Podcasts about Jascha Heifetz

durée : 01:28:51 - Jascha Heifetz, " L'Empereur du violon " - par : Aurélie Moreau - « Heifetz a révolutionné le jeu du violon, il en a fixé les critères de perfection à tel point qu'il est devenu la référence incontournable auprès de laquelle l'on a mesuré et l'on mesure encore tous les violonistes de notre époque. » J-M Molkhou.

December 5, 1948 - Professor LeBlanc give Jack a violin lesson, and Don is mad at Jack. References include the desert hot springs earthquake, Princess Elizabeth's new baby, actors Charles Boyer, Lionel Barrymore, Don Ameche, "Litte Lord Fauntleroy", and violinists Isaac Stern, Fritz Kreisler, and Jascha Heifetz.

Die Oper "Die tote Stadt" macht Erich Wolfgang Korngold 1920 berühmt. In den 30ern flieht er vor den Nazis in die USA und macht in Hollywood Karriere. In seinem Violinkonzert verbindet er beide Welten und verwendet Themen aus seinen Soundtracks wieder. Von Michael Arntz.

durée : 01:33:50 - Relax ! du vendredi 21 juin 2024 - par : Lionel Esparza - C'est un concert de Jascha Heifetz, 11 ans, qui a inspiré les parents à faire de Milstein un violoniste.

The Dick Bright Orchestra has built a reputation as being San Francisco's premier social band. They also travel to perform throughout the U.S. for conventions, corporate events, fundraisers, weddings, and private parties. Based on Dick Bright's colorful career history, we couldn't wait to interview him and share more with you about what makes him so knowledgable and entertaining. Enjoy! Born in Santa Monica, California, and grew up in West Los Angeles, Rod Serling was president of his junior high school, and actress Katey Sagal from Married With Children was in his high school acting class! Dick's father was a public school music teacher at the same school for forty five years, taught private lessons, and played weddings and bar mitzvahs on the weekends. Dick attended to Palisades High School in Pacific Palisades where he played in the orchestra and took acting classes – loving both arts. “It's why I like combining music with a flair for a show and comedy as well. Sybil Maxwell, my violin teacher, was one of the top teachers in Los Angeles (she studied with Jascha Heifetz considered the world's greatest violinist), and I was being groomed to hopefully grow up and play in a major symphony. When I got to UC Davis I discovered girls and rock and roll. Needless to say, my classical career was over. I went on to double major in music and acting.” Dick went straight from college to play in an original rock band in Berkeley, California called Little Roger and the Goosebumps. We had a novelty hit called Stairway to Gilligan's Island—the words from Gilligan's Island and the music from Stairway to Heaven. Led Zepplin threatened a law suit. We got mentioned in Rolling Stone. I was hooked on show biz by then. For twenty five years Dick's been performing the National Anthem for the Golden State Warriors and San Francisco Giants. “As a sports nut, so this is probably the biggest thrill every year — to step on the court or the field. I feel like I'm about twelve years old! Plus it's the most nervous I get (no band to cover my mistakes!). I even got to do God Bless America at a World Series game and the anthem for the Home Run Derby when it was at AT&T Park.”

Crank the Bach & Go Boating with Green Bench in Hand Brian Wing of Green Bench Mead and Cider is a classical music fan. Green Bench is located in Saint Petersburg, Florida and Brian was recently on episode 398 which is a must listen. Usually, we wait a bit here at Cider Chat Central to have a guest back on, but when a delivery of cider arrived from Brian, with 4 select bottles, the opportunity arose once again have a chat. Single Varietals to Bach Chamber Blends Black Twig: An Earthy Delight Brian starts the conversation by discussing the Black Twig, a cider crafted from the 2022 crop. This cider showcases a unique blend of 80% Black Twig and 20% Chestnut Crab apples. Brian describes the Black Twig as having a peachy blush color with a flavor profile that includes low acidity, apple Redfield: The Rosé of Ciders The Redfield, a single varietal cider made from 100% Redfield apples. Known for its vibrant red flesh, this cider offers a stunning color and a flavor profile dominated by cranberry and citrus aromas. Brian highlights the high acidity and minerality of this cider, making it a perfect rosé alternative for brunch or any occasion. Malus: A Flagship Cider Brian introduces the Malus, a cider that he considers the flagship of Green Bench. This cider is a blend of 12-13 apple varieties, including Dabinett, Kingston Black, Chisel Jersey, Black Twig, Chestnut, and Hughes Crab. The result is a balanced and rounded cider with a complex flavor profile that pays homage to French ciders. With an alcohol by volume of just over 7%, the Malus is a versatile and drinkable cider. Celebrity Chef Brian Duffy loved the Malus – listen to this special ep: 401 Episode 401: Celebrity Chef Brian Duffy | Cider Pairing Tips Chaconne: A High Acid Symphony The final cider discussed is the Chaconne, named after Johann Sebastian Bach's Partita No. 2. This high acid cider is a blend of Wickson, Yates, and Harrison apples. Brian describes the Chaconne as having intense pear and citrus aromas, a mouthwatering acidity, and a unique flavor profile that includes tropical fruit and a touch of black pepper. The label, featuring three robed skeletons playing violins, adds to the artistic and esoteric nature of this cider. Listen to Johann Sebastian Bach's Violinist Jascha Heifetz is featured via the link below Album cover for Jascha Heifetz which features Bach Chaconne d-Moll aus der Partita Nr. 2 https://archive.org/details/chaconne-d-moll-heifetz Contact for Green Bench Brewing, Mead & Cider Website https://www.greenbenchbrewing.com/mead-cider Listen to Episode 398: Cider in Florida? Visit Green Bench Brewing, Mead & Cider Mentions in this Cider Chat PA Cider Fest – June 15, 2024 Who's been cross promoting cider #xpromotecider French Cider Tour 2024 Who's cross promoting cider #xpromotecider @spacetimemeads Social Scranton on Facebook – page for the city of Scranton, PA @degerdenner @tomoliverscider @ciderexplorer @thompsons_brood

