Podcasts about Igor Stravinsky

This episode of The Other Side of the Bell, featuring trumpet legend and women's trumpet trailblazer Marie Speziale, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Marie Speziale trumpet interview" *Note to listeners and viewers: we're rebalancing our podcast release schedule, to alternate The Other Side of the Bell with our other two podcasts: Trombone Corner and The Horn Signal. Hence the back-to-back episode of TOSOTB this week!  If you haven't already, check out our other two shows for more fantastic interviews with horn-playing legends!   Trombone Corner The Horn Signal     About Marie Speziale:   Acknowledged as the first woman trumpeter in a major symphony orchestra, Marie Speziale retired from the Cincinnati Symphony Orchestra in 1996 after having served as Associate Principal Trumpet for thirty-two years (1964-1996).   A graduate of the College-Conservatory of Music in Cincinnati (CCM), Ms. Speziale studied with Robert Price, Eugene Blee and Arnold Jacobs. Her tenure with the Cincinnati Symphony Orchestra (CSO) included playing with the Cincinnati Opera, Cincinnati May Festival, Cincinnati Ballet and Cincinnati Pops Orchestras. She performed under the batons of Igor Stravinsky, George Szell, Leonard Bernstein, Aaron Copland, Eugene Ormandy, Eric Leinsdorf, Max Rudolf and so many more.   In addition to solo appearances with the Cincinnati Symphony, Cincinnati Pops and Cincinnati Chamber Orchestras, she was featured on NBC's Today Show at age 15, in an impromptu jam session with Duke Ellington shortly after joining the orchestra, and with Dave Brubeck on the Johnny Carson Tonight Show, the CSO European tour, and at the Interlochen Arts Academy. While a student at CCM, she recorded sound tracks for James Brown, whose career was launched by the historic King Records in Cincinnati.   Marie served on the CCM faculty, 1964 -1973, on the faculty at Miami University of Ohio, 1973 - 1979, and returned to CCM as Adjunct Associate Professor, 1979 - 2002. She was appointed Professor of Music at Indiana University 1999, serving there until a year after her 2001 appointment as Professor of Trumpet and Brass Department Chair at the prestigious Shepherd School of Music at Rice University.   In 1999, Marie was one of six Americans (and the only American woman) to be invited by the Tokyo International Music Festival to perform in its first Super World Orchestra. In addition to the National Trumpet Competitions, she has served as adjudicator for the ITG, IWBC and the prestigious Fischoff National Chamber Music competitions.   In 1996, Ms. Speziale performed with the Monarch Brass on its inaugural tour. She conducted the Monarch Brass at the 1997 and 2014 conferences, and played, toured and recorded with Monarch Brass Quintet and Monarch Brass Ensemble until retiring from playing.   President of IWBC, 1997 - 2001, Marie hosted the 2000 conference at CCM and served on the Board of Directors.   Ms. Speziale has won many awards and honors, including Leading Women in the Arts Award from the Greater Cincinnati Coalition of Women's Organizations, the Outstanding Woman of the Year in Music Award from the Tampa Tribune, the SAI Chapter, Province and National Leadership Awards, the Pioneer Award from the International Women's Brass Conference, the Golden Rose Award from the Women Band Directors International, the Woman of Excellence Award from the Italian Club of Tampa, the Distinguished Alumna Award from CCM and the Outstanding Alumni Award from the University of Cincinnati.   In 2018, Marie was inducted into the Cincinnati Jazz Hall of Fame as part of their recognition of the Symphony Jazz Quintet, of which she was a founding member. She was presented with the prestigious Honorary Award from the International Trumpet Guild at their 2018 conference. In 2019, Ms. Speziale was one of 100 women recognized by Cincinnati Arts Wave in their Celebration of Women in the Arts: Power of Her.   Marie Speziale retired as Professor Emerita from Rice University in 2013. She currently serves on the Board of Trustees of the American Classical Music Hall of Fame and the Emeritus Board of the IWBC.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our Gard bags! Visit trumpetmouthpiece.com for more info.     Episode Links: International Women's Brass Conference, May 19-24, Hartford, Connecticut. Register: myiwbc.org Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. williamadamtrumpet.com  Sign up sheet for valve alignments: bobreeves.com/williamadam   Podcast Credits: “A Room with a View“ - composed and performed by Howie Shear Podcast Host - John Snell Cover Art - courtesy of Marie Speziale Audio Engineer - Ted Cragg  

Music Director Andrew Litton invites us to See the Music in this enlightening introduction to the score for George Balanchine's 1972 ballet, Divertimento from ‘Le Baiser de la Fée.' With superlative accompaniment from Solo Pianist Elaine Chelton, Litton demonstrates the many ways in which Igor Stravinsky's "homage to Tschaikovsky" took inspiration from 16 different piano pieces by the legendary composer to weave an undeniably Stravsinkyian—and danceable, in Balanchine's word—orchestral suite. (11:42):  Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky Le Baiser de la Fée (1928) by Igor Stravinsky Le Baiser de la Fée performed by Elaine Chelton

Under the direction of Steven Schick, Igor Stravinsky's Le Sacre du printemps (The Rite of Spring) explores profound human emotions through music. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 40587]

Under the direction of Steven Schick, Igor Stravinsky's Le Sacre du printemps (The Rite of Spring) explores profound human emotions through music. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 40587]

Met Chorus Artists will perform on May 4 A few photos on the Met Chorus Artists website show five singers and an accompanist performing at the Howland Cultural Center in 2018. On Sunday (May 4), the group will return with a pianist and narrator along with two tenors, three sopranos, a mezzo-soprano and a bass-baritone to present History of Opera: Up Close. There's a long tradition of classical chamber settings featuring vocalists, usually paired with a piano or small ensemble. The repertoire is known as lieder in Germany, melodie in France and art songs elsewhere, says Sara Heaton, a soprano who will be performing. But selling tickets for stripped-down vocal concerts can be a challenge, says Akiko Sasaki, music director at the Howland Chamber Music Circle. In 2017, Sasaki introduced a Classics for Kids series and eight years ago, Met Chorus Artists performed a show for the wee ones. On May 4, they will present a young person's concert in the afternoon that pulls examples from The Magic Flute to punctuate points. The 4 p.m. adult-oriented retrospective is being performed for the first time ever. Selections range from the Baroque era, represented by Claudio Monteverdi (born 1567) and George Friedrich Handel, to contemporary opera, including works by Igor Stravinsky and Kevin Puts (born 1972). Excerpts by the genre's one-name stars - Mozart, Verdi, Wagner and Puccini - will also air. Heaton and Sasaki's friendship spawned the 2018 visit from Met Chorus Artists, a nonprofit outreach for members of the Metropolitan Opera chorus. "We started it a few years ago with the goal of bringing the music to other spaces outside the opera house and to work on a smaller scale than the grand opera that we do at the Met," says Heaton. Sasaki also takes chamber music beyond the concert hall by programming pop-ups in libraries, art galleries and Beacon Music Factory (on May 3). But the Howland Cultural Center, with its renowned acoustics for unplugged instruments, is a special place to see such a performance, she says. "A program like this fits well in a chamber setting," she says. "It's exciting because opera is usually performed in a big house with 4,000 people in the audience. Here, the singing fills up the room and you can feel their vibrato." The narrator, Whitney Young, a composer and conductor who shatters the stereotype with sleeves, neck tattoos and attitude, inspired the format after several singers in the Met Chorus attended Young's lecture on the history of the string quartet at the Strand Bookstore in Manhattan. The lecture was augmented with a cellist, violist and two violinists who provided live examples on the spot, says Heaton, who lived in Beacon for seven years but moved in 2022 to Westchester to shorten her commute to Lincoln Center. Bringing an expansive ensemble from New York City that provides flexibility to mix and match presents a more varied performance than a soloist singing lieder and art songs. "This is such a great format," she says. "We worked hard putting together a taste of Opera 101." The Howland Cultural Center is located at 477 Main St. in Beacon. Opera for Kids will be performed at 1 p.m. on May 4. Tickets are $15 for adults and free for children. All ages are welcome, but it is recommended for ages 6 and older. The Met Chorus Artists concert is scheduled for 4 p.m. on May 4. Tickets are $35, or $10 for students ages 25 and younger. See howlandmusic.org/tickets for both shows.

This week, Hear the Dance host Silas Farley leads us on a wide-ranging exploration of Jerome Robbins' 1994 ballet A Suite of Dances. First, he's joined by Repertory Director Jean-Pierre Frohlich, who coaches the work; Principal Dancer Daniel Ulbricht, who initially learned the tour-de-force role in 2019; and former Principal Dancer Peter Boal, who worked with Robbins on the development of the ballet. They walk through the creation and performance of the four movements, highlighting the ways in which A Suite of Dances teaches the performer about themselves—particularly as they grow with and age alongside the piece. (1:05:11) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky 6 Suites for Solo Cello: Prelude & Gigue from Suite 1 in G major, BMV 1007 Sarabande from Suite V in C minor, BMV 1011 Prelude from VI in D major, BMV 1012 by Johann Sebastian Bach All music performed by the New York City Ballet Orchestra Reading List:  Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, By Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Misha: The Mikhail Baryshnikov Story by Barbara Aria Illusions of Camelot: A Memoir by Peter Boal Bach: Music in the Castle of Heaven by John Eliot Gardiner

In this second part of our Hear the Dance journey into Jerome Robbins' A Suite of Dances, Cellist Hannah Holman joins host Silas Farley to provide a deep-dive introduction to the Bach Cello Suites that provide the ballet's exquisite score. As Holman explains, the music is a seminal work for every cellist, with complex challenges and varied delights throughout—all of which are complicated and enriched when performed onstage with the work's solo dancer. (42:48) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky 6 Suites for Solo Cello: Prelude & Gigue from Suite 1 in G major, BMV 1007 Sarabande from Suite V in C minor, BMV 1011 Prelude from VI in D major, BMV 1012 by Johann Sebastian Bach Symphony No.4 in E Minor, op.98 (I. Allegro non troppo, II.Andante moderato, III. Allegro giocoso, IV. Allegro energico e passionato) by Johann Sebastian Bach All music performed by the New York City Ballet Orchestra, Yo-Yo Ma and Herbert von Karajan Reading List:  Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, By Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Misha: The Mikhail Baryshnikov Story by Barbara Aria Illusions of Camelot: A Memoir by Peter Boal Bach: Music in the Castle of Heaven by John Eliot Gardiner

