Podcasts about harpsichordist

For the final episode of 2022, we interviewed Dr. Magdalena Stern-Baczewska on a Saturday afternoon and had a great time chatting with her about

In this episode, Lexman interviews Francis Collins, a researcher at the National Institutes of Health and a winner of the 1978 Nobel Prize in Physiology or Medicine. They discuss the concept of hagiocracy and the importance of using evidence in decision-making. Collins also talks about his work on the spinnaker theory of gene expression and the discovery of a new species of clavicytheriums.

There is nothing Christophe Rousset hates more than routine: even with the most commonly played, centuries-old works, "there is always something new to say." One of the most respected figures in the world of Baroque music, the master harpsichordist and conductor who founded the gold-standard ensemble Les Talens Lyriques over thirty years ago speaks with Gramophone's James Jolly about bringing music to life, why conducting his own orchestra is like driving a Rolls-Royce, restoring the reputation of Antonio Salieri in the wake of Miloš Forman's Amadeus, the sensation of time stopping in the space of the concert hall, the operatic qualities of Bach's big works, his fascination with archeology, and much more. Presented with the generous support of Madame Aline Foriel-Destezet.

Harpsichordist and Composer, Jonathan Salamon, joins the show to discuss his article on the Leo Schema.

John Moraitis is a musicologist, harpsichordist, and pianist currently residing in Athens. He holds a Bachelor of Music degree in Piano Performance from Shorter College, a Master in Musicology from the University of Georgia in Athens, and a Ph.D. in Musicology from the University of Wisconsin-Madison. His main fields of interest are historical performance practice and twentieth-century modernism. He has taught and conducted master classes in the United States, Austria, and Greece.Musical excerpts, in order:J. S. Bach, Invention n° 2 in C minorJean-Philippe Rameau, Les tendres plaintesLouis Couperin, La petite pince-sans-rireJohn Moraitis, harpsichordSubscribe to John's Youtube channelSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

Why We Should Expose Our Kids To Classical Music https://ourtownlive.net #herbw79The term "baroque" is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of approximately 150 years. Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device.Jean-Jacques Rousseau, who was a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, and loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, and the movement limited. It appears that term comes from the word 'baroco' used by logicians." Rousseau was referring to the philosophical term baroco, in use since the 13th century to describe a type of elaborate and, for some, unnecessarily complicated academic argument.The systematic application by historians of the term "baroque" to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflin's theory of the Baroque systematically to music. Critics were quick to question the attempt to transpose Wölfflin's categories to music, however, and in the second quarter of the 20th century independent attempts were made by Manfred Bukofzer (in Germany and, after his immigration, in America) and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather than comparative abstractions, in order to avoid the adaptation of theories based on the plastic arts and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer and Paul Henry Lang.As late as 1960, there was still considerable dispute in academic circles, particularly in France and Britain, whether it was meaningful to lump together music as diverse as that of Jacopo Peri, Domenico Scarlatti, and Johann Sebastian Bach under a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding (Renaissance) and following (Classical) periods of musical history.

What an honor to speak with my guest today, Harpsichordist, Organist, Keyboardist, Conductor, Composer and Improviser, Matteo Messori! He is the founder of the Cappella Augustana Ensemble and His latest recording is the complete harpsichord and organ works by Johann Kaspar Kerll, a new 3CD Box. We discuss the Bologna tradition, basso continuo, partimento, Padre Martini and Mattei, counterpoint, his partimento teaching method and much more!

