Podcasts about ildebrando pizzetti

Ildebrando Pizzetti (1880-1968) - Messa da Requiemper soli a cappella I. Requiem [0:00] – Kyrie [3:37]II. Dies irae [6:36]III. Sanctus [18:04]IV. Agnus Dei [21:48]V. Libera me [24:00]Conspirare EnsembleCraig Hella Johnson, conductorAbout Messa da Requiem

Ildebrando Pizzetti (1880-1968) - Messa di Requiem (1922-23)1.       Requiem [0:00] – Kyrie [3:37]2.       Dies irae [6:36]3.       Sanctus [18:04]4.       Agnus Dei [21:48]5.       Libera me [24:00]The Choir Of Westminster CathedralJames O'Donnell, conductor About Messa di Requiem

SynopsisFor most music lovers, the phrase “Italian composers of the 19th and 20th centuries” means, first and foremost, opera composers.But during the 1920s and 1930s, when great Italian opera conductor Arturo Toscanini was music director of the New York Philharmonic, American audiences heard many nonoperatic, symphonic works by modern Italian composers.On today's date in 1929, for example, Toscanini led the New York Philharmonic in the world premiere performance of Concerto dell ‘Estate (Summer Concerto), by contemporary Italian composer Ildebrando Pizzetti.In addition to premieres by Pizzetti, New York audiences heard recent Italian symphonic works by Respighi, Tommasini, Martucci, Castelnuovo-Tedesco, Wolf-Ferrari and others.Absent from Toscanini's New York programs were new works by the rising American composers of the day. There were no Toscanini premieres — or even performances — of works by Copland, Harris or Piston. Those composers had to look to the Boston Symphony under Serge Koussevitzky if they wanted a hearing.American composer Daniel Gregory Mason complained in 1931 that the Philharmonic was run by “fashion-enslaved, prestige-hypnotized minds ... totally devoid of any American loyalty to match the Italian loyalty” that was, as Mason admitted, “rather likeable” in the charismatic Italian maestro.Music Played in Today's ProgramIldebrando Pizzetti (1880-1968): Rondo Veneziano; BBC Scottish Symphony; Osmo Vänskä, cond. Hyperion 67084

SynopsisToday's date marks the birthday of American composer and educator Gardner Read, who was born in Evanston, Illinois, in 1913.Read studied music at Northwestern University, then at the Eastman School, where his teachers included Howard Hanson and Bernard Rogers. He also studied with Aaron Copland and Italian modernist composer Ildebrando Pizzetti. Read became a noted teacher himself and held posts in St. Louis, Kansas City, Cleveland and Boston. His Symphony No. 1 was premiered by John Barbirolli and won first prize at the New York Philharmonic Society's American Composers' Contest. He wrote four symphonies in all, as well as other orchestral, choral and chamber works and a significant body of works for or with pipe organ.In 1978, musicologist Nicolas Slonimsky wrote: “In American music, the name of Gardner Read is synonymous with the best traditions of modern classicism and inspired romanticism. ... To the musical analyst, it presents a technical interest as well, for in his use of the multicolored palette of modern instrumentation, Gardner Read offers fascinating examples of organized sonorities. The substance of his compositions is infinitely varied; he is a true Renaissance man, working in many different genres without prejudice and achieving his objectives with impeccable taste.”Music Played in Today's ProgramGardner Read (1913-2005): Allegro scherzando, from Symphony No. 4 (Cleveland Orchestra; Lorin Maazel, cond.) New World 742

Simon gets on his high horse to rant about racehorses, while a sweaty Dan sneaks up on him with a fistful of dreamies, speaking Dutch the entire time. It's one of those episodes. #blorko -------- Big Red: https://en.wikipedia.org/wiki/Secretariat_(horse)  Potoooooooo: https://en.wikipedia.org/wiki/Pot-8-Os  Hecatoncheires: https://en.wikipedia.org/wiki/Hecatoncheires   DCPOTW Messa di Requiem, Ildebrando Pizzetti: https://open.spotify.com/track/0UBUqDw285jP7P3F8zkCs7?si=222d3d5cac654742  Path of Miracles: https://open.spotify.com/album/3h26ZrnBBtfRWAMAI7R5zQ?si=IFqtWLjuSYiMIjlJaSNbzQ  Man in Cave: https://www.youtube.com/watch?v=Ip9VGZeqMfo  The man who tried to fake an element: https://www.youtube.com/watch?v=Qe5WT22-AO8 Our patreon: https://www.patreon.com/thewikicast -------- Email us at: spongyelectric@gmail.com Follow us on Twitter: @DanielJMaw @simonoxfphys This week's article: https://en.wikipedia.org/wiki/Chatterton_(horse)  Fan discord channel: https://discord.gg/SZu6e2F This episode was edited by the wonderful Fergus Hall! https://www.fergushallmusic.com/ 