   Viaxamos ao París de inicios do s. XX, para descubrir algo máis sobre a Historia da Arte Contemporánea, seguindo a guia das obras seleccionadas polo grupo de Historia de Arte da CIUG para as probas PAU.  Obra: A alegría de vivir, de Henri Matisse.    Serie: Historia da Arte Contemporánea, Historia da Arte, 2º de Bacharelato.Músicas:Sintonía (Creative Commons Attribution 3.0): District Four, de Kevin MacLeod (https://incompetech.com), Temptation March, de Jason Shaw (http://audionatix.com).  A consagración da primavera, de Igor Stravinsky, interpretado por Yuja Wang & Martin Grubinge.Este pódcast está baixo a licencia CC BY-NC 4.0.  Máis recursos en: facemoshistoria.gal

This Day in Legal History:  MLK AssassinatedOn April 4, 1968, civil rights leader Dr. Martin Luther King Jr. was assassinated while standing on the balcony of the Lorraine Motel in Memphis, Tennessee. King had traveled to Memphis to support striking sanitation workers, emphasizing his ongoing commitment to economic justice alongside racial equality. His death sent shockwaves through the United States, triggering riots in more than 100 cities and accelerating the passage of key civil rights legislation.King was a central figure in the American civil rights movement, having led campaigns against segregation, voter suppression, and economic inequality. His advocacy relied heavily on nonviolent protest and legal strategies that tested the limits of constitutional protections and federal civil rights enforcement. The assassination drew intense public scrutiny to the federal government's role in protecting civil rights activists.James Earl Ray, an escaped convict, was arrested and charged with King's murder. He pleaded guilty in 1969, avoiding a trial, but later recanted and sought to withdraw the plea. Controversy surrounding the investigation and conviction has persisted for decades, with some—including members of King's own family—questioning whether Ray acted alone or was part of a larger conspiracy.King's assassination directly influenced the U.S. Congress to pass the Civil Rights Act of 1968, also known as the Fair Housing Act, which prohibited housing discrimination based on race, religion, or national origin. The legislation had faced significant resistance before King's death but was passed just days afterward. His assassination also galvanized greater federal attention to civil rights enforcement under the Equal Protection Clause of the Fourteenth Amendment.A group of 12 Republican-led states, including Texas, Florida, and Missouri, has asked 20 major U.S. law firms to provide documentation on their diversity, equity, and inclusion (DEI) initiatives. The request, led by Texas Attorney General Ken Paxton, seeks to determine whether the firms' practices comply with federal and state anti-discrimination laws. In a letter sent Thursday, the states referenced recent concerns raised by the U.S. Equal Employment Opportunity Commission (EEOC), which had previously asked the same firms for similar information.Paxton cited potential violations of Title VII of the Civil Rights Act, alleging that some law firms may use hiring policies that prioritize race, sex, or other protected characteristics. He also pointed to possible state-level violations, including those related to deceptive trade practices. The letter specifically called out programs such as diversity fellowships and hiring goals aimed at increasing representation from historically marginalized groups.The states argue they have authority to investigate and enforce laws that prohibit employment discrimination, including policies that may inadvertently or intentionally favor individuals based on race or other traits. Firms named include top legal players like Kirkland & Ellis, Ropes & Gray, and Skadden, Arps.GOP-Led States Want 20 Law Firms to Disclose Their DEI PracticesRepublicans are considering a significant shift in tax policy by potentially introducing a new top tax bracket for individuals earning $1 million or more annually. The proposed rate, currently under discussion, would range from 39% to 40%, marking a departure from the party's longstanding resistance to tax increases. This idea is part of a broader effort to offset the cost of a multi-trillion dollar tax package being developed by Trump administration allies and Republican lawmakers.Also on the table is a return to the 39.6% top income tax rate previously enacted during the Obama administration, replacing the current 37% rate for high earners. The GOP aims to pass the new tax legislation within months, renewing provisions from the 2017 Tax Cuts and Jobs Act while incorporating new deductions and reforms to appeal to middle- and working-class voters.Treasury Secretary Scott Bessent has emphasized the urgency of making Trump's earlier tax cuts permanent and stabilizing markets following recent tariff announcements. The evolving plan reflects a broader ideological shift within the Republican Party toward more populist economic messaging.To help pay for the new tax measures, the proposal also includes eliminating the carried interest loophole used by hedge fund and private equity managers and expanding deductions such as those for car loan interest and tipped wages. Trump's campaign promises — including removing taxes on overtime pay and Social Security benefits — are being considered for inclusion as well.Republicans Debate Hiking Top Tax Rate to 40% For Millionaires - BloombergOver 300 law professors from top institutions, along with legal advocacy groups across the political spectrum, have filed court briefs supporting Perkins Coie in its lawsuit against an executive order issued by Trump. The order, signed on March 6, penalizes the law firm for its work with Hillary Clinton and its internal diversity policies by restricting its access to federal buildings, officials, and contracts. Professors from Yale, Harvard, and Stanford argued the order is unconstitutional and undermines the independence of the legal profession.Their brief warned that targeting a firm for political reasons threatens any lawyer or firm that chooses to oppose the president in court, calling the order a dangerous precedent. Advocacy groups such as the ACLU and the Cato Institute echoed that concern, labeling Trump's action an attack on the legal system and a threat to Americans' right to legal representation.The White House responded by defending the order as a lawful measure to align federal partnerships with the administration's policies, criticizing the lawsuit as an attempt to preserve "government perks." Meanwhile, the Justice Department has requested that a Washington federal judge dismiss the lawsuit. Other firms named in similar orders — Jenner & Block and WilmerHale — have also filed suits, while some, like Skadden Arps and Paul Weiss, have made agreements with the White House to avoid sanctions.Law professors, legal groups back Perkins Coie in lawsuit over Trump order | ReutersThis week's closing music comes from one of the most innovative and influential composers of the 20th century: Igor Stravinsky. Known for revolutionary works like The Rite of Spring and The Firebird, Stravinsky continually reinvented his style throughout his long career. Born in 1882 near St. Petersburg, Russia, and passing away on April 6, 1971, in New York City, Stravinsky's life spanned continents, world wars, and artistic upheavals. While he is best remembered for his large-scale ballets and orchestral works, he also composed for smaller forms, including a fascinating piece titled simply Tango.Composed in 1940, Tango marks Stravinsky's first original composition written entirely in the United States after his move from Europe. At the time, he was living in Hollywood and adapting to a new cultural and musical environment. The piece is short, dark, and rhythmically sharp—more brooding than danceable—and carries the flavor of the tango tradition filtered through Stravinsky's idiosyncratic, angular style. It was originally written for piano, though Stravinsky later orchestrated it.Tango reflects Stravinsky's interest in blending traditional forms with modernist dissonance and unpredictability. It's a brief but compelling listen that offers a very different side of a composer often associated with thunderous orchestras and ballet scandals. Its rhythmic complexity and stark character echo the uncertainties of the time it was written, just as World War II was escalating. The piece serves as a reminder that even in exile, Stravinsky continued to experiment, innovate, and absorb new influences. As we remember his death on April 6, Tango is a fitting close—wry, lean, and unmistakably Stravinsky.Without further ado, Igor Stravinsky's Tango — enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Avui hem sentit: "Giverola (sardana); Sonata per a piano, en do menor (selecci

In this episode of "Talking Art," host Ben Gougeon welcomes Ballet Quad Cities' Artistic Director, Courtney Lyon, to dive deep into the enchanting world of ballet and the upcoming production of Igor Stravinsky's "The Firebird."

Avui hem sentit: "Nocturn" (per a piano a quatre mans); "Juny" (sardana); "Suite empordanesa" (selecci

Nous sommes au soir du 22 novembre 1928. Le tout Paris, la crème de la crème de la « bonne société », le gratin du monde politico-culturel, se presse à l'Opéra Garnier. On est venu pour assister à la création du « Boléro », le nouveau ballet de Maurice Ravel. Dans la fosse, le chef Walther Straram dirige son orchestre. Le journal « Le Figaro » décrit le ballet comme une «évocation de l'Espagne dansante en une taverne de faubourg sous la lampe de cuivre accrochée aux solives; muletiers et contrebandiers acclament la danseuse qui bondit sur la table, aux sons d'une musique magicienne, sa danse s'exalte de plus en plus». La danseuse se nomme Ida Rubinstein, elle a plus de quarante ans. La chorégraphie est signée Bronislava Nijinska, maîtresse de ballet russe. Les costumes d'Alexandre Benois et les décors d'Oreste Allegri. Dans la salle, on peut apercevoir Igor Stravinsky qui, 15 ans plus tôt, a fait scandale avec son « Sacre du printemps » et que Ravel a soutenu. Serge de Diaghilev, organisateur de spectacles, impresario influent, n'est pas très enthousiaste. Il décrit une représentation qui « suait l'ennui provincial... tout y était long, y compris Ravel qui ne dure pourtant que 14 minutes. Le pire, ajoute-t-il, était Ida. Voûtée, une tignasse rousse, sans chapeau, avec des chaussons de danse pour paraître plus petite. Elle est incapable de danser quoi que ce soit. Dans le Boléro, elle est restée un quart d'heure à tourner maladroitement sur une grosse table. » Le public, lui, est plutôt conquis et réserve un bel accueil à cette création si déconcertante. La presse salue « la somptuosité », « les dons singuliers », « le triomphe de la maîtrise technique », « le délice d'élégance » et « le tour de force éblouissant » du compositeur. On raconte aussi n'importe quoi, qu'une spectatrice aurait crié « Au fou ! » et que Ravel aurait déclaré : « Celle-là, elle a compris ». La légende se met en marche. De Paris à Bruxelles, de Monte-Carlo à New York en passant par Milan et Londres, le Boléro devient un phénomène et rentre dans l'Histoire de la musique. Un succès, d'ailleurs, qui ne va pas complètement ravir son auteur et même l'irriter. Ravel craint le malentendu. Solitaire et pudique, ouvert et généreux, obstiné, peu enclin aux honneurs, qui était Maurice Ravel ? Pourquoi tant de frilosité devant sa propre réussite ? Aurait-il eu le génie humble ? Notre invité est Xavier Falques, professeur d'Histoire de l'art à l'UCL et au Conservatoire de Mons et producteur et animateur de Café Viennois et Baroque café sur Musiq3. Sujets traités: Maurice Ravel, orchestre, piano, musique, boléro, concerto Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Avui hem sentit: "Licorella" (sardana); "Joguina" per a violoncel i piano; "Roman

Avui hem sentit: Quartet amb piano (selecci

Avui hem sentit: Concert per a viol

Pianist and composer, Ethan Iverson, formerly of The Bad Plus, on working solo, standards v hits, and the music of Igor Stravinsky. He plays The Cooler, Dublin on Friday March 14th, and Triskel, Cork on Saturday 15th.