My guest today is Harpsichordist and Fortepianist Professor Enrico Baiano. An award-winning international performer, Baiano has extensively recorded works by JS Bach, Johann Jakob Froberger, and Domenico Scarlatti to name a few. He has published a method for the Harpsichord in 2010 and with Marco Moiraghi, published a book called “The sonatas of Domenico Scarlatti” in 2014. 00:48 Beginnings 2:25 When did you start playing keyboard instruments? 2:53 What made you decide to make music your career? 3:41 Did you get a teacher to learn the harpsichord? 6:57 How long did you study the harpsichord at the beginning? 7:37 What age were you while studying composition? 7:51 How did you learn composition? Was it the old tradition or new? 11:26 Did you listen to other styles of music growing up? 12:41 How you learned contrasted with the partimento approach 14:30 How extensively did you study with this older teacher? 14:53 Were these private lessons or at the conservatory? 15:43 Did you learn the modern methods of analysis like function theory and roman numerals? 17:09 Were you one of the few students improvising? 18:10 When did you get acquainted with partimento? 19:39 Italians not feeling proud of their heritage 20:36 Learn Fenaroli in 1982 21:49 Was there anything new in the partimento that you didn't already know? 22:59 Are you able to distill music in the repertoire down to their basic forms? 24:24 Did you work on written counterpoint in your studies? 27:20 What is the difference between harmony and counterpoint? 28:46 What's the difference between learning composition today vs back in the 18th century? 33:15 On the concern about the listen-ability of modern, contemporary music 36:35 the link between older music like Domenico Scarlatti and later composers like Brahms 38:56 Beethoven being very familiar with Scarlatti 43:35 What do you think about hexachordal Italian solfeggio system? 45:33 How should someone learn partimento? 46:33 On Durante, Zingarelli and others, having more difficult partimenti than Fenaroli 47:37 How should someone learn counterpoint? 48:34 What do you mean by Fux being “too late”? 51:17 Do you need a teacher to learn counterpoint? 51:42 Is figured bass still relevant in the modern age? 54:03 Chord Invertibility/Fundamental bass vs Counterpoint 57:45 On the question of certain chordal inversions not being equal 59:02 What do you think of Glenn Gould's interpretations? 1:03:42 What's the balance between learning repertoire and improvisation/composition? 1:05:50 What do you make of the amazing surge of interest in partimento and other older methods of learning music? 1:09:29 Do you use these older methods when looking at music like Ravel or Debussy? 1:13:07 Top 3 Pianists 1:13:32 Top 3 Partimenti composers 1:14:00 Top 3 Domenico Scarlatti Sonatas 1:16:59 Top 3 Pieces from Bach's WTC 1:19:59 If you could meet any musician from history, who would it be and what would you talk about? 1:20:38 Do you play non-classical music for fun? 1:21:58 Upcoming projects and Wrapping up

Steven Devine is a conductor, harpsichordist and pianist who works with some of the finest musicians across the world. He has many recordings to his name: solo, as a member of an ensemble and as a director. Steven loves to explore new sound worlds, from early keyboards to 21st century Bach on synthesizers. He has a gift for engaging with audiences and delighting one and all with his comedic charm & musical sparkle. ✨ In Alexandria's alternate life as a musician, she's played with Steven many times over the years throughout the UK and further afield.

Following his recital with recorder player Michaela Petri at the Bath Bachfest, harpsichordist Mahan Esfahani strolled around the centre of the Georgian city with Oliver Condy and shared his favourite music, including a symphonic discovery and the single piece of music he couldn’t live without…Episode Playlist: https://open.spotify.com/playlist/2v78HC0EKL7tiArRw4ApM7?si=qT5om-FHTFqiIzh3vCsMLQWebsite: Classical-music.com/podcasts See acast.com/privacy for privacy and opt-out information.

We meet harpsichordist Mahan Esfahani, who is showing how the harpsichord is no longer an instrument just for "old" music. His latest recording features contemporary music for harpsichord and electronics. Help support The Next Track by making regular donations via Patreon. We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Support The Next Track (https://www.patreon.com/thenexttrack). Guest: Mahan Esfahani (https://www.mahanesfahani.com) Musique? Modern and electro-acoustic works for harpsichord (https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68287) Show notes: Wigmore Hall (https://wigmore-hall.org.uk) The Poems of T.S. Eliot Read by Jeremy Irons (https://amzn.to/2AVAU1Z) Kazoophony (https://www.kazooamerica.org/kazoophony.html) Episode #179 - Pianist Marc-André Hamelin (https://www.thenexttrack.com/182) A Playlist of Music by Black Classical Composers (https://kirkville.com/a-playlist-of-music-by-black-classical-composers/) Our next tracks: Brad Mehldau: Suite: April 2020 (https://www.bradmehldau.com) Black Stone Cherry: Black to Blues (https://amzn.to/2NpVTwn) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast. Special Guest: Mahan Esfahani.

