Podcast appearances and mentions of Herbert Blomstedt

In this episode of One Symphony, Devin Patrick Hughes interviews Lucas Richman, a Grammy winning composer and conductor, exploring his career and insightful perspectives on music and its role in society.  Richman recounts his early exposure to music through composer biographies, sharing an anecdote about writing to Aaron Copland and receiving an encouraging postcard in return, which served as an early inspiration. The discussion moves to Richman's experiences with Leonard Bernstein, highlighting a masterclass on the Academic Festival Overture and the profound impact Bernstein had on his understanding of music and life. Richman emphasizes Bernstein's ability to infuse everything with love and teaching, noting his preference for discussing music with doctors rather than musicians due to their focus on the art rather than business.  Richman discusses his approach to composition, emphasizing his commitment to bringing social issues and awareness into the concert hall. He describes his symphony inspired by Bernstein's words, "This will be our reply to violence is to make music more intensely, more beautifully, more devotedly than ever before," with movements embodying intensity, beauty, and devotion. He also discusses "The Warming Sea," a piece addressing climate change, and Paths to Dignity, a violin concerto inspired by the issue of homelessness. In Paths to Dignity, Richman musically portrays the word "dignity" using specific notes, aiming to create a conversation and raise awareness. He collaborated with Mitchell Newman, a violinist and advocate for the unsheltered community, to bring attention to the human stories behind homelessness.  Richman reflects on his time as an assistant conductor, which instilled in him the importance of clarity and efficiency. He describes his experience conducting film scores for movies such as Seven and The Village, noting the collaborative nature of the work. Richman also shares his perspective on conducting his own music, expressing that others often bring fresh interpretations that he appreciates. Transitioning to the evolution of the conducting field, Richman acknowledges the influence of mentors like Daniel Lewis and Herbert Blomstedt, emphasizing the significance of respect, intent, and honesty. He expresses concern that some contemporary conductors prioritize showmanship over serving the music and fostering leadership skills. Turning to the role of a music director, Richman underscores the importance of community engagement, fundraising, and collaboration with the board and staff. He highlights initiatives such as streaming concerts, expanding educational programs, and forging relationships with local organizations. He also touches on his involvement in music education, including his piece Behold the Bold Umbrellaphant, which introduces children to classical music through imaginative characters. Thank you for joining us on One Symphony. Special thanks to Lucas Richman for sharing his music and story. Musical selections from today's episode: Brahms: Academic Festival Overture, Op. 80 (Live). Lucas Richman conducting. The Warming Sea composed by Lucas Richman. Performed by the Bangor Symphony Orchestra, Divisi Women's Choir, and the Bangor Area Youth Choir. Conducted by Jayce Ogren. Commissioned by the Maine Science Festival. Excerpts from Concerto for Violin: Paths to Dignity composed and conducted by Lucas Richman. Featuring Mitchell Newman on violin and the Bangor Symphony Orchestra. “The Gravel Road” from the film The Village. Composed by James Newton-Howard and conducted by Lucas Richman featuring Hillary Hahn on violin. “Tikkun Olam (Heal the World)” from Symphony: This Will Be Our Reply. Text and music by Lucas Richman. Performed by the Bangor Symphony Orchestra, conducted by Richman. Featuring the Oratorio Society and University of Maine Singers under the direction of Francis John Voight. For more information on Lucas, see www.lucasrichman.com. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

Carl Nielsen war der wohl wichtigste dänische Komponist des 20. Jahrhunderts. Herbert Blomstedt, ein amerikanischer Dirigent schwedischer Herkunft, setzt sich seit Jahrzehnten stark für Nielsens Musik ein. Im "Starken Stück" spricht er mit BR-KLASSIK über Nielsens Dritte Symphonie.

Lately I have been doing a series of episodes on artists that in my opinion deserve a reassessment, a second glance, if you will. Edda Moser is almost universally regarded as the “best” Queen of the Night that ever walked the earth. Certainly she is the most ominous and menacing, as well as the most monumental of voice and delivery. But there is a false narrative surrounding Frau Moser that over the course of her career, she lost control of her voice and pursued a repertoire that destroyed her voice. In this episode, I plead exactly the opposite: that Moser moved naturally and with dedicated assurance into the heavier roles of Strauss and Wagner, and that her voice from its origins displayed affinity for these more dramatic parts. Some of Edda Moser's earliest successes were in the stratospheric vocal compositions of Hans Werner Henze, in which she displayed a fearless and limitless virtuosity. During her long career, her roles spanned nearly the entire range of the soprano repertoire, everything from her supreme Mozart characterizations to Hanna Glawari to Nedda to Iphigénie to Senta to Salome. Recently, some late-career live recordings of Edda Moser have appeared on the landscape, and instead of recycling one of my two previous Moser episodes, I have selected choice tidbits from these recordings, as well as more readily available material, that show Moser in all facets of her artistry, focusing on the epic, perhaps, but not overlooking her delicacy, sensitivity, pathos, charm, and delicious sense of humor. Guest singers heard on the episode include some of the finest baritones active during this period, including Siegmund Nimsgern, Hermann Prey, Gerd Feldhoff, Claudio Nicolai, and Robert Hale. Conductors include Heinrich Hollreiser, Riccardo Muti, Herbert Blomstedt, Lovro von Matačić, Christoph von Dohnányi, Kent Nagano, and many others. Give this episode a listen and may find yourself agreeing with me that she is one of the supreme classical vocalists of the twentieth century. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Nein, er setzt sich nicht zur Ruhe. Ganz im Gegenteil: Hellwach und nach wie vor mit viel Individualität dirigierte der 97-jährige Herbert Blomstedt die Wiener Philharmoniker in Salzburg. Diese folgten ihm schnurrend und spielten betörenden Brahms und Mendelssohn. Johann Jahn war für BR-KLASSIK vor Ort.

Gelesen von Björn Kuhligk.

Ursprünglich sollte Herbert Blomstedt in diesen Tagen den Brahms-Zyklus beim BRSO dirigeren. Nachdem er krankheitsbedingt absagen musste, springt Thomas Hengelbrock für ihn ein - und erzählt im Interview mit BR-KLASSIK, warum Brahms' Partituren besonders reizvoll sind.

