Podcasts about gregor piatigorsky

durée : 01:28:40 - invité : le violoncelliste Christian-Pierre La Marca - par : Aurélie Moreau - Le violoncelliste Christian-Pierre La Marca célèbre les figures emblématiques du violoncelle par une série de 10 podcasts de France Musique. Les premiers parus sont consacrés à Jacqueline du Pré, Pablo Casals, Emanuel Feuermann, Gregor Piatigorsky.

Felix Mendelssohn-Bartholdy (1809 - 1847) - Ottetto in mi bemolle maggiore per archi, op. 20 (MWV R20)00:00 - I. Allegro moderato ma con fuoco12:48 - II. Andante18:18 - III. Scherzo22:36 - IV. PrestoJascha Heifetz, Arnold Belnick, Joseph Stepansky, Israel Baker (violin)Virginia Majewski, William Primrose (viola)Gabor Rejto, Gregor Piatigorsky (cello)

durée : 01:28:21 - Relax ! du jeudi 30 janvier 2025 - par : Lionel Esparza - Gregor Piatigorsky est un violoncelliste russe mais naturalisé américain en 1942. Sa vie, pleine de mésaventures, a fait de lui un musicien chambriste d'exception et le premier violoncelliste soliste de son temps.

durée : 01:28:21 - Relax ! du jeudi 30 janvier 2025 - par : Lionel Esparza - Gregor Piatigorsky est un violoncelliste russe mais naturalisé américain en 1942. Sa vie, pleine de mésaventures, a fait de lui un musicien chambriste d'exception et le premier violoncelliste soliste de son temps.

durée : 01:28:14 - Gregor Piatigorsky, le géant du violoncelle - par : Aurélie Moreau - Ayant quitté la Russie en 1921, Gregor Piatigorsky devient violoncelle solo du Philharmonique de Berlin, avant d'entreprendre une exceptionnelle carrière de soliste et de chambriste notamment aux USA. Aujourd'hui : Brahms, Dvořák, Chopin, Strauss...

In this episode I discuss with author E. J. Stephen his book "Legends of Westwood Village Cemetery". Westwood Memorial Park Cemetery, located on Los Angeles's trendy west side, has been the leading choice for celebrity burials since Marilyn Monroe was interred here in 1962. The cemetery houses the remains of a plethora of household names, including Patty Andrews, Eve Arden, Lew Ayres, Jim Backus, Richard Basehart, Peter Bogdanovich, Ray Bradbury, Fanny Brice, Les Brown, Truman Capote, John Cassavetes, James Coburn, Jackie Collins, Richard Conte, Tim Conway, Bob Crane, Rodney Dangerfield, Richard Dawson, Kirk Douglas, Peter Falk, Farrah Fawcett, June Foray, Stan Freberg, Eva Gabor, Merv Griffin, Jonathan Harris, Hugh Hefner, Florence Henderson, Brian Keith, Stan Kenton, Jack Klugman, Don Knotts, Burt Lancaster, Peggy Lee, Janet Leigh, Jack Lemmon, Karl Malden, Dean Martin, Walter Matthau, Rod McKuen, David Nelson, Lloyd Nolan, Carroll O'Connor, Heather O'Rourke, Bettie Page, Wolfgang Petersen, Gregor Piatigorsky, Donna Reed, Buddy Rich, Minnie Riperton, Doris Roberts, Wayne Rogers, George C. Scott, Sidney Sheldon, Robert Stack, Dorothy Stratten, Alvin Toffler, Mel Tormé, Josef von Sternberg, Harry Warren, Cornel Wilde, Billy Wilder, Carl Wilson, Natalie Wood, Darryl F. Zanuck, Frank Zappa, and hundreds more.Doug Hess is the host!

durée : 00:58:33 - Heifetz, Rubinstein et Piatigorsky, un trio légendaire - par : Aurélie Moreau - Au cours des années 1949 et 1950, les très illustres Arthur Rubinstein, Jascha Heifetz et Gregor Piatigorsky ont formé un trio surnommé par un critique le « Million Dollar Trio ». Voici leurs enregistrements : Ravel, Tchaïkovski et Mendelssohn. - réalisé par : Laurent Lefrançois