I'm so pleased to introduce my guest today, a real expert on early music, Harpsichordist, composer and singer, Dr. Elam Rotem. In 2014, Rotem established the award winning resources website Early Music Sources. In 2016, he finished his PhD thesis with distinction ("Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio de' Cavalieri"), within a new collaborative program between the Schola Cantorum in Basel and the University of Würzburg, Germany. He is the founder and director of Profeti della Quinta. His most recent composition is the Lamentations of David, available on YouTube. 0:58 What was music scene like in the 16th century? 1:27 Who were the most famous musicians in the 16th century? 1:48 Were they so well known that everyone was copying their music? 2:25 Is Italy the main focus of interest? 3:19 What are madrigals? 3:59 Is an Italian madrigal different? 4:19 When was the Renaissance? 4:41 What was the standard form of counterpoint in 1600? Did any a significant theorist shape it? 6:17 Are treatises written often looking backwards? 7:20 How would have composers back then learned music? 8:20 Was their training more focused on improvisation and composition? 9:06 Hexachordal Solfeggio 10:44 Did they use more clefs? 11:36 Locating Fa on Fa Clefs 12:30 Did these think about cadences differently? 13:41 In any of the treatises did they talk about vertical chords? 14:56 What do prima pratica and seconda practica mean? 15:43 What were Artusi's complaints with Monteverdi? 16:12 How did Artusi get copies of Monteverdi's music before they were published? 16:47 How did Basso Continuo have an effect on composition when it came on the scene? 18:51 Did anyone criticize Basso Continuo when it appeared for the first time? 19:16 Do we distinguish between accompaniment and counterpoint? 19:50 Did Basso Continue subsequently explode in popularity? 20:25 If there were no figures, how did they interpret scores correctly? 21:03 Do we know how these musicians learned counterpoint? 22:33 Are there any historical counterpoint workbooks available? 23:45 Why was the major 6th considered the harshest interval in the renaissance? 26:28 If someone had absolute pitch, how would that work in the Renaissance? 27:23 Did you have to tune instruments on the fly if you had tunes in different keys? 27:50 Could you give examples of instruments not being able to match the flexibility of the voice in transposition? 28:26 Modes 29:58 Were these composers really only thinking horizontally and with consonances and dissonances? 30:35 What are some remaining mysteries of music in the Renaissance? 32:12 What are common questions you get about your work and research? 32:49 Is music of this period mainly vocal? 33:10 What pieces of music are required to know in order to get handle of the music of the 16th and 17th century and develop your counterpoint? 33:57 Are you singing syllables or just the notes? 35:25 What do you mean by compositional situations? 36:03 Should students study counterpoint rules from treatises? 36:57 How about the Thomas de Santa Maria treatise? 37:27 Can you learn faster with a master composer? 38:04 Has the art of counterpoint watered down with newer styles? 38:54 Do you feel that there's different languages of counterpoint for different styles of music? 39:55 How did you compose the Lamentations of David? 40:53 How long did it take you to compose it? 41:24 Were you always a composer? 42:07 Can you describe your experience studying at the Schola Cantorum Basiliensis? 43:34 Wrapping Up

We talk with harpsichordist, conductor, and "general music addict" Richard Egarr, about original performance practice in early music. Help support The Next Track by making regular donations via Patreon. We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Support The Next Track (https://www.patreon.com/thenexttrack). Guest: Richard Egarr (https://www.intermusica.co.uk/artist/Richard-Egarr) Show notes: Richard Egarr on Harmonia Mundi (http://www.harmoniamundi.com/#!/artists/437) Richard Egarr on Linn Records (https://www.linnrecords.com/artist-richard-egarr) Academy of Ancient Music (https://www.aam.co.uk) Goldberg Variations (https://amzn.to/2VUlcLS) Johann Sebastian Bach's tuning (http://larips.com) How Equal Temperament Ruined Harmony (and Why You Should Care) (https://amzn.to/2VU4Gf0) Schubert: Lebenssturme (Richard Egarr's four-hands Schubert recording) (https://amzn.to/3aOGXB3) Livestream: Richard Egarr & Alexandra Nepomnyashchaya: Quatre-Mains, May 5 (https://www.geelvinck.nl/concerten/livestream-richard-egarr-alexandra-nepomnyashchaya-quatre-mains/) Our next tracks: J. S. Bach: Suites for Violoncello Solo, Anner Bylsma (https://amzn.to/2ygLtew) The Electric Flag: A Long Time Comin' (https://amzn.to/35tmDo0) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast. Special Guest: Richard Egarr.