How classical music was made 'hip' through Walt Disney's Fantasia. Credits:Movie Magic's opening theme was produced, composed & performed by Corey Gomez Snippets of the following classical pieces from the animated movie Fantasia are featured. Johann Sebastian Bach's Toccata & Fugue in D-Minor Pyotr IIyich Tchaikovsky's Nutcracker Suite (in a few parts) Igor Stravinsky's The Rite of Spring Franz Schubert's Ave Maria Paul Dukas' Sorcerer's Apprentice See omnystudio.com/listener for privacy information.

Op vrijdag 7 maart vieren we Maurice Ravels 150e verjaardag, dus dat is goede reden om naar zijn muziek en de muziek van zijn bewonderaars te luisteren! Heb je je ooit afgevraagd hoe Ravel op een accordeon zou klinken? Dan worden je vragen in deze aflevering beantwoord! En er zijn heel veel fantastische concerten de komende tijd, die we toch zoveel mogelijk bespreken, op het gevaar af dat er keuzestress ontstaat.. Ravel - Sheherazade Ravel - Le Tombeau de Couperin Gershwin - The Man I love Ravel - Miroirs - door Egorov Dumond - Hommage a Ravel JP de Graaff - YPF (concerttip) Delage - ? Matthaus - Rob Vermeulen / Johannette Zomer (concerttip) eindstuk: Kilar - Exodus Een Zwitserse horlogemaker. Zo noemde Igor Stravinsky zijn Franse collega Maurice Ravel. Ironie en lof tegelijk: hij doelde op Ravels ongelooflijke aandacht voor details, voor nuances, voor de kleine zaken die een muziekstuk groots maken. Die eigenschap zorgde er voor dat een onwillige pianoleerling uitgroeide tot een van de grootste orkestratoren ooit. Ravel was overigens inderdaad half-Zwitsers en zijn vader was uitvinder. Van jongs af aan werd Maurice omringd door radertjes, wieltjes en muziek. De rest van zijn leven zou hij een voorliefde houden voor speeldozen, mechanische vogels en inventief instrumentarium. Zo was hij een absoluut voorvechter van de destijds nog weinig gebruikte saxofoon, en gebruikte hij percussie uit exotische landen. Ravel vertrouwde uitsluitend op zijn spontane inspiratie wat nogal riskant was, zeker omdat hij ook een perfectionist was. Zoals hij zelf opmerkte: “Ik kan er jaren over doen om een bepaalde noot op te schrijven…. En besteed veel tijd aan het weglaten van alles wat overbodig is om tenslotte zo volledig mogelijk de uiteindelijke helderheid te bereiken waarnaar ik streef.” Theodor Adorno karakteriseerde Maurice Ravel 1875-1937) als de 'meester van de klinkende maskers', de onlangs overleden Pierre Boulez beschouwde hem als een van de beste leermeesters op het gebied van de orkestratiekunst. Over Le Tombeau de Couperin: Neem Le tombeau de Couperin: deze suite zou althans op papier zijn meest persoonlijke werk moeten zijn, grotendeels geschreven vlak ná zijn ervaringen aan het front van de Eerste Wereldoorlog, grotendeels gecomponeerd vlak ná de dood van zijn moeder, en zelfs opgedragen aan een reeks vrienden die sneuvelden in de oorlog. Maar het eindresultaat is eerder een set maskers in de vorm van neobarokke, overwegend opgewekte dansen. Zoals een tijdgenoot, componist Jean Roger-­Ducasse, vaststelde: Ravel had niet eens het fatsoen om tenminste een droeve Sarabande toe te voegen. Ravel was nu eenmaal geen romanticus à la Berlioz, en trouwens ook geen luidruchtige revolutionair à la Stravinsky, zelfs geen stille revolutionair à la Debussy. Zie ook het commentaar van een hedendaagse componist, de Brit George Benjamin, die weliswaar een bewonderaar van Ravel is:  ‘Het aspect van Ravel waarin ik mij het minst kan vinden, is het conservatisme van zijn vormen. Die werken perfect voor zijn muziek, maar hij is daarin niet zo avontuurlijk. Het is allemaal zo duidelijk omlijnd en klassiek (…); alles is in hokjes verdeeld, in zekere zin is hij een miniaturist. De vormen hebben een zekere gelijkvormigheid en zijn nogal netjes.'    Nergens lijkt deze analyse sterker op te gaan dan voor Le tombeau de Couperin, een doelmatig conservatieve vormenreeks voor piano solo met de delen Prelude, Fuga, Forlane, Rigaudon, Menuet en Toccata. Ravel begon vlak voor de Eerste Wereldoorlog aan deze hommage aan barokcomponist François Couperin: een zogeheten ‘tombeau' zoals dat in de Barok al gebruikelijk was. Hij voltooide de reeks na zijn terugkeer van het front in 1917, en bewerkte in 1919 vier van de zes delen voor orkest – de Fuga en Toccata vond hij waarschijnlijk te pianistisch gedacht. Toch het vermeend conservatieve karakter van de muziek kan worden genuanceerd. Al inzoomend op de partituur blijkt Ravels fijnzinnige én eigenzinnige invulling van de klassieke structuren. De Prelude bevat weliswaar typische Barok-elementen – doorlopende patroontjes en speelse ­voorslagen, maar Ravel speelt een geraffineerd spel met de harmonieën. Abrupte modulaties en tritonus-­intervallen verraden een twintigste-eeuwse geest, evenals het weidse pianobereik dat op een klavecimbel niet had gepast. De Forlane is harmonisch nóg avontuurlijker: de maten 146 en 147 bevatten zelfs ieder alle twaalf noten van de chromatische ladder. Toen Marguerite Long, de pianiste die de wereldpremière verzorgde, deze passage voor dirigent Camille Chevillard voorspeelde, bedekte hij veelbetekenend zijn oren.

Laura Jackson, Reno Phil Music Director and Conductor, talks with Chris Morrison about the Reno Phil's “Bruckner's Romantic Symphony” concerts, the fourth concerts of the orchestra's 2024-25 Classix season, on February 22 and 23, 2025. Also appearing on the podcast are violinist Alexi Kenney and Reno Phil principal French horn John Lenz. The concerts include the Violin Concerto by Igor Stravinsky and the Rondo in C major, K. 373 by Mozart, both featuring Alexi Kenney as soloist, as well as the Symphony No. 4, the "Romantic," by Anton Bruckner.