Synopsis On today's date in 1909, Richard Strauss's opera Elektra had its premiere in Dresden. The libretto, a free adaptation of the grim, ancient Greek tragedy by Sophocles, was by the Austrian poet and playwright Hugo von Hofmannsthal. In ancient Greek tragedies, violence occurred off-stage, and for his libretto, Hofmannsthal honored that tradition. But the music of Strauss evoking the tragedy's violence unleashed a huge orchestra with a ferocity that stunned early listeners. After its American premiere, one New York critic wrote of “a total delineation of shrieks and groans, of tortures physical in the clear definition and audible in their gross realism . . .Snarling of stopped trumpets, barking of trombones, moaning of bassoons and squealing of violins.” Even Strauss himself later admitted Elektra (quote) “penetrated to the uttermost limits of … the receptivity of human ears,” and what he called his “green horror” opera might cause him to be type-cast as a purveyor of creepy-crawly music. And so, Strauss prudently suggested to Hofmansthal “Next time, we'll write a MOZART opera.” Almost two years later to the day, on January 26, 1911, their “Mozart” opera, Der Rosenkavalier, or the The Rose Bearer premiered. It's set in 18th century Vienna, and for this opera Strauss included anachronistic, but eminently hummable waltz tunes. Music Played in Today's Program Richard Strauss (1864 –1949) Elektra Alessandra Marc, sop.;Vienna Philharmonic; Giuseppe Sinopoli, conductor. DG 453 429 Richard Strauss Der Rosenkavalier Waltz Suite Philadelphia Orchestra; Eugene Ormandy, conductor. Sony 60989 On This Day Births 1851 - Flemish composer Jan Blockx, in Antwerp; 1886 - German composer and conductor Wilhelm Furtwängler, in Berlin; 1911 - American composer and pianist Julia Smith, in Denton, Texas; 1913 - Polish composer Witold Lutoslawski, in Warsaw; 1921 - American composer and conductor Alfred Reed, in New York City; Premieres 1817 - Rossini: opera, "La Cenerentola" (Cinderella), in Rome at the Teatro Valle; 1902 - Franz Schmidt: Symphony No. 1, in Vienna; 1909 - R. Strauss: opera "Elektra," in Dresden at the Hofoper, conducted by Ernst von Schuch, with soprano Annie Krull in the title role; 1946 - R. Strauss: "Metamorphosen," in Zürich; 1957 - Walton: Cello Concerto, by the Boston Symphony conducted by Charles Munch, with Gregor Piatigorsky the soloist; 1963 - Karl Amadeus Hartmann: Symphony No. 8, by the West German Radio Symphony, Rafael Kubelik conducting; 1987 - Paul Schoenfield: "Café Music" for piano trio at a St. Paul Chamber Orchestra concert. Links and Resources On Richard Strauss More on Richard Strauss

On this episode of Adventures In Good Music Dr. Karl Haas presents the music of film composer Miklós Rózsa (April 18, 1907 – July 27, 1995). He was a Hungarian-American composer best known for his nearly one hundred film scores, he nevertheless maintained a steadfast allegiance to absolute concert music throughout what he called his "double life". Rózsa achieved early success in Europe with his orchestral Theme, Variations, and Finale (Op. 13) of 1933, and became prominent in the film industry from such early scores as The Four Feathers (1939) and The Thief of Bagdad (1940). The latter project brought him to Hollywood when production was transferred from wartime Britain, and Rózsa remained in the United States, becoming an American citizen in 1946. During his Hollywood career, he received 17 Academy Award nominations including three Oscars for Spellbound (1945), A Double Life (1947), and Ben-Hur (1959), while his concert works were championed by such major artists as Jascha Heifetz, Gregor Piatigorsky, and János Starker.

