Podcasts about Inon Barnatan

The Phoenix Chamber Music Society is bringing in the Jerusalem Quartet and pianist Inon Barnatan for a performance of string quartets by Haydn and...

As part of the La Jolla Music Society's SummerFest 2023 series enjoy Schubert: Piano Trio in E-flat Major, D. 929 performed by Inon Barnatan on piano, Noah Bendix-Balgley on violin, and Alisa Weilerstein on cello. For La Jolla Music Society at The Conrad Todd R. Schultz, President & CEO Leah Z. Rosenthal, Artistic Director Inon Barnatan, SummerFest Music Director Produced and directed by Tristan Cook Festival Founding Sponsors Brenda Baker and Steve Baum Synergy Initiative Producers Inon Barnatan | Clara Wu Tsai Synergy Initiative Underwriter Clara Wu Tsai SummerFest Music Director Underwriters Raffaella and John Belanich Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39713]

As part of the La Jolla Music Society's SummerFest 2023 series enjoy Schubert: Piano Trio in E-flat Major, D. 929 performed by Inon Barnatan on piano, Noah Bendix-Balgley on violin, and Alisa Weilerstein on cello. For La Jolla Music Society at The Conrad Todd R. Schultz, President & CEO Leah Z. Rosenthal, Artistic Director Inon Barnatan, SummerFest Music Director Produced and directed by Tristan Cook Festival Founding Sponsors Brenda Baker and Steve Baum Synergy Initiative Producers Inon Barnatan | Clara Wu Tsai Synergy Initiative Underwriter Clara Wu Tsai SummerFest Music Director Underwriters Raffaella and John Belanich Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39713]

As part of the La Jolla Music Society's SummerFest 2023 series enjoy Freddie Mercury and Queen: Bohemian Rhapsody for Five Cellos & Piano performed by Clive Greensmith, Julie Albers, Sterling Elliott, Anri Tsukiji and Julia Lee on cellos and Inon Barnatan on piano. For La Jolla Music Society at The Conrad Todd R. Schultz, President & CEO Leah Z. Rosenthal, Artistic Director Inon Barnatan, SummerFest Music Director Produced and directed by Tristan Cook Festival Founding Sponsors Brenda Baker and Steve Baum Synergy Initiative Producers Inon Barnatan | Clara Wu Tsai Synergy Initiative Underwriter Clara Wu Tsai SummerFest Music Director Underwriters Raffaella and John Belanich Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39716]

As part of the La Jolla Music Society's SummerFest 2023 series enjoy Freddie Mercury and Queen: Bohemian Rhapsody for Five Cellos & Piano performed by Clive Greensmith, Julie Albers, Sterling Elliott, Anri Tsukiji and Julia Lee on cellos and Inon Barnatan on piano. For La Jolla Music Society at The Conrad Todd R. Schultz, President & CEO Leah Z. Rosenthal, Artistic Director Inon Barnatan, SummerFest Music Director Produced and directed by Tristan Cook Festival Founding Sponsors Brenda Baker and Steve Baum Synergy Initiative Producers Inon Barnatan | Clara Wu Tsai Synergy Initiative Underwriter Clara Wu Tsai SummerFest Music Director Underwriters Raffaella and John Belanich Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39716]

American-Israeli classical pianist Inon Barnatan details his latest release, “Rachmaninoff Reflections.” Plus, Brandon Reeves takes the stage for our series, “Speaking of Music,” and Ariel Fristoe, founder and artistic director of Out of Hand Theater, and playwright Paris Crayton III discuss “Class Dismissed,” part of the “Shows in Homes” series.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Sergej Rachmaninow hat einiges für "sein" Instrument, das Klavier komponiert. Brauchen wir da wirklich seine fantastisch orchestrierten "Symphonische Tänze" in einer Transkription für Klavier solo? Wenn das Ergebnis klingt wie beim israelisch-amerikanischen Pianisten Inon Barnatan, dann unbedingt.

From the La Jolla Music Society's SummerFest 2022 series, music director Inon Barnatan creates an ambitious program, evocatively titled “Under the Influence,” exploring the muses that seduced and inspired some of the greatest composers in musical history. This program features Liszt's At the Grave of Richard Wagner (arr. Barnatan), Dohnanyi's Sextet in C Major, Op. 37, and Schubert's String Quartet in D Minor, D.810 “Death and the Maiden” (arr. Mahler). Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39124]

From the La Jolla Music Society's SummerFest 2022 series, music director Inon Barnatan creates an ambitious program, evocatively titled “Under the Influence,” exploring the muses that seduced and inspired some of the greatest composers in musical history. This program features Liszt's At the Grave of Richard Wagner (arr. Barnatan), Dohnanyi's Sextet in C Major, Op. 37, and Schubert's String Quartet in D Minor, D.810 “Death and the Maiden” (arr. Mahler). Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39124]

From the La Jolla Music Society's SummerFest 2022 series, music director Inon Barnatan creates an ambitious program, evocatively titled “Under the Influence,” exploring the muses that seduced and inspired some of the greatest composers in musical history. This program features Strauss's Metamorphosen, L. Boulanger's Nocturne, and Fauré's Piano Quartet No. 1. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39123]