SynopsisThe adjective most commentators turn to when describing the six symphonies of Carl Nielsen is “quirky.” Certainly, the great Danish composer had a wicked sense of humor and loved poking fun at anything pompous and pretentious — including the conventions of writing a symphony. Just when the audience members think they know what is going to happen next — or should, in a conventional symphony — Nielsen delighted in throwing them a curveball. For example, as any seasoned concertgoer knows, in most cases when the strings start playing what sounds like a fugue theme, you have a reasonable expectation that the end must be near. But in Nielsen's last symphony, his Sixth, titled Sinfonia semplice or A Simple Symphony, which premiered in Copenhagen on today's date in 1925, all sorts of crazy things happen in the last movement. And, since everyone knows the bassoon is supposed to be “the clown of the orchestra,” Nielsen's parting shot is to give that instrument the last word — deflating any lofty expectations of a grand Romantic symphonic finale with what most politely could be described as giving that idea the raspberries.Music Played in Today's ProgramCarl Nielsen (1865-1931) – Symphony No. 6 (Sinfonia Semplice); San Francisco Symphony; Herbert Blomstedt, cond. Decca  425 607

durée : 00:58:41 - Herbert Blomstedt, bienveillant doyen de la direction d'orchestre - par : Aurélie Moreau - « Je reste jeune grâce à la musique » disait en 2020 Herbert Blomstedt. A 96 ans aujourd'hui, il poursuit avec bonheur son activité de chef d'orchestre. Parmi ses nombreux enregistrements voici des œuvres de Beethoven, Sibelius, Bartók et Nielsen.

durée : 01:58:25 - Herbert Blomstedt - par : Christian Merlin - A 96 ans, il est le doyen des chefs en activité et ses concerts sont plus jeunes et frais que jamais. Le moment de faire mieux connaissance avec un chef suédois d'une rare intégrité, au parcours longtemps confidentiel avant d'être sous le feu des projecteurs, le grand âge venu. - réalisé par : Marie Grout

durée : 00:28:16 - Herbert Blomstedt (4/4) - par : Christian Merlin - A 96 ans, il est le doyen des chefs en activité et ses concerts sont plus jeunes et frais que jamais. Le moment de faire mieux connaissance avec un chef suédois d'une rare intégrité, au parcours longtemps confidentiel avant d'être sous le feu des projecteurs, le grand âge venu. - réalisé par : Marie Grout

durée : 00:28:13 - Herbert Blomstedt (3/4) - par : Christian Merlin - A 96 ans, il est le doyen des chefs en activité et ses concerts sont plus jeunes et frais que jamais. Le moment de faire mieux connaissance avec un chef suédois d'une rare intégrité, au parcours longtemps confidentiel avant d'être sous le feu des projecteurs, le grand âge venu. - réalisé par : Marie Grout

durée : 00:28:02 - Herbert Blomstedt (2/4) - par : Christian Merlin - A 96 ans, il est le doyen des chefs en activité et ses concerts sont plus jeunes et frais que jamais. Le moment de faire mieux connaissance avec un chef suédois d'une rare intégrité, au parcours longtemps confidentiel avant d'être sous le feu des projecteurs, le grand âge venu. - réalisé par : Marie Grout

durée : 00:28:08 - Herbert Blomstedt 1/4 : Une carrière nordique - A 96 ans, il est le doyen des chefs en activité et ses concerts sont plus jeunes et frais que jamais. Le moment de faire mieux connaissance avec un chef suédois d'une rare intégrité, au parcours longtemps confidentiel avant d'être sous le feu des projecteurs, le grand âge venu.

Mit seinen 96 Jahren ist Herbert Blomstedt immer noch aktiv auf den Bühnen der Welt. Nun erhält der Dirigent den Opus Klassik für sein Lebenswerk. Warum er diesen Preis schnell vergessen wird und wie seine Interpretationen ihre Details erhalten, erklärt der Dirigent im Interview.

SynopsisIn London on today's date in 1938, the Ballet Russe of Monte Carlo presented a brand-new work by the German composer Paul Hindemith based on the life of Saint Francis of Assisi entitled Nobilissima Visione. The idea may have been suggested by Hindemith's wife, who had recently converted to Catholicism. The Hindemiths had visited the Church of Santa Croce in Florence were deeply impressed by its frescoes depicting scenes from the life of St. Francis.  Hindemith originally intended to incorporate melodies by the 14th century French composer Machaut into his ballet but ended up writing original themes in an archaic style. As a staged ballet or as a concert suite,  Nobilissima Visione proved to be one of Hindemith's most popular works.“My ballet is not an eye-catcher in the old style,” wrote Hindemith in 1938, “It is not exactly full of sparkling wit, but all the same it makes a fine impression, with all the trappings of success that a composer greedy for recognition could wish. Even the earthshaking impresario Sol Hurok was so impressed that he pressed me to his smart businessman's heart and is insisting on my conducting the piece myself in New York and surrounding villages.”Music Played in Today's ProgramPaul Hindemith (1895 - 1963) Nobilissima Visione San Francisco Symphony; Herbert Blomstedt, conductor. London 433 809On This DayBirths1896 - French composer Jean Rivier, in VillemombleDeaths1838 - German inventor of the metronome, Johann Nepomuk Maelzel, age 65, on board the brig Otis in the harbour of La Guiara, Venezuela, en route to Philadelphia; Beethoven's orchestral battle-symphony, "Wellington's Victory," was originally written for one of Maelzel's mechanical music-machinesPremieres1733 - Handel: oratorio "Athalia," in Oxford (Julian date: July 10)1938 - Hindemith: ballet, "St. Francis," at Covent Garden in London, with composer conducting (the suite titled "Nobilissima Visone" is drawn from this score)1971 - William Bolcom: “Frescoes” in Montreal, with Bruce Mather (piano and harmonium) and Pierrette LePage (piano and harpsichord);1983 - Thomas Oboe Lee: "Morango …almost a tango" for string quartet, at the Sanders Theater in Cambridge, Mass., by the Composers in Red Sneakers ensemble Links and Resources On Paul Hindemith