durée : 01:58:28 - Musiciens d'Ukraine (1) - par : Philippe Cassard - Nathan Milstein (violon), Emil Gilels (piano), Gregor Piatigorsky (violoncelle), Shura Cherkassky (piano), Samouïl Feinberg (piano) - réalisé par : Davy Travailleur

Ronald Heifetz is among the world's foremost authorities on the practice and teaching of leadership. He speaks extensively and advises heads of governments, businesses, and nonprofit organizations across the globe. In 2016, President Juan Manuel Santos of Colombia highlighted Heifetz's advice in his Nobel Peace Prize Lecture.Heifetz founded the Center for Public Leadership at Harvard Kennedy School where he has taught for nearly four decades. He is the King Hussein bin Talal Senior Lecturer in Public Leadership. His research addresses two challenges: developing a conceptual foundation for the analysis and practice of leadership; and developing transformative methods for leadership education, training, and consultation. Heifetz co-developed the adaptive leadership framework with Riley Sinder and Marty Linsky to provide a basis for leadership research and practice. His first book, Leadership Without Easy Answers (1994), is a classic in the field and one of the ten most assigned course books at Harvard and Duke Universities.  Heifetz co-authored the best-selling Leadership on the Line: Staying Alive through the Dangers of Change with Marty Linsky, which serves as one of the primary go-to books for practitioners across sectors (2002, revised 2017).  He then co-authored the field book, The Practice of Adaptive Leadership: Tools and Tactics for Changing your Organization and the World with Alexander Grashow and Marty Linsky (2009). His teaching methods have been studied extensively in doctoral dissertations and in Leadership Can Be Taught, by Sharon Daloz Parks (2005).A graduate of Columbia University, Harvard Medical School, and the Kennedy School, Heifetz is both a physician and cellist. He trained initially in surgery before deciding to devote himself to the study of leadership in public affairs, business, and nonprofits. Heifetz completed his medical training in psychiatry, which provided a foundation to develop more powerful teaching methods and gave him a distinct perspective on the conceptual tools of political psychology and organizational behavior. As a cellist, he was privileged to study with the great Russian virtuoso, Gregor Piatigorsky. A Quote From This EpisodeRegrading Case-in-Point methodology - "I do try to keep it safe enough, but not completely safe. You know, one of my colleagues described it not as a 'safe space,' but a 'brave space.' It does take courage to learn publicly...but I want students to know what it means to learn publicly."Resources Mentioned In This EpisodeBook: Where Good Ideas Good Ideas Come From by Steven JohnsonLearning Experience: The Art and Practice of Leadership DevelopmentAbout The International Leadership Association (ILA)The ILA was created in 1999 to bring together professionals with a keen interest in the study, practice, and teaching of leadership. Connect with Scott AllenWebsite

durée : 00:16:00 - Disques de légende du mercredi 12 mai 2021 - En août 1950, trois musiciens formidables, le pianiste Arthur Rubinstein, le violoniste Jascha Heifetz et le violoncelliste Gregor Piatigorsky, enregistrent le Trio avec piano n° 1 de Mendelssohn. L'ensemble, qui s'est formé l'année précédente, est surnommé le "Million Dollar Trio" par un critique.