durée : 00:05:06 - 118. Jascha Heifetz en Sicilienne (1924) -

Part II Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   Transcript     Welcome to the Historical String Recordings podcast, a show that gives you a chance to hear rare and early recordings of great masters and their stories.  My name is Linda Lespets and my co host is Eric Wan. This is part two of the story of the remarkably talented violinist Kathleen Parlow. In part one, we met a prodigious talent. She was the first foreigner to study in the Russian Conservatorium in St. Petersburg with the famous teacher Auer, and her most ardent admirer had given her an extraordinary gift of a Guarneri del Gesù violin. But just how far can talent, hard work, and good looks get this young woman in the beginning of the 20th century? Keep listening to find out. So now it's 1909 and Kathleen has her career taking off. She has her teacher with connections, she has her violins, and the concert that she did in the National Theatre, the one where Einar saw her for the first time, the one with Johan Halvorsen conducting, well Kathleen and Johan hit it off. And now, a year later Johan Halvorsen has finished his violin concerto, and he's been working so long and hard on it, like it's his baby and, he actually dedicates this concerto to Kathleen Parlow, and asks her to premiere it with the Berlin Philharmonic at the Modenspa outside The Hague in the Netherlands in the summer of 1909. Then Johan Halversen writes this concerto, which is sort of athletic and sort of gymnastic to play. And  he finishes it and dedicates it to her to Kathleen Parlow. And she plays this very tricky piece which kind of shows his faith in her virtuosic talents.  Well, one of her first recordings was the Moto Perpetuo by Paganini and Auer says it's one of the most difficult pieces in terms of bowing technique ever written, he says in one of his books. The reason why is one has to keep a very controlled bow, crossing strings all over the place, and play it very rapidly. Now Kathleen Parlow's recording of the Paganini Moto Perpetuo, which was made in her first recording session for HMV, is really astounding. It's the fastest  version ever made. I think it's even faster than the Jascha Heifetz and Yehudi Menuhin.  Clean as a whistle, but she also phrases it so beautifully. So she doesn't just play it technically very fast. She really shapes, you know, it's all regular sixteenth notes or semiquavers, and yet she shapes the line beautifully and really gives a direction. So when you hear this, you realize she's more than just a virtuoso performer. She's somebody with real musicianship.  She's an astounding player. And this concerto, it's quite interesting. It's, it's tricky and it's a piece that really shows off a virtuoso. So it's, it's quite a good one for Kathleen. And at the same time, he gives it a Norwegian twist. It's cleverly composed and a virtuoso such as Kathleen was perfect for playing this piece. There are references to Norwegian folk music. In the last movement, we can hear pieces that were traditionally played on the Norwegian Hardanger fiddle. So it's a violin that has sympathetic strings that run under the fingerboard, and it gives it quite like a like a haunting sound, a very kind of Scandinavian sound. So there are bits in this concerto that are from traditional music played on that violin. Then there's, there's this fun bit which makes a reference to a traditional Norwegian dance called the Halling Dance. And the Halling Dance is danced, it's danced by men at weddings or parties, and there's really no other way to describe it than breakdancing and it's like the ancestor of breakdancing. So what happens is the men, they show off their prowess to the ladies by doing this really cool sort of these acrobatics and the music for this hailing dance itself is quite tricky and you have to play it with like a rhythm to get the crowd moving and to give the dancer like the impetus to do his tricks and the men, they wear these like traditional costumes of like high waisted breeches and red waistcoats with long puffy sleeves and this little black hat. It's a bit like Mr. Darcy meets Run DMC.  You've got this man in this traditional dress doing this breakdancing, basically. And then they do they do backflips. They do that thing where you hold your foot and you jump through it with your other foot. They do like the caterpillar move. Even like spitting around on their heads. And what happens is they'll be, they'll be dancing to this music often played with, you know, the epinette and they'll be spinning around and then intermittently after spinning around, they'll do, you know, the backflip and the headspin or the, the caterpillar. And it's, I don't know how they do it. It's, they must be very dizzy. Anyway, it's incredible. And then sort of the climax of the dance is that there's a woman also, you know, dressed traditionally, and she's got this pole, this long pole. And on the end of the pole is a hat. And the idea is you have to kick the hat off, but the pole is three meters high.  So she's standing on like a ladder with the pole. And so the dancer, he'll do this kind of flying kick in the air. Either you can, you kick it off or you miss it. So in Johan Halvorsen's concerto at the end, there's this high harmonic and that you either have to hit on the G string. And like in the dance, you know, you're hitting that hat off. And so you're always there. You're always wondering if the soloist can pull it off. Can they, can they hit that high harmonic? And it's, it's the same sort of the equivalent of the spinning high kick from the dance. So, and if you were Norwegian, You would get this, I think, from the, from the music and you'd hear it. You hear that you do hear it in the music. So Kathleen Parlow, she plays this Halversen concerto and she plays it three times that year, and when she plays the piece in the National Theatre in September, there's sort of, there are mixed reviews with the critics saying that the piece was too unconventional. It's a little bit different and here's where Halvorsen, he like, he kicks up a stink a bit. This, because this concerto is like his baby and he's really protective and he's like, you know, he's quite fragile. He's, he's worked so much on this thing and people are just saying, you know, nasty things.  They don't understand the work that went into it. Yeah, you write a concerto.  So people, they flocked to hear Kathleen play Johan Halversen's concerto at the theatre. And it was full to bursting on several nights in a row. And if you consider on the same night in Oslo in another hall, Fritz Kreisler was playing and here you have Kathleen Parlow and people are just like cramming in to see her and Halvorsen's concerto. She was a huge name in her time. Only after a few performances and the negative critiques, Johan Halvorsen, he cancelled all the future performances of the work and, and when he retired, he burnt the manuscripts and asked for all the copies to be destroyed as well, it really, he was really hurt. Well, it was to be lost forever, except So a hundred years later, a copy of the concerto was serendipitously found in the University of Toronto's Faculty of Music, when one of the employees was looking through, not music, but personal documents of Kathleen's and it had been filed in there by mistake. And because it was with her personal files, it hadn't really, like her letters and things, it had been overlooked. So they found it and they resurrected it and they've re performed this concerto that had been lost for a hundred years.  And that's another role as a musician. You're also not managing, but you also have to deal with composers that could have quite be quite touchy and everything like a musician has to have, have on their plate. Well, I think being a musician, not only do you have to have an incredible skill level, you have to have an engaging personality. You have to be able to transmit a personality through the music itself. And you have to have incredible social grace to navigate charming not only your audience, but charming the people who create the concerts, the sponsors, the people who bankroll them. I think it's an incredibly difficult task. Because the skill level playing the violin is so difficult. That in itself would take up most people's energy. But on top of that, also have to be ingratiating and charming. I think it's an incredibly difficult life. Yeah, must be exhausting. And she does get exhausted. She'll have Breakdowns through, like her first one is when she's about 22. She has like almost like a nervous breakdown. And so it's kind of, she runs hot for a long time and then crashes.  And it might be like, you're saying like all these different things they have to, all the balls that they have in the air that they're juggling to keep it going. Kathleen Parlow, she's still in her teens. She's still a teenager. She has incredible success. She's performing in Germany and the Netherlands. And later that same year, she returns to Canada where she makes an extensive tour. She makes her debut in New York and Philadelphia.  I mean, she's just like, she's just all over. I mean, America's a big place and she's just all over the place.  And then in 1909, at the age of 19, she gets a recording contract with the gramophone company known as his master's voice. And that's the one with the dog listening into a recording trumpet.  And she was offered a 10 percent artist's royalty figure. So is that good? Getting 10 percent royalties? Yes. A 10 percent royalty at that time. is really quite unheard of. I believe the gramophone company gave that to their superstars. Louisa Tetrazzini, for example, was the great coloratura soprano of the day, and she received 10 percent of the sales royalty. So for Kathleen Parlow to be receiving that percentage really attests to her status. Yeah. And like you were saying before, it was, it's like amazing that we've forgotten about her. Oh, it's kind of astounding. She was an absolute star. The concert halls and one newspaper wrote an article and I quote one of the articles, the young woman could not mistake the furor she created. She was, so she was described as the greatest woman violinist in the world and the girl of the golden bow and Of course the obsession with her willowy figure and pale complexion and feminine wilds continues Which is sort of I mean even the case today I suppose will people will go into describing a woman and what she's wearing what she looks like a bit more than a guy, this thing that's just pervaded and then there was Einar Bjornsson, always there in the background. The communications between them, himself and Kathleen, was sort of constant. He was always visiting and in her diary she was, you know, just abbreviating his name because it was so his feelings for the young woman were extreme and the money he borrowed from his father, he would never be able to repay. So he was sort of indebted his whole life because of this. It must have been a little bit awkward explaining to his wife as well where the money has gone. Yeah, it's a big chunk of her dowry. I mean, even if he did tell her, maybe, you know, I don't know, maybe he didn't tell her. Maybe she, it was possible for him to do that. I'm not sure how the laws in Norway work. If, you know, sometimes in some countries, once you marry, your, your money becomes your husband's.  Basically, after the successful gramophone company recordings, she was really launched her career. She travelled all over. She travelled to, back to the United States, even though she's from Canada. She was regarded as a British artist, primarily because Canada was part of Britain, but then she made her success in the United States. And she was a very big success, so much so that the Columbia Record Company decided to offer her a recording contract. Now, there were two main companies in the United States. One of them was the Victor talking machine, which is essentially, that later became RCA Victor when it was bought by the Radio Corporation of America. But it originally started as the Victor talking machine. They had many, many big artists. They had people like Fritz Kreisler and Mischa Elman, and they also engaged a female violinist by the name of Maude Powell, who was an American born violinist. And so the Columbia Record Company decided that they should have their own roster of great instrumentalists, particularly violinists. And so they signed up Eugene Ysaie,  the great Belgian violinist, but at the same time they also signed up And I think, in a sense, that was to somehow put themselves in competition with the Victor Company. These two major record companies in the United States. So you had  the Victor Company with Mischa Elman and Fritz Kreisler and their female star, Maude Powell. And then you have Columbia answering back with Eugenie Ysaie and their female star, Kathleen Parlow.  Yeah. So you have like we were saying, like all the relationships that you have to keep juggling as a musician. And I think what Kathleen Parlow had on top of that was this. This complicated relationship with Einar, her, her patron, who was, who it was, it's all a bit ambiguous what was going on there, but she also had that in the equation. So it's not surprising that she had multiple breakdowns like she would just go for it and then, and crash. And she plays, I think Kreisler's tambourine chinois. And was that because there was sort of this, like this kind of fascination with the Orient at that time in the, in like the 1910s, 1920s? Well, the origin of tambourine chinois, apparently according to Kreisler, but Kreisler always spun tall tales. He said that he was in a Chinese restaurant in San Francisco when the idea, the musical ideas of tambourine chinois came to, to being. So, but Kreisler always. You know, invented stories all the time. I mean, the thing is, it's a very  playful, it's a very you know, fun piece of music. It's very bustling.  So, hence, that's why probably Fritz Kreisler is associated with a busy Chinese restaurant in San Francisco, because it's very, very bustling in its character. But the middle section of Tamborine Chinois It's Act Viennese,  so it's funny, because the middle section, when you hear it, it doesn't sound like anything  to do with the Orient, or if anything, it sounds like the cafe, coffeehouses  of Vienna. Yeah, it'd probably be cancelled anyway today. Well, if they heard that story, it certainly would. Then, she actually only does her first tour in America when she's 20. Kathleen, she continues with her endless touring and concert. Her money management was never great, although, you know, she's still, she's still earning quite a lot of money, and her mother and herself had, they had enough to live on, but never enough to be completely hassle free. And not that she wanted it, it seemed like she was sort of addicted to this life of the stage, and she once said when she was older that she thought maybe she had to get a job teaching, but she just couldn't do it.  She played more than 375 concerts between 1908 and 1915 and, and you can believe it to get an idea. So she's 19 year old's touring schedule. Here are the countries she played in in 1909. And you have to remember the concerts are nonstop every night, almost in different cities, but here are just, here are just some of the countries she travelled to in this year, in 1909. Germany, England, Poland, Netherlands, then she goes back to England, Ireland, Germany, England, the Netherlands, Norway, Wales, England again, Ireland again, England, Scotland, Poland. Man, I gave it, it was just, you know, huge. And in her diaries we can see that she's, like, she's just a young woman, like, about town when she's in London, she takes trips to the theatre, and she talks about going to see Madame Butterfly, and she goes shopping, and she goes to tea with people she has like, appointments at the dressmaker for fittings for new dresses, and, and all of this is in between lessons, and rehearsals, and concerts. And her diary is just jam, she has these day books and they're just jam packed. Then Auer when he comes to London, her diary, it's like she has lessons with him. And you can see she's sort of excited, she's like hours arriving and then she'll see him and then she'll often have lunch with him and lessons and sometimes the lessons are at eight o'clock at night or, or 10am on a Saturday or at the middle of the night on a Monday. And she'll skip from him to rehearsals with her pianist from Carlton Keith. And she's lots of tea. She's going to tea a lot with a lot of different people. She's still only 19 here. So her popularity, it's like, it's far reaching and she's not just playing like classical music. She'll also play just popular pieces of the day. There's Kreisler's Tambourine Chinoise. And then she'll play, there's some of the recordings. They're these Irish, little Irish. Songs. So it was to appeal to the general public as well, her repertoires and her recordings. And then in 1910, she turns 20 and she has her first tour in North America. And then in 1911, the New York Herald declares her as one of the phenomena of the musical world on par with Mischa Elman. That must have been frustrating because for years she's in the same class as him and she knows him. And everyone just keeps comparing her to, she's like, Oh, she's almost as good as this guy. But no, here they're saying she is as good as this guy. I could just, must've been a little bit frustrating. Then she makes an appearance with the Toronto Symphony in 1911 and she'll go back there many times. And in the next year, in 1912, she moved with her mother, who's still her mentor and manager and chaperone, to England, where they, they rent a house just out of Cambridge, you know, in the peaceful countryside away from the big cities. And in between her touring from here, she went, she goes to China, to the U. S., to Korea and Japan. And in Japan, she records with Nipponophone Company. She recorded quite just in a not much in a short space of time. She could have, she could have recorded more afterwards, because yeah, but she doesn't. Then the news of the tragic sinking of the Titanic in April had Kathleen jumping on a streamliner herself to play a benefit concert in New York for the survivors of the disaster. And I've seen that booklet, and that you open the booklet, and there's like, life insurance.  And then there's actually ads for another streamliner, and you're like, too soon, too soon, people don't want this. And then she plays, so on that same trip, she plays at the Met Opera. She plays Tchaikovsky's Serenade, Melancholique.  And in New York, she signed up by Columbia Record, by the Columbia Record Company. And her first records for the US label are brought out alongside those of Eugene Ysaye. So she's alongside these, they all, they must've all known each other. She was a contemporary and she just kind of slips off the radar. And as with all the recordings of the great violinists of the day, most of Paolow's recordings on American Columbia were of popular songs and that, that would attract the general public. But the fact that most of these recordings were accompanied by an orchestra and not just piano highlights her status as a star. So they had the, they got together an orchestra for her, so she's worthy of an orchestra.  Still in 1912, Kathleen, she's 22 now and she's been traveling so much, she's, now it's happening, it's hitting her, she's exhausted and she has a kind of breakdown it'd probably be like a burnout and, which, it's amazing she's lasted this long, since, you know, age 5, 6, up to 22. So she's both mentally and physically exhausted and her mother, acting as her agent, realizes that she needs to reduce some of her tours. She retreats to Meldreth, that's that house just outside of Cambridge that they have, that they've been renting. It's quite close to London, that little cottage that they have. They have easy access to London by train. And not only could they go easily to London, but traveling, traveling businessmen! From Norway! Could come to them! Easily. She continues with the concerts, one at Queen's Hall in London. So she has her little burnout, but then she's back again. Plays Schubert's Moment Musical around this time. After they've rented this home for four years, they end up buying it. So she does have enough money to buy a house, so she is you know, not frittering away all her money. So this gives her some sort of stability. And it, even though it's a, it's still a very unusual existence for a young lady of the day. So she's breaking a lot of stereotypes and this could end up being exhausting after a while. So it was nice for her to have a calm place to kick up her heels or fling off her corset. But no, she didn't, but willowy frame, she doesn't look like she's got a corset. I don't think you can play. Can you? Could you play that much? You know, you can't breathe. But, but, aren't there like old photos of, of lady violinists in corsets? I don't know how they do it. Like, you can't.  Well, you had to do everything else in the corset.  But you get kind of hot and sweaty and you're under the lights and it must have been exhausting. At least she was like lucky to have that pre Raphaelite fashion where she could be wearing, you know, the flowing sort of we're heading into the, the sort of the looser clothes in this era. But I think some people are still hanging on to corsets, but it's like the end of corsets and you're getting more loose clothing thankfully for her. And according to letters Kathleen wrote to friends her and her mother, and they fell in love with the village life in Mildreth. Kathleen was able to relax and lead a normal life in between tours. And then in 1915, you have World War I hits, and her tours are less frequent. Her, her patron Einar, must have been having some lively fun. Dinner conversations with his family on opposing sides.  So you've got, you know, with his, you know, fascist party, enthusiastic brother and his ex-prime minister brother in law and his theatre operating lefty brother and his Jewish wife and his Left wing satirical journalist sister, and her German husband, and then,  and then his patriot father. So Einar probably just wanted to run away to willowy Kathleen, and her stunning violin. But she remains in England for much of the war, and she does a few concerts locally.  And her diary is quite blank until about 1916. And she uses, like, so she uses this time to relax. So ironically, she needed a war. To have a rest. That was the only thing slowing her down. She could, because she couldn't travel and tour. Now she's 26, but I feel like she's just, she's lived so much already. It's incredible. So Meldreth was the happy place where she enjoyed their lovely garden and their croquet lawn and Miss Chamberlain from the Gables next door would come and play croquet and she could escape to another world, almost. She'll go through periods of having these sort of breakdowns. I think she just pushes, there are some people like that. They'll push themselves; they just keep pushing themselves until they collapse. And I feel like she was one of, she looks like she didn't really pace herself. She just went, just hurtling into it. She just catapults herself into life and concerts and playing.  In 1916, she returned to the US. She toured Norway and the Netherlands. For playing she was said to possess a sweet legato sound that made her seem to be playing with a nine foot and was admired for her effortless playing, hence her nickname, the girl with the nine foot bow. So yeah, so she must have had this really kind of, it's hard to tell, you want to be there in the concert hall to hear her. I feel like the recordings don't do her justice. A lot of Experiencing music and these pieces is actually going to a concert and it's the same today listening  on a you know, at home, it's not the same as being in a concert hall and having that energy of the musician and the energy of the orchestra and the and the audience,  it's very different dynamic. She recorded a few small pieces for Columbia records. And then that was, that was it. And we have no more recordings of her. And between 1917 and 1919, she wasn't able to tour outside England due to the war that was going on. And for the last 12 years, Einar Bjornsson had. He'd been this presence in her life, but now in the summer of 1920, he visited her one last time in London before sailing home for good. So that.  So it finishes at this time, so he was, he was married, he had children, he was also broke. Buying a horrendously expensive violin and giving it to a girl can do that to you. And Kathleen writes, Kathleen writes in her diary simply, E. B. Sailing home. Einar had to return to his family as soon as possible because he couldn't afford to divorce his wife. Elspeth Langdon, she was, she wasn't going to let him off that easily. And if he left, he would have had to repay the, the dowry, I imagine.  Thank you. Thank you very much.  As I said, there are just no letters of her correspondence. There's correspondence between her and everyone else, but not with them. So that still remains. But you can sort of see by circumstance what was kind of going on. And after the Great War, Kathleen Parlow, she resumed her career in full force. She gave several world tours traveling to the Middle East, to India, to China, to Korea and Japan. And she toured the States, Canada, Indonesia and the Philippines in that year and she played concerts in 56 different cities. It was just non stop and in, and when I say 56 different cities, that's not 56, you know, concerts. That's like multiple concerts in each.  City, night after night.  And then in 1926, Kathleen and her mother, they leave England and they move to San Francisco. She takes a year off due to her mental health. So again, she's like, she's overdone it. The stress and basically, you know, a nervous breakdown and she's now in her mid thirties. But after having this year off, she's back onto it. She's back touring again. It's like this addiction, like you were saying, this is what, it's kind of like her, what makes her run. It's what, You know, keeps her going. But at this point she begins to slow down slightly and she starts teaching a bit. Starts teaching more and in 1929 she tours Mexico and she travels without her mother for the first time. Because her mother, Minnie, she would have been getting quite old and then Kathleen she's 39 now. So despite playing many concerts and receiving very high praise financially, she's barely kind of breaking even and she later told an interviewer that when things were very hard she and her mother had talked about her getting a job to ensure their security for the future but she just couldn't do it. And then, but then she did end up teaching at Mills College, Oakland, California. For from 1929 to 1936, but then her world tours continued and this is like, this is how she thrived, even though she would, you know, she'd crash and burn and from the exhaustion and, but then, you know, then she would go back. She realized she had to teach to earn some money. And then she returned to Canada in 1941, where she remained until she remains there until she dies in 1963.  She's offered a job at the Toronto College of Music and she begins making appearances with orchestras. She has a pianist, she has the, she creates the Parlow String Quartet, which was active for 15 years. Even though this time was difficult financially for her, she would,  she would never give up her violin. You know, she was struggling, just scraping by, but she, she would never give up her violin and so, I mean, it was a tricky situation. It was, it was a gift. Yeah. I mean, could you imagine? Like, she must've realized what Einar went through to give this to her and she can't, you know, she can't just be like, I'm going to sell it. So there's this sort of, it's like she's holding on to a bit of him really, like, by keeping it, if she, she gives that up.  So she taught at the University of Toronto and on her wall was a large portrait of her teacher, Leopold Auer, whom she would always refer to as Papa Auer. Now that she'd given up her career as a soloist, but she still remains very active in chamber music, concerto appearance. October of 1959, she was made head of the string department at the London College of Music in West Ontario, Canada. She never marries, and she dies in Oakville, Ontario, in 1963 at the age of 72. She kept her Guarneri del Gesu until her dying day, and the instrument was sold with her estate. The Kathleen Parlow scholarship was set up with the proceeds from the sale of her violin and the money from her estate. So Kathleen Parlow was a somewhat extraordinary woman, ahead of her times in many ways, and her relationship with Einar, must have been pretty intense. And it was, there was obviously strong feelings there. And even though it's a very grey area, we don't know her love life contrasts with her, her brilliant career and her phenomenal touring and the, the energy that she had to do, it was.  Exceptional she just does these brief recordings and then she does no more. And maybe, maybe that's why we've forgotten her. Have the other, did the others go on to keep recording? Well, they did. They certainly did. I think I'm surprised that Kathleen Parlow didn't make more recordings. I really am. And I don't know what that's about. I can only speculate, but I think she also kind of retreated from concertizing, didn't she,  in her twenties? So, I mean, you know, she did play as far afield as the, you know, she went to China, she went to Japan. She even made recordings for the Niponophone Company in the early twenties. So she was obviously still a great celebrity. But it's sort of puzzling how somebody who had all their ducks in place to make a superstar career. You know, she had  talent, she had beauty, she had interest. You know, from the public, so support from her teacher, all those elements would guarantee a superstar career. But it's so mysterious that she kind of fell off the radar. So much so that her name is completely forgotten today. Yeah, it's one of the big mysteries, but it's really quite remarkable that she was such a terrific violinist, even at the end. It wasn't that she lost her nerve or lost her playing ability. She obviously had it. So there are definitely other factors. that made her withdraw from public concertizing.  And just her touring schedule is just exhausting. Like just the traveling. Yeah, it's crazy. I mean, I mean, this is truly an example of burnout. Yeah. But, but then she would, she would have the crisis and then she'd be back on, she'd be back touring.  Well, you know, she was pretty resilient. But I think just the sheer number of years, I think, must have taken its toll. I think she loved being in England, in Cambridgeshire. I think those were some really happy years for her, to have a home and in a beautiful setting. But it really, it's a very complicated life and a life that really, one would want to try to understand in a deeper way.  Yeah, and it seems a little nothing was ever very simple. Yeah, and she never, she never marries, she never has a family. It's Yes. Her life is really And you'd imagine she'd have suitors, you know, send them off because, you know, she was a talented, beautiful woman. So she's got Misha Elman. He could, like, if you were a man, you could easily get married and then your wife would have children. But at that time, if you married, like, she had to choose between getting married and her career. You couldn't work if, like and it often, like, you weren't allowed to work. Absolutely. Terrible. No, it's true. So she had this like, this threat, and that's all she could do. That was her life playing. And then if she married, that would be taken away from her. So she had to decide between, you know, a career and this. It's kind of, it's a bit sad, but yeah, it's a huge choice that she made and she  was married to life. Yeah. The sacrifice. One way or the other. Well, I think it's wonderful that she is being remembered  through this Buddulph recordings release.  And it's the first time there's ever been a recording completely devoted to her. So I'm really glad that. will be able to somehow restore her memory, just a little bit even. Well, thank you for listening to this podcast. And I hope you enjoyed this story about the incredible Kathleen Parlow.  If you liked the podcast, please rate it and review it wherever you listen to it. And I would really encourage you to keep listening to Kathleen Parlow's work. What you heard today were just excerpts from her songs. So if you would like to listen to. The whole piece, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version.  Goodbye.   ​ 

Leopold Auer was the teacher of Jascha Heifetz. If anyone has knowledge regarding performing and teaching the violin, he would be a great person to talk to. In this four part series, I will be dissecting some interesting ways to approach the violin. All references are made from his book, 'Violin Playing, As I Teach It". 0:00 Introduction 1:09 What this Episode is About 2:05 Tip 1 5:59 Tip 2 9:43 Tip 3 14:21 Tip 4 Follow us on Social Media! Facebook - ⁠⁠⁠⁠https://facebook.com/violinpodcast ⁠⁠⁠ ⁠ Instagram - ⁠⁠⁠⁠https://instagram.com/violinpodcas⁠t ⁠⁠ ⁠  Twitter - ⁠⁠⁠⁠https://twitter.com/violinpodcast⁠⁠ ⁠⁠ YouTube - ⁠⁠⁠⁠https://youtube.com/@violinpodcast⁠⁠⁠⁠  --  AFFILIATE DISCLAIMER Product links in this description may earn a commission. We only advertise products that we believe in. If you choose to purchase a product through one of our affiliate links, it is no extra cost to you, and it helps us out! -- About Violin Podcast Our mission is to bring violinists together and create a useful resource for violinists and musicians alike to help them become better violinists.

durée : 00:58:33 - Heifetz, Rubinstein et Piatigorsky, un trio légendaire - par : Aurélie Moreau - Au cours des années 1949 et 1950, les très illustres Arthur Rubinstein, Jascha Heifetz et Gregor Piatigorsky ont formé un trio surnommé par un critique le « Million Dollar Trio ». Voici leurs enregistrements : Ravel, Tchaïkovski et Mendelssohn. - réalisé par : Laurent Lefrançois

IN THIS EPISODE JOIN US ON PATREON! https://patreon.com/ClassicallyBlackPodcast Follow us on social media! https://linktr.ee/classicallyblack Donate to ISBM! https://fundraising.fracturedatlas.org/international-society-of-black-musicians Check out our website: https://www.isblackmusicians.com Classical violinist Esther Abrami faces fierce criticism for bikini photos https://www.bild.de/unterhaltung/musik/leute/klassik-star-esther-abrami-fuer-ihre-bikini-fotos-kassierte-sie-kritik-85435578.bild.html Gateways Music Festival tickets on sale now! https://static1.squarespace.com/static/6054fc59fff7d6351116773d/t/65049fa683594e17e4cd02df/1694801830589/GMF+Press+Release+-+2023-24+Season+%28September+18%2C+2023%29.pdf FROM LAST WEEK: Register for Notes Noire https://docs.google.com/forms/d/e/1FAIpQLSeN56JaI89cmwv5xDcLq889kE5eRvoBFsh_GRoBfAdkwbYM-A/viewform Help Josh get insurance & get back on his feet https://www.gofundme.com/f/help-josh-jones-get-health-insurance?utm_campaign=p_lico+share-sheet&utm_location=DASHBOARD&utm_medium=copy_link&utm_source=customer Help Emanuel attend Violin Making School https://www.gofundme.com/f/help-emanuel-attend-violin-making-school?utm_campaign=p_lico+share-sheet&utm_location=FIRSTTIME&utm_medium=copy_link&utm_source=customer Black Excellence: Kellen Gray https://www.kellengray.com/bio Piece of the Week: Bess, You is my Woman Now - George Gershwin (arr. Jascha Heifetz) https://www.youtube.com/watch?v=tDiOyKB1H8s