Die gebürtige Münchnerin hat in der Carneggie Hall in New York gesungen und an vielen weiteren Bühnen weltweit. Nun singt sie beim SHMF-Eröffnungskonzert als Solistin in Lübeck am 1. Juli in Felix Mendelssohns "Elias" eröffnet. Neben zwei der international renommiertesten Profichöre und dem NDR Elbphilharmonie Orchester ist ein großes Solistenensemble zu erleben. Dazu gehört die Sopranistin Christine Landshamer, die an vielen Häusern weltweit gastiert und mit namhaften Dirigenten wie Herbert Blomstedt, Manfred Honeck oder Christian Thielemann bereits zusammengearbeitet hat. Auch mit Alan Gilbert, Chefdirigent des NDR Elbphilharmonie Orchesters, der beim Eröffnungskonzert am Pult stehen wird. Vorher ist Christina Landshamer zu Gast in NDR Kultur à la carte.

durée : 00:16:05 - Le Disque classique du jour du mardi 13 juin 2023 - L'éminent chef d'orchestre suédois Herbert Blomstedt, proche collaborateur et chef invité régulier du Symphonieorchester des Bayerischen Rundfunks, dirige les deux dernières symphonies de Wolfgang Amadeus Mozart.

durée : 01:30:08 - En pistes ! du mardi 13 juin 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme du jour : le chef suédois Herbert Blomstedt et le choeur et l'orchestre de la radio bavaoise interprètent les deux dernières symphonies de Mozart. Egalement : May Phang jouant Beethoven ou encore Duke Ellington par Calefax.

Not every music student or even professional musician has explored classical music, much like not necessarily every classical musician will know something about jazz or any other genre.  However, each genre has certain pieces that one should know from each genre regardless of your preference.  These are 25 of many possible choices, not necessarily "the best", but some pieces you should recognize by title and composer upon hearing. Musical examples used in this episode: 06:53 P. Tchaikovsky: "Dance of the Sugar Plum Fairy" from The Nutcracker - (Montreal Symphony; Charles Dutoit) 12:49 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Hannes Kästner, organ) 13:15 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Czech Philharmonic; Leopold Stokowski) 17:26 S Barber: Adagio for Strings (New York Philharmonic; Thomas Schipps) 19:48 Beethoven: Symphony No. 5 (Vienna Philharmonic; Carlos Klieber) mvt 1 and 4 24:03 Beethoven: Symphony No. 9 (Berlin Philharmonic; Von Karajan) mvt. 4 and 2 28:33 Brahms: Hungarian Dances 4, 5, 6 (Vienna Philharmonic; Claudio Abbado) 30:56 A Copland: "Hoe-Down" from Rodeo (St. Louis Symphony; Leonard Slatkin) 32:33 F Chopin: Grand Valse Brillante op. 18 (Valentina Lisitsa) 34:22 Debussy: Prelude to the Afternoon of a Faun (Royal Concertgebouw; Bernard Haitink) 36:01 Dvorak: Symphony No. 9 "From the New World" mvt 2 (London Philharmonic; Charles MacKerras) 38:16 Grieg: Peer Gynt and Peer Gynt suite no.1 (San Francisco Symphony; Herbert Blomstedt) 40:13 Handel: The Messiah "Hallelujah" (London Symphony; Colin Davis) 40:43 Handel: Water Music selections (English Chamber Orchestra; Raymond Leppard) 41:30 Holst: The Planets "Mars" - (Montreal Symphony; Charles Dutoit) 42:13 Liszt: Hungarian Rhapsody No. 2 (Marc-Andre Hamelin) 43:22 Mendelssohn: Overture and Wedding March from A Midsummer Night's Dream (London Symphony, Andre Previn) 45:11 Mozart: Overture to The Marriage of Figaro (Academy of St Martin in the Fields; Neville Marriner) 46:16 Mussorgsky: Pictures at an Exhibition - Promenade and Great Gate of Kiev (Berlin Philharmonic; Claudio Abbado) 48:25 Rachmaninoff: Piano Concerto No. 2 (Vladimir Ashkenazy; Moscow Symphony; Kirill Kondrashin) 49:38 Ravel: Bolero (Boston Symphony; Seiji Ozawa) 51:42 Ravel: Daphnis & Chloe (Rotterdam Philharmonic; Yannick Nézet-Séguin) 52:46 Rimsky-Korsakov: Flight of the Bumblebee (Berlin Philharmonic; Zubin Mehta) 53:08 Rimsky-Korsakov: Scheherezade mvt IV and III (London Symphony; Charles MacKerras) 55:06 Schubert: Ave Maria (Barbara Booney) 55:31 R Strauss: Also Sprach Zarathustra (Chicago Symphony; Fritz Reiner) 57:15 Stravinsky: Rite of Spring (from Part 1) (New York Philharmonic; Leonard Bernstein) 58:21 Tchaikovsky: Russian Dance, Arabian Dance, Dance of the Reed Flutes from The Nutcracker (Montreal Symphony; Dutoit)   Do you have a different recording of these pieces that you'd recommend?  Let me know by telling me directly at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact  The blog post that goes with this episode can be found here: https://www.davidlanemusic.com/post/25-essential-classical-pieces-to-know You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can also now find the podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Eminent Swedish American conductor Herbert Blomstedt leads two Dvořák landmarks — the restless, bucolic Eighth Symphony and the impassioned Cello Concerto — each imbued with the composer's hallmark warmth and Bohemian charm. Joining the CSO is the young Romanian Andrei Ioniţă, “one of the most exciting cellists to have emerged for a decade” (The Times of London). Explore the music in the free preconcert conversation featuring Carl Grapentine in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets are needed. Learn more: cso.org/performances/22-23/cso-classical/blomstedt-conducts-dvorak-8