From the La Jolla Music Society's SummerFest 2022 series, music director Inon Barnatan creates an ambitious program, evocatively titled “Under the Influence,” exploring the muses that seduced and inspired some of the greatest composers in musical history. This program features Strauss's Metamorphosen, L. Boulanger's Nocturne, and Fauré's Piano Quartet No. 1. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39123]

From the La Jolla Music Society's SummerFest 2022 series, music director Inon Barnatan creates an ambitious program, evocatively titled “Under the Influence,” exploring the muses that seduced and inspired some of the greatest composers in musical history. This program features Ravel's Piano Trio in A Minor and Brahms' Quintet for Clarinet and Strings, Op. 115. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39122]

From the La Jolla Music Society's SummerFest 2022 series, music director Inon Barnatan creates an ambitious program, evocatively titled “Under the Influence,” exploring the muses that seduced and inspired some of the greatest composers in musical history. This program features Ravel's Piano Trio in A Minor and Brahms' Quintet for Clarinet and Strings, Op. 115. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39122]

From the La Jolla Music Society's SummerFest 2022 series, music director Inon Barnatan creates an ambitious program, evocatively titled “Under the Influence,” exploring the muses that seduced and inspired some of the greatest composers in musical history. This program features Pablo de Sarasate's Fantasy on Bizet's Carmen, Op. 25, Caroline Shaw's Microfictions (West Coast première), and Antonio Vivaldi's The Four Seasons. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39121]

From the La Jolla Music Society's SummerFest 2022 series, music director Inon Barnatan creates an ambitious program, evocatively titled “Under the Influence,” exploring the muses that seduced and inspired some of the greatest composers in musical history. This program features Pablo de Sarasate's Fantasy on Bizet's Carmen, Op. 25, Caroline Shaw's Microfictions (West Coast première), and Antonio Vivaldi's The Four Seasons. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39121]

Piano soloist Inon Barnatan is in town to perform with the San Diego Symphony. Also, other arts and culture happenings in San Diego this weekend.

Classical pianist Inon Barnatan joins us ahead of his upcoming performances with the Atlanta Symphony Orchestra. Plus, Chef Asata Reid and culinary historian Akila McConnell examine the history of Thanksgiving in the South with our food series, “Atlanta's Savory Stories.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Alisa Weilerstein / Inon Barnatan: Beethoven Cello Sonatas (Pentatone) Jump to giveaway form New Classical Tracks - Alisa Weilerstein by “It takes organization. But it is more than possible, and it's fantastic.” That's cellist Alisa Weilerstein talking about what it takes to integrate family with an active career. About five months ago, she and her husband, conductor Rafael Payare, welcomed their second daughter, Elina, who joins big sister Ariadna. But not only did Weilerstein expand her family during the global pandemic; she also created a new recording with her longtime musical partner, pianist Inon Barnonton: a collection of Ludwig van Beethoven's cello sonatas. The two of you have been playing these works for the entirety of your collaboration, which dates to 2008. Why was now the right time to make this recording? “Nothing is like the Bach cello suites in terms of, let's say, people's reverence for them and the fear of putting one's sort of permanent stamp on them. This comes close. And so the Beethoven sonatas were pieces that we didn't want to rush into recording. 2020, of course, was also supposed to be the big Beethoven year. And, obviously, that got a bit overshadowed by world events. I mean, we had been talking about doing it eventually. It's like, well, OK, now is the perfect time. Let's just do it. So we did. It's the most visceral music I can think of. It combines some of the most structurally interesting and beautifully crafted music with primal, rhythmic drive and energy, which is present even in the most tender moments. When Beethoven becomes vulnerable, it's almost unbearable in terms of how moving, how touching it is. One of the coolest things about Beethoven's sonatas for cello and piano is that in five fairly concise works, we get to hear how his relationship between the piano and cello was redefined. Can you talk about that evolution and how we hear it in these works? “And I'm really glad you brought that up, because historically, in terms of our canon, it was a very important trajectory that we're following. “The first two sonatas, the first one, in particular, are really more of piano and cello sonatas. In other words, the piano is really the main voice, and the cello is having a kind of obbligato voice. I'm just kind of floating around and the piano is just wailing away, basically. “And then the Third Sonata is the first one where the cello and piano are truly equal partners. And it's announced from the very first note, which is played by the cello alone. That, historically, was a really big deal. It's fascinating to see how he just broke all the rules. “This is like therapy, just to make music and to communicate these really profound ideas and emotions in a way that we didn't have to use our words for anything. We could just make music. And it was kind of a reminder of why we both do what we do and why we love what we do so much.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Cello Sonata No. 3 in A Major, Op. 69: I. Allegro ma non tanto More on Alisa Weilerstein Learning to Listen: Alisa Weilerstein discusses the cello SymphonyCast: Alisa Weilerstein performs at the BBC Proms Alisa Weilerstein Giveaway Alisa Weilerstein New Classical Tracks Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Alisa Weilerstein / Inon Barnatan — Beethoven Cello Sonatas (Weilerstein store) Alisa Weilerstein / Inon Barnatan — Beethoven Cello Sonatas (Pentatone store) Alisa Weilerstein / Inon Barnatan — Beethoven Cello Sonatas (Amazon) Alisa Weilerstein (official site) Inon Barnatan (official site)