“We are so lucky in music that we can look back to someone like Beethoven or Monteverdi or Josquin des Prez and understand through their music many different qualities of how people imagined themselves to be, how they imagined life to be. Despite the fact that we’re having this lovely conversation, the acronym of my life has become AFWAP— 'as few words as possible.' That is my new ideal that I hope to realize a bit more fully until…I’m outta here." Michael Tilson Thomas (MTT) is here, one of the most celebrated American musicians of the past half century. In this wide-ranging look into the thinking of this fascinating figure, MTT and Daniel discuss everything from the very fundamentals of music -- "sad" chords and "happy" chords, how harmony is like flavor such as when one adds one drop of sesame oil to a soup -- to MTT's work with such legendary figures as Jascha Heifetz, Sarah Vaughan, Peggy Lee, and Gregor Piatigorsky. Far from being a standard interview, here MTT and Daniel take a deep dive into Mozart, the ever-elusive Wunderkind that can be so difficult for players to grasp. MTT also expresses his love for working with young, promising musicians, and how after all these years in music, patterns, in all sorts of ways, become more evident. As he says at the end, "music keeps your spirit alive in a very wonderful way." With MTT seated at his keyboard, we are treated to unexpected musical examples as he illustrates the power of a turn of phrase. Support Talking Beats with Daniel Lelchuk on Patreon. You will contribute to continued presentation of substantive interviews with the world's most compelling people. We believe that providing a platform for individual expression, free thought, and a diverse array of views is more important now than ever. Conductor, composer, and educator Michael Tilson Thomas is Music Director Laureate of the San Francisco Symphony, Co-Founder and Artistic Director of the New World Symphony, and Conductor Laureate of the London Symphony Orchestra. In June 2020, he completed a remarkable 25-year tenure as Music Director of the San Francisco Symphony, becoming the Orchestra’s first Music Director Laureate.His television credits include the New York Philharmonic Young People’s Concerts and Keeping Score on PBS-TV, which he and the San Francisco Symphony launched in 2004. His compositions include From the Diary of Anne Frank and Meditations on Rilke, both recorded with the SF Symphony and released on SFS Media in June 2020; Shówa/Shoáh; settings of poems by Emily Dickinson and Walt Whitman; Island Music; Notturno; and Four Preludes on Playthings of the Wind. Tilson Thomas is a 2019 recipient of the Kennedy Center Honors, was Musical America’s Musician and Conductor of the Year, and was inducted into the Gramophone Hall of Fame. He has been elected to the American Academy of Arts and Sciences, the American Academy of Arts and Letters, was inducted in the California Hall of Fame, and was awarded the National Medal of Arts by President Obama. Tilson Thomas was named an Officier in the French Ordre des Arts et des Lettres in June 2020, recognizing his continued contributions to global culture and the vast impact of his 25 years as Music Director of the San Francisco Symphony. For more information, visit michaeltilsonthomas.com.

durée : 00:30:31 - Le "Million-Dollar Trio" - Arthur Rubinstein, Jascha Heifetz et Gregor Piatigorsky ont formé un trio légendaire que l’on surnomma le Million Dollar Trio. Pourtant l’histoire n’est pas celle d’un conte de fées, leur collaboration fut de courte durée.