Today's episode is a celebration of the Texas-born, German-assimilated soprano Helen Donath. Very few singers can boast of a career lasting more than 50 years which yielded such consistently superb vocalism and artistry. Donath began as a soubrette with lyric-coloratura capabilities which blossomed into a jugendlich dramatisch voice capable of successfully assuming roles in Wagner, Strauss, and Weber. Today's episode has two “gimmicks,” the first of which is that all of the selections are sung in German, even if they were originally set in French or Italian. The second gimmick is that strewn in amongst the other selections, there is a smattering of holiday-related material including works by Bach, Handel, Mozart, Humperdinck, and Pfitzner. Other composers heard include Otto Nicolai, Friedrich von Flotow, Paul Hindemith, as well as numerous examples of Donath's peerless Mozart singing and a generous helping of operettas by Lehár, Millöcker, and Johann Strauss II. Vocal guest stars are legion, and include Julia Varady, Siegfried Jerusalem, Anna Moffo, Peter Schreier, Edda Moser, Theo Adam, Werner Hollweg, and Günther Leib in performances conducted by Leonard Bernstein, Herbert von Karajan, Kurt Eichhorn, Rafael Kubelik, Herbert Blomstedt, Wolfgang Sawallisch, Bernhard Klee, Otmar Suitner, Hans Schmidt-Isserstedt, Gerd Albrecht, and Willi Boskovsky, as well as Klaus Donath, Helen's husband since 1965. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Synopsis On today's date in 1928, the Danish composer Carl Nielsen conducted the first public performance of his new Clarinet Concerto in Copenhagen. “The clarinet,” said Nielsen, “can, at one and the same time seem utterly hysterical, gentle as balsam, or as screechy as a streetcar on badly greased rails.” Nielsen set himself the task of covering that whole range of the instrument's conflicting emotions and colors. He wrote it for a Danish clarinetist he admired named Aage Oxenvad, who played both the public premiere on today's date and a private reading a few weeks earlier. After the private performance Oxenvad is supposed to have muttered: “Nielsen must be able to play the clarinet himself — otherwise he would hardly have been able to find all the instrument's WORST notes.” The concerto's wild mood-swings puzzled audiences in 1928, but today it's regarded as one of Nielsen's most original works. In October of 1996, another Clarinet Concerto received its premiere when American composer John Adams conducted the first performance of his work Gnarly Buttons with soloist Michael Collins. This concerto contains a bittersweet tribute to Adams' father, a clarinetist who fell victim to Alzheimer's disease. In Adams' concerto, the swing tunes slide into dementia, but the concerto ends with a kind of benediction. Music Played in Today's Program Carl Nielsen (1865-1931) Clarinet Concerto, Op. 57 Kjell-Inge Stevennson, clarinet; Danish Radio Symphony; Herbert Blomstedt, cond. EMI 69758 John Adams (b. 1947) Gnarly Buttons Michael Collins, clarinet; London Sinfonietta; John Adams, cond. Nonesuch 79453 On This Day Births 1882 - Canadian-born American composer R. Nathaniel Dett, in Drummondsville, Ontario; Deaths 1896 - Austrian composer Anton Bruckner, age 72, in Vienna; Premieres 1727 - Handel: "Coronation Anthems," in London at Westminster Abbey during the coronation of King George II and Queen Caroline (Gregorian date: Oct. 22); 1830 - Chopin: Piano Concerto No. 1 in E minor, in Warsaw, composer as soloist; 1928 - Nielsen: Clarient Concerto, at a public concert in Copenhagen, with the composer conducting and Aage Ozenvad the soloist; This concert had been given a private performance in Humlebaek on September 14, 1928); 1947 - Prokofiev: Symphony No. 6, by Leningrad Philharmonic, Yevgeny Mravinsky conducting; 1952 - Prokofiev: Symphony No. 7, by Moscow Philharmonic, Samuil Samosud conducting; 1953 - Messiaen: "Réveil des oiseaux," in Donaueschingen, Germany; 1955 - B.A. Zimmermann: "Nobody Knows de Trouble I See" for Trumpet and Orchestra, in Hamburg, by the North German Radio Orchestra conducted by Ernest Bour, with Adolf Scherbaum the soloist; 1962 - Carlisle Floyd: opera "The Passion on Jonathan Wader," by the New York City Opera; 1977 - Bernstein: "Songfest," "Three Mediations from 'Mass,'" and "Slava!" by the National Symphony, conducted by the composer ("Songfest" and "Meditations"‚ and Mstislav Rostropovich ("Slava!"); Rostropovich was also the cello soloist in the "'Meditations"; 1980 - Bernstein: "A Musical Toast ( A Fanfare in Memory of André Kostelanetz)" by the New York Philharmonic conducted by Zubin Mehta; 1980 - Zemlinksy: opera "Der Traumgörge" (Goerge the Dreamer), posthumously, in Nuremberg at the Opernhaus (This opera was written in 1906); 1985 - John Harbison: String Quartet No. 1, at the Corcoran Gallery in Washington, D.C., by the Cleveland Quartet. 1985 - Michael Torke: “Vanada” for brass, keyboards and percussion, at the Concertgebouw Chamber Hall in Amsterdam, by the Asko Ensemble, Lukas Vis conducting. Links and Resources On Carl Nielsen On John Adams

durée : 01:29:32 - En pistes ! du mardi 13 septembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce mardi, commencer votre journée avec les symphonies de Schubert interprétées par le Gewandhausorchester de Leipzig dirigé par Herbert Blomstedt. Vous entendrez aussi la musique de Vivaldi, Chopin ou Liszt.

durée : 00:12:50 - Le Disque classique du jour du mardi 13 septembre 2022 - Herbert Blomstedt s'associe au Gewandhausorchester pour un programme Schubert composé des symphonies n° 8 (Inachevée) et n° 9 (La Grande) et publié juste à temps pour son 95ème anniversaire, le 11 juillet dernier.

"The 94-year-old elder statesman of classical music " (The New York Times) joins forces with the Gewandhausorchester for a Schubert program of Symphonies No. 8 ("Unfinished") and No. 9 ("The Great"), to be released just in time for his 95th birthday. The choice of repertoire for his late debut with Deutsche Grammophon was quickly made: Herbert Blomstedt, at 94, the world's "longest-serving" conductor and still one of the most vital, chose Franz Schubert's last two symphonies, the "Unfinished" in B minor and the "Great" in C major.Purchase the music (without talk) at:Schubert: Symphonies 8 and 9 (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katlyn Morahan from Morahan Arts and Media. https://khedgecock.podomatic.com/rss2.xml 

Den Dirigenten Herbert Blomstedt liebt nicht nur das Konzertpublikum, sondern ebenso die Musikerinnen. Wo andere seit Jahrzehnten in Ruhestand sind, tourt er noch immer um den Globus. Am 11. Juli feiert er seinen 95. Geburtstag. 2019 war er zu Gast bei "Eins zu Eins. Der Talk".