durée : 01:57:36 - En pistes ! du mardi 31 mai 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, nous écoutons Alisa Weilerstein et Inon Barnatan, qui se sont avérés être l'un des tandems de musique de chambre les plus sympathiques de notre époque. Leur merveilleux partenariat musical et leur profonde amitié transparaissent dans chacune de ces sonates.

durée : 00:14:35 - Beethoven : Cello Sonatas Nos. 1-5 - Alisa Weilerstein, Inon Barnatan - Le label Pentatone présente un nouveau disque consacré aux Sonates pour violoncelle de Ludwig van Beethoven, ici interprétées par Alisa Weilerstein et Inon Barnatan. C'est notre disque du jour !

Originally broadcast in May 2019, this Impromptu Encore features violinist Sergey Khachatryan, cellist Alisa Weilerstein, and pianist Inon Barnatan in an outstanding performance of Beethoven's “Ghost” Piano Trio in D Major, Op. 70, No. 1. The post Alisa Weilerstein, cello, Sergey Khachatryan, violin, and Inon Barnatan, piano appeared first on WFMT.

On this episode of Spoleto Backstage, we take in selections from late Classical, early Romantic composer Franz Schubert. Pianist Pedja Muzijevic joins us to talk about the logistics of performing Schubert's Fantasie in F minor for four hands, D. 940 with fellow piano player Inon Barnatan at this year's Chamber Music Series. We also chat with cellist Paul Wiancko about sitting in with the St. Lawrence String Quartet for the composer's String Quintet in C major, D. 956, Mvts. III-IV.

Pittsburgh Symphony Music Director Manfred Honeck discusses his new programs, the first in a year away during the pandemic, presenting a premiere of an arrangement of Dvorak's Gypsy Songs including the Song My Mother Taught Me. Guests Simone Porter, violin in Kreisler and Part, Inon Barnatan playing Mozart, George Walker's Lyric for Strings and Tcahikovsky's Souvenir of Florence. Maestro Honeck runs down his changing calendar and talks about his admiration for John Williams' new cd "Live in Vienna," which was to have been the center of a concert in Pittsburgh which he still hopes to reschedule. He also expresses his admiration for the partnership and friendship with WQED-FM.

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

In 1741, Bach published a piece called “Aria with diverse variations.” Little did he know that the piece would become one of the most beloved and nearly mythical works in all of Western Classical Music. The piece I’m talking about is now referred to exclusively as “The Goldberg Variations.” Today we'll talk through these remarkable variations, and as a special bonus, I was joined by Jeremy Denk, Mahan Esfahani, Inon Barnatan, and Vivian Hornik Weilerstein for a virtual panel discussion about the Goldbergs.