George Antheil, pianiste avant-gardiste, provoque en 1923 une émeute à Paris avec un concert révolutionnaire, immortalisé dans un film de Marcel L'Herbier. Ensuite, la bataille d'Hernani (1830) voit Victor Hugo briser les codes du théâtre classique, déclenchant une révolte entre romantiques et conservateurs. Le poète Théophile Gautier, avec son célèbre gilet rouge, devient un symbole de cette révolution culturelle. Puis, Le Sacre du Printemps (1913) d' Igor Stravinsky , avec sa musique dissonante et sa chorégraphie audacieuse, bouleverse le public parisien, séduisantes huées et bagarres. Entre musique, littérature et danse, ces scandales illustrent comment l'art bouscule les traditions et suscitent des passions et des débats en marquant durablement l'histoire culturelle. Réalisation Axelle Thiry. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Gabriel Ferrandini estreou-se a solo no Théâtro de la Ville, em Paris, partilhou com o público uma experiência de improvisação, explorando a liberdade sonora da bateria. Compositor e baterista, Ferrandini combina ritmo, textura e harmonia de forma inovadora. Nascido na Califórnia, filho de pai moçambicano e mãe brasileira, vive em Lisboa, onde se destacou em grupos como RED Trio e Rodrigo Amado Motion Trio. Colaborou com artistas como Thurston Moore (Sonic Youth), Evan Parker e Hilary Woods. RFI: Durante o concerto que relação sentiu com o público?Gabriel Ferrandini: Nesta coisa das vibrações e dos feedbacks há qualquer coisa de meio medo e aquela coisa impressionante que  quase que nos junta um bocado a todos e as dinâmicas de ir para um muito alto ou muito baixo e trazer esse silêncio para dentro da sala, algo muito poderoso. Às vezes dá para sentir o público e neste concerto acho que sim. Estávamos todos juntos.Há intervenções do público nos seus concertos. Houve um momento em que quase que havia impulsos para as pessoas baterem palmas, por exemplo. Isso acontece?Às vezes acontece. A malta acha que são falsos fins, mas às vezes até as pessoas tossem ou há coisas a cair na sala. Eu gosto dessa parte porque há qualquer coisa que pode entrar e, como estou a improvisar, posso agarrar em qualquer coisa. Um sentimento que vem do nada por causa de uma coisa exterior. E eu gosto de trabalhar em cima disso. Tenho uma estrutura fechada, mas a coisa é toda muito aberta e inevitavelmente estou num sítio, num espaço e não consigo controlar tudo. E tudo pode ser música. De certa maneira.Tudo é música, até mesmo o tossir das pessoas e qualquer ruído que venha do público, como dizia John Cage e tantos outros, não é? Gabriel tocou durante uma hora a solo. Foi pura improvisação ?Sim, é uma peça que não conseguiria repetir. Há uma narrativa, há uma estrutura. Mas não é uma composição clássica no sentido em que tudo o que eu estou a tocar está escrito, com a estrutura e um arco narrativo. Eu sei como é que vou começar, sei o que vai acontecer no meio, sei o que vai acontecer no final e o resto são gavetas minhas. São coisas da minha linguagem com as quais convivo diariamente. Portanto, às vezes pode entrar um bocadinho depois, ou um bocadinho antes, ou bem mais tarde, ou antecipar. Mas lá está, começámos com o gongo. Havia toda uma introdução do gongo. Havia um som de uma pandeireta com o gongo que eu trouxe para o final. Portanto, há toda uma estrutura, mas é bastante aberto, sim.Qual é essa narrativa? Em que é que pensa? Porque cada instrumento conta uma história e cada instrumento parece assumir uma personagem...Sim. A percussão e a bateria têm essa coisa incrível de infinito, não é? Há muitos instrumentos que são o que são, um saxofone, um violino, trompete e na percussão; temos aqui um gongo gigantesco, até uma peça meio rara de se ter acesso. Os amplificadores gigantescos, depois a bateria em si e as percussões todas de mão. Eu, a mim, interessa-me mexer nestas coisas, nestas matérias e, depois, com o tempo, talvez até com os anos, essas matérias começam a ter ligações emocionais comigo. Porque uma pessoa, quando toca um piano, um acorde, ou um acorde numa guitarra, ou uma melodia de um instrumento melódico, é algo mais clara, emocionalmente. A bateria, a clareza da bateria tem a ver com o ritmo. É algo primordial, rítmico. Mas a questão da emoção, às vezes, é difícil de pintar as cores. Esta coisa dos feedbacks e de conseguir ter coisas longas, é o que sustém. É por aí que eu tenho tentado explorar um bocado a coisa.E há países ou há públicos mais receptivos a essa exploração e ao tempo de ouvir? Sim, eu acho que cada país, cada sítio ou continente... Mas acho que isto tem sempre a ver com a disponibilidade do público. A música é algo muito universal e esta coisa mais experimental e do jazz são línguas absolutamente... Qualquer pessoa pode tocar em qualquer sítio e é uma coisa unificadora da linguagem e das ferramentas da música experimental. Eu acho que, no fim, é um bando de nerds ou pessoas muito disponíveis e abertas, e isso encontra-se em qualquer lado. As pessoas que querem coisas novas, ou a malta nova que tem muita sede. Mas eu não consigo dizer que haja um sítio em que haja mais disponibilidade. Acho que tenho tido surpresas um pouco por todo o lado.Fez parte de vários trios como com o Rodrigo Amado.  É pouco comum ver percussionistas ou bateristas a solo e perguntei-lhe porquê?Sim, por excelência, a bateria é um instrumento de acompanhamento, não é? Há papéis... Os instrumentos também têm papéis nas suas constelações, nos trios, nos quartetos ou nas orquestras. E o papel da bateria é esse: manter o ritmo, manter a pressão sonora, o pulso, e também ajudar os outros a soarem melhor. Não é um solista. Está a fazer um solo, seja qual for o instrumento. E o baterista está a acentuar os sítios que são importantes ou a criar tensão onde tem que ser, criando uma coisa de "release". E isso é a história do instrumento agora. Há alguns malucos que gostam de fazer isto sozinhos e isso não é muito comum. Mas há alguma história de bateria a solo.Porquê malucos?Não é uma coisa usual e acho que quando contrariamos a natureza do instrumento... Eu conto como uma banda, eu estou em casa e é fácil para mim, porque estou um bocadinho mais lá atrás. Mesmo que eu possa ter uma importância grande, sou um "team player", não é? Não estou no foco, no spotlight. E eu digo "maluco" mais nisto, nesta coisa de abraçar essa questão de não posso ir pela estrutura normal deste instrumento e mergulhar, sabe-se lá para onde.Em 1914, Igor Stravinsky mudou a estrutura da música tradicional e colocou o ritmo no topo da pirâmide da "Sagração da Primavera". Ele já era, na altura, vanguardista e maluco.Com certeza. Claro, só podia, não é? Mas também um grande virtuoso. Devia ser doido, de certeza.Para mudar a estrutura musical nacional, inevitavelmente fala das luzes, as luzes que ocupam um espaço muito importante neste seu espetáculo a solo. Como é que foi trabalhado? Tenho tido a sorte de trabalhar com o Rui Monteiro e acho que não só o trabalho dele é incrível, mas todo este trabalho que tenho feito... A bateria tem aquele perigo de ser um meio de exibição, um showcase, e estar a mostrar os virtuosismos de cada coisa que sabemos fazer. E aquilo que tenho tentado fazer é pensar numa narrativa ou numa história, num arco. E eu acho que a luz ajuda muito nisso. E em vez de ser aquela coisa mais clássica, há aqui uma luz em cima do instrumento e que pode mudar um bocadinho, conforme o que está a acontecer. É muito diferente de haver uma coisa mais completa, que está sincronizada com a estrutura. A luz também é muito aberta, abstrata, mas é bastante clara. E acho que isso oferece espaço às pessoas, de repente, dois ou três minutos só faziam uma linha contínua de graves, não há realmente muito a acontecer, mas se houver também uma componente visual, talvez aí cada pessoa possa viajar para onde quiser. E eu gosto quando há esse espaço em que as pessoas podem pôr o que quiserem ali, no que está a acontecer, e não ser só aquela coisa de absorver apenas o momento musical. Acho que é fixe as pessoas irem para onde têm que ir também.A música, que também cria imagem, além de ser apoiada pela luminosidade. E depois há esta questão da exploração e do trabalho do som, que em inglês chamamos "noise", o ruídoTem a ver com o timbre que estamos mais habituados ou texturas que estamos mais habituados. E sim, acho que plasticamente, esteticamente, há aqui coisas que têm a ver com esse barulho estranho, que, de certa maneira, é também um monstro que eu estou aqui a querer controlar. E, às vezes, eu deixo que esse monstro tome controle e às vezes estou eu a tentar apanhar as rédeas. E esse monstro é noise, de certeza.Como é que de repente sabe o que está a criar, a interpretar, a improvisar? Como é que todas estas sonoridades acontecem, naturalmente? Dá ideia que, no final do espetáculo, está em transe? Sim. Eu não estou completamente em controlo. Lá está e a concentração é a única coisa que me pode ajudar, a estar ali focado e perceber o que vai acontecer. Mas eu nunca sei o que vai acontecer. E, por mais que eu queira controlar, eu também gosto de não estar completamente sob controlo. Mas isso só me obriga a estar mais atento porque, se fosse uma estrutura ou uma competição cerrada, mesmo, poderia ter as suas dificuldades. É uma coisa mais segura, de certa maneira.Se uma pessoa souber o que fazer, aquilo sai. Eu gosto desta novidade: De repente, há uma coisa que me cai, de repente, há um som... Como já fiz muita força na pele, ela já mudou de nota... há muitas coisas. Às vezes é um bocado infeliz, porque pode levar os sons para sítios que não são tão interessantes. Mas o incrível é que, quando essas pequenas mudanças que não controlo são coisas boas, é como se houvesse música dentro da música. O que tento fazer é estar só preparado para isso. Eu estou com estes sons. Mais estranho que isso pareça, eu convivo com isto, não é? É estar pronto para qualquer coisa que possa acontecer.Já esteve aqui em Paris com o espectáculo "Dans la mesure de l'impossible", de Tiago Rodrigues, cuja música é sua. Aqui, é, mais uma vez, uma forma de representar?Ali eu estava a tocar música e houve uma criação e havia uma história, não é? E eu estou a tocar para aquilo, estou a tocar para a história. É uma banda sonora. Aqui, não estou a tocar para nada. De certa forma, estou livre. Estou completamente livre, mas não consigo pôr um nome nisto, dar uma estética definida. Há materiais que trago e esses materiais têm uma presença e aquilo que tento é mexer com essa presença. No caso do teatro, tudo o que levo para ali é para a peça e para aquela história.Nasceu nos Estados Unidos, os seus pais tem origem brasileira e moçambicana. Tem ligações a Itália, a Espanha..  vive em Portugal. Esta multiculturalidade à sua volta também ascende na música que faz e com a qual cresceu?Sim, eu acho que a bateria apareceu aí. Esta coisa de não ter bem uma nação, de não ter bem uma linguagem que seja mesmo minha e ser um pouco de todo o lado não ser de lado nenhum. Acho que a bateria tem um bocado essa coisa. A bateria é uma coisa universal e que não tem bem a palavra, não tem bem a nota. E apesar de ser um instrumento claro, é muito abstracto. E eu acho que talvez tenha sido por isso que vim aqui parar à bateria e depois, ainda dentro disso, vim parar aqui a este outro sítio. Portanto, acho que isto tem a ver, talvez com esta minha, esta minha confusão criativa e a estrutura da minha família e por onde eu andei e talvez apanhei um bocadinho de cada sítio, mas à minha maneira.O que é que sentiu esta noite? Não sei se penso mesmo, mais é uma coisa de delivery. É uma coisa de querer que aquilo que que aparece ali a qualquer momento que aquilo resulte é fazer aquilo soar. O grande objectivo é pôr um instrumento a cantar. Posso ir por aqui, posso ir por ali. Há muitas coisas, como pudeste ver, que podem acontecer, mas a minha preocupação é o meu corpo, é a minha cabeça estarem no sítio certo para eu poder agarrar essas janelas de oportunidades que surgem. Eu acho que é só isso. Estou sempre só à procura de um som que possa agarrar e que possa espremer.Gabriel Ferrandini nasceu na Califórnia, é filho de pai moçambicano e mãe brasileira com origens italianas e espanholas. Vive em Lisboa onde construiu uma carreira de destaque na música, sendo parte central de grupos como RED Trio e Rodrigo Amado Motion Trio. Colaborou com artistas renomados, como Thurston Moore (Sonic Youth), Evan Parker, Hilary Woods e Peter Evans.