For most music lovers, the phrase “Italian composers of the 19th and 20th centuries” means first and foremost OPERA composers. But during the 1920s and 1930s, when the great Italian opera conductor Arturo Toscanini was music director of the New York Philharmonic, American audiences heard many non-operatic, symphonic works by modern Italian composers. On today’s date in 1929, for example, Toscanini led the New York Philharmonic in the world premiere performance of the “Concerto dell ‘estate” or “Summer Concerto of the contemporary Italian composer, Ildebrando Pizzetti. In addition to premieres by Pizzetti, New York audiences heard recent Italian symphonic works by Respighi, Tommasini, Martucci, Castelnuovo-Tedesco, Wolf-Ferrari, and others. Absent from Toscanini’s New York programs were new works by the rising AMERICAN composers of the day. There were no Toscanini premieres—or even performances—of works by Copland, Harris, or Piston. Those composers had to look to the Boston Symphony under Serge Koussevitzky if they wanted a hearing. The American composer Daniel Gregory Mason complained in 1931 that the Philharmonic was run by (quote): “fashion-enslaved, prestige-hypnotized minds... totally devoid of any American loyalty to match the Italian loyalty” that was, as Mason admitted, “rather likeable” in the charismatic Italian maestro.

For most music lovers, the phrase “Italian composers of the 19th and 20th centuries” means first and foremost OPERA composers. But during the 1920s and 1930s, when the great Italian opera conductor Arturo Toscanini was music director of the New York Philharmonic, American audiences heard many non-operatic, symphonic works by modern Italian composers. On today’s date in 1929, for example, Toscanini led the New York Philharmonic in the world premiere performance of the “Concerto dell ‘estate” or “Summer Concerto of the contemporary Italian composer, Ildebrando Pizzetti. In addition to premieres by Pizzetti, New York audiences heard recent Italian symphonic works by Respighi, Tommasini, Martucci, Castelnuovo-Tedesco, Wolf-Ferrari, and others. Absent from Toscanini’s New York programs were new works by the rising AMERICAN composers of the day. There were no Toscanini premieres—or even performances—of works by Copland, Harris, or Piston. Those composers had to look to the Boston Symphony under Serge Koussevitzky if they wanted a hearing. The American composer Daniel Gregory Mason complained in 1931 that the Philharmonic was run by (quote): “fashion-enslaved, prestige-hypnotized minds... totally devoid of any American loyalty to match the Italian loyalty” that was, as Mason admitted, “rather likeable” in the charismatic Italian maestro.

The Rev. Dr. Robert Allan Hill, Dean, preaches a sermon entitled "In Conversation with Nouwen: Communion Meditation." The Marsh Chapel Choir sings "Die mit Tranen saen" by Heinrich Schutz, "Miserere mei Deus" by William Byrd and "Agnus Dei (Requiem)" by Ildebrando Pizzetti along with service music and hymns.

The Rev. Dr. Robert Allan Hill, Dean, preaches a sermon entitled "In Conversation with Nouwen: Communion Meditation." The Marsh Chapel Choir sings "Die mit Tranen saen" by Heinrich Schutz, "Miserere mei Deus" by William Byrd and "Agnus Dei (Requiem)" by Ildebrando Pizzetti along with service music and hymns.

The opera Murder in the Cathedral by Ildebrando Pizzetti is unknown to most of our audience members so here's an opportunity to fix that! Geisel Director of Education and Outreach for San Diego Opera interviews General & Artistic Director Ian Campbell about why he chose this unusual work for staging and what he expects to do with it as the stage director of the work which goes up on our stage March 30. There's lots of information here, especially designed for those of you who have questions about this wonderful opera!