CLAIR DE LUNE, the album that gives continuity to SALUT D'AMOUR, presents a selection of short pieces with a characteristic expressive aspect. Yuriy Rakevich and Olga Kopylova demonstrate a unique inspiration and rhythm, which unify the miniature works, marking a concert in memory.Tracks1. 2 Canciones Mexicanas: II. Estrellita (Arr. for Violin and Piano by Jascha Heifetz) (02:50)2. Orfeo ed Euridice, Wq.30: Melodie (Arr. for Violin and Piano by Fritz Kreisler) (02:57)3. Dance of the Maidens, Op. 48 (Arr. for Violin and Piano by Fritz Kreisler) (02:33)4. Romance in D Major, Op. 3 (04:14)5. Suite Bergamasque, L. 75: III. Clair de Lune (Arr. for Violin and Piano by Alexandre Roelens) (04:16)6. Frasquita: Serenade (Arr. for Violin and Piano by Fritz Kreisler) (02:33)7. Danny Boy (Londonderry Air) [Arr. for Violin and Piano by Fritz Kreisler] (03:58)8. La plus que lente, L. 121 (Arr. for Violin and Piano by Léon Roques) (04:18)9. Marionettes No. 2: La poupée valsante “Dancing Doll” (Arr. for Violin and Piano by Fritz Kreisler) (02:33)10. Albumblatt, WWV 94 (Arr. for Violin and Piano by August Wilhelmj) (04:13)11. Six Pieces, Op. 51, TH 143: VI. Valse Sentimentale (01:48)12. Cantabile for Violin and Piano in D Major, Op. 17 (03:07)13. Poeme Op. 39 “At Twilight” (Arr. for Violin and Piano by Vilmos Tátrai) (01:57)14. 2 Nocturnes, Op. 5: No. 1 in F-Sharp Minor (Arr. for Violin and Piano by Alexander Mogilevsky) (03:20)15. Three Miniatures No. 3: Valse. Allegretto (Arr. for Violin and Piano by Galina Barinova) (03:47)Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Bárbara Leu from Azul Music.         

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Repugnant levels of violins, published by Solenoid Entity on April 12, 2023 on LessWrong. This is a rambling post about the repugnant conclusion, mass-manufacturing, metis and woo, and the fragility of expert discernment — through the lens of my experiences playing, repairing, and selling violins. (And eating discount sushi.) Epistemic status: Discussing utilitarianism-related issues that I'm poorly educated on. (Through the lens of violins, on which I fare much better.) Come for the interesting violin stuff, (don't stay for the philosophy unless you want to watch me repeatedly hitting myself on the head.) If you work in a violin shop, answering the question "how much should I spend on a violin for my child" is hard to do without revealing that you're a huge nerd. Playing violin is great. It's the most important instrument. Teaching it is a challenge. How do you help someone progress from playing like 'oh no' girl to, like, 'wow, she's only three?!' to a really, really good college graduate to being literally Jascha Heifetz? And more fundamentally: what makes Jascha Heifetz sound so damn good, and how did he get there? I think if you zoom out far enough, there are three interlinked factors at play in a violinist's ✨ sound ✨: What does their technical ability facilitate them doing, restrict them from doing, and what does it lead them towards doing? This comprises all of their movement-based competencies, the 'muscle-memory' they develop, the actual physical mechanics of how, through decades of intensive practice, their body has perfectly exapted the violin as the physical part of their aural proprioception. What are the bounds of their audiation? This is their musical creativity and imagination, the sound they hear in their head when they imagine playing. It's the mental and emotional component of their aural proprioception. Even though classical violinists are playing music written by someone else, there's creativity and emotion in their interpretation. Compare this, this, this, this, and this. Just like developing your own writing style, some of this you get from listening to other violinists play. Some of it you generate yourself through your own practice. Do they have a good instrument? Some violins sound better than others. The best violins in the world are prized (partly) for their unique, beautiful voices. Violins are usually made of wood (normally spruce and maple), and even now are almost all handmade to some extent (with more and more machine assistance for mass-produced ones). Very small differences between instruments make a big difference in sound quality. The craft of making really great violins is shrouded in centuries of metis and woo. There'll be a whole post on this, at some point, but suffice it to say that the people who make amazing violins, today, don't even themselves know precisely how they do it, and they contradict each other and themselves constantly. They sure do make them, though. Just take my word for it that a good violin matters, a lot. The above implies six one-way interactions between the factors. For this post, I just want you to take my word on three of them (keeping in mind they're part of this ever-pushing-pulling triangle): Having a good violin helps you to develop your audiation. Having a bad violin makes it hard to develop good technique. (And the obvious) Better violins just produce better sound for any given input. A good player can make a bad violin sound good, up to a point. At a certain point, a good player needs a good violin in order to improve their technique and audiation. Like how your skill as a race-car driver is sorta independent of the car you drive, BUT at a certain point you're going to need a Formula-1 car to compete at the top level, AND you won't even develop the skillset to drive a car like that if you've ne...

Link to original articleWelcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Repugnant levels of violins, published by Solenoid Entity on April 12, 2023 on LessWrong. This is a rambling post about the repugnant conclusion, mass-manufacturing, metis and woo, and the fragility of expert discernment — through the lens of my experiences playing, repairing, and selling violins. (And eating discount sushi.) Epistemic status: Discussing utilitarianism-related issues that I'm poorly educated on. (Through the lens of violins, on which I fare much better.) Come for the interesting violin stuff, (don't stay for the philosophy unless you want to watch me repeatedly hitting myself on the head.) If you work in a violin shop, answering the question "how much should I spend on a violin for my child" is hard to do without revealing that you're a huge nerd. Playing violin is great. It's the most important instrument. Teaching it is a challenge. How do you help someone progress from playing like 'oh no' girl to, like, 'wow, she's only three?!' to a really, really good college graduate to being literally Jascha Heifetz? And more fundamentally: what makes Jascha Heifetz sound so damn good, and how did he get there? I think if you zoom out far enough, there are three interlinked factors at play in a violinist's ✨ sound ✨: What does their technical ability facilitate them doing, restrict them from doing, and what does it lead them towards doing? This comprises all of their movement-based competencies, the 'muscle-memory' they develop, the actual physical mechanics of how, through decades of intensive practice, their body has perfectly exapted the violin as the physical part of their aural proprioception. What are the bounds of their audiation? This is their musical creativity and imagination, the sound they hear in their head when they imagine playing. It's the mental and emotional component of their aural proprioception. Even though classical violinists are playing music written by someone else, there's creativity and emotion in their interpretation. Compare this, this, this, this, and this. Just like developing your own writing style, some of this you get from listening to other violinists play. Some of it you generate yourself through your own practice. Do they have a good instrument? Some violins sound better than others. The best violins in the world are prized (partly) for their unique, beautiful voices. Violins are usually made of wood (normally spruce and maple), and even now are almost all handmade to some extent (with more and more machine assistance for mass-produced ones). Very small differences between instruments make a big difference in sound quality. The craft of making really great violins is shrouded in centuries of metis and woo. There'll be a whole post on this, at some point, but suffice it to say that the people who make amazing violins, today, don't even themselves know precisely how they do it, and they contradict each other and themselves constantly. They sure do make them, though. Just take my word for it that a good violin matters, a lot. The above implies six one-way interactions between the factors. For this post, I just want you to take my word on three of them (keeping in mind they're part of this ever-pushing-pulling triangle): Having a good violin helps you to develop your audiation. Having a bad violin makes it hard to develop good technique. (And the obvious) Better violins just produce better sound for any given input. A good player can make a bad violin sound good, up to a point. At a certain point, a good player needs a good violin in order to improve their technique and audiation. Like how your skill as a race-car driver is sorta independent of the car you drive, BUT at a certain point you're going to need a Formula-1 car to compete at the top level, AND you won't even develop the skillset to drive a car like that if you've ne...

OK…a few months since episode 24 has turned into almost two years. But we are finally going to finish the great story about how early recording devices became the music machines of the 1950s. So get ready to hear some great tunes while we learn about how we got the music you want when you want it with Volume 112: Music America Loves Part 2. Credits and copyrights Various – 60 Years Of "Music America Loves Best" Label: RCA Victor Red Seal – LM-6074 Format: 2 x Vinyl, LP, Compilation, Gatefold Country: US Released: 1959 Genre: Jazz, Pop, Classical, Folk, World, & Country Style: Vocal, Opera, Romantic, Swing, Instrumental We'll hear 7 of the 14 songs on disk two of this two-record set, which is sides 2 and 3. Duke Ellington–Take The "A" Train Composed by Billy Strayhorn and released in 1941, “Take the 'A' Train” became the Duke Ellington orchestra's signature tune. The February 15, 1941 recording of the song remained on the top charts for seven weeks and is now considered the definitive version. Artie Shaw–Begin The Beguine written by Cole Porter who composed the song between Kalabahi, Indonesia, and Fiji during a 1935 Pacific cruise. Recorded July 24, 1938 Leopold Stokowski And The Philadelphia Orchestra–Blue Danube Waltz Composed by Johann Straus II in 1867 Recorded in 1927 José Iturbi–Polonaise In A-Flat composed by Frédéric Chopin in 1842 Recorded in 1946 Perry Como–Prisoner Of Love Clarence Gaskill, Russ Columbo, Leo Robin om 1931 Recorded in March 1946 May the bird of happiness fly up your nose Jan Peerce–Bluebird Of Happiness written by Edward Heyman, Sandor Harmati, Harry Parr-Davies Recorded in 1958 Jascha Heifetz–Hora Staccato Hora staccato, written in 1906, is a virtuoso violin showpiece by Grigoraș Dinicu. It is a short, fast work in a Romanian hora style, and has become a favorite encore of violinists, especially in the 1932 arrangement by Jascha Heifetz you just heard. I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

Synopsis We probably have the irrepressible playwright, music critic, and ardent socialist George Bernard Shaw to thank for this music—the Third Symphony of Sir Edward Elgar. Shaw had been trying to persuade Elgar to write a Third Symphony, and, early in 1932, had written to Elgar: "Why don't you make the BBC order a new symphony. It can afford it!" A few months later, Shaw dashed off a postcard with a detailed, albeit tongue-in-cheek program for the new work: "Why not a Financial Symphony? Allegro: Impending Disaster; Lento mesto: Stone Broke; Scherzo: Light Heart and Empty Pocket; Allegro con brio: Clouds Clearing." Well, there was a worldwide depression in 1932, but the depression that had prevented Elgar from tacking a new symphony was more personal: the death of his beloved wife in 1920. Despite describing himself as "a broken man," unable to tackle any major projects, when Elgar died in 1934, he left behind substantial sketches for a Third Symphony, commissioned, in fact, by the BBC. Fast forward 64 years, to February 15th, 1998, when the BBC Symphony gave the premiere performance of Elgar's Third at Royal Festival Hall in London, in a performing version, or "elaboration" of Elgar's surviving sketches, prepared by the contemporary British composer Anthony Payne. It was a tremendous success, and, we would like to think, somewhere in the hall the crusty spirit of George Bernard Shaw was heard to mutter: "Well—about time!" Music Played in Today's Program Edward Elgar (1857-1934) Symphony No. 3 (elaborated by Anthony Payne) BBC Symphony; Andrew Davis, conductor. NMC 053 On This Day Births 1571 - possible birth date of German composer Michael Praetorius, in Creuzberg an der Werra, near Eisenach; 1847 - Austrian composer Robert Fuchs, in Frauenthal, Styria; 1899 - French composer Georges Auric, in Lodève; 1907 - French composer and organist Jean Langlais, in La Fontenelle; 1947 - American composer John Adams, in Worcester, Mass.; 1949 - American composer Christopher Rouse, in Baltimore, Maryland; Deaths 1621 - German composer Michael Praetorius, supposedly on his 50th birthday, in Wolfenbüttel; 1857 - Russian composer Mikhail Glinka, age 52, in Berlin; 1887 - Russian composer Alexander Borodin (Gregorian date: Feb. 27); 1974 - Swedish composer Kurt Atterberg, age 86, in Stockholm; 1992 - American composer William Schuman, age 81 in New York; He won the first Pulitzer Prize for Music in 1943 for his Walt Whitman cantata, "A Free Song"; Premieres 1686 - Lully: opera "Armide et Renaud," (after Tasso) in Paris; 1845 - Verdi: opera "Giovanna D'Arco" (Joan of Arc) in Milan at the Teatro all Scala; 1868 - Tchaikovsky: Symphony No. 1 ("Winter Dreams") (first version), in Moscow (Julian date Feb. 3); A revised version of this symphony premiered in Moscow on Nov. 19/Dec. 1, 1883; 1874 - Bizet: "Patrie" Overture, in Paris, by the Concerts Pasedeoup; 1884 - Tchaikovsky: opera "Mazeppa" in Moscow at the Bolshoi Theater (Julian date: Feb. 3); 1919 - Loeffler: "Music for Four Stringed Instruments" at New York's Aeolina Hall by the Flonzaley Quartet; 1939 - Miakovsky: Symphony No. 19 for wind band, in Moscow; 1945 - Paul Creston: Symphony No. 2, by the New York Philharmonic, with Arthur Rodzinski conducting; 1947 - Korngold: Violin Concerto, by the St. Louis Symphony, with Jascha Heifetz as soloist; 1958 - Diamond: orchestral suite "The World of Paul Klee," in Portland, Ore.; 1965 - B.A. Zimmermann: opera "Die Soldaten" (The Soldiers), in Cologne at the Städtische Oper; Others 1940 - American Music Center, a library and information center for American composers, is founded in New York City. Links and Resources On Elgar

Un día como hoy, 2 de febrero. Nace: 1502: Damião de Góis, filósofo portugués. 1650: Nell Gwyn, actriz de teatro británica. 1852: José Guadalupe Posada, grabador e ilustrador mexicano. 1882: James Joyce, escritor irlandés. 1883: Candelario Huízar, compositor mexicano. 1901: Jascha Heifetz, violinista lituano. 1901: Jascha Heifetz, violinista lituano. 1963: Eva Cassidy, cantante y guitarrista estadounidense. Fallece: 1594: Giovanni Pierluigi da Palestrina, compositor italiano. 1921: Luigi Mancinelli, director de orquesta y compositor italiano. 1921: Luigi Mancinelli, director de orquesta y compositor italiano. 1970: Bertrand Russell, matemático y filósofo británico, premio nobel de literatura en 1950. 1970: Bertrand Russell, matemático y filósofo británico, premio nobel de literatura en 1950. 1996: Gene Kelly, bailarín y actor estadounidense. 2014: Philip Seymour Hoffman, actor estadounidense. Conducido por Joel Almaguer Un producción de Sala Prisma Podcast. 2023

Buckle up for another epic run of this guy's fucking garbage. We start looking at the story of Amos and Edda finally doing it in Brussels during a cello competition. It begins with Edda making a move on Amos which causes him to have the hiccups, which results in Amos wanting to go home. But Edda claims she has a cure, which is (of course) fucking. As soon as they've done the deed, Edda gets on the phone back home to tell her mom that, yes, she used the same "hiccup cure" that Juliette did when Juliette first humped Elliott. Because of COURSE the women had to be the instigators and the men had to be uncertain, terrified idiots about sex. Amos and Edda can't keep their hands off each other, which means that Amos pins Edda (very uncomfortably) against a piano. This embrace is viewed by a hot air balloon filled with tourists? Prisoners of war? News reporters? It is so very unclear who the people are and why they're in a hot air balloon floating through downtown Brussels. But why should anything ever make sense in this fucking strip? Why? (Part 1 of 3) The Chickweed strips we discuss this episode: The ones where Edda comes on so strongly, Amos has hiccups, but she has a cure are here (https://twitter.com/9chickweedRAGE/status/1619827633470185472?s=20&t=gtVxrdmvLSagRKhZC7Uh7g). The ones where Edda tells Juliette about fucking Amos, then Edda and Amos make out while rehearsing are here (https://twitter.com/9chickweedRAGE/status/1619827637031145472?s=20&t=gtVxrdmvLSagRKhZC7Uh7g). The ones with the inexplicable spy balloon are here (https://twitter.com/9chickweedRAGE/status/1619827640550191104?s=20&t=gtVxrdmvLSagRKhZC7Uh7g). This no longer virginal episode includes: Hangers Broadway Britney Spears Laundry vs. clothes Catholicism Madonna vs. whore Martin Scorsese High five / down low too slow The D.A. hairstyle (https://en.wikipedia.org/wiki/Ducktail) Lenny Briscoe Jerry Orbach, Broadway star (https://www.youtube.com/watch?v=8uGlL0xafP8) The definition of infatuation Hiccups Jascha Heifetz Tuba farts Amos's Patented Panty-Dropper Helium balloons in Burbank Balloon day in church Cleveland Balloonfest (https://www.theatlantic.com/video/index/562556/cleveland-balloonfest/) 1986 Liquid mercury Pirate ship ride Pro-Butt vs. Am-Butt All of the hiccup cures (https://www.healthline.com/health/how-to-get-rid-of-hiccups#treatment) Pausing the recording Turtlenecks Syrup bottles Star Trek: The Next Generation The End Pin International Cello Competition Chicken wire cages Hot air balloons The Montgolfier Brothers (https://www.museumofflight.org/Exhibits/montgolfier-brothers-balloon) The Hindenburg The Last of Us (https://www.museumofflight.org/Exhibits/montgolfier-brothers-balloon) News balloons Talk to Us! Having trouble understanding what's going on in a 9 Chickweed Lane strip you just read? Send it our way! We'll take a shot at interpreting it for you! Or maybe you just want someone to talk to? We're on Twitter: @9ChickweedRAGE (https://twitter.com/9chickweedRAGE)

durée : 01:58:03 - Relax ! du vendredi 09 décembre 2022 - par : Lionel Esparza - Disparu il y a tout juste 35 ans, Jascha Heifetz, dont le seul nom est devenu synonyme de perfection violonistique, méritait bien que l'on célébrât aujourd'hui ce virtuose inouï et cette personnalité hors du commun.