Os universos de três coreógrafos que trabalham em Moçambique, França e Estados Unidos juntaram-se em “Plenum / Anima”, uma composição coreográfica apresentada na Philarmonie de Paris, este fim-de-semana. Este é um espectáculo feito “em contra-mão do que se passa no mundo”, descreve Ídio Chichava, o coreógrafo moçambicano que revisitou a “Sagração da Primavera” de Igor Stravinsky e que mostrou que a "escola moçambicana de dança" deve reivindicar o seu lugar nos palcos internacionais.  Este sábado e domingo, na Philarmonie de Paris, o coreógrafo moçambicano Ídio Chichava revisitou a “Sagração da Primavera” de Igor Stravinsky num espectáculo em que foram apresentadas mais duas obras dos coreógrafos Benjamin Millepied e Jobel Medina. Foi uma composição de três peças coreográficas de três criadores que têm escrito a sua história no mundo da dança graças às suas experiências migratórias: Chichava vive entre Moçambique e a França, Millepied entre a França e os Estados Unidos e Medina nasceu nas Filipinas e vive e trabalha em Los Angeles.Numa altura em que se erguem muros e fronteiras, os universos dos três criadores juntaram-se na composição “Plenum / Anima”, um espectáculo feito “em contra-mão do que se passa no mundo”, nas palavras de Ídio Chichava, que falou com a RFI no dia da estreia.O espectáculo tem um sentido muito forte que vai em contra-mão do que está a acontecer hoje no mundo. Na verdade, há estes três universos que se vão cruzar e que vão estar abertos à exposição e à compreensão e ao olhar mais outras pessoas. Para mim, este lugar que é muito mais humano, mas, por detrás disso, a interligação e o espaço em que todos nós podemos coexistir, com pensamentos totalmente diferentes, com ideias totalmente diferentes, com apreciações totalmente diferentes, com aquilo que é a dança e ainda mais pela forma como cada um vê a dança e onde a dança é criada. Estamos a falar de um olhar que é muito mais cultivado pela França, um lugar que é muito cultivado pelos Estados Unidos e outro que é muito mais cultivado por Moçambique. Então, esta noite, para mim, é uma sagração desse encontro de pensamentos totalmente diferentes, mas que, de certa forma, fluem e mostram um lugar de harmonia.A composição “Plenum / Anima” começou com a obra coreográfica do francês Benjamin Millepied e da sua companhia baseada em Los Angeles, L.A. Dance Project, que dançou ao som de uma composição de Johann Sebastian Bach, “Passacaille et Fugue en ut mineur", composta entre 1706 e 1713. Seguiu-se a criação de Jobel Medina, a partir das “Danças Polovtsianas”, compostas em 1869 por Alexander Borodin. A fechar, Ídio Chichava apresentou a sua versão de “A Sagração da Primavera”, composta entre 1910 e 1913 por Igor Stravinsky, com bailarinos da companhia moçambicana Converge + (Osvaldo Passirivo, Paulo Inácio e Cristina Matola) e da companhia americana L.A. Dance Project.As músicas intemporais dos séculos XVIII, XIX e XX foram interpretadas pelos organistas francês Olivier Latry e sul-coreana Shin-Young Lee, que criaram um novo olhar sobre as obras de Borodin e Stravinsky, já que apenas a partitura de Bach foi pensada originalmente para ser tocada num órgão de tubos.Foi a partir deste lugar musical, descrito por Ídio Chichava como “mais orgânico e visceral”, que o coreógrafo desafiou um século de interpretações de “A Sagração da Primavera”. A sua proposta junta movimentos coreográficos de entrega, de luta e de resistência, a sons de cânticos de trabalho e de guerra, mas também afirma a escola moçambicana da dança como um lugar feito não apenas para se encaixar, mas também para se impor.A primeira vez que escutei ‘A Sagração da Primavera' de Stravinsky, sinceramente, fiquei completamente na selva porque a composição é muito eclética e, sinceramente não via a minha experiência como bailarino tradicional dentro daquela composição. Mas, mesmo assim, entrámos no desafio de desafiar o próprio tempo da música, o próprio ritmo da música e isso é que foi o primeiro chamativo para mim. Com a forma como nós aprendemos a dança em Moçambique podemos criar um contraponto, enriquecer mais a composição, trazer um outro olhar, uma outra apreciação diferente das que já têm sido apresentadas."A Sagração da Primavera” foi criada para um bailado apresentado pela primeira vez, em Paris, em 1913, no Teatro dos Campos Elísios, pela companhia Ballets Russes de Serge Diaghilev e coreografada por Nijinski,  tendo, então, sido apontada como um escândalo. Porém, foi-se tornando uma referência e, ao longo do século XX, foi trabalhada por diferentes coreógrafos, como Maurice Béjart (1959), Pina Bausch (1975), Martha Graham (1984), Angelin Preljocaj (2001), Xavier Le Roy (2007), Heddy Maalem (2004), entre muitos outros. A assinatura de Ídio Chichava foi defender "a escola moçambicana de dança" e “desafiar as leituras pré-concebidas para esta obra”.Eu venho sempre defendendo o lugar da nossa escola moçambicana de dança e de que forma ela se pode afirmar. Este foi o desafio, foi uma porta claríssima para desafiar, por um lado, as leituras que já são pré-concebidas para esta obra, e, de certa forma, foi também encaixar e partilhar com os outros bailarinos, que são americanos, a forma como nós aprendemos a música e a dança.Sobre o que é essa “escola moçambicana de dança”, Chichava explica que é “marcar o tempo e, de certa forma, fazer contratempos no contratempo da música.” Para isso, também contribuiu o facto de a música ser tocada, pela primeira vez num espectáculo de dança, em órgãos de tubos.O órgão já tem esse lugar que é muito orgânico. Ele dilui completamente aquele lugar mecânico da execução técnica da própria música. Depois, a forma como os dois músicos tocam, a sensibilidade, a escuta, isso cria uma segurança para nós em palco porque cria realmente esse lugar mais orgânico, mais de convivência. Tanto que não resisti, no final, em acabar a peça próximo dos músicos.Os bailarinos dançam, batem com os pés de forma sonante, marcham, levantam-se, entoam cânticos e deixam sair sons gerados pelos movimentos. Os corpos prendem-se e desprendem-se em busca de liberdade, mas também se deixam levar, por uma qualquer força telúrica, que os empurra para a terra-mãe ou para a força matricial do palco. Os figurinos são aparentemente simples, com cores associadas à natureza e à “adoração da Terra”, em referência à própria história da “Sagração da Primavera”, na qual uma jovem seria sacrificada como oferenda a uma entidade divina, conforme um ritual de Primavera. Um mote violento que - admite Ídio Chichava - o fez pensar na história contemporânea de Moçambique e que também fez da peça um “espelho e um reflexo da situação” no seu país.

Os universos de três coreógrafos que trabalham em Moçambique, França e Estados Unidos juntaram-se em “Plenum / Anima”, uma composição coreográfica apresentada na Philarmonie de Paris, este fim-de-semana. Este é um espectáculo feito “em contra-mão do que se passa no mundo”, descreve Ídio Chichava, o coreógrafo moçambicano que revisitou a “Sagração da Primavera” de Igor Stravinsky e que mostrou que a "escola moçambicana de dança" deve reivindicar o seu lugar nos palcos internacionais.  Este sábado e domingo, na Philarmonie de Paris, o coreógrafo moçambicano Ídio Chichava revisitou a “Sagração da Primavera” de Igor Stravinsky num espectáculo em que foram apresentadas mais duas obras dos coreógrafos Benjamin Millepied e Jobel Medina. Foi uma composição de três peças coreográficas de três criadores que têm escrito a sua história no mundo da dança graças às suas experiências migratórias: Chichava vive entre Moçambique e a França, Millepied entre a França e os Estados Unidos e Medina nasceu nas Filipinas e vive e trabalha em Los Angeles.Numa altura em que se erguem muros e fronteiras, os universos dos três criadores juntaram-se na composição “Plenum / Anima”, um espectáculo feito “em contra-mão do que se passa no mundo”, nas palavras de Ídio Chichava, que falou com a RFI no dia da estreia.O espectáculo tem um sentido muito forte que vai em contra-mão do que está a acontecer hoje no mundo. Na verdade, há estes três universos que se vão cruzar e que vão estar abertos à exposição e à compreensão e ao olhar mais outras pessoas. Para mim, este lugar que é muito mais humano, mas, por detrás disso, a interligação e o espaço em que todos nós podemos coexistir, com pensamentos totalmente diferentes, com ideias totalmente diferentes, com apreciações totalmente diferentes, com aquilo que é a dança e ainda mais pela forma como cada um vê a dança e onde a dança é criada. Estamos a falar de um olhar que é muito mais cultivado pela França, um lugar que é muito cultivado pelos Estados Unidos e outro que é muito mais cultivado por Moçambique. Então, esta noite, para mim, é uma sagração desse encontro de pensamentos totalmente diferentes, mas que, de certa forma, fluem e mostram um lugar de harmonia.A composição “Plenum / Anima” começou com a obra coreográfica do francês Benjamin Millepied e da sua companhia baseada em Los Angeles, L.A. Dance Project, que dançou ao som de uma composição de Johann Sebastian Bach, “Passacaille et Fugue en ut mineur", composta entre 1706 e 1713. Seguiu-se a criação de Jobel Medina, a partir das “Danças Polovtsianas”, compostas em 1869 por Alexander Borodin. A fechar, Ídio Chichava apresentou a sua versão de “A Sagração da Primavera”, composta entre 1910 e 1913 por Igor Stravinsky, com bailarinos da companhia moçambicana Converge + (Osvaldo Passirivo, Paulo Inácio e Cristina Matola) e da companhia americana L.A. Dance Project.As músicas intemporais dos séculos XVIII, XIX e XX foram interpretadas pelos organistas francês Olivier Latry e sul-coreana Shin-Young Lee, que criaram um novo olhar sobre as obras de Borodin e Stravinsky, já que apenas a partitura de Bach foi pensada originalmente para ser tocada num órgão de tubos.Foi a partir deste lugar musical, descrito por Ídio Chichava como “mais orgânico e visceral”, que o coreógrafo desafiou um século de interpretações de “A Sagração da Primavera”. A sua proposta junta movimentos coreográficos de entrega, de luta e de resistência, a sons de cânticos de trabalho e de guerra, mas também afirma a escola moçambicana da dança como um lugar feito não apenas para se encaixar, mas também para se impor.A primeira vez que escutei ‘A Sagração da Primavera' de Stravinsky, sinceramente, fiquei completamente na selva porque a composição é muito eclética e, sinceramente não via a minha experiência como bailarino tradicional dentro daquela composição. Mas, mesmo assim, entrámos no desafio de desafiar o próprio tempo da música, o próprio ritmo da música e isso é que foi o primeiro chamativo para mim. Com a forma como nós aprendemos a dança em Moçambique podemos criar um contraponto, enriquecer mais a composição, trazer um outro olhar, uma outra apreciação diferente das que já têm sido apresentadas."A Sagração da Primavera” foi criada para um bailado apresentado pela primeira vez, em Paris, em 1913, no Teatro dos Campos Elísios, pela companhia Ballets Russes de Serge Diaghilev e coreografada por Nijinski,  tendo, então, sido apontada como um escândalo. Porém, foi-se tornando uma referência e, ao longo do século XX, foi trabalhada por diferentes coreógrafos, como Maurice Béjart (1959), Pina Bausch (1975), Martha Graham (1984), Angelin Preljocaj (2001), Xavier Le Roy (2007), Heddy Maalem (2004), entre muitos outros. A assinatura de Ídio Chichava foi defender "a escola moçambicana de dança" e “desafiar as leituras pré-concebidas para esta obra”.Eu venho sempre defendendo o lugar da nossa escola moçambicana de dança e de que forma ela se pode afirmar. Este foi o desafio, foi uma porta claríssima para desafiar, por um lado, as leituras que já são pré-concebidas para esta obra, e, de certa forma, foi também encaixar e partilhar com os outros bailarinos, que são americanos, a forma como nós aprendemos a música e a dança.Sobre o que é essa “escola moçambicana de dança”, Chichava explica que é “marcar o tempo e, de certa forma, fazer contratempos no contratempo da música.” Para isso, também contribuiu o facto de a música ser tocada, pela primeira vez num espectáculo de dança, em órgãos de tubos.O órgão já tem esse lugar que é muito orgânico. Ele dilui completamente aquele lugar mecânico da execução técnica da própria música. Depois, a forma como os dois músicos tocam, a sensibilidade, a escuta, isso cria uma segurança para nós em palco porque cria realmente esse lugar mais orgânico, mais de convivência. Tanto que não resisti, no final, em acabar a peça próximo dos músicos.Os bailarinos dançam, batem com os pés de forma sonante, marcham, levantam-se, entoam cânticos e deixam sair sons gerados pelos movimentos. Os corpos prendem-se e desprendem-se em busca de liberdade, mas também se deixam levar, por uma qualquer força telúrica, que os empurra para a terra-mãe ou para a força matricial do palco. Os figurinos são aparentemente simples, com cores associadas à natureza e à “adoração da Terra”, em referência à própria história da “Sagração da Primavera”, na qual uma jovem seria sacrificada como oferenda a uma entidade divina, conforme um ritual de Primavera. Um mote violento que - admite Ídio Chichava - o fez pensar na história contemporânea de Moçambique e que também fez da peça um “espelho e um reflexo da situação” no seu país.