FM Nathan Resika has accomplished one of the rarest feats in the annals of adult competitive chess, progressing  from rank beginner to FIDE Master. Along the way, Nathan has picked up many more titles: USCF Master at age 31, FM Title at age 40, rating high of 2318 and US Senior Open at age the of 53. Despite some breaks along the way, at age 60, Nathan is still going strong, as he recently had a stellar showing at the 2020 Southwest Open, where he defeated a 2550 IM!  How does Nathan continue to amass new titles, all  while he is working and helping to raise his twin sons? What is his top chess advice? In  this very inspiring conversation, Nathan shares lots of tips, many book and opening recommendations, and even discusses the story of how he defied the odds in another field and became a professional opera singer in his 40s! As always, please read on for lots more details, timestamps, and relevant hyperlinks.     0:00- Nathan shares the story of his chess beginnings, playing in the park at Harvard Square in Boston at the age of 23, and mentions some books fundamental to his growth as a player.  Mentioned: Logical Chess Move by Move, Bobby Fischer Teaches Chess , Lasker’s Manual of Chess, GM Eugene Perelshteyn, My 60 Memorable Games . Nathan’s article in US Chess about his career can be found here: https://new.uschess.org/news/fm-resika-us-senior-singing-chess-icing-cake,  Mentioned: GM Boris Gelfand, GM Tigran Petrosian, GM Daniel King’s How Good is Your Chess, NM Bruce Pandolfini    15:30- How much time was Nathan putting into the  study of chess in his early competitive days circa 1985?  Mentioned: NM Murray Turnbull, GM Alexander Ivanov, NM Christopher Chabris, NM Danny Edelman, NM Girome Bono, IM Joseph Fang, IM David Vigorito, IM William Paschall, Secrets of Grandmaster Play by GM John Nunn    24:00- Perpetual Chess is proud to be brought to you in part by Chessable.com. A few of the courses in which you might be interested, based on this interview, are: The Modern Defense Against Everything by CM Vjeokslave Nemec, and Lifetime Repertoires, 1.c4/ 1. Nf3 by IM Christof Sielecki and FM Carsten Hansen    25:00- Nathan answers a question from the Perpetual Chess Patreon mailbag about whether adult improvers should consider playing less aggressive repertoires as they age, and another about the rating level at which opening knowledge begins to take on an added importance.  Mentioned: The Berlin Opening, The Scotch Game, The English/Reti, How to Think Ahead in Chess by Fred Reinfeld , FM William Kelleher, Small Steps to Giant Improvement by GM Sam Shankland,  Pawn Power in Chess  by Hans Kmoch, GM Richard Reti’s Best Games, Grandmaster Repertoire by GM Mikhail Marin, Starting Out: The Reti by GM Neil McDonald, Howard Staunton, GM Mikhail Botvinnik, GM Tony Miles, NM Harry Lyman    52:00- Nathan tells the story of how he became a professional opera singer past the age of 40.    58:00- Nathan answers another question from a Patreon supporter of the podcast. How does  Nathan’s musical knowledge help his chess, if at all?  GM Mikhail Tal, GM Mark Taimaino, GM Lajos Portisch, Andre Phillidor, Gregor Piatigorsky    1:03:00- IM Kare Kristensen writes in to ask, “What is the biggest challenge of competing at a high level as an adult?”  Mentioned: IM Ilya Figler, Perpetual Chess Episode 178 with IM Kare Kristensen, GM James Tarjan vs. GM Vladimir Kramnik 2017, GM Boris Gelfand, Nakamura-Resika, GM Alexander Chernin    1:14:00 What went wrong when Nathan had a rating slump of nearly 130 points? How did he seek to correct it?  Mentioned: Episode 201 with FM Peter Giannatos    1:19:30- What was it like to play in a tournament in Texas amidst the pandemic? How did Nathan and his family get comfortable with the decision to play?  Mentioned: 2020 Southwest Open, IM Justin Sarkar, IM Zurab Javakhadze, Raghav Kalyanaraman,  Check out the Whole Crosstable here: http://www.dallaschess.com/2020SWOpen/OpenWallchart.html   1:30:00- What are Nathan’s current chess goals? Why does he think it's important to play stronger competition?    1:34:00- Question from Neal Bruce! What are the minimum and maximum amount of hours per day/week that an improver should study? Mentioned: GM Sam Shankland’s Method 1 and 2, GM Neil McDonald, GM Daniel King, GM John Nunn, IM Andrew Martin    1:39:00- Closing summary of Nathan’s improvement advice!  Don’t get discouraged Study Structures Keep up with Your Tactics, no matter your age  Read good chess books and great authors  Read biographies of great players    1:41:00- Thanks so much to Nathan for joining the podcast! You can reach him at nateresi@hotmail.com See omnystudio.com/listener for privacy information.

durée : 01:59:02 - Arthur Rubinstein, chambriste - par : Philippe Cassard - Un aspect passionnant des activités du grand pianiste Polonais, volontiers cabotin, mais partageur de musique, d’enthousiasme et d’émotions. Avec Jasha Heifetz, Gregor Piatigorsky, Henryk Szeryng, le Quatuor Guarneri etc... - réalisé par : Davy Travailleur