Although the story is English, influenced by English history and literature, the opera Murder in the Cathedral is Italian. It was written by Ildebrando Pizzetti and premiere at La Scala in 1958. And although the music is lyrical and quite approachable, it isn't your grandma's typical Italian opera! Listen to this brief overview of the music of this outstanding opera by Education Director Nicolas Reveles.

Ildebrando Pizzetti is not a composer known to most U.S. operagoers, but his opera Murder in the Cathedral which premiered at La Scala in 1958, made quite a splash when it first appeared. Based on the historical assassination of Thomas Becket in Canterbury Cathedral in 1170 and more specifically the T.S. Eliot verse-play about this event, the opera turned out to be a tour de force for bass, along the lines of Boris Godunov and King Philip. Nicolas Reveles, Director of Education and Outreach, explores this unusual and exciting entry in our 2013 season.

Rosanna Carteri is, for me, an example of a "lost art" in opera. She possesses the emotion, the attention to word and phrase, the beauty of voice, and all the elements that I honestly feel are so rare in these days. I am not intending to denigrate anyone, but you "cognoscenti" by now (with slight prejudice from me)  might understand what I mean. I hope you enjoy this soprano as I do  (71 min.) Rosanna Carteri (born 14 December 1930) was an Italian soprano primarily active in the 1950s through the mid-1960s. Rosanna Carteri was born in Verona but was raised in Padua. She studied with Cusinati and started singing in concert at the age of twelve. She won a RAI singing contest in 1948 which led to her operatic debut at the Baths of Caracalla in Rome as Elsa in Lohengrin in 1949, aged only 19. She made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La Bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Arena di Verona as Mimi in 1958, Covent Garden as Tosca in 1960, Opéra de Paris in 1961 as Violetta in La Traviata. Carteri made a few recordings for Cetra early in her career, in such operas as Guglielmo Tell, La Bohème and Suor Angelica. She recorded La Traviata for RCA Victor with Cesare Valletti and Leonard Warren under the direction of Pierre Monteux. She participated in several television productions for RAI such as Le nozze di Figaro, La Traviata, Otello, and Falstaff. Carteri also participated in the creation of some contemporary works such as Ifegenia by Ildebrando Pizzetti in 1950, Proserpine e le straniero by Juan José Castro in 1952, Calzare d'argento again by Pizzetti in 1961 and Il mercante di Venizia by Mario Castelnuovo-Tedesco also in 1961. Retirement Carteri decided to retire from singing in the mid-1960s while still only in her thirties to devote herself to her family.

Two seldom-heard requiems make up the Virginia Chorale’s spring concerts - those by Tomas Luis de Victoria and Ildebrando Pizzetti. Dwight Davis spoke with the conductor of the Virginia chorale, Scott Williamson, about these works.

Rosanna Carteri, one of the most emotional divas in my experience, is heard in material from Adriana, Lodoletta,Turandot, Mme.Butterfly (w.Carlo Bergonzi), Suor Angelica, La Traviata, La Boheme (w.Giuseppe Taddei). Bio to follow   (69 min.) Rosanna Carteri (born December 14, 1930) was an Italian soprano primarily active in the 1950s through the mid-1960s. Rosanna Carteri was born in Verona and studied with Cusinati and started singing in concert at the age of twelve. She won a RAI singing contest in 1948 which led to her operatic debut at the Baths of Caracalla in Rome as Elsa in Lohengrin in 1949, aged only 19. She made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La Bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Arena di Verona as Mimi in 1958, Covent Garden as Tosca in 1960, Opéra de Paris in 1961 as Violetta in La Traviata. Carteri made a few recordings for Cetra early in her career, such as Matilde in Guglielmo Tell, opposite Giuseppe Taddei, La Bohème with Ferruccio Tagliavini and Suor Angelica. She also recorded La Traviata for RCA Victor with Cesare Valletti and Leonard Warren under the direction of Pierre Monteux. She participated in several television productions for RAI such as Le nozze di Figaro, La Traviata, Otello and Falstaff. Carteri also participated in the creation of some contemporary works such as Ifegenia by Ildebrando Pizzetti in 1950, Proserpine e le straniero by Juan Jose Castro in 1952, Calzare d'argento again by Pizzetti in 1961 and Il mercante di Venizia by Mario Castelnuovo-Tedesco also in 1961. Rosanna Carteri decided to retire from singing in the mid-1960s while still only in her thirties to devote herself to her family.