Gepresenteerd door: Leonard Evers AVROTROS Klassiek Presenteert! Radio Filharmonisch Orkest Sam Weller, dirigent Gerbrich Meijer, klarinet Emma Roijackers, viool Shane van Neerden, piano Elsina Jansen, regisseur Noortje van den Eijnde, visuals - Wolfgang Amadeus Mozart - Le nozze di Figaro KV 492: Ouverture - Antonín Dvořák - Romance voor viool en orkest op.11 in f kl.t. - Carl Maria von Weber - Konzertstück voor piano en orkest op,79 in f kl.t. - Igor Stravinsky - delen uit 'L'histoire du soldat (suite voor klarinet, viool en piano) - Wolfgang Amadeus Mozart - Concert voor klarinet en orkest in A gr.t. KV 622

Mark-Anthony Turnage is a composer of contemporary classical music. Once called “Britain's hippest composer”, he has been in a rock band, got drunk with Francis Bacon, and tackled anything from drug abuse to football in his works. Mark was born in June 1960 in the Thames estuary town of Corringham in Essex. His musical talent was nurtured by his parents and he studied composition at the junior department at the Royal College of Music from aged fourteen. There he met the composer Oliver Knussen who became his tutor, mentor, and life-long friend. His first performed work, Night Dances, written while still at the Royal College, won a prize and heralded Mark's evolution into what one critic calls “one of the best known British composers of his generation, widely admired for his highly personal mixture of energy and elegy, tough and tender”. Greek, his debut opera, a reimagining of the Oedipus myth whose protagonist is a racist, violent and foul-mouthed football hooligan, shocked the establishment, which flinched, but accepted “Turnage, the trouble-maker” as a forceful voice. Over the past four decades he has sustained a distinguished and productive career that has seen him working closely with conductors of the stature of Bernard Haitink, Esa-Pekka Salonen and, particularly, Simon Rattle. He has been attached to prestigious institutions, such as English National Opera and both the BBC and Chicago symphony orchestras, and has written a vast range of music for many different instruments and ensembles. His influences include soul, gospel, all sorts of jazz and the great symphonic works of the repertoire. He has written operas, ballets, concertos, chamber pieces and choral works together with orchestrating a football match. His key works include Three Screaming Popes and Blood on the Floor (both inspired by Francis Bacon paintings, and the latter containing an elegy for his younger brother, Andrew, who died of a drug overdose in 1995), as well as more operas including one about the former Playboy model Anna Nicole Smith. Mark lives in North London with his partner, the opera director, Rachael Hewer. DISC ONE: Symphony No. 9 in D Minor, Op. 125 II. Molto vivace - Presto - Molto vivace – Presto. Composed by Ludwig Van Beethoven and performed by The Berlin Philharmonic, conducted by Sir Simon Rattle DISC TWO: St. Matthew Passion, BWV 244 Pt. 1 No. 1, Kommt, ihr Töchter, helft mir klagen. Composed by Johann Sebastian Bach and performed by Bach Collegium Japan, conducted by Masaaki Suzuki DISC THREE: Two Organa, Op. 27 – 1 “Notre Dame des Jouets”. Composed and conducted by Oliver Knussen and performed by The London Sinfonietta DISC FOUR: Blue in Green - Miles Davis DISC FIVE: Living for the City - Stevie Wonder DISC SIX: Puccini: Madama Butterfly, Act II: Un bel dì vedremo. Composed by Giacomo Puccini and performed by Mirella Freni (Soprano) and Wiener Philharmoniker, conducted by Herbert von Karajan DISC SEVEN: Symphony of Psalms (1948 Version): III. Alleluja. Laudate Dominum - Psalmus 150 (Vulgata) Composed by Igor Stravinsky and performed by English Bach Festival Choir and The London Symphony Orchestra, conducted by Leonard Bernstein DISC EIGHT: Let's Say We Did. Composed by John Scofield and Mark-Anthony Turnage and performed by John Scofield, John Patitucci, Peter Erskine, Frankfurt Radio Symphony, hr-Bigband and Hugh WolfBOOK CHOICE: Rebecca by Daphne du Maurier LUXURY ITEM: A grand piano and tuning kit CASTAWAY'S FAVOURITE: St. Matthew Passion, BWV 244 Pt. 1 No. 1, Kommt, ihr Töchter, helft mir klagen. Composed by Johann Sebastian Bach and performed by Bach Collegium Japan, conducted by Masaaki Suzuki Presenter: Lauren Laverne Producer: Sarah Taylor

Avui hem sentit: "Tres peces per a quartet de corda"; "Le chant du rossignol", poema simf

Under the direction of Steven Schick, A Broken Hallelujah explores profound human emotions through music. The program includes the world premiere of Nasim Khorassani's new work, Toru Takemitsu's From me flows what you call Time, Niloufar Nourbakhsh's Veiled, and Igor Stravinsky's Le Sacre du printemps (The Rite of Spring). Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 39114]

Under the direction of Steven Schick, A Broken Hallelujah explores profound human emotions through music. The program includes the world premiere of Nasim Khorassani's new work, Toru Takemitsu's From me flows what you call Time, Niloufar Nourbakhsh's Veiled, and Igor Stravinsky's Le Sacre du printemps (The Rite of Spring). Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 39114]

Today I present to you the extraordinarily versatile, even chameleon-like singer and actor Marni Nixon (22 February 1930 – 24 July 2016), who is no doubt best-known today as the so-called “Ghostess with the Mostest.” Born into a musical family in California, she became involved from an early age with the movies, and by a marvelous set of circumstances became The Voice for a number of Hollywood actresses not known for their singing voices. Her skill in matching the vocal and speech characteristics of each of these performers is exceptional, but she was so much more than that. She pioneered the work of many 20th century giants, including Igor Stravinsky, Arnold Schoenberg, Charles Ives, and Anton Webern. She hosted a local Seattle children's television program called Boomerang that netted her four Emmy Awards. She performed on opera stages and concert platforms around the world. She recorded widely, everything from Mary Poppins to Pierrot Lunaire, and in the mid-1970s was the first singer to perform and record Schoenberg's cabaret songs, his so-called Brettl-Lieder, works that are now standard repertoire. Reminiscences of Marni are provided by my good friend Thomas Bagwell, currently a coach and conductor at The Royal Danish Opera in Copenhagen, who was a colleague and good friend of Marni Nixon's for the last 25 years of her life. This episode features a cross-section of this stunning artist's extensive recorded output, recorded over six decades, including repertoire from Webern to Rodgers and Hammerstein. In between we have examples of Nixon's performances of songs by Schoenberg, Stravinsky, Debussy, Ives, Fauré and her former husband Ernest Gold; concert and song repertoire by Villa-Lobos, Boulez, Castelnuovo-Tedesco, Copland, and Gershwin; plus a few outliers, from a live performance of Korngold's Mariettas Lied to the jazzed-up exotica of Buddy Collette's Polynesia to Mr. Magoo's Mother Goose Suite, not to mention a spoonful of Mary Poppins. Overall, “It's a Jolly ‘Oliday with Marni!” 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 or yearly support at whatever level you can afford.  

Send us a textHello and Happy New Year! We're starting 2025 off strong with Max's tale of the worst boy, and Janey's tale of the best boy! That's right, it's a BOY episode! We hope you enjoy!Janey's Sources - The Maiden in the Castle of Rosy Clouds“An Illustrated Treasury of Swedish Folk and Fairy Tales” illustrated by John Bauer  Stop the Bleed Online Course (IMPORTANT)   Max's Sources - Ivan Tsarevich, The Fire-Bird  and the Gray Wolf“Russian Tales: Traditional Stories of Quests and Enchantments,” illustrated by Dinara Mirtalipova  Full free text of “Ivan Tsarevich, The Fire-Bird, and the Gray Wolf” by Alexander Afanasyev, translated by Jeremiah Curtin  Wikipedia article for Tsarevitch Ivan, the Firebird, and the Gray Wolf  Wikipedia article for Igor Stravinsky's ballet and opera, “The Firebird”  Support the showCheck out our books (and support local bookstores!) on our Bookshop.org affiliate account!Starting your own podcast with your very cool best friend? Try hosting on Buzzsprout (and get a $20 Amazon gift card!)Want more??Visit our website!Join our Patreon!Shop the merch at TeePublic!If you liked these stories, let us know on our various socials!InstagramTiktokGoodreadsAnd email us at sortofthestory@gmail.com

The La Jolla Symphony and Chorus presents New Beginnings, conducted by Sameer Patel. This program features Gabriela Ortiz's Kauyumari, Igor Stravinsky's Symphony of Psalms, Kaija Saariaho's Ciel d'hiver, and Jean Sibelius's Symphony No. 3. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 39113]

The La Jolla Symphony and Chorus presents New Beginnings, conducted by Sameer Patel. This program features Gabriela Ortiz's Kauyumari, Igor Stravinsky's Symphony of Psalms, Kaija Saariaho's Ciel d'hiver, and Jean Sibelius's Symphony No. 3. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 39113]