Being in a quartet is like being in a marriage, says Milena Pajaro-van de Stadt, violist and founding member of the world renowned award-winning Dover Quartet & our guest for Episode 5 of the So This Is My Why Podcast. Holding dual citizenship in the US and the Netherlands, Milena considers herself to have grown up “a little bit of everywhere” including in Oxford (UK), Baltimore and Jacksonville. Her father taught her the piano before, feeling fed up with the instrument, she chose the violin as her next musical endeavour. An instrument she picked up after hearing a musician busk on the streets of Oxford. At the age of 10 years old, having moved back to Jacksonville by then, she picked up the trombone and also (eagerly!) volunteered to play the viola when her younger brother wanted to form a quartet. We explore all that including a pivotal moment in the summer of 2005, where she met and learned from Michael Klotz, violist of Amernet Quartet & her first viola teacher, at the Bowdoin International Music Festival. A meeting that resulted in her “ sudden immersion in the viola world ”. *Curtis Institute of Music* We also discuss the considerations she had in place when applying for music schools and how she dropped all other applications the moment she got into her dream school - the Curtis Institute of Music! There, she studied with the likes of Michael Tree (of the Guarneri Quartet) & Roberto Diaz (President & CEO of the Curtis Institute of Music). It was also at Curtis that the members of what would be the Dover Quartet came together - not unlike the tentative start of a budding relationship! They bonded so well, one of their teachers, Shmuel Ashkenasi (Vermeer Quartet) asked them, “Have you considered getting married (to each other)?” because you're always together. To which Milena said: We could not have been more giddy than when he said that to us because we had looked up to him so much and he notoriously is one of the most demanding coaches we've ever had. And so to get that kind of encouragement from someone we looked up to… I think that definitely had a huge thing to do with our morale and decision to be kind of brave enough to commit to one another. From there, they decided to show “commitment” to each other by attending the graduate residency program at Rice University's Shepherd School of Music as a quartet. *Realities of Life As a String Quartet Member* The life of a string quartet member is so very unique & some of the things we explore include: * What is your schedule like as a string quartet? How often are you on the road? * What was it like participating in competitions (e.g. Fischoff Competition) and in particular, your memories of those incredible wins at the Banff Competition 2013 which launched the Dover Quartet into the spotlight? * Importance of competitions to the careers of string quartets * Ways of dealing with disagreements between quartet members, particularly in musical interpretations of pieces * Managing personal space while on the road; * Staying in touch with loved ones while on the road * Collaborations with other musicians & how that comes about * Giving live performances versus making studio recordings; * The role of social media & the power of collaborations - e.g. with Avi Avital, Edgar Meyer, Ray Chen, Roomful of Teeth & the Brooklyn Duo; * The Importance of public speaking as a means of connecting with the audience; * Dealing with concert reviews * Giving back to the community through Music For Food ( https://musicforfood.net/index.php/artist/dover-quartet/ ) ; and * “Balancing” a solo career with being in a quartet. *String Instruments* As the instrument itself is so important to a musician, we talk about: * The two violas she plays on & their different purposes * Modern v old instruments - which is better? Does it even matter? * How do you choose your violin? * Are violins with an unknown maker a good investment? * Impact of COVID-19 on her personal life & the life of the Dover Quartet *Role of Parents in a Child's Education* For parents with young kids or those thinking of pursuing music, we also deal with questions on: * Should all children be exposed to music / have music lessons? * How should parents handle children who don't want to practice, especially if they want to just quit after trying it for a short while? * At what age should a child learn a musical instrument? * What should people looking to pursue music think about & do? *Show notes:* https://www.sothisismywhy.com/5/ ** *Official Bio of the Dover Quartet* The phenomenal Dover Quartet catapulted to international stardom following a stunning sweep of the 2013 Banff Competition, at which they won every prize. Named the Cleveland Quartet Award-winner, and honored with the coveted Avery Fisher Career Grant, the Dover has become one of the most in-demand ensembles in the world. The Quartet's rise from up-and-coming young ensemble to occupying a spot at the top of their field has been “practically meteoric” ( Strings ). With its burnished warmth, incisive rhythms, and natural phrasing, the Quartet's distinctive sound has helped confirm its status as “the young American string quartet of the moment” ( New Yorker ). The Quartet serves as the quartet-in-residence for the Bienen School of Music at Northwestern University, Chamber Music Northwest, Artosphere, the Amelia Island Chamber Music Festival, and Peoples' Symphony in New York, and was recently named the first-ever quartet-in-residence for the Kennedy Center. In 2018-19 the Dover Quartet performs more than a hundred concerts around North America, including performances at the Kennedy Center, San Francisco Performances, the Philadelphia Chamber Music Society, Spivey Hall, Boston's Celebrity Series, the Chamber Music Society of Detroit, and Carnegie Hall. In addition, the Dover's season features tours of Hong Kong, Europe, and Australia, collaborations with Emanuel Ax, Inon Barnatan, Peter Serkin, Anthony McGill, and Roomful of Teeth, and premieres of new works by Caroline Shaw and Matan Porat. The Quartet was thrilled to be invited by the maverick filmmaker and cultural icon David Lynch to be featured at his Los Angeles Festival of Disruption. Cedille Records released the Quartet's sophomore album, entitled Voices of Defiance: 1943, 1944, 1945 in October 2017. The recording takes listeners on a powerful journey through works written during World War II by Viktor Ullmann, Dimitri Shostakovich, and Simon Laks. The 2016-17 season saw the release of its all-Mozart debut recording on the Cedille label, a nod to the 1965 debut album of the Guarneri Quartet, whose founding violist, the late Michael Tree, joined the Dover Quartet on the recording. In addition, the group has participated in three complete Beethoven quartet cycles, including the University at Buffalo's famous “Slee Cycle” – which has presented annual Beethoven quartet cycles since 1955 and has featured the likes of the Budapest, Guarneri, and Cleveland Quartets – and will record the cycle over the next three seasons. The group's world-class collaborators have included pianists Anne-Marie McDermott, Emanuel Ax, Marc-André Hamelin, Jean-Yves Thibaudet, Peter Serkin, and Jon Kimura Parker; violists Roberto Díaz and Cynthia Phelps; bassist Edgar Meyer; and the Pacifica and Escher Quartets. In the spring of 2016, the Dover Quartet was recognized with the Hunt Family Award, one of the inaugural Lincoln Center Emerging Artist Awards, and in past years has taken top prizes at the Fischoff Competition and the Wigmore Hall International String Quartet Competition. All four Quartet members are consummate solo artists: first violinist Joel Link took first prize at the Menuhin Competition; violinist Bryan Lee and violist Milena Pajaro-van de Stadt have appeared as soloists with the Philadelphia Orchestra and Tokyo Philharmonic, respectively; and cellist Camden Shaw released a solo album debut on the Unipheye Music label. As Strad observes, “With their exceptional interpretative maturity, tonal refinement, and taut ensemble,” the Dover Quartet is “pulling away from their peers.” Hailed as “the next Guarneri Quartet” ( Chicago Tribune ), the Dover Quartet draws from the lineage of that distinguished ensemble, as well that of the Cleveland and Vermeer Quartets; its members studied at the Curtis Institute of Music and Rice University's Shepherd School of Music, where they were mentored extensively by Shmuel Ashkenasi, James Dunham, Norman Fischer, Kenneth Goldsmith, Joseph Silverstein, Arnold Steinhardt, Michael Tree, and Peter Wiley. It was at Curtis that the Quartet first formed, and its name pays tribute to Dover Beach by fellow Curtis alumnus Samuel Barber. The group has since returned for residencies to Rice in 2011-13, and to Curtis, where it became the conservatory's first Quartet-in-Residence, in 2013-14. In addition, in 2015 the Dover was appointed the first Resident Ensemble of Peoples' Symphony Concerts in the 116-year history of New York City's oldest concert series. The Dover Quartet is dedicated to sharing its music with under-served communities and is actively involved with Music for Food, an initiative enabling musicians to raise resources and awareness in the fight against hunger. The Dover Quartet plays on the following instruments: *Joel Link* : Jean-Baptiste Vuillaume, Paris circa 1857, on loan by Desirée Ruhstrat *Bryan Lee* : Riccardo Antoniazzi, Milan 1904 *Milena Pajaro-van de Stadt* : Michele Deconet, Venice, 1780, the ‘Kroyt,' generously on loan from the grandson of Boris Kroyt of the Budapest Quartet *Camden Shaw:* Frank Ravatin, France, 2010