"Mémoires Vives" émission de la Fondation pour la Mémoire de la Shoah. Préparée par Rachel Rimmer et présentée par Stéphane Bou qui reçoivent Laurent Slaars. Sujet: Livre "Commando Musik - Comment les nazis ont pillé l'Europe musicale" de Willem de Vries, traduit par Laurent Slaars À propos du livre : "Commando Musik - Comment les nazis ont pillé l'Europe musicale" Paru aux éditions Buchet Chastel Dès leur accession au pouvoir, les nazis ont développé une politique culturelle agressive, qui se poursuivit par des saisies et des pillages en France et dans tous les territoires occupés. L'organisation Rosenberg (ERR) fut notamment créée en 1940 dans le but d'éliminer la vie culturelle juive dans toute l'Europe, à travers la confiscation des œuvres d'art et des bibliothèques. C'est dans ce cadre qu'une cellule consacrée à la musique a vu le jour, le Sonderstab Musik (commando « musique »), composée d'éminents musicologues allemands, chargés de localiser des instruments, des partitions, des manuscrits. Dans cet ouvrage, qui a nécessité plus de dix ans de recherches, Willem de Vries révèle pour la première fois l'organisation de ce commando qui, entre 1940 et 1944, fit « transférer » vers l'Allemagne plusieurs centaines de milliers d'ouvrages et plusieurs dizaines de milliers d'instruments et de partitions. Le compositeur Darius Milhaud, les pianistes Wanda Landowska et Artur Rubinstein, le critique musical Arno Poldès, le violoncelliste Gregor Piatigorsky furent parmi les victimes de ces spoliations massives, dont les acteurs, le fonctionnement et l'ampleur sont enfin mis au jour.

À propos du livre : «COMMANDO MUSIK» paru aux éditions Buchet Chastel "Dès leur accession au pouvoir, les nazis ont développé une politique culturelle agressive, qui se poursuivit par des saisies et des pillages en France et dans tous les territoires occupés. L’organisation Rosenberg (ERR) fut notamment créée en 1940 dans le but d’éliminer la vie culturelle juive dans toute l’Europe, à travers la confiscation des œuvres d’art et des bibliothèques. C’est dans ce cadre qu’une cellule consacrée à la musique a vu le jour, le Sonderstab Musik (commando « 　musique　 »), composée d’éminents musicologues allemands, chargés de localiser des instruments, des partitions, des manuscrits. Dans cet ouvrage, qui a nécessité plus de dix ans de recherches, Willem de Vries révèle pour la première fois l’organisation de ce commando qui, entre 1940 et 1944, fit « 　transférer　 » vers l’Allemagne plusieurs centaines de milliers d’ouvrages et plusieurs dizaines de milliers d’instruments et de partitions. Le compositeur Darius Milhaud, les pianistes Wanda Landowska et Artur Rubinstein, le critique musical Arno Poldès, le violoncelliste Gregor Piatigorsky furent parmi les victimes de ces spoliations massives, dont les acteurs, le fonctionnement et l’ampleur sont enfin mis au jour." Né à Amsterdam en 1939, Willem de Vries est docteur en musicologie. C’est au cours de la rédaction de sa thèse sur « 　Darius Milhaud et le jazz　 », entre 1984 et 1991, qu’il a découvert l’existence du commando « 　musique　 », auquel il consacra ensuite ses recherches.

Shellac Stack No. 163 takes a road trip to visit with JiHoon Suk, who shares rare and interesting classical and operatic gems from his collection. From Alfred Dubois and Antonina Neshdanova to Enrico Caruso, Walter Gieseking, Meta Seinemeyer, Gregor Piatigorsky and more, it's another entertaining variety hour!

The composer Mario Castelnuovo-Tedesco moved from Italy to the US during the turmoil of the Second World War. That he should have been immediately befriended by such musical giants as violinist Jascha Heifetz and cellist Gregor Piatigorsky speaks reams about the respect the Italian engendered. His Cello Concerto was commissioned by Piatigorsky, who premiered the work in 1935. This recording captures the first ever performance since that occasion. The programme is completed by transcriptions that Castelnuovo-Tedesco made especially for Heifetz and Piatigorsky, including the work that gained the distinction of being the last piece that Heifetz performed in public. Raymond Bisha introduces soloist Brinton Averil Smith in this long overdue affirmation of Castelnuovo-Tedesco’s legacy for the cello.