Today's episode features Brian Powell, double bass faculty at the Frost School of Music, discussing his recently released album, 'Suite Italienne Double Bass and Piano.' This album marks the first full arrangement and recording of Igor Stravinsky's Suite Italienne for double bass and piano, approved by Stravinsky's estate and published by Boosey & Hawkes.  It features 8 movements, incorporating elements of Pulcinella, with contributions from artists Oleksii Ivanchenko, Karen Lord-Powell, and Ross Harbaugh. Recorded in 2023 at the University of Miami, the album aims to contribute to the double bass repertoire, highlighting Powell's ongoing efforts to promote new music for the instrument.   Subscribe to the podcast to get these interviews delivered to you automatically! Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsors! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today!   Carnegie Mellon University Double Bass Studio is a valued part of an innovative fine arts community in a top research university. Students receive weekly private lessons and solo classes with Micah Howard, and Peter Guild teaches weekly Orchestral Literature and Repertoire. They encourage students to seek lessons and guidance from local bassists. Members of the Symphony, the Opera, and the Ballet provide annual classes and individual attention. Visit Micah's website to sign up for a free online trial lesson here. Double Bassists: Register for the Grunewald International Music Competition, which will take place in the former Mendelssohn family palace in Berlin's Grunewald from December 2nd to 7th. Klaus Trumpf and Miloslav Gadjoš are double bass jury members.   theme music by Eric Hochberg

Welcome back to the 204th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 204th episode we bring you a Duet Review of Sankofa: The Soldier's Tale Retold, presented by Art of Time Ensemble, based on Igor Stravinsky's L'Histoire du Soldat, with a new libretto by Titilope Sonuga, directed by Tawiah M'Carthy. Join Mackenzie Horner and Jillian Robinson, as they unpack the brilliance of layered theatricality, the necessity to retell one's history, and (like the sankofa) the importance of learning from the past to inform the future. Sankofa: The Soldier's Tale Retold ran at the Harbourfront Centre (235 Queens Quay W, Toronto, ON) from October 24 to 27, 2024. See the company's website for more information about the show: https://harbourfrontcentre.com/event/sankofa-the-soldiers-tale-retold/ This review contains many SPOILERS for Sankofa: The Soldier's Tale Retold. It will begin with a general non-spoiler review until the 9:43 mark, followed by a more in-depth/anything goes/spoiler-rich discussion. Even though the current Toronto run has already come to an end, we hope that it may be revived elsewhere. Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeat Apple Podcasts: https://apple.co/3aYbBeN Spotify: https://spoti.fi/3sAbjAu Jillian Robinson – Instagram: @jillian.robinson96 Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatre If you'd like us to review your upcoming show in Toronto, please send press invites/inquiries to coh.theatre.MM@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support

Episode: 2341 Richard Wagner conceives a sound, then invents an instrument to create it.  Today, horn player Roger Kaza tells us about the tuba Wagner built.

Disney Chorus and Orchestra [00:20] "Little April Shower" Walter Disney's Story of Bambi Disneyland ST 3903 1960 Plip plop plip. You may recall from the last episode we heard a track from Stay Awake. On that album, "Little April Shower" is performed by Natalie Merchant, Michael Stipe, and the Roches (https://youtu.be/7ObPekx0h0M?si=BWAulm8X4hnsji14). Thelonius Monk [03:35] "Between the Devil and the Deep Blue Sea" Straight No Chaser Columbia CS 2651 1967 Monk takes a fine run at this standard originally recorded by Cab Calloway. Helped out here by Charlie Rouse on tenor sax, Larry Gales on bass, and Ben Riley on drums. Kyle Dixon and Michael Stein [11:14] "The Upside Down" Stranger Things - Volume One (A Netflix Series) Lakeshore Records 2016 Ah, the first season (https://youtu.be/b9EkMc79ZSU?si=8SqvgKenleN2NEJ0) was pretty near perfect. Had to go with the iconic title track. Frank Sinatra with the Nelson Riddle Orchestra [12:21] "Call Me" Strangers in the Night Reprise Records FS 1017 1966 Oddly enough, Frank has not one but two (2!) Petula Clark covers on this album including this one. I much prefer the brassy sassy production of Petula's version (https://youtu.be/M_mkSWxN2xk?si=gya-HwLlYCWK093i). Less Art [16:22] "Diana the Huntress" Strangled Light Gilead Media RELIC88 2017 Featuring members of Kowloon Walled City and Thrice. Igor Stravinsky and the Columbia Symphony Orchestra [19:34] "Firebird Ballet Suite (1945): Introduction - Prelude and Dance of the Firebird - Variations" Stravinsky Conducts Firebird Suite/Petrushka Suite Columbia Masterworks MS 7011 1967 This is the 1945 arrangement of The Firebird Suite. Roxy Music [22:44] "Over You" Street Life - 20 Great Hits EG EGTV 1 1986 A single orignally from Roxy Music's Flesh and Blood (https://youtu.be/3TL-Bc1giO8?si=FaZvmtDfdg2K-5uF). Evidently recorded as a way to tes tout Phil Manzanera's recently constructed studio. Made it as high as number 80 on the Hot 100. Death Valley Girls [26:07] "Electric High" Street Venom Suicide Squeeze SSQ181 2021 (originally recorded and released in 2014) Closing track to Death Valley Girl's debut studio album. Psych rock excellence (https://youtu.be/AO8z3AwIIaw?si=JCyzx7zyGK17UD5K). Salem 66 [31:08] "Seven Steps Down" 1984 Great Plains [mm:ss] "When Do You Say Hello" 1983 Strum and Thrum: The American Jangle Underground 1983-1987 Captured Tracks CT-302 2020 If you love jangle, you'll love Strum and Thrum. 28 tracks of jingle jangle goodness. An exceptional compilation that includes a 80 page booklet that dives into the scene. Yo La Tengo [36:39] "My Heart's Not In It" Stuff Like That There Matador OLE-1079-1 2015 It's hard to choose just once song from this album, but the opening track does a great job getting the listener in the mood for the album. It's a lovely rendition of the Gerry Goffin/Russ Titelman single recorded by Darlene McCrea (https://youtu.be/CuetP9wAHnY?si=o9YtuELwMU3C6S0v). New Order [39:25] "Sub-Culture" Sub-Culture Factory fac 133 1985 A remix by John Robie of the band's third single from Low-life (https://youtu.be/Uetuplhan_U?si=Or8I0F30teDUWLOh). The flip side is, of course, Dub-Culture. Ahmed Ben Ali [47:53] "Subhana" Subhana Habibi Funk HABIBI022 2023 That's right... reggae by way of Libya. Evidently reggae arrived right around peak Bob Marley and the Wailers and it took off from there. Barren Harvest [52:46] "Claw and Feather" Subtle Cruelties Handmade Birds HB-071 2014 Some dark and lovely ambient folk metal from Portland featuring Jessica Way of Worm Ourobouros. Nancy Sinatra [58:33] "Sugar Town" Sugar Reprise Records RS-6239 1967 A Lee Hazlewood number (naturally) that he says is an allusion to LSD sugar cubes. Featuring Wrecking Crew members including the great Carol Kaye, Glen Campbell, and Hal Blaine. Music behind the DJ: "These Boots Were Made for Walking" by Les Brown and his Orchestra

durée : 01:28:54 - Une heure et plus, un compositeur : Igor Stravinsky - par : Aurélie Moreau - Igor Stravinsky est un compositeur audacieux et innovant dont les œuvres ont révolutionné la musique du XXe siècle. Il déclarait, non sans malice : “L'idéal, c'est le bon goût. Le mauvais goût, c'est encore très bien. Le pire, c'est l'absence de goût.”

durée : 00:12:03 - Le Disque classique du jour du mardi 01 octobre 2024 - Pendant le mandat de Vladimir Jurowski en tant que chef principal de l'Orchestre philharmonique de Londres, la musique de Stravinsky a souvent été au centre de sa programmation de concerts.

durée : 00:12:03 - Le Disque classique du jour du mardi 01 octobre 2024 - Pendant le mandat de Vladimir Jurowski en tant que chef principal de l'Orchestre philharmonique de Londres, la musique de Stravinsky a souvent été au centre de sa programmation de concerts.

fWotD Episode 2703: Igor Stravinsky Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Saturday, 28 September 2024 is Igor Stravinsky.Igor Fyodorovich Stravinsky (17 June [O. S. 5 June] 1882 – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.Born to a famous bass in Saint Petersburg, Russia, Stravinsky grew up taking piano and music theory lessons. While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied music under him until the latter's death in 1908. Stravinsky met the impresario Sergei Diaghilev soon after, who commissioned the composer to write three ballets for the Ballets Russes's Paris seasons: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913), the last of which caused a near-riot at the premiere due to its avant-garde nature and later changed the way composers understood rhythmic structure.Stravinsky's compositional career is often divided into three main periods: his Russian period (1913–1920), his neoclassical period (1920–1951), and his serial period (1954–1968). During his Russian period, Stravinsky was heavily influenced by Russian styles and folklore. Works such as Renard (1916) and Les noces (1923) drew upon Russian folk poetry, while compositions like L'Histoire du soldat (1918) integrated these folk elements with popular musical forms, including the tango, waltz, ragtime, and chorale. His neoclassical period exhibited themes and techniques from the classical period, like the use of the sonata form in his Octet (1923) and use of Greek mythological themes in works including Apollon musagète (1927), Oedipus rex (1927), and Persephone (1935). In his serial period, Stravinsky turned towards compositional techniques from the Second Viennese School like Arnold Schoenberg's twelve-tone technique. In Memoriam Dylan Thomas (1954) was the first of his compositions to be fully based on the technique, and Canticum Sacrum (1956) was his first to be based on a tone row. Stravinsky's last major work was the Requiem Canticles (1966), which was performed at his funeral.While many supporters were confused by Stravinsky's constant stylistic changes, later writers recognized his versatile language as important in the development of modernist music. Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, who were all challenged to innovate music in areas beyond tonality, especially rhythm and form. In 1998, Time magazine listed Stravinsky as one of the 100 most influential people of the century. Stravinsky died of pulmonary edema on 6 April 1971 in New York City, having left six memoirs written with his friend and assistant Robert Craft, as well as an earlier autobiography and a series of lectures.This recording reflects the Wikipedia text as of 00:51 UTC on Saturday, 28 September 2024.For the full current version of the article, see Igor Stravinsky on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Amy.