This episode of Spoleto Backstage features another of Geoff Nuttall’s favorite programs from the past decade of the Spoleto Festival USA Chamber Music Series. Before listening to the 2018 concert, Geoff and Bradley Fuller discuss the selections, paying special attention to the opening Vivaldi concerto for oboe and violin and emphasizing how the baroque composer’s hundreds of other concertos are anything but nothingburgers. Balancing the Vivaldi is the program’s concluding work: Johannes Brahms’ passionate Piano Quartet No. 1 in G minor, Op. 25. After the music, Geoff catches up with pianist and frequent chamber series performer Inon Barnatan. The two talk about his career, special pandemic projects, and fond memories of past festivals.

In this episode of Spoleto Backstage , Geoff Nuttall and Bradley Fuller look back on a concert performed as part of the 2016 Spoleto Festival Chamber Music Series. After discussing what makes it one of the most memorable performances from the past decade of the series, the two enjoy a listen to the program. Andrew Norman’s Garden of Follies comes first, featuring oboist James Austin Smith and pianist Pedja Muzijevic. Next is a baroque-era work inspired by a Cervantes novel: Georg Philipp Telemann’s Ouverture-Suite, TWV 55:G10 “Burlesque de Quixotte.” The concert concludes with Sergei Rachmaninoff’s Sonata in G minor for Cello and Piano, op. 19, performed by cellist Alisa Weilerstein and pianist Inon Barnatan. After the concert, Bradley catches up with pianist and chamber-series regular Pedja Muzijevic to learn more about his current projects, programming decisions, and musical career—including what makes his involvement with Spoleto Festival so rewarding.

durée : 01:58:08 - En pistes ! du mardi 02 juin 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour : Damien Guillon et le Banquet Céleste enregistrent le plus célèbre des six oratorios d'Alessandro Stradella; les sextuors du jeune Brahms par les WDR Chamber Players; l’ensemble Gilles Binchois s’empare du Printemps, recueil d’airs et de chansons du XVIe siècle de Claude Lejeune... - réalisé par : Davy Travailleur

durée : 00:18:40 - Le Disque classique du jour du mardi 02 juin 2020 - En cette année anniversaire, voici venir une autre intégrale des Concertos pour piano de Beethoven, celle d'Inon Barnatan, superbe pianiste qui enregistre aux côtés de l'Academy Saint-Martin-in-the-Fields, sous la direction d'Alan Gilbert. Un disque vivant, précis, mais aussi poétique...

durée : 01:58:35 - Harmonies slaves - par : Frédéric Lodéon - Vasily Petrenko dirige Kabalevski, Khatchatourian, Moussorgski, Chtchédrine. Tchaïkovski par Katia et Marielle Labèque, et Daniel Lozakovich accompagné à la baguette par Vladimir Spivakov. Alisa Weilerstein et Inon Barnatan jouent Rachmaninov, Chopin - réalisé par : Sophie Pichon