On this episode of Adventures In Good Music Dr. Karl Haas presents the music of film composer Miklós Rózsa (April 18, 1907 – July 27, 1995). He was a Hungarian-American composer best known for his nearly one hundred film scores, he nevertheless maintained a steadfast allegiance to absolute concert music throughout what he called his "double life". Rózsa achieved early success in Europe with his orchestral Theme, Variations, and Finale (Op. 13) of 1933, and became prominent in the film industry from such early scores as The Four Feathers (1939) and The Thief of Bagdad (1940). The latter project brought him to Hollywood when production was transferred from wartime Britain, and Rózsa remained in the United States, becoming an American citizen in 1946. During his Hollywood career, he received 17 Academy Award nominations including three Oscars for Spellbound (1945), A Double Life (1947), and Ben-Hur (1959), while his concert works were championed by such major artists as Jascha Heifetz, Gregor Piatigorsky, and János Starker.

本期不讲故事了，咱们做个名曲赏析吧，聊聊圣桑献给萨拉萨蒂的《引子与回旋随想曲》。本期选用的是海菲兹版本，如果你有更喜欢的版本，欢迎留言推荐！包含曲目：0:26- Introduction et rondo capriccioso in A Minor, Op. 28 (引子与回旋随想曲) , Jascha Heifetz

Today in the studio we have a diary that was kept by a teenage girl during her family's emigration odyssey from Russia to the United States. They left Moscow in 1917, embarking on a year-long journey that took them across the continent on the Trans-Siberian Railroad, then through Vladivostok, Yokohama, Hawaii, and San Francisco. Mostly written in Cyrillic, the diary contains photos, little English-language jokes, and references to Jascha Heifetz, a family friend—and violin prodigy—whose family took a parallel trip when they left Russia. Learn about what makes a diary interesting, our translation processes, and the importance of treating these historical documents with respect on this meandering episode of the #brattlecast.

Niccolò Paganini, Yehudi Menuhin, Jascha Heifetz, Daniel Hope - sie alle spielten oder spielen darauf: auf einer Violine aus den Werkstätten der Familie Guarneri. Das BR-Klassik "Stichwort" stellt die Instrumentenbau-Dynastie vor.

It's Fathers Day…I miss my dad very much. He's been gone two and half years now leaving us with this magnificent record collection. The trumpet was the biggest musical connection I had with my dad. And I know this is the kind of record he probably pulled out very often. So get ready for seven more trumpet players I have yet to introduce you to in Volume 77: Trumpets for Father's Day. Credits and copyrights: Various – Man With A Horn: Trumpet Solos By Famous Jazzmen Label: Decca – DL 8250 Format: Vinyl, LP, Promo, Mono Released: 1954 Genre: Jazz Style: Big Band, Ragtime, Dixieland, Swing Randy Brooks And His Orchestra - The Man With The Horn Featuring – Randy Brooks Music by Jack Jenney and Bonnie Lake. Lyrics by Eddie DeLange.  Jimmy McPartland And His Jazz Band -  Singin' The Blues Till My Daddy Comes Home Featuring – Jimmy McPartland by Con Conrad, Sam Lewis, J. Russel Robinson, Joe Young Glen Gray & The Casa Loma Orchestra - Memories Of You Featuring – Sonny Dunham by Eubie Blake, Andy Razaf Muggsy Spanier And His Ragtimers - Hesitating Blues Featuring – Muggsy Spanier A traditional tune meaning no known composer. Bunny Berigan And His Blue Boys - You Took Advantage Of Me Featuring – Bunny Berigan by Richard Rodgers Andy Kirk And His Orchestra - McGhee Special Featuring and written by Howard McGhee Ralph Mendez - Hora Staccato composed and originally performed by Jascha Heifetz, Grigoras Dinicu in 1906 I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

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

In Brahms pt. 14 our pause in the narrative continues as we study the greatest of all violin concertos, that by Johannes Brahms. We will analyze the relationship between Brahms and the work's first, possibly finest performer Joseph Joachim, putting the concerto in the context of his performing life and in relation to other works in the genre. We conclude with a discussion of cadenza's, but Joachim and others, which happily allows us to revisit Fritz Kreisler, seeing how his life intersects with Joachim's and Brahms's, and discuss another of my heroes: the violinist Jascha Heifetz. Works heard in this episode in order (all by Brahms): -Concerto in D major for Violin and Orchestra, op. 77 Unmarked recording from Musopen's "European Archive" (possibly Jacques Thibaud...) 1. Allegro non troppo 2. Adagio  3. Allegretto giocoso, ma non troppo vivace https://musopen.org/music/2130-violin-concerto-in-d-major-op-77/ ----------------- Subscribe on iTunes and give us a 5-star review! Share with your friends! download our app! Visit and like our Facebook page! https://www.facebook.com/thegreatcomposerspodcast/?ref=bookmarks

I speak with Elaine Klimasko, who is a Canadian violinist who joined the newly-formed National Arts Centre Orchestra in 1969 as the youngest member, and is well-known as a teacher. Her students are very frequently winners of competitions and hold important positions as chamber and orchestral musicians all over North America. In 2003 NACO Music Director Pinchas Zukerman asked her to launch the first Junior Young Artists Programme for the NAC Summer Music Institute. In this episode she tells many stories from her life, and about some legendary teachers she studied with including Josef Gingold and Lorand Fenyves. She reflects on her long career, from the perspectives  of a teacher and as a player. Timestamps are listed below!  Every episode is also available as a video, the link is here: https://www.leahroseman.com/episodes/elaine-klimasko-e11-s2-violinist-and-teacher Please buy me a coffee? https://ko-fi.com/leahroseman Thanks! Elaine Klimasko: "But I do say to all of my students though, if you think that playing in a symphony orchestra is secondary, that's the worst thing you could be thinking because the joy of orchestral playing, and I'm sure you feel the same way, Leah, is, there's nothing in life to me that compares with that. When you're playing one of those grand symphonies and that buildup a crescendo and you hear the horns and the French horns... I mean, I'm just covered in goosebumps. In my seventies still, and I don't know of any other profession that makes you feel that way. Maybe a doctor delivering a baby. I don't know. But it's pretty special." Timestamps ( 00:00) Intro ( 00:51) Joining the National Arts Centre Orchestra ( 12:29) music festivals like Kiwanis (13:04) dealing with stagefright (15:18) more about John Moskalyk (19:12) Lorand Fenyves ( 23:08) perfect pitch (25:52) Josef Gingold ( 31:52) violin teaching ( 33:42) music festivals (37:15) mentoring students who go on as professional musicians ( 41:46) the joy of orchestral playing ( 42:33) advice for orchestral auditions (45:07) the role of orchestral players in educational outreach ( 46:46) the Young Artists Program with Pinchas Zukerman ( 51:08) Pinchas Zukerman (55:23) story about Jascha Heifetz ( 56:08) chamber music ( 59:07) history of the NAC and Hamilton Southam (01:02:00) advice for serious players about buying instruments and bows ( 01:07:15) reflections on teaching ( 01:12:14 )building audiences for the future --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Trotz eines Altersunterschieds von nahezu zwei Generationen bestehen zwischen Fritz Kreisler und Yehudi Menuhin zahlreiche Verbindungen. Für den jungen Menuhin ist Kreisler ein Idol – ebenso wie Jascha Heifetz und Mischa Elman. Er scheut sich nicht, ihn mit Beethoven, seinem Lieblingskomponisten, zu vergleichen und gesteht, dass ihm seine «subtile Emphase» mehr liegt als das «glanzvolle, aber weniger tiefgründige» Spiel von Heifetz. Kreisler stellt seinerseits fest, dass der junge Menuhin bereits mit zwölf Jahren einen Großteil der ihm von der Natur verliehenen Gaben zur Entfaltung gebracht hat und vor allem das anspruchsvollste Ziel eines jeden Künstlers erreicht hat, nämlich unabhängig vom Repertoire sich immer selbst treu zu bleiben. Als Chef der Menuhin Academy Soloists (deren Leitung er 2019 übernommen hat) knüpft Renaud Capuçon an diese geistige Verwandtschaft an, indem er die Werte, die dem Mythos dieser beiden Titanen des Violinspiels zugrunde liegen, in den Mittelpunkt seiner Lehrtätigkeit stellt.

Malgré leur différence d'âge (près de deux générations), les liens entre Fritz Kreisler et Yehudi Menuhin sont nombreux. Pour le jeune Menuhin, Kreisler fait figure d'idole, au même titre que Jascha Heifetz et Mischa Elman. Il n'hésite pas à le comparer à Beethoven, son compositeur préféré, et avoue se sentir plus proche de son «emphase subtile» que de la «texture éblouissante mais plus superficielle» du jeu de Heifetz. Kreisler le lui rend bien, qui estime qu'à l'âge de douze ans le jeune Menuhin a déployé une grande partie des dons que la nature lui a donné, et surtout qu'il a atteint l'objectif le plus difficile de tout artiste: demeurer soi-même quel que soit le répertoire interprété. À la tête des Menuhin Academy Soloists (dont il a repris la direction en 2019), Renaud Capuçon perpétue cette illustre filiation en plaçant au centre de son enseignement les valeurs qui ont façonné la légende de ces deux géants du violon.

.Thank you for watching. Please subscribe, hit that like button, and get notifications for new episodes! If you're new to Tuesday Conversation with Friends, it is an interview series featuring world-class musicians with their work and a glimpse into who they are as people. You can watch the video version of this interview on YouTube or listen to it on the go on Apple Podcast. (scroll down for links) Joining me here is Israeli concert pianist, composer, pedagogue, and bestselling author Rami Bar-Niv. As usual, we have included some of Rami's incredible piano solos in this episode. And we will learn about how he created an international solo concert career! Rami came from a musical family with a composer father and a piano-teacher mother. He started writing music as early as age 6! But the dedication required for his piano playing superseded his composition days until later in life. There are some fun stories and anecdotes from this musical family you will find during our chat. So.... what does a concert pianist think about practicing? The answer may surprise you! The preparation of a concert pianist and how to create a self-managed international concert career! What is Rami's teaching philosophy, especially given that he's written a book on piano teaching? You might find it surprising as well! "Art imitates life, and life imitates art." Rami's musical life is closely tied to his personal life through travels, joy, and tragedies. The stories are recorded in his compositions. You won't want to miss the stories behind each of the stunning performances/compositions featured in this piece! 0:00 Opening, Introduction, and Libertango (arranged by Rami Bar-Niv) 3:10 Early childhood, a musical family, and the Jascha Heifetz story 7:45 The preparation of a concert pianist and what it takes to create a self-managed international concert career. 12:26 "The Ritual Fire Dance" by M. de Falla performed by Rami Bar-Niv 15:37 Daily Practice? Maybe..... 17:30 Pedagogy and Adult Piano Camps 20:10 Pain, Tragedy and Music: The creation of the Vocalise on Bach's Prelude #1 in C Major (Book 1) 22:50 Vocalise on Bach's Prelude #1 in C Major (Book 1), Composed and performed by Rami Bar-Niv 26:27 What goes in the compositions: life in America (jazz, blues, and rag), classical musical training, and the Jewish tradition. 29:09 Blue Rag: composed and performed by Rami Bar-Niv #piano #pianist #pianosolo #pianocover #pianolessons #pianoteacher #classicalmusic #classicalmusicians #blues #rag #Strauss #Bach #deFalle #Piazzolla #libertango #concertpianist #beethoven #schuman #Schubert #Rachmoninoff #TheRitualFireDance #PreludeInCMajor #BlueRag --- Send in a voice message: https://podcasters.spotify.com/pod/show/shirley-wang6/message Support this podcast: https://podcasters.spotify.com/pod/show/shirley-wang6/support

Si svolge sabato 6 novembre il  primo dei due concerti sinfonici al Teatro Verdi di Trieste, per una mini rassegna d'autunno che porta a Trieste artisti importanti del panorama mondiale e che si aggiunge agli spettacoli già annunciati per il 2021.  Protagonisti del primo concerto di sabato il direttore Pinchas Steinberg e il violinista Kuba Jakowicz. Il programma prevede Camille Saint-Saëns, concerto per violino e orchestra n. 3 in si minore op. 61, e Johannes Brahms, seconda Sinfonia in re maggiore. Orchestra della Fondazione Teatro Lirico Giuseppe Verdi. Per Steinberg è un gradito ritorno a Trieste, dopo aver diretto al Verdi il concerto inaugurale della Stagione Sinfonica 2018. Nato in Israele, ha studiato violino negli Stati Uniti con Joseph Gingold e Jascha Heifetz, e composizione a Berlino con Boris Blacher. Ha debuttato come direttore d'orchestra nel 1974 con la RIAS Symphony Orchestra di Berlino, il primo di una lunga serie di prestigiosi impegni con importanti orchestre in tutto il mondo. Risale al 1980 invece il suo debutto al Teatro Verdi di Trieste, in occasione della Stagione Sinfonica di primavera. Ha inoltre ricoperto la carica di Direttore ospite permanente presso la Wiener Staatsoper, Direttore Principale della Radio Symphonie Orchester di Vienna, Direttore musicale dell'Orchestre de la Suisse Romande a Ginevra e Direttore Principale della Budapest Philharmonic Orchestra. Gli impegni recenti includono concerti e produzioni operistiche a Parigi, Tokyo, Sydney, Madrid, Budapest, Berlino, Barcellona, Monaco, Torino, Helsinki. Kuba Jakowicz, classe 1981, nato a Varsavia, ha ereditato la passione per la musica dal padre. Si è messo in luce nel 2001 con la Filarmonica di Monaco, l'Orquesta National de España a Madrid e l'Orchestre National de Montpellier e da allora ha girato tutto il mondo, esibendosi con grandi orchestre, in occasione di tanti eventi internazionali di rilievo. È stato l'ultimo allievo del prof. Tadeusz Wronski, uno dei padri della scuola violinistica polacca. Il secondo concerto si terrà sabato 13 novembre con il direttore Nikolas Nägele e il violoncellista Mischa Maisky. Inizio di entrambi gli spettacoli ore 20.30. I biglietti per i due concerti d'autunno sono in vendita in ogni ordine di posto all'interno del teatro. La biglietteria è aperta da martedì a sabato dalle 9 alle 16. Domenica dalle 9 alle 13.30. Qui l'intervista al direttore artistico del Teatro Verdi di Trieste Paolo Rodda:

Tracy Silverman, electric violin virtuoso and pioneer, and conductor Devin Patrick Hughes speak about “The Agony of Modern Music,” the history of how many strings came to be on the violin, Tracy's debut with the Chicago Symphony, his stint as a musical Olympian, how to not achieve perfection, playing like Ray Charles, Jascha Heifetz, and Jimi Hendrix. He also discusses his collaborations with Terry Riley, John Adams and his Electric Violin Concerti, and his album Between the Kiss and the Chaos.   Described as “the greatest living exponent of the electric violin” by the BBC, pioneering violinist and composer Tracy Silverman believes “strings must evolve or they will perish” and his mission is to reconnect strings with our popular culture and to teach string players to groove. His groundbreaking work incorporating rock, jazz, Americana, hip-hop, and other popular genres with the 6-string electric violin has upended the contemporary classical genre, and his strum bowing method has been adopted by performers all around the world.  Terry Riley described Tracy's violin playing as being like an orchestra itself. John Adams said: “When I heard Tracy play I was reminded that in almost all cultures other than the European classical one, the real meaning of the music is in between the notes.  No one makes that instrument sing and soar like Tracy, floating on the cusp between Heifetz and Jimi Hendrix.” Tracy was first violinist in the Turtle Island String Quartet, and was named one of the 100 distinguished alumni by the Juilliard School, and as a composer has 3 Electric Violin concerts among other works, and has performed concertos written for him by John Adams, Terry Riley, Nico Muhly, and Kenji Bunch. The violin virtuoso and humanitarian was recently featured on NPR's Tiny Desk Concerts, Performance Today, CBS Sunday Morning, and A Prairie Home Companion, and is an internationally in-demand clinician and currently teaches at Belmont University in Nashville.  Thank you for joining us on One Symphony and thanks to Tracy Silverman for sharing his performances and works. You heard Between the Kiss and the Chaos, Hundred Percent Forever, the Beatles Here Comes the Sun, Axis and Orbits, Crazy Times, John Adams's the Dharma at Big Sur, all performed by Tracy Silverman.   Additional performances were by the Beatles, Fanny Clamagirand, Sinfonia Finlandia, Nikolaus Harnoncourt, the Berlin Philharmonic, the BBC Symphony, and John Adams. Thanks to the record labels Delos, Naxos, Acewonder, and Nonesuch for making this episode possible!  You can check out Tracy's music and books at  tracysilverman.com and strumbowing.com. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to lend your support. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

The great Jascha Heifetz performs:Tchaikovsky: Violin Concerto in DMendelssohn: Violin Concerto in E minorFritz Reiner conducts the Chicago SymphonyCharles Munch conducts the Boston SymphonyPurchase the music (without talk) at:http://www.classicalsavings.com/store/p1400/The_World%27s_Most_Favorite_Violin_Concertos.htmlYour purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Siwoo Kim, violinist and Devin Patrick Hughes, conductor speak about the violin virtuoso's early life, his mindset instilled from his mother, Siwoo's approach to phrasing, singing, and repertoire, as well as VIVO Music Festival, composers that excite us, and the music that make's us cry. Other topics include teachers and collaborating with composers and musicians.   Violinist SIWOO KIM has been described as “incisive” and “compelling” by The New York Times and playing with “stylistic sensitivity and generous tonal nuance” by the Chicago Tribune. Siwoo performs as soloist and chamber musician, and as a multifaceted entrepreneur, co-founded the VIVO Music Festival in his hometown of Columbus, Ohio. Siwoo made his Carnegie Hall debut with the Juilliard Orchestra, and has performed with orchestras around the world including the Staatsorchester Brandenburgisches Frankfurt, Houston Symphony, Kwazulu-Natal Philharmonic, in venues like Walt Disney Concert Hall, and many more! And I should say that very soon he'll be returning to the Salina Symphony! He has collaborated with world-renown artists such as Itzhak Perlman, Jeremy Denk, Joyce DiDonato, Mitsuko Uchida, and string quartets such as Guarneri, Julliard, and Takács. He has been featured as a guest artist at international festivals including those at Tivoli, Bergen, and Ensemble Ditto in South Korea and has taken top prizes in many competitions including Crescendo, Juilliard, and youngArts. Siwoo welcome to One Symphony, I'm so excited to be speaking with you today!   Thank you for joining us on One Symphony and thanks to Siwoo Kim for sharing his performances and insights. Thank you to all the incredible performers and record labels that made this episode possible including Sony and Linn records.   Bach's Second Violin concerto was performed by Siwoo Kim and the New York Classical Players conducted by Dongmin Kim. Mozart's 5th Violin Concerto was performed by Siwoo Kim and the Orchestra Royal de Chambre de Wallonie, with Jean-Jacques Kantorow conducting. Bruch's Scottish Fantasy was performed by Jascha Heifetz and the Boston Symphony conducted by Charles Munch Samuel Adler's Violin Concerto was performed by Siwoo Kim and Brandenburgisches Staatsorchester Frankfurt, conducted by Emily Freeman Brown.   You can check out Siwoo's website and schedule online at http://www.siwookim.com and his upcoming music festival at https://www.vivofestival.org. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to lend your support. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

Jess Gillam and conductor Jonathan Bloxham share the music they love. With a beautifully pensive tango from Piazzolla, Curtis Mayfield's life-affirming song 'Move on Up' and court jesters and curses from Verdi. Also, Anna Clyne is inspired by Persian poetry, Nick Drake sings about growing up and Haydn keeps to time. Playlist: Haydn - Symphony No. 101 in D major 'The Clock' - finale (Chamber Orchestra of Europe, Claudio Abbado - conductor) Piazzolla – Oblivion (Gidon Kremer - violin, Per Arne Glorvigen - bandoneon, Alois Posch - double bass, Vadim Sakharov - piano) Curtis Mayfield – Move On Up Anna Clyne – DANCE: I. when you're broken open (Inbal Segev - cello, London Philharmonic Orchestra, Marin Alsop - conductor) Verdi – “Cortigiani, Vil Razza Dannata” - Rigoletto, Act 2 (Sherrill Milnes - baritone, Rigoletto, London Symphony Orchestra, Richard Bonynge - conductor) Nick Drake – Place to Be Brahms - Piano Trio, Op. 8 in B - 1st mvt, Allegro con brio (Jascha Heifetz - violin, Arthur Rubinstein - piano, Emanuel Feuermann - cello) Michael Nyman – Water Dances - Stroking… Syncronizing (Michael Nyman Band)

Welcome! Our newest book club member is Author Douglas Rappaport. Doug has written a wonderful coming of age story titled Reckoner. If you are looking for your next great read - Doug may be the storyteller/author you are looking for. The Reckoner is available on Amazon https://www.amazon.com/gp/product/B08PDM66VJ/ref=dbs_a_def_rwt_hsch_vapi_tkin_p1_i1 About Douglas Rappaport DOUGLAS RAPPAPORT was originally a classically trained violinist and composer, having studied as a young man at various conservatories in the U.S. and abroad. During his college years, Douglas studied under famed protégé of Jascha Heifetz, Erick Friedman, and after graduate work at Yale University, went on to U.S.C. where he received an Advanced Studies degree in Film and Television Scoring. He also studied at Goldsmiths College (part of the University of London), Guildhall, and London International Film School, amongst others. Concerning Douglas Rappaport's 2003 debut novel, One Day the Weatherman, Absolutewrite.com wrote: "Rappaport's work is very detail-oriented and his writing is extremely descriptive; it makes for incredible realism...." His second book, Victim of Circumstance, climbed to #2 on Amazon's Free Kindle bestseller list (nonfiction) in 2014. Douglas's short fiction has also earned several distinctions, including an invitation to the exclusive Sirenland Writers Conference in Positano, Italy. Rappaport is currently working on his newest novel, Dead People. --- Send in a voice message: https://anchor.fm/bright-headed-publishing/message

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

Les carnets de Gautier Capuçon - Jascha Heifetz

durée : 00:16:00 - Disques de légende du mercredi 12 mai 2021 - En août 1950, trois musiciens formidables, le pianiste Arthur Rubinstein, le violoniste Jascha Heifetz et le violoncelliste Gregor Piatigorsky, enregistrent le Trio avec piano n° 1 de Mendelssohn. L'ensemble, qui s'est formé l'année précédente, est surnommé le "Million Dollar Trio" par un critique.

Gregory Harrington: Glass Hour; with Mark Shapiro and the Janáček Philharmonic (Estile Records) Jump to CD giveaway form One thing we can all agree on is that the pandemic has impacted how we perceive the passage of time. The days seem to go slow, while the year goes by quickly. Maybe you feel as if you’ve been stuck in a Ground Hog Day scenario. Violinist Gregory Harrington decided to explore the concept of time through two works by Philip Glass on his new recording, Glass Hour. Harrington, with conductor Mark Shapiro, traveled to the Czech Republic to make the recording with the Janáček Philharmonic. Can you talk about the conception of this project? Harrington: “I had heard The American Four Seasons a number of years ago, and there are two beautiful recordings. That work really spoke to me and I said, ‘I can actually bring something completely unique to this. Something that hasn't been recorded or that hasn't been said. It doesn't really matter if people like it or not. This recording is purely me.’ That was the first thing. The second part was that this was a 40- to 45-minute concerto. How do we round out the disc? “I've loved making transcriptions. I've been making them for the last 10 years, whether it's solo Bach, Johnny Cash or Nine Inch Nails. Having heard The Hours, you always feel a tremendous emotional connection with the work. I decided that the best thing was to create a new work based on The Hours, a concert suite for violin and orchestra, very much in the vein with violinists Nathan Milstein and Jascha Heifetz’s transcriptions from decades ago. I was fortunate enough to have worked with Eric Friedman. I studied with him for a number of years, and he was a pupil of Heifetz and Milstein.” Can you talk about how Glass’ exploration of time offers you freedom as the performer of his piece The American Four Seasons? Harrington: “When Glass recorded and premiered this with violinist Robert McDuffie, they had different ideas of what movements represented which seasons. Glass left this up for the audience to decide for themselves what movement correlates to which season. “I know Mark and I have spoken about this a little bit — I had very strong feelings about the second movement being ‘my’ winter. I just thought that feeling of starkness represented winter. “The fourth movement is definitely summer, and it has a hustle-and-bustle-virtuoso-nonstop flow to it. It is different for everyone, but I think it's lovely that it's put up to the audience to make their own opinions and conclusions.” How is it that the Janáček Philharmonic is so well suited to perform the music of Philip Glass? Shapiro: “They had so many intuitions about how they wanted to play and sound. There was one moment where we were trying to elicit a certain mood of tenderness. I looked at the cellist, who was a bit grumpy-looking, and I asked the interpreter what the Czech word was for lullaby. The cellist recognized the word and he just melted. The next time he played it it had such humanity.”  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. Watch now You must be 13 or older to submit any information to American Public Media. 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. Note: Due to the coronavirus quarantines, we cannot send physical product at this time. Winners will be notified at the conclusion of the giveaway and will receive their prize as soon as possible after the crisis abates. Resources Gregory Harrington: Glass Hour; with Mark Shapiro and the Janáček Philharmonic (Amazon) Gregory Harrington (Official site) Mark Shapiro (Official site) Janáček Philharmonic Ostrava (Official site)

The tales of two pairs of lovers separated by time and history reveal a haunting parallel. “Lovesick” is the second installment of our pandemic series, 1918/2020, original audio plays inspired by the past and present. Cast featured in this episode: Chris Woolsey as C.W.C. Woolsey Rebecca Kopec as Elsie Ali Silva as Jackie Kacie Laforest as Ashley Alain Laforest as Kyle “Lovesick” written by Gabriella Miyares “PLOGs” written by Lizz Leiser & Chris Woolsey Directed by Ali Silva with Gustavo Rodriguez Produced by Gustavo Rodriguez & Ali Silva PLOGs music by Nico Sleator Production operations: Lizz Leiser Social media: Kacie Laforest Production coordinator: Faith Johnson Theme music by Jason Graves Audio production & sound design: Ali Silva Assistant sound design: Ricardo Delgado Additional music (Artlist): Yulia Waltz, Alon Peretz Wieniawski Romance (from Concerto d-minor Op.22), Jascha Heifetz, 1918 Vibrating Visions, Alon Peretz Cherry Pie Rag, O.P. Baron Blueberry Smoker, O.P. Baron Meeting an Old Friend, Borrtex Drowned Synthesis, Jon Gegelman Lazy Evening by My Honeybunch, O.P. Baron Memory and Forgetting, Spearfisher 2020—Instrumental Version, IamDayLight Zen Flow, Spearfisher Copyright 2021 Fireside Mystery Productions Our internet haven: https://firesidemysterytheatre.com Fan our flames with your support at https://patreon.com/firesidemysterytheatre Swag! Masks, hoodies & what-not! http://tee.pub/lic/firesidemystery

Russell T Davies is one of the U.K.'s most successful television writers. He spent his teenage years learning his dramatic craft with the West Glamorgan Youth Theatre, and his career in television began in the children's department at the BBC. His first solo hit TV series was the ground-breaking, sexually frank drama Queer as Folk, first broadcast on Channel 4 in 1999. A lifelong Doctor Who fan, he relaunched the series in 2005 for a new generation of viewers. Such was its success, he found himself working around the clock. More recently, he wrote the highly-acclaimed series A Very English Scandal, starring Hugh Grant as Jeremy Thorpe, and the dystopian drama Years and Years. DISC ONE: Julie Covington, Charlotte Cornwell, Rula Lenska - Sugar Mountain DISC TWO: Hora Staccato (1950 version) performed by Jascha Heifetz and Emanuel Bay DISC THREE: The New Christy Minstrels - Three Wheels on My Wagon - DISC FOUR: Leonard Bernstein's Gloria in excelsis, performed by The Norman Scribner Choir DISC FIVE: Kate Bush - Wuthering Heights DISC SIX: The OT Quartet - Hold That Sucker Down (Builds Like A Skyscraper Mix) DISC SEVEN: Neil Hannon - Song For Ten DISC EIGHT: Electric Light Orchestra - Mr. Blue Sky BOOK CHOICE: Asterix and the Roman Agent by by René Goscinny with illustrations by Albert Uderzo LUXURY ITEM: A black Ball Pentol Pen CASTAWAY'S FAVOURITE: Leonard Bernstein's Gloria in excelsis Presenter: Lauren Laverne Producer: Sarah Taylor (First broadcast in 2019)

durée : 00:31:31 - Jascha Heifetz joue "I Profeti" de Castenuovo-Tedesco - « I profeti » de Mario Castelnuovo-Tedesco, créé en 1933 par Jascha Heifetz à New York, fait penser à des musiques de films écrites plus tard, par exemple de Miklós Rózsa pour Ben Hur de William Wyler (1959), ou d’Elmer Berstein pour Les Dix Commandements de Cecil B. DeMille (1956).

Most composers have to wait for years before their works get performed by a major orchestra or opera company–but not Erich Wolfgang Korngold, a child prodigy who grew up in the Vienna of Gustav Mahler. After hearing the nine-year-old play through one of his compositions, Mahler declared Korngold a genius. At age 13, Korngold’s pantomime, “The Snow Man” was performed at the Vienna Court Opera, and on today’s date in 1916, when he was just 18, two of Korngold's one-act operas “Violanta” and “Polycrates’ Ring,” were premiered at Munich’s National Theater. Korngold came to Hollywood in the 1930s and wrote scores for 17 classic films, including a number starring Errol Flynn. Korngold, in his thick Austrian accent, called those action films “SVASH-booklers”. Korngold’s contract let him retain all rights to his music, and in the 1940s he began recycling bits of film scores into concert works, like a 1945 Violin Concerto, written for Jascha Heifetz. Despite early fame in Europe and success in Hollywood, after World War II, Korngold’s music started to seem old-fashioned and fell into neglect, but two decades after his death in 1957, a major Korngold revival began, sparking new interest in–and recordings of–his well-crafted and appealing scores.

Most composers have to wait for years before their works get performed by a major orchestra or opera company–but not Erich Wolfgang Korngold, a child prodigy who grew up in the Vienna of Gustav Mahler. After hearing the nine-year-old play through one of his compositions, Mahler declared Korngold a genius. At age 13, Korngold’s pantomime, “The Snow Man” was performed at the Vienna Court Opera, and on today’s date in 1916, when he was just 18, two of Korngold's one-act operas “Violanta” and “Polycrates’ Ring,” were premiered at Munich’s National Theater. Korngold came to Hollywood in the 1930s and wrote scores for 17 classic films, including a number starring Errol Flynn. Korngold, in his thick Austrian accent, called those action films “SVASH-booklers”. Korngold’s contract let him retain all rights to his music, and in the 1940s he began recycling bits of film scores into concert works, like a 1945 Violin Concerto, written for Jascha Heifetz. Despite early fame in Europe and success in Hollywood, after World War II, Korngold’s music started to seem old-fashioned and fell into neglect, but two decades after his death in 1957, a major Korngold revival began, sparking new interest in–and recordings of–his well-crafted and appealing scores.