Dans cet épisode des Fabuleux Destins nous allons vous parler d'un danseur devenu une véritable icône politique aux États-Unis. La couleur de sa peau lui a attiré la colère de la foule pendant une large partie de sa carrière, mais il n'a jamais cessé de se battre pour les droits des personnes noires. Jusqu'à, finalement, révolutionner le monde du ballet classique. Son nom : Arthur Mitchell. Du quartier de Harlem jusqu'à la Maison Blanche, découvrez son incroyable destin. 1er décembre 1957. Les New-yorkais se pressent dans les rues glacées de Manhattan. Une foule s'est rassemblée autour d'un célèbre centre culturel. À l'intérieur, les coupes de champagne brillent sous les grands lustres du hall d'entrée. Pourtant, ce luxe peine à masquer la terrible réalité politique des États-Unis. Depuis la fin de l'esclavage, une frontière cruelle divise le pays entre les Blancs et les Noirs. Ce soir, deux brillants artistes ont uni leurs talents pour composer un ballet au parfum de révolution : George Balanchine, chorégraphe, et Igor Stravinsky, compositeur. En coulisse, Balanchine pose la main sur l'épaule de son danseur vedette. Malgré la pression, le jeune artiste est détendu. Il sourit à Balanchine, et hoche la tête. Petit à petit, le public remplit la salle et le rideau se lève... Pour découvrir d'autres récits passionnants, cliquez ci-dessous : L'énigmatique Grigori Raspoutine : les premières visions (1/4) L'énigmatique Grigori Raspoutine : la fin de la dynastie Romanov (2/4) L'énigmatique Grigori Raspoutine : de dangereuses rumeurs (3/4) L'énigmatique Grigori Raspoutine : le début de la légende (4/4) Un podcast Bababam Originals Voix : Andréa Brusque Ecriture : Lucie Kervern Production : Bababam (montage Gilles Bawulak, Antoine Berry Roger) Première diffusion le 17 août 2023. Learn more about your ad choices. Visit megaphone.fm/adchoices

If you're listening to this show, you're no doubt a keen learner and explorer. We bet you'll love Fabulous Destinies, another Bababam podcast, which takes you on a journey through real-life stories which are incredible but true. Starting from tomorrow and exclusively on Do You Really Know, we'll be sharing our listeners' four favourite Fabulous Destinies episodes! Some are tragic, some mysterious, but all of them are fabulous. Take a moment to let yourself get engrossed in these captivating stories! The first black man to become a ballet star December 1, 1957. New Yorkers hustle through the icy streets of Manhattan. A crowd gathers around a renowned cultural center. Inside, champagne glasses sparkle beneath the grand chandeliers of the entrance hall. However, this luxury struggles to conceal the harsh political reality of the United States. Since the end of slavery, a cruel divide separates the nation between whites and blacks. Tonight, two brilliant artists have joined forces to create a ballet with a scent of revolution: George Balanchine, choreographer, and Igor Stravinsky, composer. Backstage, Balanchine places his hand on the shoulder of his star dancer. Despite the pressure, the young artist remains at ease. He smiles at Balanchine and nods. Slowly, the audience fills the hall, and the curtain rises... Production : Bababam Voice : Fabrice Muracciole Translation of the French script of Lucie Kervern Learn more about your ad choices. Visit megaphone.fm/adchoices

DescriptionMaestro's Magic Wand: The Art of the Baton Dance in 60 Seconds. Take a minute to get the scoop!Fun FactOne of the most difficult pieces to conduct is "Le Sacre du printemps" (The Rite of Spring) by Igor Stravinsky. Its complex, irregular rhythms, sudden tempo changes, and layered dissonances demand extraordinary precision and deep understanding. The piece's primal energy and unpredictable structure make it a formidable challenge for any conductor.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Errollyn Wallen is one of the world's most performed living composers. Her work, which includes 22 operas, orchestral, chamber and vocal works, was played at the opening ceremony of the Paralympic Games in 2012 and at Queen Elizabeth II's Golden and Diamond Jubilees. She was the first black woman to have a piece featured in the BBC Proms and the first woman to receive an Ivor Novello award for Classical Music for her body of work.Errollyn was born in Belize in Central America and was brought up in North London. The passion for music came early to her - as a baby she sang in her cot - and later she enjoyed free music lessons at her local primary school. She fell in love with the piano at five and went on to have formal lessons four years later.She studied music and dance at Goldsmith's, University of London and took a Master's in composition at King's College London. After working as a session musician, Errollyn formed her own band Ensemble X whose motto is “we don't break down barriers in music…we don't see any”. In 1990 she composed a tribute to Nelson Mandela to mark his release from prison. In 2020 she was awarded a CBE for services to music in The Queen's New Year's Honours. Errollyn lives and works in a lighthouse at Strathy Point in the north of Scotland.DISC ONE: Beethoven, Symphony No. 7 in A Major, Op. 92, 4th Movement: Allegro Con Brio. Composed by Ludwig van Beethoven and performed by André Previn (piano) with the London Symphony Orchestra DISC TWO: Bewitched, Bothered and Bewildered - Ella Fitzgerald DISC THREE: L'Oiseau de Feu (The Firebird) (1910 Ballet Score) ('Fairy-tale Ballet In Two Tableaux For Orchestra') Introduction. Composed by Igor Stravinsky and performed by Bergen Philharmonic, conducted by Andrew Litton DISC FOUR: I Am Sitting In a Room - Alvin Lucier DISC FIVE: Bach, Concerto for 2 Violins in D Minor BWV 1043 (II movement) Composed by Johann Sebastian Bach and performed by Isaac Stern and Itzhak Perlman (violin) with the New York Philharmonic, conducted by Zubin Mehta DISC SIX: Signed, Sealed, Delivered (I'm Yours) - Stevie Wonder DISC SEVEN: What's Up Doc? - Errollyn Wallen DISC EIGHT: Peter Grimes, Op. 33, Act III, Scene 7: Mister Swallow! Mister Swallow! (Mrs Sedley) Composed by Benjamin Britten and performed by Bergen Philharmonic Orchestra, Catherine Wyn-Rogers and Susan Bickley (Mezzo-soprano), Neal Davies (bass-baritone), Barnaby Rea (bass) and conducted by Edward Gardner BOOK CHOICE: A collection of Bach sheet music LUXURY ITEM: Wigmore Hall CASTAWAY'S FAVOURITE: Bach, Concerto for 2 Violins in D Minor BWV 1043 (II movement) Composed by Johann Sebastian Bach and performed by Isaac Stern and Itzhak Perlman (violin) with the New York Philharmonic, conducted by Zubin Mehta Presenter Lauren Laverne Producer Paula McGinley

This August I shall be supplementing each new episode published with a first-time general posting of bonus episodes which were originally available only for my Patreon subscribers. Today, in the first of my “new reissues,” I present “George Shirley Revisited,” a supplement to the tribute I posted three years ago, and which I now offer as a belated 90th birthday salute. In this episode, I offer further examples of the great tenor's eclectic repertoire and interpretive depth. Guest vocalists include Shirley Verrett and Elisabeth Söderström and conductors include Pierre Boulez, Thomas Schippers, Eugene Ormandy, Colin Davis, Antal Doráti, Jesús López Cobos, and Igor Stravinsky himself. Composers sampled include Jules Massenet, Howard Swanson, Wolfgang Amadeus Mozart, Richard Strauss, Johann Sebastian Bach, Richard Wagner, Norman Dello Joio, Felix Mendelssohn, Vally Weigl, Joseph Haydn, and James Dashow, whose Second Voyage, a setting of John Ashberry scored for tenor voice and recorded electronic sounds, was commissioned for George Shirley by the National Endowment for the Arts in 1976. I also include a number of rare recordings that George Shirley and Wayne Sanders made in 1973 for Music Minus One's Laureate Series and that, to my knowledge, are among his rarest recordings. 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.

Highlights from CYSO's 2024 Spring Concert at Symphony Center – Allen Tinkham conducts music by Stacy Garrop, Richard Strauss and Igor Stravinsky. The post Chicago Youth Symphony Orchestras Spring Concert appeared first on WFMT.

This week, Associate Music Director Andrews Sill invites us to See the Music of Igor Stravinsky's Scènes de Ballet, the eponymous score for Christopher Wheeldon's 1999 work. Sill relates that the piece was composed in 1944 for Broadway impresario Billy Rose, and drew inspiration from both world events and a variety of creative sources—including the ballet Giselle—as with so many of Stravinsky's singular compositions. (12:49) Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky Scènes de Ballet (1944) by Igor Stravinsky, Performed by Israel Philharmonic Orchestra Who Cares?: The Man I Love (1924) by George Gershwin, Performed by Royal Philharmonic Orchestra Scènes de Ballet (1944) by Igor Stravinsky, Performed by BBC Symphony Orchestra

SynopsisMarcel Proust, James Joyce and Pablo Picasso walk into a bar. No, it's not the start of some high-brow joke; that really happened in Paris on today's date in 1922.Well, not exactly: it was a hotel, not a bar, but certainly drinks were served when Sydney and Violet Schiff, two wealthy British patrons of the arts staying at the Hotel Majestic arranged what was called “soirée of the century.” The premiere of Igor Stravinsky's opera-ballet Renard had just taken place across town, and the Schiffs decided to throw a late-night party in Stravinsky's honor, and, to make things more interesting, invited Picasso, Joyce and Proust.While other guests were in full evening dress, Picasso arrived with a traditional Catalan sash wrapped around his forehead. Joyce arrived late, underdressed, and already tipsy. Proust arrived even later — at 2:00 or 3:00 a.m., wearing a big fur coat and with a face “pale as the afternoon moon,” as Stravinsky later recalled.So what did they all have to say to each other? Not much, according to all accounts. After all, it was a party, not a university seminar — or a bar joke, so there was punch, but no punch line.Music Played in Today's ProgramIgor Stravinsky (1882-1971): Renard; Orchestre Du Domaine Musical; Pierre Boulez, conductor; Decca 481151

In this episode from 2007, we take you on a tour of language, music, and the properties of sound. We look at what sound does to our bodies, our brains, our feelings… and we go back to the reason we at Radiolab tell you stories the way we do.  First, we look at Diana Deutsch's work on language and music, and how certain languages seem to promote musicality in humans. Then we meet Psychologist Anne Fernald and listen to parents as they talk to their babies across languages and cultures. Last, we go to 1913 Paris and sneak into the premiere of Igor Stravinsky's score of The Rite of Spring.  Check out Diana Deutsch's 'Audio Illusions' here (https://deutsch.ucsd.edu/psychology/pages.php?i=201).  Our newsletter comes out every Wednesday. It includes short essays, recommendations, and details about other ways to interact with the show. Sign up (https://radiolab.org/newsletter)! Radiolab is supported by listeners like you. Support Radiolab by becoming a member of The Lab (https://members.radiolab.org/) today. Follow our show on Instagram, Twitter and Facebook @radiolab, and share your thoughts with us by emailing radiolab@wnyc.org Leadership support for Radiolab's science programming is provided by the Gordon and Betty Moore Foundation, Science Sandbox, a Simons Foundation Initiative, and the John Templeton Foundation. Foundational support for Radiolab was provided by the Alfred P. Sloan Foundation.