beethoven's sunny Fourth Symphony, a work imbued with romantic pathos.

Anyone who has heard Manfred Honeck conduct his own Pittsburgh Symphony Orchestra in Heinz Hall or in their exemplary recordings on the Exton and Reference Recordings labels will know what a treasure he is for the world of music. This week he will conduct the New York Philharmonic in Beethoven's First Piano Concerto with Inon Barnatan and Mahler's First Symphony. He has made something of a speciality of this composer, a fellow Austrian. His recorded cycle with Pittsburgh now includes Symphonies No. 1, 3, and 5. Maestro Honeck also has special insight into the work of Anton Bruckner, another fellow Austrian. He has so far recorded Bruckner's Fourth Symphony and looks forward to recording the Ninth. In this interview you will learn something about the care and intelligence he puts into preparing his performances and his particular feeling for these great composers. The post Manfred Honeck talks to Michael Miller about Mahler, Bruckner, and Conducting appeared first on New York Arts.

Rob Cowan sifts through "Tchaik 4," a piece written at a time of emotional turmoil.

We are making the music that accompanied the opening installment of 'Stepping out and Finishing Well' available to enjoy in its own right. Here is the talk set to music - https://soundcloud.com/ruach-breath-of-life/continuing-on-part-one-v2 The first piece you will hear is Handel’s amazing Eternal Light, followed by extracts from Mahler’s Fourth Symphony, played as you will probably not have heard it before as a string quartet, with Jonathan and Grace Lee, Catherine Muncey and Corinne Frost. Then comes a Canzone by Gabrielli and a lovely Sonata in D for Trumpet by Torelli, played by Anthony Thompson. The final piece is the moving Somerset Suite by Gustav Holst.

This wide ranging call by Robert Weston ranges from the personal to international trends and situations, accompanied by exquisite classical music. It follows on from his talk 'Finishing Well'. https://ruachministries.co.uk/finishing-well/ The music: first comes Handel’s amazing Eternal Light, followed by extracts from Mahler’s Fourth Symphony as you will probably not have heard it before, played by string quartet, Jonathan and Grace Lee, Catherine Muncey and Corinne Frost. First comes Handel’s amazing Eternal Light, followed by extracts from Mahler’s Fourth Symphony as you will probably not have heard it before, played by string quartet, Jonathan and Grace Lee, Catherine Muncey and Corinne Frost. Then comes a Canzone by Gabrielli and the Sonata in D for Trumpet by Torelli, played by Anthony Thompson. The final piece is Holst’s lovely Somerset Suite. The final piece is Holst’s lovely Somerset Suite.

Fourth Symphony of Brahms arranged by Rick Wakeman (27.10)

On an extended journey through Italy in 1830 and 1831, Felix Mendelssohn began work on his Fourth Symphony.  A wildly talented composer who wrote his famous Octet when he was only sixteen, Mendelssohn was prompted to finish the work when the London Philharmonic Society requested a symphony from him (and offered payment of a hundred guineas). Mendelssohn called it the jolliest music he had ever composed. Although he remained dissatisfied with the symphony and planned numerous revisions, the Italian Symphony still stands as one of his most easily recognizable works.

Our February issue cover CD features a fantastic selection of works by Sibelius, including his brooding Fourth Symphony and the well known Finlandia, Op. 26. Hear clips from the performances and an introducion to the works from Jeremy Pound and Rosie Pentreath. See acast.com/privacy for privacy and opt-out information.

Guest host Frank Dans, Interim Artistic Administrator for the NAC Orchestra, interviews Jon Kimura Parker for the "Parker Plays Mendelssohn" concerts from February 5-6, 2014. Inspired by his sunny sojourn in Italy (and a brief infatuation with a young pianist), Mendelssohn composed an equally unclouded piano concerto, brimming with free-flowing lyrical lines and opportunities for displays of virtuosity by NAC Orchestra favourite Jon Kimura Parker. Schumann presented his Fourth Symphony to his beloved wife on her 22nd birthday, saying it contained her portrait in a melody he called the “Clara” theme. Listen for it, woven like a shimmering thread throughout the work. To begin the concert, re-enter Canadian composer R. Murray Schafer's evocative musical landscape.

As Vasily Petrenko’s much-lauded Shostakovich symphony cycle moves closer to completion we reach the renegade Fourth Symphony written in 1935 and driven underground by Stalin and his establishment naysayers. This astonishing piece  – which remained unperformed for 25 years until 1961 when Kondrashin in Russia and Eugene Ormandy in the USA brought it in from … [Read More]

Series Advisor Steven Stucky talks with Philharmonia Orchestra members Samuel Coles (Joint Principal Flute) and Mark van de Wiel (Joint Principal Clarinet) about Witold Lutosławski's use of chance in his compositions, an approach called "controlled aleatorism." They work through a short passage of Lutosławski's Jeux venitiens (Venetian Games), illustrating how each performance is unique. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at http://www.philharmonia.co.uk/lutoslawski, or visit www.woven-words.co.uk/game to explore Lutosławski's compositional techniques in a game!

Series Advisor Steven Stucky talks with Philharmonia Orchestra members Samuel Coles (Joint Principal Flute) and Mark van de Wiel (Joint Principal Clarinet) about Witold Lutosławski's use of chance in his compositions, an approach called "controlled aleatorism." They work through a short passage of Lutosławski's Jeux venitiens (Venetian Games), illustrating how each performance is unique. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at http://www.philharmonia.co.uk/lutoslawski, or visit www.woven-words.co.uk/game to explore Lutosławski's compositional techniques in a game!

Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen both knew the Polish composer, Witold Lutosławski well. In this film, the two composers reminisce about their friend and mentor and discuss his work. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

Series Advisor, Steven Stucky and Philharmonia Orchestra Principal Conductor and Artistic Advisor, Esa-Pekka Salonen both knew the Polish composer, Witold Lutosławski well. In this film, the two composers reminisce about their friend and mentor and discuss his work. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end".

The first of the 2011-12 season's "Explore the Symphony" podcasts examines the 4th Symphony of Tchaikovsky. From the quiet plucking of the strings to the bombastic brass in the finale, Tchaikovsky’s Fourth Symphony, declared “semi-barbaric” by the New York Post in 1890, will leave you breathless.

The third of the 2010-11 season's "Explore the Symphony" podcasts examines the 3rd and 4th Symphonies of Johannes Brahms. In this podcast, the NAC Orchestra's assistant principal double bass Marjolaine Fournier and one of Canada's foremost music journalists, Jean-Jacques van Vlasselaer, discuss Symphony No. 3, which was written in 1883, polished after each performance, and published the following year. Music critic Eduard Hanslick said “ … the Third [Symphony] strikes me as being artistically the most nearly perfect.” The NAC Orchestra (under conductor Andrew Grams) performed Symphony No. 3 by Brahms in late October of this year. Still to come – on January 26 and 27 – is Brahms’s Symphony No. 4, with Pinchas Zukerman conducting the Orchestra. Brahms composed this deeply emotional symphony – his final symphony -- right after the Third, in 1885. Dramatic and passionate, mournful and joyful, the Fourth Symphony was conducted by Brahms himself at its premiere. It was very well received and has remained popular ever since.

Conductor Bramwell Tovey and CBC Radio 2 host Bill Richardson speak about Schumann's Fourth Symphony and Schumann's orchestration techniques.

Conductor Bramwell Tovey and CBC Radio 2 host Bill Richardson speak about Mendelssohn's Fourth Symphony and its fabulous depiction of Italy.