In this episode, international soloist Stefan Jackiw talks to us about his journey overcoming a serious injury.  He tells us how he got injured, the steps he took to heal, the mental impact it had on him, and how he stays injury free. He also elaborates on: What his musicology studies brought to his playing What collaborating with other musicians mean to him Establishing strong fundamentals on the instrument How he maximizes his practice time His injury story: How it happened Facing the stigma attached to being an injured musician The mental impact it had on him and the new mindsets he developed as a result The reflection he did, the changes he implemented and how he overcame it How he modified his setup and technique as a result How he remains injury free The very important concept of surrendering in practicing How our level of stress and the amount of pressure we tolerate affects our playing How to plan practice     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use every day!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we're currently discussing The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT STEFAN JACKIW: Website: https://stefanjackiw.com/ YouTube: https://www.youtube.com/results?search_query=stefan+jackiw Instagram: https://www.instagram.com/stefanjackiwviolin/ Facebook: https://www.facebook.com/StefanJackiw/   Stefan Jackiw is one of America's foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of "uncommon musical substance" that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. This season, he will re-unite with Juraj Valcuha to make his debut with the Konzerthaus Orchestra Berlin performing Korngold's Violin Concerto. He also returns performing Stravinsky to the Bournemouth Symphony with Kirill Karabits, the Helsinki Philharmonic with Hans Graf, and the RTÉ National Symphony in Dublin with Leonard Slatkin.  Other highlights include performances with the San Diego Symphony and Rafael Payare, the Indianapolis and Baltimore Symphonies with David Danzmayr, and the Omaha Symphony. In recital, Stefan continues touring the complete Ives Sonatas with Jeremy Denk, with whom he has recorded the sonatas for future release on Nonesuch Records. He also appears on tour with harpsichordist Mahan Esfahani, exploring works for violin and harpsichord and featuring a new commission by Lester St. Louis, and continues to perform alongside pianist Conrad Tao and cellist Jay Campbell as part of the Junction Trio, with stops this season in Massachusetts, Washington D.C., Ohio, California, Texas, New Mexico, Florida, and more. Highlights of recent seasons include his debut with the Cleveland Orchestra and Juraj Valcuha, with whom he also re-united for performances in Dallas, Detroit, and Luxembourg; performances of Prokofiev's Second Violin Concerto at Carnegie Hall with Mikhail Pletnev, as part of a multi-city tour with the Russian National Orchestra; as well as performances with the St. Louis Symphony under Nicholas McGegan, the Minnesota Orchestra under Ilyich Rivas, the Rotterdam Philharmonic under Yannick Nézet-Séguin, the Indianapolis Symphony under Krzysztof Urbanski, and the Pittsburgh Symphony under Valčuha. Other highlights in Europe included his performances with the Netherlands Radio Symphony and Ludovic Morlot at the Concertgebouw. In Asia, Stefan has appeared with the Tokyo Symphony at Suntory Hall under the direction of Krzysztof Urbanski, and the Seoul Philharmonic under Venzago. He has also toured Korea, playing chamber music with Gidon Kremer and Kremerata Baltica. In Australia, Stefan toured with the Australian Chamber Orchestra play-directing Mendelssohn. He also gave the world premiere of American composer David Fulmer's Violin Concerto No 2 “Jubilant Arcs”, written for him and commissioned by the Heidelberg Festival with the Deutsche Kammerphilharmonie under Matthias Pintscher. Recital highlights have included his performances of the complete Ives violin Sonatas with Jeremy Denk at Tanglewood and Boston's Jordan Hall, and performance of the complete Brahms violin sonatas, which he has recorded for Sony. He also recently recorded the Beethoven Triple with Inon Barnatan, Alisa Weilerstein, Alan Gilbert and Academy St. Martin in the Fields. Jackiw has performed in numerous important festivals and concert series, including the Aspen Music Festival, Ravinia Festival, Caramoor International Music Festival, Schleswig-Holstein Music Festival, New York's Mostly Mozart Festival, the Philharmonie de Paris, Amsterdam's Concertgebouw, the Celebrity Series of Boston, and the Washington Performing Arts Society. As a chamber musician, he has collaborated with such artists as Jeremy Denk, Steven Isserlis, Yo-Yo Ma, and Gil Shaham, and forms a trio with Jay Campbell and Conrad Tao. At the opening night of Carnegie Hall's Zankel Hall in New York, Jackiw was the only young artist invited to perform, playing alongside such artists as Emanuel Ax, Renée Fleming, Evgeny Kissin, and James Levine. Born to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. He lives in New York City.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

durée : 00:28:35 - Cordes sensibles du dimanche 29 décembre 2019 - Extraits des sonates pour violoncelle et piano de Rachmaninov et Chopin, et arrangement par Franchomme de la 7ème Etude de Chopin, dans l'interprétation d'Alisa Weilerstein et Inon Barnatan (Decca)

durée : 01:58:35 - Carrefour de Lodéon - Acte II du dimanche 29 décembre 2019 - par : Frédéric Lodéon - Vasily Petrenko dirige Kabalevski, Khatchatourian, Moussorgski, Chtchédrine. Tchaïkovski par Katia et Marielle Labèque, et Daniel Lozakovich accompagné à la baguette par Vladimir Spivakov. Alisa Weilerstein et Inon Barnatan jouent Rachmaninov, Chopin - réalisé par : Sophie Pichon

Briljantne duo Alisa Weilerstein ja Inon Barnatan esitavad Chopini ja Rahmaninovi g-moll tšellosonaadid ja veel valitud palad, sealhulgas Auguste Franchomme'i seade Chopini Etüüdist op. 25 nr 7.