“We are so lucky in music that we can look back to someone like Beethoven or Monteverdi or Josquin des Prez and understand through their music many different qualities of how people imagined themselves to be, how they imagined life to be. Despite the fact that we’re having this lovely conversation, the acronym of my life has become AFWAP— 'as few words as possible.' That is my new ideal that I hope to realize a bit more fully until…I’m outta here." Michael Tilson Thomas (MTT) is here, one of the most celebrated American musicians of the past half century. In this wide-ranging look into the thinking of this fascinating figure, MTT and Daniel discuss everything from the very fundamentals of music -- "sad" chords and "happy" chords, how harmony is like flavor such as when one adds one drop of sesame oil to a soup -- to MTT's work with such legendary figures as Jascha Heifetz, Sarah Vaughan, Peggy Lee, and Gregor Piatigorsky. Far from being a standard interview, here MTT and Daniel take a deep dive into Mozart, the ever-elusive Wunderkind that can be so difficult for players to grasp. MTT also expresses his love for working with young, promising musicians, and how after all these years in music, patterns, in all sorts of ways, become more evident. As he says at the end, "music keeps your spirit alive in a very wonderful way." With MTT seated at his keyboard, we are treated to unexpected musical examples as he illustrates the power of a turn of phrase. Support Talking Beats with Daniel Lelchuk on Patreon. You will contribute to continued presentation of substantive interviews with the world's most compelling people. We believe that providing a platform for individual expression, free thought, and a diverse array of views is more important now than ever. Conductor, composer, and educator Michael Tilson Thomas is Music Director Laureate of the San Francisco Symphony, Co-Founder and Artistic Director of the New World Symphony, and Conductor Laureate of the London Symphony Orchestra. In June 2020, he completed a remarkable 25-year tenure as Music Director of the San Francisco Symphony, becoming the Orchestra’s first Music Director Laureate.His television credits include the New York Philharmonic Young People’s Concerts and Keeping Score on PBS-TV, which he and the San Francisco Symphony launched in 2004. His compositions include From the Diary of Anne Frank and Meditations on Rilke, both recorded with the SF Symphony and released on SFS Media in June 2020; Shówa/Shoáh; settings of poems by Emily Dickinson and Walt Whitman; Island Music; Notturno; and Four Preludes on Playthings of the Wind. Tilson Thomas is a 2019 recipient of the Kennedy Center Honors, was Musical America’s Musician and Conductor of the Year, and was inducted into the Gramophone Hall of Fame. He has been elected to the American Academy of Arts and Sciences, the American Academy of Arts and Letters, was inducted in the California Hall of Fame, and was awarded the National Medal of Arts by President Obama. Tilson Thomas was named an Officier in the French Ordre des Arts et des Lettres in June 2020, recognizing his continued contributions to global culture and the vast impact of his 25 years as Music Director of the San Francisco Symphony. For more information, visit michaeltilsonthomas.com.

The twins cover continue down rabbit holes with chatter about books, motorcycles, Sufi masters and Jascha Heifetz - and another original song from Chris' archive. SHOW NOTES: 0:00 - "Broken Angel" by Chris Yale 3:22 - Greetings and about the song - from the album, "Well Enough Alone" 4:05 - The Lord's Day, Lorde, John Lord, Jack Lord, Traci Lords (Rog is scared to put up a link for her - it might lead you into sites you don't want in your history.) 4:48 - Rog thinks his pop culture knowledge is good, but Chris said his rock knowledge was not so great. 5:35 - Jascha Heifetz was a master-violinist, not a Sufi Master. That would be Hafiz. 5:59 - Rumi versus Rummikub 7:30 - Parallels to Sherlock Holmes in "House" 8:59 - "Out of Print" 9:13 - Lee Daniels' "The Butler" 9:25 - More about books and the book industry / Burgess Meredith in "The Twilight Zone" / "Yentl" Strand Book Store / "The Booksellers" / Aldine Books Hollywood / Berkelouw Books Hollywood / Feedly / Pocket 13:43 - Roger's "value phone" and Chris' iPhone 6 Plus 15:52 - Studiologic Numa Compact 2 stage piano 16:00 - Top-shelf stuff and diminishing returns 17:16 - Our motorcycles and outings / 1988 Sportster / Suzuki GS450 / Honda Magna 750 / David Bacon / Not Valdez - Vasquez Rocks / Glenoaks Blvd. / Palermo Los Angeles / Glendale / Burbank / Boardner's  21:16 - Roger never got a motorcycle license / noise violation on the Sunset Strip / Chris' HOA doesn't allow motorcycles 23:37 - Roger got lost on the way to record at Sound Image in North Hollywood, on his bike, with our tape - while everyone waited / Sound Engineer Glen Matisoff 26:49 - "I souped up your video for ya'." / Richard Klotz / "City of Pain" video - Rogue Alley / The Central (Viper Room) 31:11 - Chris' apartment on Willoughby Avenue in Hollywood / Kevin Haggerty / Our Rasta-ish friend Dewon 33:30 - Underwhelmed by Super Bowl Sunday / Wasted on airplanes / Misconceptions and appearance 35:56 - "Earache My Eye" - Cheech & Chong 37:49 - Basso Profundo and "Big Bottom" from "This is Spinal Tap."

Muusikateadlane Tiia Järg sirvib oma märkmeid kultuuriloost.

Un día como hoy, 2 de febrero. Nace: 1502: Damião de Góis, filósofo portugués. 1650: Nell Gwyn, actriz de teatro británica. 1852: José Guadalupe Posada, grabador e ilustrador mexicano. 1882: James Joyce, escritor irlandés. 1883: Candelario Huízar, compositor mexicano. 1901: Jascha Heifetz, violinista lituano. 1901: Jascha Heifetz, violinista lituano. 1963: Eva Cassidy, cantante y guitarrista estadounidense. Fallece: 1594: Giovanni Pierluigi da Palestrina, compositor italiano. 1921: Luigi Mancinelli, director de orquesta y compositor italiano. 1921: Luigi Mancinelli, director de orquesta y compositor italiano. 1970: Bertrand Russell, matemático y filósofo británico, premio nobel de literatura en 1950. 1970: Bertrand Russell, matemático y filósofo británico, premio nobel de literatura en 1950. 1996: Gene Kelly, bailarín y actor estadounidense. 2014: Philip Seymour Hoffman, actor estadounidense. Un producción de Sala Prisma Podcast. 2021

My guest today is Digital Fiddler, Global Netizen, Reinvention Coach and Cultural Devotee, Todd Reynolds. How's that for an into title! What can I say about this episode…Todd is the ultimate storyteller, both through his music and his words. While you're going to get some seriously technical information during this interview, it's also like, “story time with friends”. Todd's going to give you a straight up masterclass on how broadcast quality microphones work, you're going to hear his awesome Jascha Heifetz impression…your welcome. And if you're afraid of improvising on your instrument, he's going to give you an awesome hack use can use today, right now, in your practice room. And if you're like me and dislike the term “classical music” Todd is going to explain what HE likes to call, "present music”, and how successful performance is directly related to mindfulness, and even meditation. Oh, and one more thing…I've got a brand new training coming up in two weeks, so you'll want to listen all the way to the end. OK…Let's dig in to my conversation with Todd Reynolds. About Todd I, Todd Reynolds, am a solo classical violinist gone horribly wrong. I started on a violin made of a standard elementary school ruler taped onto a Grape Nuts box and grew up playing all the sonatas and concertos that all the other kids did. I played in church by my father's side for what seemed like an eternal adolescence, and by some stroke of good fortune, found myself in one of the last classes of the great Jascha Heifetz where he counseled me to sell insurance for the sake of my own happiness. In college, I became completely enamored with playing the music of living composers - it got me completely hooked on non-historic ways of thinking about music, stretching me beyond my planned trajectory. But then I won an audition and completely dropped out of school. In my third year of playing Principal Second Violin in the Rochester Philharmonic, I broke. Since the very moment I quit my job, I've reinvented myself four times, at least. First as Broadway musician, then as the creator of a new kind of amplified string quartet, then as a ‘composer in the woods' recording artist, and finally, refocusing as an educator - not that that's anywhere near the end of things. Now, and for the past 25 years, I've called myself a hybrid musician. I play with some of my long time idols - singer/songwriters, global musicians, minimalists, electronica artists, rock stars, New Music heroes, classical music heroes - I count them all my friends, colleagues and collaborators. I record, teach, and perform with my studio onstage and off, study Indian music, jazz, music programming, psychology, and mindfulness to varying degrees as disciplines. I'm as much a student as a teacher. That will never change. If you ever find the opposite? Run. Four years ago, I felt the industry changing yet again. CDs - gone, Broadway jobs - gone, commercial work - gone. My health was starting to go as well. My partner, Isabelle, and I moved to a beautiful place in the country, to pull it all together and build a community for teaching and supporting those seeking to do the same - to develop the tools for reinvention and expansion, and to look deeper into what it all means to be a musician today. You see, we musicians, we're not our instrument, we're not the music we studied, we are creators through and through, whatever form that expression takes. It is with the questions that we slay the dragon, not with our virtuosity. The Hero's Journey exists for us as it does for anyone else, and we need only to walk forward with eyes open and a backpack full of good questions (and great gear), and we'll find our next dragon. I've created this program, the inaugural one for my new(ish) online academy, for fellow musicians who feel that same nagging suspicion that ‘the box' they currently inhabit is too small to contain them, that the times we're living in are calling them forth to something larger, that they too want to think of themselves as creators, as storytellers, as activists, and agents of change. Todd's Links http://www.toddreynolds.com http://facebook.com/toddreynoldsmusic http://instagram.com/digifiddler  http://twitch.tv/digifiddler todd@toddreynolds.com Todd's gear: https://kit.co/digifiddler Other Links Drone Practice App “Droneo” Honesty Pill Links The Online Business Accelerator-6 Month Group Coaching Program Free Resource Library Facebook Group Mailing List

durée : 00:30:31 - Le "Million-Dollar Trio" - Arthur Rubinstein, Jascha Heifetz et Gregor Piatigorsky ont formé un trio légendaire que l’on surnomma le Million Dollar Trio. Pourtant l’histoire n’est pas celle d’un conte de fées, leur collaboration fut de courte durée.

durée : 00:09:47 - Disques de légende du mardi 22 décembre 2020 - "Il fut un astre, une comète, un prodige." En 1951, le violoniste Jascha Heifetz est au sommet d'une carrière internationale. Frédéric Lodéon retrouve dans cet enregistrement le jeu "tendu, élégant, frémissant et charmeur" du musicien virtuose.

durée : 00:27:47 - Fantaisie écossaise - Fantaisie écossaise de Max Bruch interprétée par Jascha Heifetz, violon, Osian Ellis, harpe, le Nouvel Orchestre Symphonique de Londres sous la direction de Sir Malcolm Sargent (Sony Classical).

durée : 01:28:30 - Max Bruch, un fameux concerto mais pas seulement ! (1/2) - par : François-Xavier Szymczak - Le Premier Concerto pour violon de Max Bruch est l'arbre qui cache une forêt de partitions. Cent ans après la mort de cet éternel romantique, nous laisserons à Jascha Heifetz le soin de jouer ce Concerto, en écoutant d'autres œuvres du compositeur allemand comme sa Fantaisie écossaise ou Kol Nidrei. - réalisé par : Céline Parfenoff

Mit der Filmmusik zum Monumentalklassiker "Ben Hur" feierte Miklos Rózsa 1959 seinen bis dahin größten Erfolg. Drei Oscars gewann er insgesamt in seiner Laufbahn, für zahlreiche weitere wurde er nominiert. Und trotz seines kommerziellen Erfolges vernachlässigte Rózsa nie seine Werke für den Konzertsaal. 1956 spielte Jascha Heifetz die Premiere seines Violinkonzerts, einige Jahre später entstand ein Cello-Konzert. Autor: Niklas Rudolph

durée : 01:29:56 - Bicentenaire de Henri Vieuxtemps, violoniste et compositeur (2/2) - par : François-Xavier Szymczak - Henri Vieuxtemps fut l'un des plus grands violonistes de tous les temps, et un compositeur de grand talent, ce dont témoigne son Cinquième Concerto pour violon que nous écouterons intégralement par Jascha Heifetz. - réalisé par : Romain Masson

This month's Beethoven podcast features a 1945 radio broadcast of the Violin Concerto in D Major Op. 61.  Jascha Heifetz is joined by the NY Philharmonic conducted by Artur Rodzinski.

durée : 01:59:20 - Musique matin du jeudi 27 février 2020 - par : Jean-Baptiste Urbain - La violoniste Marina Chiche est notre invitée ce matin à l'occasion de la sortie de son disque "Post-Scriptum" en duo avec Aurélien Pontier, construit en forme de recueil de pièces brèves et en hommage à Jascha Heifetz et Fritz Kreisler. - réalisé par : Yassine Bouzar

durée : 01:29:56 - Bicentenaire de Henri Vieuxtemps, violoniste et compositeur (2/2) - par : François-Xavier Szymczak - Henri Vieuxtemps fut l'un des plus grands violonistes de tous les temps, et un compositeur de grand talent, ce dont témoigne son Cinquième Concerto pour violon que nous écouterons intégralement par Jascha Heifetz. - réalisé par : Romain Masson

Please, read this. Hello. If the podcast was helpful for you, I ask you to give some money to a charity. I truly believe we can make a better world with less cynicism and egoism. You can handle several days without coffee. However, that money REALLY can help. Even a few dollars. Where to send and how much is only on you. Children, nature, homeless people. All problems are more real and nearer than you think. Just be a good person. Be a real hero. Peace. My podcast about WEB Development. Check it out if you are interested. Apple Podcasts Spotify Google Podcasts Castbox Tracklist: 00:00:00 Mazurka in A Minor, Op. 67 No. 4 (Chopin) 00:03:01 Song Without Words, Op. 2 No. 3 (Tchaikovsky) 00:06:20 Divertimento, K. 334: Menuet (Mozart) 00:10:29 Hungarian Dance No. 6, WoO 1 (Brahms) 00:13:42 Hungarian Dance No. 1, WoO 1 (Brahms) 00:16:40 Romance in A Major, Op. 94 No. 2 (Schumann) 00:22:02 Morceaux, Op. 10: No. 2, Humoresque in G Major. Menuet (Bocherini) 00:25:34 Les millions D'Arlequin: Serenade (Drigo) 00:30:10 Sonata in A Major (Paganini) 00:35:04 Träumerei, Op. 21 (Drdla) 00:37:45 Das Lied der Geige, Op. 2 (Schebek) 00:40:56 Immer oder nimmer Walzer, Op. 156 (Waldteufel) 00:50:22 Schön Rosmarin (Kreisler) 00:52:10 Espana, Op. 165 No. 2: Tango (Albeniz) 00:54:45 Russian Romance (Chernyetsky) 00:57:36 Guitarre, Op. 45 No. 2 (Moszkowski) 01:01:14 Menuet (Attr. Porpora) (Porpora / Kreisler) 01:05:20 Allegretto grazioso (Porpora / Bonelli) 01:07:25 Le triomphe de la République: Tambourin (Arr. Burmester) (Gossec (Francois)) 01:08:42 Salut d'amour, Op. 12 (Elgar) 01:11:16 3 Pieces, Op. 11: Mazurka in F-Sharp Minor (Chopin) 01:14:07 Poème for Violin and Piano, Op. 41 No. 4 (Arr. Weniger) (Fibich (Zdenek)) 01:16:01 5 Gedichte, WWV 91: V. Träume (Wagner) 01:19:38 Valse scherzo (Tchaikovsky) 01:21:30 Song Without Words, Op. 60: I. Andante espressivo “May Breezes” (Arr. Kreisler) (Mendelssohn) 01:24:12 Myrthen, Op. 25: I. Dedication (Schumann) 01:26:38 Romance (Rubinstein) 01:29:18 Cantabile in D Major, Op. 17 (Paganini) 01:32:19 Hungarian Dance No. 7 in F Major, WoO 1 (Allegretto) (Brahms) 01:34:45 Romance, Op. 3 (Gliere) 01:38:50 Kujawiak in A Minor (Wieniawski (Henryk)) 01:41:48 3 Old Viennese Dances: II. Liebesleid (Kreisler) 01:44:48 Le roi s'amuse: VII. Passepied (Arr. Elman) (Delibes / Elman (Mischa)) 01:46:46 Waltz No. 1 in A Major, Op.54 (Moderato) (Dvorák) 01:50:22 5 Spanish Dances, Op. 12: I. Allegro brioso (Moszkowski) 01:52:01 16 Morceaux de Salon, Op. 49: VII. La Sevillana (Alard (Delphin)) 01:54:33 Bandana Sketches, Op. 12 "Nobody Knows the Trouble I've Seen" (White) 01:57:57 Le Secret (Gautier (Jacques)) 02:00:40 14 Romances, Op. 34: No. 14, Vocalise (Rachmaninoff) 02:06:31 Préludes, L. 117, Premier Livre: VIII. La fille aux cheveux de lin (Debussy) 02:09:17 Orfeo ed Euridice, Wq. 30, Act 2: Melodie No. 2 (Arr. Heifetz) (Von Gluck, arr. Jascha Heifetz) 02:12:27 2 Pieces for Cello and Orchestra, Op.20: II. Serenade Espagnole (Arr. Kreisler) (Glazunov, arr. Kreisler) 02:15:50 3 Romantic Pieces, Op. 75: I. Allegro moderato (Dvorák) 02:19:25 3 Romantic Pieces, Op. 75: II. Allegro maestoso (Dvorák) 02:22:22 3 Romantic Pieces, Op. 75: III. Allegro appassionato (Dvorák) 02:25:13 Thaïs, Act 2: Méditation (Massenet) 02:29:49 Zigeunerweisen, Op. 20 (Sarasate (Pablo de)) 02:39:46 Romance (Wieniawski (Henryk)) 02:44:46 Hora staccato (Dinicu (Grigoras)) 02:46:10 Pacsirta (Dinicu (Grigoras))

Jan van Rooyen is 'n voormalige regsakademikus wat van jongs af die klank van die viool bestudeer en daarmee gewerk het. Hy vertel hoe hy die eerste keer vir Jascha Heifetz oor 'n krappige radio op Lindley in die Vrystaat gehoor het, en hoe hy sy hart verloor het. Vir hom is die klank van die viool die belangrikste – nie noodwendig die ouderom of afkoms van die instrument nie. Daarom het hy 'n studie gemaak van vioolklanke en hoe om 'n bepaalde klank uit 'n viool te kry. Jan gesels ook oor hoe belangrik die hout is waaruit 'n viool gemaak word – liefs van hout wat in wind en weer in die Karpatiese Berge gevind word. Sy veredelde viole het 'n goeie vastrap plek in Amerika gekry – in so 'n mate dat die bekende violis, Joshua Bell, daarop aangedring het dat hy een van Jan se viole wil koop, want die instrument klink na 'n Italiaanse viool wat 300 jaar oud is!