Er ist Ausnahmekünstler, musikalischer Weltbürger und einer der bemerkenswertesten Dirigenten unserer Zeit: Der Schwede Herbert Blomstedt, 1927 in den USA geboren. Er hat die besten Orchester dirigiert und steht auch mit 95 Jahren noch am Pult. Im Gespräch mit Kerstin Gebel gibt er Einblicke in seine musikalischen und humanistischen Überzeugungen. Wir gratulieren zum Geburtstag!

Vom Organisationsversagen im deutschen Kulturbetrieb angesichts der Documenta, politischen Ambivalenzen in Passau und dem 95. Geburtstag von Herbert Blomstedt. Wolfgang Schilling mit den Feuilletons vom Tage.

Den Auftakt zu Blomstedts Schubert-Zyklus machen die letzten beiden Sinfonien: die Unvollendete und die "Große" in C-Dur.

Berger, Andreaswww.deutschlandfunkkultur.de, Studio 9Direkter Link zur Audiodatei

durée : 00:58:30 - Herbert Blomstedt, légende vivante de la direction d'orchestre - par : Aurélie Moreau - Herbert Blomstedt a été associé de longues années à la Staatskapelle de Dresde, puis au San Francisco Symphony, dont il est chef horonaire, ainsi que de l'Orchestre du Gewandhaus de Leipzig, des radios danoise et suédoise, et de la NHK de Tokyo.

Ignat Solzhenitsyn is recognized as one of today's most gifted artists, and enjoys an active career as both a conductor and pianist. His lyrical and poignant interpretations have won him critical acclaim throughout the world. Principal Guest Conductor of the Moscow Symphony Orchestra and Conductor Laureate of the Chamber Orchestra of Philadelphia, Ignat has recently led the symphonies of Baltimore, Cincinnati, Dallas, Indianapolis, Milwaukee, Seattle, and Toronto, the Nordwestdeutsche Philharmonie, the Czech National Symphony, as well as the Mariinsky Orchestra and the St. Petersburg Philharmonic. He has also partnered with such world-renowned soloists as Richard Goode, Gary Graffman, Gidon Kremer, Anne-Sophie Mutter, Garrick Ohlsson, Mstislav Rostropovich, and Mitsuko Uchida. His extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Los Angeles, Seattle, Baltimore, Montreal, Toronto, London, Paris, Israel, and Sydney, and collaborations with such distinguished conductors as Herbert Blomstedt, James Conlon, Charles Dutoit, Valery Gergiev, André Previn, Gerard Schwarz, Wolfgang Sawallisch, Yuri Temirkanov and David Zinman. A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn serves on the faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, including CBS Sunday Morning and ABC's Nightline. Follow Ignat on Twitter here:https://www.twitter.com/isolzhSUPPORT ME ON TWITTER: https://www.twitter.com/cliftonaduncan SUBSCRIBE TO MY SUBSTACK: https://cliftonduncan.substack.com Intro/Outro: https://www.epidemicsound.com/track/s...Support this podcast, as well as small business, by clicking the link below and enjoying some delicious Twin Engine Coffee, our first sponsor!

French oboist Philippe Tondre has secured a place among the finest musicians of his generation. «Master of the oboe » (Bonner General Anzeiger), his music-making is packed with emotional sensitivity and stunning virtuosity. Principal oboe of the Philadelphia Orchestra, the Chamber Orchestra of Europe, and the SWR Symphony Orchestra, Philippe Tondre is also a member of the Mito Chamber Orchestra, the newly-founded Kammer Ensemble Paris, and Principal Oboe of the Saito Kinen Orchestra Matsumoto. From 2014 until 2020 he was Solo Oboe of the Budapest Festival Orchestra and from 2016 until 2017 Solo Oboe of the Gewandhaus Orchestra in Leipzig. He has worked with eminent conductors, amongst others Seiji Ozawa, Yannick Nezet-Séguin, Sir Simon Rattle, Gustavo Dudamel, Andris Nelsons, Ivan Fischer, Daniele Gatti, Teodor Currentzis, Franz Welser- Möst, Sir Roger Norrington, Fabio Luisi, Herbert Blomstedt, Esa-Pekka Salonen und Daniel Harding. In November 2015 Philippe Tondre was nominated Professor for Oboe at the Hochschule für Musik Saar. He gives masterclasses in China, Taiwan, Japan, Spain, Switzerland, and Germany. Philippe Tondre plays a Buffet Crampon « Légende » Oboe. ********************************************************************************************************************************************** In this episode, I speak to Philippe about his early musical journey, the key teachers and mentors that had a great influence on him, what studying with Maurice Bourguewas like; his tips for competitions and peak performance, why having active sports and exercise regime is important for wind players, how he toggles between playing in the US and Europe, his upcoming projects, recordings and concerts, the French school of oboe, and his personal tips for young musicians. To find out more about him, visit: http://www.philippetondre.com LOR podcast is sponsored by Barton Cane. To enjoy free shipping, use coupon code, “legendsofreed”, all one word on any order. https://www.bartoncane.com

Distinguished conductor Herbert Blomstedt conducts Bruckner's most popular symphony, with its allusions to the peaceful countryside, hunting horns and a boisterous Austrian folk dance. Martin Helmchen, whose “pliant, quicksilver touch seemed to illuminate every solo passage” (Chicago Classical Review), is the soloist in Mozart's Piano Concerto No. 17. The graceful score stems from one of the happiest periods in the composer's career. 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/blomstedt-conducts-bruckner-4