Briljantne duo Alisa Weilerstein ja Inon Barnatan esitavad Chopini ja Rahmaninovi g-moll tšellosonaadid ja veel valitud palad, sealhulgas Auguste Franchomme'i seade Chopini Etüüdist op. 25 nr 7.

In this episode, I chat with with Anthony McGill, principal clarinetist with the NY Philharmonic.  We have a great conversation about attention and presence, in both practice and performance. Among other things, we discuss his journey to the NY Phil, the importance of absolutely loving music in choosing it as a career, how to nurture focus and make practice more efficient, and how to work towards having more flow in performance. Anthony elaborates on: His musical path, from the Southside of Chicago to the NY Phil The various institutions he attended – the Merit School, the Interlochen Academy, and the Curtis Institute How important the community that surrounds us is as we develop as musicians/artists/people How to nurture focus: The importance of how loving what you do is in fostering focus The quote that really articulated that concept for him How focus starts from figuring out if you truly love what you do Cultivating quality presence, awareness, and curiosity in the practice room are the keys to solid focus How to make practice efficient How he primes and prepares for a practice session How wanting to practice, having a plan, being aware, and being methodical are at the core of a good practice session How he “tricks” himself to practice (which is similar to the trick I talk about in this blog entry: https://www.mindoverfinger.com/blog/commit-to-ten) How listening to music is important Focus in performance: How to work towards flow and overcome mistakes How important it is to develop our public speaking and self-marketing skills Why we should develop an interest in a hobby outside of music   MORE ABOUT ANTHONY: Website: http://www.anthonymcgill.com/ Find some YouTube videos about Anthony HERE Instagram: https://www.instagram.com/mcgillclarinet/ Facebook: https://www.facebook.com/Mcgillab/   Biography Clarinetist Anthony McGill is one of classical music's most recognizable and brilliantly multifaceted figures. He serves as the principal clarinet of the New York Philharmonic — that orchestra's first African-American principal player — and maintains a dynamic international solo and chamber music career. Hailed for his “trademark brilliance, penetrating sound and rich character” (The New York Times), as well as for his “exquisite combination of technical refinement and expressive radiance” (The Baltimore Sun), McGill also serves as an ardent advocate for helping music education reach underserved communities and for addressing issues of diversity, equity, and inclusion in classical music. McGill was honored to take part in the inauguration of President Barack Obama, premiering a piece written for the occasion by John Williams and performing alongside violinist Itzhak Perlman, cellist Yo-Yo Ma, and pianist Gabriela Montero.   McGill's 2018-19 season includes performances of concertos by Bolcom, Copland, Mozart, and Strauss with the New York Philharmonic, Los Angeles Chamber Orchestra, Tallahassee Symphony, Vermont Symphony, and Austin Symphonic Band. He will also collaborate together with soprano Miah Persson in a performance of Schubert's “The Shepherd on the Rock” together with Iván Fischer and the New York Philharmonic. Additional performances include a collaboration with the Dover Quartet for the Philadelphia Chamber Music Society and a recital with soprano Julia Bullock for the Metropolitan Museum of Art, along with collaborations with the Brentano Quartet for Princeton University and a tour of Asia with the Chamber Music Society of Lincoln Center.   McGill appears regularly as a soloist with top orchestras around North America including the New York Philharmonic, Metropolitan Opera, Baltimore Symphony, San Diego Symphony, and Kansas City Symphony. As a chamber musician, McGill is a favorite collaborator of the Brentano, Daedalus, Guarneri, JACK, Miró, Pacifica, Shanghai, Takacs, and Tokyo Quartets, as well as Emanuel Ax, Inon Barnatan, Gloria Chien, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang Lang. He has led tours with Musicians from Marlboro and regularly performs for the Chamber Music Society of Lincoln Center and the Philadelphia Chamber Music Society. Festival appearances include Tanglewood, Marlboro, Mainly Mozart, Music@Menlo, and the Santa Fe, Seattle, and Skaneateles Chamber Music Festivals.   In January 2015, McGill recorded the Nielsen Clarinet Concerto together with Alan Gilbert and the New York Philharmonic, which was released on DaCapo Records. He also recorded an album together with his brother Demarre McGill, principal flute of the Seattle Symphony, and pianist Michael McHale; and one featuring the Mozart and Brahms Clarinet Quintet with the Pacifica Quartet that were both released by Cedille Records.   A dedicated champion of new music, in 2014, McGill premiered a new piece written for him by Richard Danielpour entitled “From the Mountaintop” that was commissioned by the New Jersey Symphony, Kansas City Symphony, and Orchestra 2001. McGill served as the 2015-16 Artist-in-Residence for WQXR and has appeared on Performance Today, MPR's St. Paul Sunday Morning, and Mr. Roger's Neighborhood. In 2013, McGill appeared on the NBC Nightly News and on MSNBC, in stories highlighting the McGill brothers' inspirational story.   A graduate of the Curtis Institute of Music, McGill previously served as the principal clarinet of the Metropolitan Opera and associate principal clarinet of the Cincinnati Symphony Orchestra. In-demand as a teacher, he serves on the faculty of the Juilliard School, the Curtis Institute of Music, Bard College's Conservatory of Music, and the Manhattan School of Music. He also serves as the Artistic Advisor for the Music Advancement Program at the Juilliard School, on the Board of Directors for both the League of American Orchestra and the Harmony Program, and the advisory council for the InterSchool Orchestras of New York.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/   Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/