Russell T Davies is one of the U.K.’s most successful television writers. He spent his teenage years learning his dramatic craft with the West Glamorgan Youth Theatre, and his career in television began in the children’s department at the BBC. His first solo hit TV series was the ground-breaking, sexually frank drama Queer as Folk, first broadcast on Channel 4 in 1999. A lifelong Doctor Who fan, he relaunched the series in 2005 for a new generation of viewers. Such was its success, he found himself working around the clock. More recently, he wrote the highly-acclaimed series A Very English Scandal, starring Hugh Grant as Jeremy Thorpe, and the dystopian drama Years and Years. DISC ONE: Julie Covington, Charlotte Cornwell, Rula Lenska - Sugar Mountain DISC TWO: Hora Staccato (1950 version) performed by Jascha Heifetz and Emanuel Bay DISC THREE: The New Christy Minstrels - Three Wheels on My Wagon - DISC FOUR: Leonard Bernstein's Gloria in excelsis, performed by The Norman Scribner Choir DISC FIVE: Kate Bush - Wuthering Heights DISC SIX: The OT Quartet - Hold That Sucker Down (Builds Like A Skyscraper Mix) DISC SEVEN: Neil Hannon - Song For Ten DISC EIGHT: Electric Light Orchestra - Mr. Blue Sky BOOK CHOICE: Asterix and the Roman Agent by by René Goscinny with illustrations by Albert Uderzo LUXURY ITEM: A black Ball Pentol Pen CASTAWAY'S FAVOURITE: Leonard Bernstein's Gloria in excelsis Presenter: Lauren Laverne Producer: Sarah Taylor

In this episode, I discuss with solo violinist Arnaud Sussmann.  He elaborates on the mindsets and strategies to adopt when working on sound quality, the importance of having a strong concept of phrasing and of bow distribution in musicality, the importance of creating fluency in his playing and how he achieves it, the importance of purpose in our practice, warming up during busy periods, the value of recording ourselves when we practice, and why he believes it's important to work hard. Nous avons aussi une discussion en francais!  Nous vous offrons un retour sur certains point abordés en anglais en ce qui a trait à la production du son et du phrasé, et une conversation sur l'importance de la curiosité dans la pratique et sur comment il aborde une œuvre nouvelle.   MORE ABOUT ARNAUD SUSSMAN: Website: http://arnaudsussmann.com/ YouTube channel: https://www.youtube.com/user/violinice Facebook: https://www.facebook.com/arnaudsussmannviolin/ Instagram: https://www.instagram.com/arnaudsussmann/ Boris Garlitsky: http://www.talentmusicmasters.it/boris-garlitsky   Winner of a 2009 Avery Fisher Career Grant, Arnaud Sussmann has distinguished himself with his unique sound, bravura and profound musicianship. Minnesota's Pioneer Press writes, “Sussmann has an old-school sound reminiscent of what you'll hear on vintage recordings by Jascha Heifetz or Fritz Kreisler, a rare combination of sweet and smooth that can hypnotize a listener. His clear tone [is] a thing of awe-inspiring beauty, his phrasing spellbinding.” A thrilling young musician capturing the attention of classical critics and audiences around the world, Arnaud Sussmann has appeared with the American Symphony Orchestra, Buffalo Philharmonic, New World Symphony, Pacific Symphony, Paris Chamber Orchestra, Jerusalem Symphony and the Vancouver Symphony Orchestra. Further solo appearances have included a tour of Israel and concerts at Lincoln Center's Alice Tully Hall, Dresden Music Festival in Germany and at the Phillips Collection in Washington, D.C. Mr. Sussmann has been presented in recital in Omaha on the Tuesday Musical Club series, New Orleans by the Friends of Music, Tel Aviv at the Museum of Art and at the Louvre Museum in Paris. He has also given concerts at the OK Mozart, Chamber Music Northwest and Moritzburg festivals and appears regularly at the Caramoor, Music@Menlo, La Jolla SummerFest, Seattle Chamber Music, Moab Music and Saratoga Springs Chamber Music festivals. Recent concerto appearances include performances with Maestro Valery Gergiev and the Mariinsky Orchestra at the White Nights Festival in St Petersburg, the Santa Rosa Symphony, the Albany Symphony, the Jacksonville Symphony and the Grand Rapids Symphony. This past season, chamber music performances included tours with the Chamber Music Society of Lincoln Center to Korea's LG Arts Center, Shanghai's Oriental Center and Hong Kong's Music Academy. Arnaud Sussmann has performed with many of today's leading artists including Itzhak Perlman, Menahem Pressler, Gary Hoffman, Shmuel Ashkenazi, Wu Han, David Finckel, Jan Vogler and members of the Emerson String Quartet. He has worked with conductors such as Cristian Macelaru, Marcelo Lehninger, Rune Bergmann and Leon Botstein. A dedicated chamber musician, he has been a member of the Chamber Music Society of Lincoln Center since 2006 and has regularly appeared with them in New York and on tour, including a recent concert at London's Wigmore Hall. A frequent recording artist, Arnaud Sussmann has released albums on Deutsche Grammophon's DG Concert Series, Naxos, Albany Records and CMS Studio Recordings labels. His solo debut disc, featuring three Brahms Violin Sonatas with pianist Orion Weiss, was released in December 2014 on the Telos Music Label. He has been featured on multiple PBS' Live from Lincoln Center broadcasts alongside Itzhak Perlman and the Perlman Music Program and with musicians of the Chamber Music Society of Lincoln Center. Born in Strasbourg, France and based now in New York City, Arnaud Sussmann trained at the Conservatoire de Paris and the Juilliard School with Boris Garlitsky and Itzhak Perlman. Winner of several international competitions, including the Andrea Postacchini of Italy and Vatelot/Rampal of France, he was named a Starling Fellow in 2006, an honor which allowed him to be Mr. Perlman's teaching assistant for two years. Mr. Sussmann now teaches at Stony Brook University on Long Island and was recently named Co-Artistic Director of Music@Menlo's International Music Program.   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/    

Violinist Callum Smart plays Jess some classic Michael Brecker, and Jess introduces Callum to piano music by Missy Mazzoli, plus Punch Brothers playing Bach and vintage Jascha Heifetz playing Richard Strauss. This Classical Life is also available as a podcast on BBC Sounds.

Voici le cent trentième opus d'"En Cadence", une émission mensuelle consacrée aux grands thèmes éternels de la musique populaire : l'amour, les voyages, les filles, les solstices ou les empanadas.Cette nouvelle émission tout à fait léthargique vous accompagnera pendant vos siestes estivales, provoquant tropeur, baillements, somnoloence, assoupissements, ronflements et autres endormissements. Bonne nuit les petits !Liste des morceaux :01. Moondog - Lullaby02. Shusha - Lullaby03. Catherine Perrier - Berceuse berrichonne04. L'Arpeggiata & Christina Pluhar - Lu Gattu La Sonava La Zampogna05. Esther Ofarim - Hush-a-bye06. Les Z'imbert & Moreau - Toutouic07. Chiemi Eri - Itsuki no komoriuta08. Comedian Harmonists - Schlafe, mein Prinzchen, schlaf ein09. Tom Waits - Lullaby10. Victor Jara - Canción de cuna para nn niño vago11. Baden Powell - Berceuse a Jussara12. Bing Crosby - Too-Ra-Loo-Ra-Loo-Ral (That's an Irish Lullaby)13. Jascha Heifetz & Emanuel Bay - Summertime14. Alexandre Vertinski - Snezhnaya kolibel'naja15. Kazuko Matsuo - Good Night16. Kristen Noguès - Berceuse17. The Wainwright Sisters - Prairie Lullaby18. Emitt Rhodes - Lullabye19. Christine Ott - Lullaby20. Suzanne Vega - Stay Awake21. Susan Pillsbury - Goodnight22. The Moog Beatles - Good Night23. Harry Nilsson - Lullaby in Ragtime24. Paul Giovanni - LullabyÉcouter

Kelley sang the role of Federico Lorca in the original version of Osvaldo Golijov’s opera Ainadamar.Kelley earned her Bachelor of Music degree from Thornton School of Music at the University of Southern California and her master's degree in Music from the University of California, Los Angeles.John Adams is an American composer, clarinetist, and conductor of classical music and opera, with strong roots in minimalism.Suzuki is a character in the opera Madame Butterfly, an opera in three acts (originally two) by Giacomo Puccini.Roberto De Candia is an Italian operatic baritone.Maria Luigia Borsi is an Italian opera singer.Hadleigh Adams is an operatic baritone from Palmerston North, New Zealand. Hadleigh recently played Mercutio in Cincinnati Opera’s performance of Charles Gounod’s Romeo and Juliet.Die Fledermaus is an operetta composed by Johann Strauss II.A breeches role (also pants role or trouser role) is a role in which an actress appears in male clothing.Tanglewood is a music venue in the towns of Lenox and Stockbridge in the Berkshire Hills of western Massachusetts.The Cleveland Orchestra, based in Cleveland, is one of the five American orchestras informally referred to as the "Big Five".Requiem Canticles is a 15-minute composition by Igor Stravinsky, for contralto and bass soli, chorus, and orchestra.Cherubino is a character in The Marriage of Figaro, an opera buffa (comic opera composed by Wolfgang Amadeus Mozart."The Composer" is a character in Richard Strauss's opera Ariadne auf Naxos.Das Lied von der Erde ("The Song of the Earth") is a composition for two voices and orchestra written by the Austrian composer Gustav Mahler.Cecilia Bartoli is an Italian coloratura mezzo-soprano opera singer and recitalist.“Voi Che Sapete” is an aria from The Marriage of Figaro.Renée Fleming is an American soprano, known for performances in opera, concerts, recordings, theater, film, and at major public occasions.Leontyne Price is an American soprano. She rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer, or prima donna, at the Metropolitan Opera, and one of the most popular American classical singers of her generation.Robert Spano is an American conductor and pianist.The Gospel According to the Other Mary is an opera/oratorio by John Adams.Peter Sellars is an American theatre director, noted for his unique contemporary staging of classical and contemporary operas and plays.El Niño is an opera-oratorio by John Adams.Aaron Copland was an American composer, composition teacher, writer, and later a conductor of his own and other American music.El Salón México is a symphonic composition in one movement by Aaron Copland, which uses Mexican folk music extensively.Der Ring des Nibelungen (The Ring of the Nibelung) is a cycle of four German-language epic music dramas composed by Richard Wagner.Kelley grew up in Clovis, California.Audra McDonald is an American actress and singer. Primarily known for her work on the Broadway stage, she has won six Tony Awards, more performance wins than any other actor, and is the only person to win all four acting categories. McDonald was raised in Fresno, California.La Cenerentola is an operatic dramma giocoso by Gioachino Rossini.The Turn of the Screw is a 20th-century English chamber opera composed by Benjamin Britten.Claude Debussy was a French composer.Phyllis Curtin was an American classical soprano who had an active career in operas and concerts from the early 1950s through the 1980s.Donald Runnicles is a Scottish conductor.Louis Langrée is the music director of the Cincinnati Symphony Orchestra.Evans mentions the following Mahler works: Symphony No. 2 (known as the Resurrection Symphony), Symphony No. 3, Symphony No.8, Rückert-Lieder, and Kindertotenlieder.The songs of Des Knaben Wunderhorn (The Boy’s Magic Horn) by Gustav Mahler are voice-and-piano and orchestral settings of German folk poems chosen from a collection of the same name.The Rape of Lucretia is an opera by Benjamin Britten.Carnegie Hall is a concert venue in Midtown Manhattan in New York City.The Neruda Songs are a cycle of five songs composed for mezzo-soprano soloist and orchestra by the American composer Peter Lieberson for his wife, singer Lorraine Hunt Lieberson. Lieberson chose O'Connor as the first mezzo-soprano to sing his composition Neruda Songs live in concert after the death of his wife.Bernard Haitink is a Dutch conductor.The Atlanta Symphony Orchestra (ASO) is an American orchestra based in Atlanta, Georgia. Robert Spano has been its music director since 2001.Agustín Barrios was a Paraguayan virtuoso classical guitarist and composer, largely regarded as one of the greatest performers and most prolific composers for the guitar.Carmen is an opera by French composer Georges Bizet.The Dream of Gerontius is a work for voices and orchestra in two parts composed by Edward Elgar in 1900, to text from the poem by John Henry Newman.Wesendonck Lieder is the common name of a set of five songs for female voice and piano Wagner, Fünf Gedichte für eine Frauenstimme (Five Poems for a Female Voice).Hans Werner Henze was a German composer.Sea Pictures is a song cycle by Elgar consisting of five songs written by various poets.Jascha Heifetz was a Russian-American violinist.Kelley cites Dawn Upshaw, an American soprano, as her most important mentor.The Unbearable Lightness of Being is a 1984 novel by Milan Kundera, about two women, two men, a dog and their lives in the 1968 Prague Spring period of Czechoslovak history.Tidying Up with Marie Kondo is a reality television series developed for Netflix and released on January 1, 2019.Kelley mentions Here’s the Thing and Fresh Air as some of her favorite podcasts.Zero, aptly named for the amount of food you eat during a fast, is a simple tracker that helps users sync a fast with their biological clock.Spotify Technology S.A. is a Swedish media-services provider founded in 2006 with an app of the same name.Pandora is a music application.Metropol Restaurant & BarJessica Rivera is an American soprano of Peruvian-American ancestry.Kelley cites Nina Simone as one of her favorite musicians outside of classical music.

Fernando a invité Sylvie dans un restaurant de style romantique pour se faire pardonner sa dureté : « Tu sais, Sylvie, il ne faut pas m'en vouloir. Le festival, les affaires !… Depuis quelque temps, je suis de mauvaise humeur.- Oui, bien sûr. Je comprends. Mais tu devrais partager tes soucis avec moi… »Écouter Liste des morceaux :01. Sacha Guitry - Préface (extrait)02. Georges Boulanger - Avant de mourir03. Jascha Heifetz & Milton Kaye - Beau Soir04. Django Reinhardt - Anniversary Song05. Blind Willie Johnson - Dark Was the Night, Cold Was the Ground06. Ewan MacColl - Dirty Old Town07. Teddy Wilson & his Orchestra - Carelessly08. Benny Goodman's Boys - Blue (& Broken Hearted)09. Bix Beiderbecke - Blue River10. Fletcher Henderson - The Meanest Kind of Blues11. Two Gospel Keys - I Don't Feel at Home in This World Anymore12. Pablo Casals - Souvenir d'un lieu cher Op.42 : III Mélodie in E flat major13. Mouloudji - Ballade en si bémol14. The Carter Family - Over the Garden Wall15. Jelly Roll Morton - Mamanita16. Cincinnati Jug Band - Newport Blues17. The Boswell Sisters - (We've Got To) Put That Sun Back in the Sky 18. Gertrude Lawrence - Do Do Do19. Yenkovitz & Goldberg - Yoshke furt avek20. Comedian Harmonists - Wir sind von Kopf bis Fuß auf Liebe eingestellt21. Jack Teagarden's Big Eight - Say It Simple22. Duke Ellington - Mood Indigo23. The Ink Spots - If I Didn't Care24. Vera Lynn - Harbour Lights25. Fred Astaire - Cheek to Cheek (I'm in Heaven)he Red Face Calling Remix)Télécharger :- le mix (clic-droit "Enregistrer sous")- l'archive complète - les mp3 un par un

He's got major cred: he actually studied with Jascha Heifetz, at age 20 he played principal second violin for the Rochester Philharmonic, then went on to work with Steve Reich, Meredith Monk, Joe Jackson, Todd Rundgren, the Mahavishnu Project... he founded a string quartet you might have heard of called Ethel. Whether he's on Broadway or in Bang On A Can he kills it every time, I went to his house in Massachusetts.