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

The year is 1910. Imagine that you are a young composer, and the music world is in flux all around you. Mahler is dying, and with his death many agreed that the great Austro-German symphonic tradition that stretched from the late 18th century with Haydn all the way through Mozart, Beethoven, Brahms, Mendelssohn, Schubert and more, was over and done with. Wagner's music dramas had inspired an entirely new style of music, and composers like Strauss, Liszt, and Berlioz had blown open the possibilities of what music could portray. But even their experiments had seemed to have reached a breaking point. For many composers, there seemed to be nowhere to go.  As the great Swedish conductor Herbert Blomstedt said: “There was nothing to be done all the great melodies had all been written - what could one do. There was so much wonderful music but composers had to regroup and develop their own language and that wasn't easy in 1910. Stravinsky found his own method inspired by Russian culture, Bartok was similar, Hindemith went to Baroque and the Renaissance. Schoenberg's idea was: it's all nonsense, we need to start from the beginning. Every composer has to make a new start.”  Over the next few weeks, I'm going to talk about composers who struggled with these questions, and the first one on the list is the most important Swedish composer Wilhelm Stenhammar, who started out his life as a disciple of Wagner, but in the end rejected that influence and created a style all his own, which is perhaps best exemplified in his second symphony, which features the sounds of Swedish folk music, harmonies that stretch back not into the classical era but into the Medieval period, and a powerful resolve to not be like Wagner, but also to not even approach the idea of sounding like Schoenberg either. Stenhammar wrote to a friend as he began writing his G Minor symphony: “In these times of Arnold Schoenberg, I dream of an art far removed from him, clear, joyful and naïve.” We're going to discuss all of these roiling tensions this week, so please join us for a look at this underrated symphony!

Synopsis In 1940, the choreographer Léonide Massine, approached composer Paul Hindemith, with the idea of having him arrange pieces by the 19th century Romantic composer Carl Maria von Weber into a ballet score.  At first Hindemith was intrigued, but Massine wanted straight arrangements and Hindemith wanted to write something original in the spirit of Weber, so the ballet idea was scrapped. Oh well, what Hindemith finally did come up with turned out to be one of his most successful and popular orchestral works, a piece entitled “Symphonic Metamorphosis of Themes by Carl Maria von Weber,” which received its premiere performance on today's date in 1944 at a New York Philharmonic concert conducted by Artur Rodzinski.Now, Hindemith had a reputation for being serious and rather “Germanic,” so The New York Times critic had a little fun with that image of the composer, writing:“Sometimes [Hindemith's] counterpoint has been as busy and energetic as the works of an automobile – and as meaningless. Sometimes it has been thick and overstuffed in its style. This metamorphosis employs counterpoint as a matter only incidental to the gay development of ideas, and there is sunshine in every nook and cranny of the transparent, debonair score.” Music Played in Today's Program Paul Hindemith (1895 - 1963) – Symphonic Metamorphosis (San Francisco Symphony, Herbert Blomstedt, cond.) London/Decca 421523)

Synopsis On this day in 1947, Pierre Monteux led the San Francisco Symphony in the premiere performance of the Second Symphony by American composer Roger Sessions. Prior to this work, Sessions had written in a more broadly accessible style, but this new symphony proved more dissonant and challenging. At the time, Sessions cautiously stated: “Tonality is complex and even problematical nowadays.” For their part, the San Francisco audiences found the new work both complex AND problematical. There was hardly any applause. Musical America's critic wrote that Sessions (quote): “seemed to express the epitome of all that is worst in the life and thinking of today.” Ouch!  Today, the Sessions Second doesn't sound ALL that challenging, but performances of this or any of his symphonies remain rare events. While Sessions' symphony was being panned in San Francisco, a new stage work by the expatriate German composer Kurt Weill opened to rave reviews in New York. Kurt Weill's “Street Scene” opened on Broadway on this same date in 1947. “[It's] the best contemporary musical production to grace any American stage,” enthused the “Musical America” critics. “We cannot imagine that an audience from any walk of life would not enjoy it. It has everything.” Music Played in Today's Program Roger Sessions (1896-1985) — Symphony No. 2 (San Francisco Symphony; Herbert Blomstedt, cond.) London 443 376 Kurt Weill (1900-1950) — Act 1 Intro, from Street Scene (Scottish Opera Orchestra; John Mauceri, cond.) London 433 371

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

Synopsis On today's date in 1991, Herbert Blomstedt led the San Francisco Symphony and Chorus in the premiere of a cantata entitled “Genesis,” by the American composer Charles Wuorinen. This was the culmination of Wuorinen's four-year association with the San Francisco Symphony as its composer-in-residence. The most famous setting of the Biblical Genesis story is Haydn's oratorio “The Creation,” but early on Wuorinen decided his cantata would be a non-narrative, non-programmatic treatment, although incorporating a Latin version of the Genesis text. Musically, as the music critic Michael Steinberg noted, Wuorinen's style fuses the physicality and punch of Stravinsky with Schoenberg's struc­tural principles. The resulting music, which some have dubbed “maximalist” is complex and demanding – just as its composer intended. Charles Wuorinen writes, “In any medium, entertainment is that which we can receive and enjoy passively, without effort, without our putting anything into the experience.  Art is that which requires some initial effort from the receiver, after which the experience received may indeed be entertaining, but also transcending as well.  Art is like nuclear fusion: you have to put something into it to get it started, but you get more out of it in the end than what you put in.” Music Played in Today's Program Charles Wuorinen (b. 1938) — Genesis (Minnesota Chorale and Minnesota Orchestra; Edo de Waart, cond.) Koch 7336