Marin Alsop on the moment she decided she wanted to be a conductor, after encountering/watching Leonard Bernstein as a 9 year old at a Young Persons Concert. This week’s podcast also includes conversations with two great musical partnerships; the French pianist Louis Lortie and violinst Augustin Dumay, as well as the pianist Inon Barnatan and the cellist Alissa Weilerstein, who first began performing together during a cold Boston winter…

Cellist Alisa Weilerstein has been acclaimed world-wide since she performed in our studio back in 2008. We revisit that perfromance with Inon Barnatan, in honor of her appearance with the BSO at Tanglewood on August 11th, 2017. Chopin:  Sonata for Piano and Cello in G minor, Op. 65 Alisa Weilerstein, cello; Inon Barnatan, piano Recorded at WGBH's Fraser Performance Studio on May 1st, 2008.

Happy birthday, Rachmaninov! Because Rachmaninov’s birthday and our Spring Break lined up so nicely, it’s obviously the perfect opportunity to repeat this episode. Back next week with more of the usual (i.e., heavy metal car racing stories with lots of explosions). Cellist Alisa Weilerstein’s gives an introduction to the music of Sergey Rachmaninov. Who was this romantic man, and what makes him different from all the other guys – I mean, composers? Weilerstein walks us through Rachmaninov’s Sonata in G Minor for Cello and Piano. Plus, she talks about her musical relationship with performing partner, pianist Inon Barnatan, and what it’s like to be part of a long-term creative duo. Music in this episode is all from Weilerstein and Barnatan’s CD, Chopin and Rachmaninov Cello Sonatas: Sonata in G Minor for Cello and Piano, Opus 19. Sergey Rachmaninov. Audio production by Todd “Toight like a toiger” Hulslander with grrrr aargh’s from Dacia Clay and editing by Mark DiClaudio. If you enjoyed this episode with Alisa Weilerstein, check out her other Classical Classroom episode – all about the Aspen Music Festival and playing solo cello.

Celebrating the March birthday of Frederic Chopin - Two performances from our WCRB Studio: Chopin: Cello Sonata in G minor, Op.65 with Alisa Weilerstein, cello; Inon Barnatan, piano Chopin: Ballade No. 1 with Lise de la Salle, piano Recorded at WCRB’s Fraser Performance Studio (May 1, 2008 and November 10, 2009)

Anyone who has heard Manfred Honeck conduct his own Pittsburgh Symphony Orchestra in Heinz Hall or in their exemplary recordings on the Exton and Reference Recordings labels will know what a treasure he is for the world of music. This week he will conduct the New York Philharmonic in Beethoven's First Piano Concerto with Inon Barnatan and Mahler's First Symphony. He has made something of a speciality of this composer, a fellow Austrian. His recorded cycle with Pittsburgh now includes Symphonies No. 1, 3, and 5. Maestro Honeck also has special insight into the work of Anton Bruckner, another fellow Austrian. He has so far recorded Bruckner's Fourth Symphony and looks forward to recording the Ninth. In this interview you will learn something about the care and intelligence he puts into preparing his performances and his particular feeling for these great composers. The post Manfred Honeck talks to Michael Miller about Mahler, Bruckner, and Conducting appeared first on New York Arts.

Inon Barnatan, piano Boris Brovtsyn, violín Amihai Grosz, viola Boris Andrianov, violonchelo Mahler, Pianokwartet in A minor según arreglo de Alfred Schnittke 29 de diciembre 2010 Internationaal Kamermuziekfestival Utrecht

  Start your Valentine’s Day week with cellist Alisa Weilerstein’s introduction to the music of Sergey Rachmaninov. Who was this romantic man, and what makes him different from all the other guys – I mean, composers? Weilerstein walks us through Rachmaninov’s Sonata in G Minor for Cello and Piano. Plus, she talks about her musical relationship with performing partner, pianist Inon Barnatan, and what it’s like to be part of a long-term creative duo.   Music in this episode is all from Weilerstein and Barnatan’s CD, Chopin and Rachmaninov Cello Sonatas: Sonata in G Minor for Cello and Piano, Opus 19. Sergey Rachmaninov. Audio production by Todd “Toight like a toiger” Hulslander with grrrr aargh’s from Dacia Clay and editing by Mark DiClaudio. If you enjoyed this episode with Alisa Weilerstein, check out her other Classical Classroom episode – all about the Aspen Music Festival and playing solo cello.