[Kabbalat Shabbat, Friday evening service] L’kha dodi likrat kallah, p’nei shabbat n’kab’lah. *Shamor v’zakhor b’dibur ehad, hishmi·anu eil ham’yuhad. Adonai ehad ush’mo ehad, l’shem ul’tiferet v’lit’hilah. L’kha . . . Likrat Shabbat l’khu v’nelkhah, ki hi m’kor ha-b’rakhah. Mei-rosh mi-kedem n’sukhah, sof ma·aseh b’mahashavah t’hilah. L’kha . . . Mikdash melekh ir m’lukhah, kumi tz’i mi-tokh hahafeikhah. Rav lakh shevet b’emek ha-bakhah, v’hu yahamol alayikh hemlah. L’kha . . . Hitna·ari mei-afar kumi, livshi bigdei tifartekh ami. Al yad ben yishai beit ha-lahmi, korvah el nafshi ge·ala. L’kha . . . *Hitoreri hitoreri, ki va orekh kumi ori. Uri uri shir dabeiri, k’vod Adonai alayikh niglah. L’kha . . . Lo teivoshi v’lo tikalmi, ma tishtohahi u-mah tehemi, Bakh yehesu aniyei ami v’nivn’ta ir al tila. L’kha . . . V’hayu limshisah shosayikh, v’rahaku kol m’valayikh. Yasis alayikh elohayikh, kimsos hatan al kallah. L’kha . . . Yamin u-smol tifrotzi, v’et Adonai ta·aritzi. Al yad ish ben partzi, v’nism’hah v’nagilah. L’kha . . . *Bo·i v’shalom ateret ba·alah, gam b’simhah uv’tzoholah. Tokh emunei am s’gulah, bo’i khalah, bo·i khallah. L’kha . . . Come my beloved, to greet the bride; let us welcome Shabbat. *“Observe” and “remember”were uttered as one; so we heard it from the singular One. God is one and God’s name is one, reflected in fame, in splendor, and in praise. Come . . . Shrine of our sovereign, royal city, rise up from destruction and fear no more. End your dwelling in the tear-filled valley, for with God’s compassion you will be upraised. Come . . . Awake! Rise up from the dust! Dress yourself in this people’s pride. By the hand of Jesse’s son, of Bethlehem’s tribe bring my redemption without further delays. Come . . . *Rouse yourself, rouse yourself, for your lamp is lit; let the flame rise up and glow. Awake awake, utter songs of praise, for God’s glory is revealed to your gaze. Come . . . Do not be embarrassed, do not be ashamed. Why are you downcast? Why do you moan? The poorest of your people, trust in this: the city will be rebuilt as in ancient days. Come . . . Your despoilers shall be despoiled, your tormentors removed far away. God and you will celebrate together, a bride and groom in joyful embrace. Come . . . You will spread out to the left and the right, acclaiming Adonai our God with delight. Redeemed by the scion of Peretz’s line, we shall joyously chant songs of praise. Come . . . *Come in peace, crown your spouse, surrounded by gladness and joyous shouts. Come to the faithful, the people You treasure with pride, come, my bride; come my bride. Come . . . from L'dor Vador, releases October 10, 2016 Mario Castelnuovo-Tedesco (1895–1968) Born in Florence, Mario Castelnuovo-Tedesco was descended from a prominent Jewish banking family that had lived in the city since the expulsion of Jews from Spain in 1492. He was one of the foremost guitar composers of the twentieth century, with almost one hundred compositions for that instrument. After immigrating to the US in 1939, he worked for MGM Studios for fifteen years, composing scores for some 200 Hollywood movies as well as becoming a significant influence on other major film composers, including Henry Mancini, André Previn, and John Williams. He also wrote concertos for Jascha Heifetz and Gregor Piatigorsky as well as several operas. His work was inspired by great literature and also by his Jewish heritage, most notably the Bible and Jewish liturgy.

Der Celllist Gregor Piatigorsky war obdachlos und hungrig, bevor er die Gelegenheit bekam bei den Berliner Philharmonikern vorzuspielen. Piatigorsky ergriff sie beim Schopfe. Am 19. Januar 1925 war der Durchbruch geschafft. Autor: Xaver Frühbeis