Synopsis Today's date marks the birthday in 1885 of María Joaquina de la Portilla Torres, in the Mexican state of Guanajuato. Under her married name of Maria Grever, she became the first female Mexican composer to achieve international fame. She composed her first song at age four, studied in France with Claude Debussy among others, and at 18, one of her songs sold 3 million copies. At age 22, she married Leo A. Grever, an American oil company executive, moved to New York City, and by the 1930s was composing for Paramount and 20th Century Fox films. Her best-known song is probably "What A Difference A Day Makes" (originally "Cuando vuelva a tu lado"), written in 1934. Her songs have been recorded by singers ranging from the Andrews Sisters and Frank Sinatra to Dinah Washington and Aretha Franklin to Plácido Domingo and Juan Diego Flórez. “I am interested in Jazz and Modern Rhythms,” said Grever, “but above all, in Mexican Music … There is such a cultural richness in Mexican Music, its Hispanic and indigenous origins ... It is my wish and yearning to present these native rhythms and tunes from a real perspective, but with the necessary flexibility to appeal to a universal audience." Music Played in Today's Program María Grever (1885 – 1951) – Júrame (Juan Diego Flórez, tenor; Fort Worth Symphony; Miguel Harth-Bedoya, cond.) Decca 4757576 On This Day Births 1737 - Austrian composer Johann Michael Haydn, in Rohrau; He was the younger brother of Franz Joseph Haydn (b. 1732); 1760 - Italian composer Luigi Cherubini, in Florence (although August 14 is occasionally cited as his birthdate); 1910 - American composer and eminent theatrical conductor Lehman Engel, in Jackson, Miss.; 1910 - Swiss composer Rolf Liebermann, in Zurich; Premieres 1854 - Bruckner: Mass in Bb ("Missa Solemnis") in St. Florian, Austria; 1952 - Frank Martin: Concerto for Harpsichord, in Venice; 1954 - Britten: opera "The Turn of the Screw," in Venice at the Teatro La Fenice; 1968 - Shostakovich: String Quartet No. 12, in Moscow, by the Beethoven Quartet; 1978 - Barber: Third Essay for Orchestra, by the New York Philharmonic conducted by Zubin Mehta; 1994 - Richard Danielpour: Cello Concerto, commissioned and performed by San Francisco Symphony conducted by Herbert Blomstedt, with soloist Yo-Yo Ma; 1996 - Stockhausen: "Freitag aus Licht" (Friday from Light), at the Leipzig Opera; 1997 - Saariaho: "Graal Théâtre" (chamber version), in Helsinki, by the Avanti Ensemble and violinist John Storgards. 2002 - David Amram: Flute Concerto ("Giants of the Night"), in New Orleans by the Louisiana Philharmonic conducted by Klauspeter Seibel, with James Galway the soloist; 2002 - Colin Matthews, Judith Weir, Poul Ruders, David Sower, Michael Torke, Anthony Payne, and Magnus Linberg: "Bright Cecilia: Variations on a Theme by Purcell," at Royal Albert Hall in London, with the BBC Symphony, Leonard Slatkin conducting; This set of orchestral variations on a Purcell theme was commissioned by BBC Music magazine to celebrate its 10th anniversary; Others 1731 - J.S. Bach performs organ recitals in Dresden on Sept. 14-21; 1741 - Handel finishes scoring his famous oratorio, "Messiah," begun on August 22 (The entire work was composed in a period of 24 days); These dates are according to the Julian "Old Style" calendar (Gregorian dates: Sept 2 to Sept. 25); 1914 - W. C. Handy copyrights his most famous song, "The St. Louis Blues"; 1973 - The Philadelphia Orchestra gives a concert in Beijing, the first American orchestra to perform in Red China; Eugene Ormandy conducts symphonies by Mozart (No. 35), Brahms (No. 1) and the American composer Roy Harris (No. 3).

Ein 94-jähriger Dirigent, der bei den besten Orchestern der Welt gastiert! Herbert Blomstedt ist ein Phänomen. Mit den Wiener Philharmonikern war er bei den Salzburger Festspielen. Im Gepäck: Honegger und Brahms. Der Jubel danach war grenzenlos.

«NOTEN & SCHLÜSSEL»Konzerteinführungen aus Grafenegg, die Ohren öffnenSusanne Zobl über das Programm des Konzerts in Grafenegg am 02. September. InterpretenWiener PhilharmonikerHerbert Blomstedt , Dirigent ProgrammFRANZ SCHUBERTSymphonie Nr. 7 h-Moll D 759 «Unvollendete»ANTON BRUCKNERSymphonie Nr. 4 Es-Dur «Romantische» grafenegg.com/podcast

Musikudgivelser der er værd at lægge øre til og kunstnere der er værd at holde øje med. I denne uge bl.a. Symfoni nr 2 af Johannes Brahms med Herbert Blomstedt og Gewandhausorkestret. Vært: Claus Berthelsen. www.dr.dk/p2

durée : 01:58:21 - En pistes ! du mercredi 09 juin 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - A retrouver aussi : un coffret réunissant l'intégrale des enregistrements pour Deutsche Grammophon des violonistes Johanna Martzy et Michael Mann; une réédition des albums de jeunesse de la pianiste Hélène Grimaud; la 2ème symphonie de Brahms par le Gewandhaus Leipzig et Herbert Blomstedt... - réalisé par : Gilles Blanchard

durée : 00:16:30 - Brahms : Symphonie n°2 & Ouverture pour une fête académique - Gewandhausorchester Leipzig, Herbert Blomstedt - Herbert Blomstedt nous offre une intégrale des symphonies de Brahms à la tête de l’orchestre du Gewandhaus de Leipzig, dont il a été directeur musical par le passé.