I'm so pleased to introduce my guest today Harpsichordist, Improviser and Conductor, Professor Ewald Demeyere. Professor Demeyere studied at the Royal Conservatoire of Antwerp obtaining his master's degree for harpsichord in Jos van Immerseel's class. On completion of his studies in 1997 he was engaged as a teacher of harmony, counterpoint and fugue by the Royal Conservatoire of Antwerp. In 2002 he succeeded Jos van Immerseel as Professor of Harpsichord and he is also a professor at IMEP in Belgium. A specialist in Early Music, Partimento and counterpoint, he was the winner of the CPE Bach Counterpoint Contest. As a recording artist he has recorded many albums including Tears, Harpsichord Laments of the 17th century, 18th century flemish harpsichord music, Telemann Les nations - Overture & Oboe concertos, Mozart's Gran Partita and many more. ----- 1:11 How old were you, when you started music? 2:22 Did you start piano or harpsichord lessons really young? 3:05 Do you have perfect pitch? 4:00 Does it bother you to keep playing in different frequencies? 5:05 Did you improvise as a child? 7:13 How did the people around you react to your improvisation growing up? 8:59 Did you read CPE Bach's treatise on improvisation? 11:00 How did you learn counterpoint? 12:47 Can you describe how you came to partimento? 15:20 How did you begin to develop your partimento skills? 18:21 Did you use Fenaroli's partimenti? 24:43 Is there information missing in Fenaroli's rules? 28:31 How would you make a study plan for a new, young student in partimento? 31:05 Tackling Fenaroli's partimento Book 1, Number 1 35:18 Playing partimenti in the minor mode 37:43 Does it feel natural after doing it for awhile? 40:49 What's a good way to learn the dissonances? 43:55 How do you learn dissonances in the right hand? 46:05 What are some common mistakes or challenges for new students? 50:22 Can you comment on Fenaroli Book 2 53:14 Did Imbimbo mess up the order of the Fenaroli books? 56:46 Teaching improvisation and your work on Tonal Tools 1:01:00 Upcoming projects in 2020 1:02:07 What kind of non-18th century music do you enjoy? 1:03:05 How would you reform music education for young children 1:05:58 Wrapping Up

Mahan Esfahani is a musician, and an unusual one. He's not a pianist, violinist, cellist, or even a tuba player: He is a harpsichordist. Jay talks with him about his life and his instrument. William F. Buckley Jr., a devotee of the harpsichord his entire life, would have loved this. Source

7-16-18 Interview When he was five years old and had never taken a piano lesson Mark Kroll could play by ear the pieces his eight year old brother was studying. His brother was so embarrassed by his baby brother's ability that he gave up the piano, but Mark never did. Dreaming of being a concert […]

Episode 66 features harpsichordist, pianist and music director, Byron Schenkman In this podcast we discuss: His concert series Byron Schenkman and Friends, co-founding the Seattle Baroque Orchestra, career as a harpsichordist and a pianist, early passion for harpsichord, promoting concerts and what it takes to build a big following. Byron also talks about inspirations, diversity in early music, recording over 30 albums, programming a season, music, religion and much more.    To learn more about Byron Schenkman please visit: http://byronschenkman.com/   © Off The Podium, 2017 

Documentary producers Harriet Gordon & Peter Getzels discuss their latest film about Czech harpsichordist Zuzana Ruzickova who recorded the complete keyboard works of Johann Sebastian Bach. More information about Harriet Gordon & Peter Getzels as well as on the film "Zuzana: Music is Life" are available at http://www.getzelsgordon.com/about/.

For the inaugural episode of our “Awesome Person Series”, we bring you an interview with Pomona College’s Everett S. Olive Professor Genevieve Feiwen Lee, a pianist whose wisdom, empathy, and creativity makes her a favorite of anyone who gets to know … Continued

Harpsichordist Mahan Esfahani stopped into the 3MBS Fine Music studios to talk about his role in the Metropolis series with the Melbourne Symphony Orchestra. Sascha and he talked about 'good and bad' music, whether there is such thing as an Australian sound, and why Mahan doesn't bother conducting. He was an absolute delight, and we were only sorry we didn't get to spend more time with him!

In the interest of rebranding, we decided to re-release episode with our new name.  Stay tuned for the blog post in which Franny details the reasons why we made the switch! In this episode: Jeannette breaks the poop joke seal, … Continued

Harpsichordist Andreas Staier talks about his Gramophone Classical Music Award-winning disc ‘…pour passer la mélancolie'

Harpsichordist and conductor Jeannette Sorrell founded the successful period instrument ensemble Apollo's Fire - The Cleveland Baroque Orchestra in 1992 after an interview for a job as assistant to a famous conductor went terribly wrong. Sorrell spoke with Sunday Baroque host Suzanne Bona about how her passion for music drove her to finagle free piano lessons as a child, what it's like to work with some of the world's leading early music instrumentalists, and why she thinks baroque and early music resonate with so many people.