Synopsis On today’s date in 1995, an opera by the American composer Amy Beach received its first professional production at Lincoln Center in New York City–63 years after Beach completed it–in the summer of 1932. Beach was 65 years old in 1932 and for years had wanted to write an opera on an American theme. She settled on a play written by Nan Bagby Stephens, a writer from Atlanta. Their operatic collaboration was entitled “Cabildo,” after the famous prison in New Orleans where the pirate Pierre Lafitte was imprisoned during the War of 1812. Stephens even supplied Beach with authentic Creole songs and dances to incorporate in her score. Beach had a concise one-act opera finished by August of 1932, but it was never staged during her lifetime. Both the Depression and the outbreak of World War II postponed various attempts at a staging. Sadly, when an opera workshop at the University of Georgia finally got around to an amateur production in 1945, Beach had already died. The manuscript of the opera remained unpublished for decades, but with the passage of time, interest in Amy Beach led to the Lincoln Center performance in 1995, conducted by Ransom Wilson. Music Played in Today's Program Amy Beach (1867 – 1944) Cabildo ensemble; Ransom Wilson Delos 3170 On This Day Births 1842 - English composer Sir Arthur Sullivan, in Lambeth (London); 1913 - American organist and record retailer, William Schwann, in Salem Ill.; In 1949 he began publication of the Schwann Record Catalog, a guide to phonograph records in print; Premieres 1833 - Mendelssohn: Symphony No. 4 ("Italian"), in London, by the Philharmonic Society, with the composer conducting; 1877 - Franck: "Les Eolides," in Paris at a Lamoureux Concert; 1949 - Panufnik: "Sinfonia Rustica," in Warsaw; 1987 - Harbison: Symphony No. 2, by the San Francisco Symphony, Herbert Blomstedt conducting; 1993 - Ellen Taaffe Zwilich: Bassoon Concerto, by the Pittsburgh Symphony conducted by Lorin Maazel, with Nancy Goeres the soloist; 1995 - first professional production of Any Beach: opera "Cabildo," at Alice Tully Hall in New York City as a "Great Performances" telecast conducted by Ransom Wilson; The world premiere performance was given on Feb. 27, 1945 (two months after Beach's death), by the Opera Workshop at the University of Georgia in Athens, directed by Hugh Hodgson; 2001 - Harbison: "North and South (Elizabeth Bishop Cycle)," by the Chicago Chamber Musicians; Others 1862 - First concert by the Theodore Thomas Orchestra in New York City; His program includes the American premieres of Wagner's "Flying Dutchman" Overture and Liszt's arrangement for piano and orchestra of Schubert's "Wanderer Fantasy." 1875 - American premiere of J.S. Bach's "Magnificat," during the May Festival in Cincinnati, conducted by Theodore Thomas; The Cincinnati Commercial review of May 14 was not favorable: "The work is difficult in the extreme and most of the chorus abounds with rambling sub-divisions. We considering the ‘Magnifcat' the weakest thing the chorus has undertaken . . . possessing no dramatic character and incapable of conveying the magnitude of the labor that has been expended upon its inconsequential intricacies. If mediocrity is a mistake, the ‘Magnifcat' is the one error of the Festival"; Thomas also conducted the next documented performance in Boston on Mar. 1, 1876 (for which composer John Knowles Paine performed as organ accompanist to a chorus of 300). Links and Resources On Amy Beach

Synopsis On today’s date in 1995, an opera by the American composer Amy Beach received its first professional production at Lincoln Center in New York City–63 years after Beach completed it–in the summer of 1932. Beach was 65 years old in 1932 and for years had wanted to write an opera on an American theme. She settled on a play written by Nan Bagby Stephens, a writer from Atlanta. Their operatic collaboration was entitled “Cabildo,” after the famous prison in New Orleans where the pirate Pierre Lafitte was imprisoned during the War of 1812. Stephens even supplied Beach with authentic Creole songs and dances to incorporate in her score. Beach had a concise one-act opera finished by August of 1932, but it was never staged during her lifetime. Both the Depression and the outbreak of World War II postponed various attempts at a staging. Sadly, when an opera workshop at the University of Georgia finally got around to an amateur production in 1945, Beach had already died. The manuscript of the opera remained unpublished for decades, but with the passage of time, interest in Amy Beach led to the Lincoln Center performance in 1995, conducted by Ransom Wilson. Music Played in Today's Program Amy Beach (1867 – 1944) Cabildo ensemble; Ransom Wilson Delos 3170 On This Day Births 1842 - English composer Sir Arthur Sullivan, in Lambeth (London); 1913 - American organist and record retailer, William Schwann, in Salem Ill.; In 1949 he began publication of the Schwann Record Catalog, a guide to phonograph records in print; Premieres 1833 - Mendelssohn: Symphony No. 4 ("Italian"), in London, by the Philharmonic Society, with the composer conducting; 1877 - Franck: "Les Eolides," in Paris at a Lamoureux Concert; 1949 - Panufnik: "Sinfonia Rustica," in Warsaw; 1987 - Harbison: Symphony No. 2, by the San Francisco Symphony, Herbert Blomstedt conducting; 1993 - Ellen Taaffe Zwilich: Bassoon Concerto, by the Pittsburgh Symphony conducted by Lorin Maazel, with Nancy Goeres the soloist; 1995 - first professional production of Any Beach: opera "Cabildo," at Alice Tully Hall in New York City as a "Great Performances" telecast conducted by Ransom Wilson; The world premiere performance was given on Feb. 27, 1945 (two months after Beach's death), by the Opera Workshop at the University of Georgia in Athens, directed by Hugh Hodgson; 2001 - Harbison: "North and South (Elizabeth Bishop Cycle)," by the Chicago Chamber Musicians; Others 1862 - First concert by the Theodore Thomas Orchestra in New York City; His program includes the American premieres of Wagner's "Flying Dutchman" Overture and Liszt's arrangement for piano and orchestra of Schubert's "Wanderer Fantasy." 1875 - American premiere of J.S. Bach's "Magnificat," during the May Festival in Cincinnati, conducted by Theodore Thomas; The Cincinnati Commercial review of May 14 was not favorable: "The work is difficult in the extreme and most of the chorus abounds with rambling sub-divisions. We considering the ‘Magnifcat' the weakest thing the chorus has undertaken . . . possessing no dramatic character and incapable of conveying the magnitude of the labor that has been expended upon its inconsequential intricacies. If mediocrity is a mistake, the ‘Magnifcat' is the one error of the Festival"; Thomas also conducted the next documented performance in Boston on Mar. 1, 1876 (for which composer John Knowles Paine performed as organ accompanist to a chorus of 300). Links and Resources On Amy Beach

At the Salzburg Festival this summer, Herbert Blomstedt was a big hit. He was a big hit onstage with the Vienna Philharmonic, and, an hour afterward, a big hit on a smaller stage with Jay. Blomstedt quoted Picasso: “It took me many years to become youthful.” And he described music as a “search for truth.” An inspiring – and fun – conversation (complete with plenty of singing). Source

Herbert Blomstedt is one of the leading conductors in the world. He was born in America, in 1927. But his family was Swedish, and they moved back to Sweden when Herbert was a child. He has since conducted in Dresden, San Francisco, and many other places. He is in New York this week, guesting with the New York Philharmonic. Jay sat down with him in his dressing room, for a leisurely, rich “Q&A.”... Source