Arnold Schönbergs Violinkonzert ist eine Herausforderung - für den Solisten, aber auch für den Zuhörer. Jascha Heifetz, der das Stück uraufführen sollte, sagte: Nein, danke. Seitdem gilt Schönbergs Violinkonzert als quasi unaufführbar. Isabelle Faust jedoch sagte: Ja, bitte - und präsentiert das Werk mit dem BRSO unter Daniel Harding am 10 und 11. Januar in München. Im Interview verrät sie, warum Schönberg sich besonders für Langfinger eignet.

The three newly published pieces on this recording were written in the decade following Mario Castelnuovo-Tedesco’s flight to the United States in 1939 in the wake of the proclamation of anti-Jewish laws by Italy’s fascist regime. The programme includes his Concerto No. 3 for Violin and Piano (1939–40), written for no less a figure than Jascha Heifetz; the String Trio for violin, viola and cello (1950); and the Sonata for Violin and Cello (1950) with its “diabolically difficult” finale, considered by the composer to be his best piece of chamber music. Raymond Bisha presents.

The Francis-Lee Duo conclude our Spring Series with a diverse and engaging programme spanning 150 years of wonderful music. They are Dr Charlotte Francis (violin) and Gemma Lee (piano). Beginning with Beethoven’s energetic 4th Violin sonata, they take us into rather unfamiliar territory with “L’Addio” by New Zealand composer Raffaello Squarise - or 'Old Square Eyes' – one of 'Dunedin's chief musical assets'. The 100th anniversary of Debussy’s death is acknowledged with his colourful and vibrant violin sonata and the programme concludes on a flashy and brilliant note with Jascha Heifetz’s arrangement of “It Ain’t Necessarily So” by Gershwin. Formed in 2016, Francis-Lee Duo consists of University of Auckland School of Music graduates, violinist Dr Charlotte Francis and pianist Gemma Lee. Both have gained individual successes in chamber music throughout New Zealand and overseas, and are rapidly gaining recognition locally as an exciting upcoming chamber ensemble.

Celebrating Classical Music Month with historical recordings by Eugene Ormandy, Jascha Heifetz, Oscar Levant and Vladimir Horowitz. Music includes: Mozart: Marriage of Figaro Overture, Bizet: Symphony In C, Handel: Organ Concerto #2, Gershwin: Three Preludes & Mendelssohn: Violin Concerto.

Ribbons & Bows Podcast 4  In this episode,  we move on to the other great and terrible war time of the twentieth century – World War II – the century’s darkest hour – and the shining stars who brought light, hope and joy through their musical arts. Podcast 4 Segment 1 Featured Violinists Mary Becker and Miriam Solovieff Podcast 4 Segment 2 Featured Violinists Guila Bustabo, Fredell Lack, and Frances Magnes Podcast 4 Segment 3 Featured Violinists Madeline Carabo, Eudice Shapiro, Margaret Sittig, Patricia Travers, Beverly Somach, Carroll Glenn, Jeanne Mitchell, and Betty Jean Hagen Podcast 4 Segment 1 Other Mentions Albert Spalding, Paul Kochanski, Robert Pollack, Kathleen Parlow, Carl Flesch Podcast 4 Segment 2 Other Mentions Ray Huntington, Louis Persinger, Leon Sametini, Tosco Berger, Josephine Boudreaux, Adolf Busch Podcast 4 Segment 3 Other Mentions Georges Enesco, Mishakoff, Adolfo Betti, Carl Friedburg, Gustave Tinlot, Efrem Zimbalist, Jacques Gordon, Hans Letz, Joshua Bell, Jascha Heifetz, Malkin, Auer, Felice de Horvath, Edouard Dethier, Eugene List, Louis Biancolli, Alexander Nicol, Ludwig Becker, Galamian, Clayton Hare, Geza de Kresz Podcast 4 Segment 1 Music & Credits Maud Powell – Souvenir (Drdla) Deborah Tien-Price/Karen Shinozaki Sor – Romanze (Kreisler), Zigeunerweisen Op 20 (Pablo de Sarasate) Josh Workman – Sad Theme The Four Vagabonds – Rosie the Riviter (Evans/Loeb) Ruth Posselt – Violin Concerto in D major Op 35 (Tchaikovsky) Miriam Solovieff – Violin Concerto (Lalo) Kathleen Parlow – Minuet in Gb major (Beethoven) Podcast 4 Segment 2 Music & Credits Maud Powell – Souvenir (Drdla) Guila Bustabo – Concerto for Violin and Orchestra Op 61 (Beethoven), Concerto for Violin and Orchestra in C minor, Op 53 (Dvorak), Interview of Guila Bustabo Deborah Tien-Price/Karen Shinozaki Sor – Partita No 1 Allenmande (Bach), Sonata for Violin KV454, 2nd Movement (Mozart), Zigeunerweisen, Op 20 (Pablo de Sarasate) Podcast 4 Segment 3 Music & Credits Maud Powell – Souvenir (Drdla) Deborah Tien-Price/Karen Shinozaki Sor – Violin Concerto No 1 in D major Op 6 (Paganini), Aucassin (Kreisler), Sonata for Violin KV454 2nd Movement (Mozart), Romanze (Kreisler) Patricia Travers – Indtroduction and Rondo Capriccioso, Op 28 (Saint-Saens) Beverly Somach – Andantino in the Style of Padre Martini (Kreisler), Liebesfreud (Kreisler ), May Breezes (Mendelssohn-Bartholdy), Preludium and Allegro in the style of Gaetano Pugnani (Kreisler) Eugene List/Carol Glenn – Double Concerto in D minor Allegro (Mendelssohn) ### About Ribbons & Bows  An exciting new podcast series from Elfenworks Productions, LLC “Ribbons & Bows ~ American Women in Violin History”  delves into the stories of dozens of pioneering American women who helped shape today’s robust violin scene.  These are fabulous tales of perseverance,  vision, and hope.   Why has so little been said about them, in history books, until today?  More importantly, won’t you please join us for an enchanting trip down memory lane as we call them back to us to tell their stories, ensuring they’ll never be lost in the mists of time?  You’ll love these brave and beautiful souls, as you share their experiences back in the days when little girls were not encouraged to play violin.  After all, who among us hasn’t felt like the odd one out, the person interested in trying something different, in going where they didn’t exactly fit in?  Ribbons & Bows… a Podcast Series with accompanying downloadable CD release from Elfenworks Productions, LLC,  expected in 2018.

Ribbons & Bows Podcast 4  In this episode,  we move on to the other great and terrible war time of the twentieth century – World War II – the century’s darkest hour – and the shining stars who brought light, hope and joy through their musical arts. Podcast 4 Segment 1 Featured Violinists Mary Becker and Miriam Solovieff Podcast 4 Segment 2 Featured Violinists Guila Bustabo, Fredell Lack, and Frances Magnes Podcast 4 Segment 3 Featured Violinists Madeline Carabo, Eudice Shapiro, Margaret Sittig, Patricia Travers, Beverly Somach, Carroll Glenn, Jeanne Mitchell, and Betty Jean Hagen Podcast 4 Segment 1 Other Mentions Albert Spalding, Paul Kochanski, Robert Pollack, Kathleen Parlow, Carl Flesch Podcast 4 Segment 2 Other Mentions Ray Huntington, Louis Persinger, Leon Sametini, Tosco Berger, Josephine Boudreaux, Adolf Busch Podcast 4 Segment 3 Other Mentions Georges Enesco, Mishakoff, Adolfo Betti, Carl Friedburg, Gustave Tinlot, Efrem Zimbalist, Jacques Gordon, Hans Letz, Joshua Bell, Jascha Heifetz, Malkin, Auer, Felice de Horvath, Edouard Dethier, Eugene List, Louis Biancolli, Alexander Nicol, Ludwig Becker, Galamian, Clayton Hare, Geza de Kresz Podcast 4 Segment 1 Music & Credits Maud Powell – Souvenir (Drdla) Deborah Tien-Price/Karen Shinozaki Sor – Romanze (Kreisler), Zigeunerweisen Op 20 (Pablo de Sarasate) Josh Workman – Sad Theme The Four Vagabonds – Rosie the Riviter (Evans/Loeb) Ruth Posselt – Violin Concerto in D major Op 35 (Tchaikovsky) Miriam Solovieff – Violin Concerto (Lalo) Kathleen Parlow – Minuet in Gb major (Beethoven) Podcast 4 Segment 2 Music & Credits Maud Powell – Souvenir (Drdla) Guila Bustabo – Concerto for Violin and Orchestra Op 61 (Beethoven), Concerto for Violin and Orchestra in C minor, Op 53 (Dvorak), Interview of Guila Bustabo Deborah Tien-Price/Karen Shinozaki Sor – Partita No 1 Allenmande (Bach), Sonata for Violin KV454, 2nd Movement (Mozart), Zigeunerweisen, Op 20 (Pablo de Sarasate) Podcast 4 Segment 3 Music & Credits Maud Powell – Souvenir (Drdla) Deborah Tien-Price/Karen Shinozaki Sor – Violin Concerto No 1 in D major Op 6 (Paganini), Aucassin (Kreisler), Sonata for Violin KV454 2nd Movement (Mozart), Romanze (Kreisler) Patricia Travers – Indtroduction and Rondo Capriccioso, Op 28 (Saint-Saens) Beverly Somach – Andantino in the Style of Padre Martini (Kreisler), Liebesfreud (Kreisler ), May Breezes (Mendelssohn-Bartholdy), Preludium and Allegro in the style of Gaetano Pugnani (Kreisler) Eugene List/Carol Glenn – Double Concerto in D minor Allegro (Mendelssohn) ### About Ribbons & Bows  An exciting new podcast series from Elfenworks Productions, LLC “Ribbons & Bows ~ American Women in Violin History”  delves into the stories of dozens of pioneering American women who helped shape today’s robust violin scene.  These are fabulous tales of perseverance,  vision, and hope.   Why has so little been said about them, in history books, until today?  More importantly, won’t you please join us for an enchanting trip down memory lane as we call them back to us to tell their stories, ensuring they’ll never be lost in the mists of time?  You’ll love these brave and beautiful souls, as you share their experiences back in the days when little girls were not encouraged to play violin.  After all, who among us hasn’t felt like the odd one out, the person interested in trying something different, in going where they didn’t exactly fit in?  Ribbons & Bows… a Podcast Series with accompanying downloadable CD release from Elfenworks Productions, LLC,  expected in 2018.

Ribbons & Bows Podcast 4  In this episode,  we move on to the other great and terrible war time of the twentieth century – World War II – the century’s darkest hour – and the shining stars who brought light, hope and joy through their musical arts. Podcast 4 Segment 1 Featured Violinists Mary Becker and Miriam Solovieff Podcast 4 Segment 2 Featured Violinists Guila Bustabo, Fredell Lack, and Frances Magnes Podcast 4 Segment 3 Featured Violinists Madeline Carabo, Eudice Shapiro, Margaret Sittig, Patricia Travers, Beverly Somach, Carroll Glenn, Jeanne Mitchell, and Betty Jean Hagen Podcast 4 Segment 1 Other Mentions Albert Spalding, Paul Kochanski, Robert Pollack, Kathleen Parlow, Carl Flesch Podcast 4 Segment 2 Other Mentions Ray Huntington, Louis Persinger, Leon Sametini, Tosco Berger, Josephine Boudreaux, Adolf Busch Podcast 4 Segment 3 Other Mentions Georges Enesco, Mishakoff, Adolfo Betti, Carl Friedburg, Gustave Tinlot, Efrem Zimbalist, Jacques Gordon, Hans Letz, Joshua Bell, Jascha Heifetz, Malkin, Auer, Felice de Horvath, Edouard Dethier, Eugene List, Louis Biancolli, Alexander Nicol, Ludwig Becker, Galamian, Clayton Hare, Geza de Kresz Podcast 4 Segment 1 Music & Credits Maud Powell – Souvenir (Drdla) Deborah Tien-Price/Karen Shinozaki Sor – Romanze (Kreisler), Zigeunerweisen Op 20 (Pablo de Sarasate) Josh Workman – Sad Theme The Four Vagabonds – Rosie the Riviter (Evans/Loeb) Ruth Posselt – Violin Concerto in D major Op 35 (Tchaikovsky) Miriam Solovieff – Violin Concerto (Lalo) Kathleen Parlow – Minuet in Gb major (Beethoven) Podcast 4 Segment 2 Music & Credits Maud Powell – Souvenir (Drdla) Guila Bustabo – Concerto for Violin and Orchestra Op 61 (Beethoven), Concerto for Violin and Orchestra in C minor, Op 53 (Dvorak), Interview of Guila Bustabo Deborah Tien-Price/Karen Shinozaki Sor – Partita No 1 Allenmande (Bach), Sonata for Violin KV454, 2nd Movement (Mozart), Zigeunerweisen, Op 20 (Pablo de Sarasate) Podcast 4 Segment 3 Music & Credits Maud Powell – Souvenir (Drdla) Deborah Tien-Price/Karen Shinozaki Sor – Violin Concerto No 1 in D major Op 6 (Paganini), Aucassin (Kreisler), Sonata for Violin KV454 2nd Movement (Mozart), Romanze (Kreisler) Patricia Travers – Indtroduction and Rondo Capriccioso, Op 28 (Saint-Saens) Beverly Somach – Andantino in the Style of Padre Martini (Kreisler), Liebesfreud (Kreisler ), May Breezes (Mendelssohn-Bartholdy), Preludium and Allegro in the style of Gaetano Pugnani (Kreisler) Eugene List/Carol Glenn – Double Concerto in D minor Allegro (Mendelssohn) ### About Ribbons & Bows  An exciting new podcast series from Elfenworks Productions, LLC “Ribbons & Bows ~ American Women in Violin History”  delves into the stories of dozens of pioneering American women who helped shape today’s robust violin scene.  These are fabulous tales of perseverance,  vision, and hope.   Why has so little been said about them, in history books, until today?  More importantly, won’t you please join us for an enchanting trip down memory lane as we call them back to us to tell their stories, ensuring they’ll never be lost in the mists of time?  You’ll love these brave and beautiful souls, as you share their experiences back in the days when little girls were not encouraged to play violin.  After all, who among us hasn’t felt like the odd one out, the person interested in trying something different, in going where they didn’t exactly fit in?  Ribbons & Bows… a Podcast Series with accompanying downloadable CD release from Elfenworks Productions, LLC,  expected in 2018.

It’s 65 years since film composer Miklós Rózsa composed his violin concerto, written in response to Jascha Heifetz's request. In honor of Rózsa's command of both movie music and classical composition, here's this archival Fishko Files. (Produced in 2000) Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

The composer Mario Castelnuovo-Tedesco moved from Italy to the US during the turmoil of the Second World War. That he should have been immediately befriended by such musical giants as violinist Jascha Heifetz and cellist Gregor Piatigorsky speaks reams about the respect the Italian engendered. His Cello Concerto was commissioned by Piatigorsky, who premiered the work in 1935. This recording captures the first ever performance since that occasion. The programme is completed by transcriptions that Castelnuovo-Tedesco made especially for Heifetz and Piatigorsky, including the work that gained the distinction of being the last piece that Heifetz performed in public. Raymond Bisha introduces soloist Brinton Averil Smith in this long overdue affirmation of Castelnuovo-Tedesco’s legacy for the cello.

This week I have TWO co-hosts on Sticky Notes as Donald Weilerstein(my dad, and one of the most sought after violin teachers in the world) and Soovin Kim(a wonderful violinist and sought after teacher) sit down with me to listen to great recordings of violinists of the past, such as Jascha Heifetz, David Oistrakh, Christian Ferras, Joseph Szigeti, and Ginette Neveu.  We talk about what makes them so great, what makes them different from one another, how we can learn from them, all while listening to tons of absolutely wonderful music.  Thanks for listening!  

100 years ago this week, violinist Jascha Heifetz made his American debut. Heifetz set a new standard for mastery of the instrument, but these days even his admirers don’t completely embrace his musical personality and style. In this archival Fishko Files, violinists from Sarah Chang to Itzhak Perlman discuss the impact of this towering performer. (Produced in 2001) Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

I programmet diskuteras ungersk kammarmusik med Notos-kvartetten, Ester Yoo tolkar Tjajkovskij, orkestermusik av Chaminade samt Barbara Hannigan som både sjunger och dirigerar på ny skiva. I panelen Ditte Hammar, Edward Klingspor och Per Lindqvist som tillsammans med programledaren Johan Korssell betygsätter följande skivor: HUNGARIAN TREASURES Kammarmusik av Dohnányi, Kodály och Bartók Notos-kvartetten RCA 88985411882 PETER TJAJKOVSKIJ Violinkonsert D-dur m.m. Esther Yoo, violin Philharmonia Orchestra Vladimir Ashkenazy, dirigent DGG 481 5032 CÉCILE CHAMINADE Callirhoë, Konsertstycke för piano och orkester Victor Sangiorgio, piano BBCs konsertorkester Martin Yates, dirigent Dutton CDLX 7339 CRAZY GIRL CRAZY Musik av Luciano Berio, Alban Berg och George Gershwin Barbara Hannigan, sopran och dirigent Ludwig Orchestra Alpha ALPHA 293 Referensen Tjajkovskijs violinkonsert Johan jämför med och refererar till en inspelning där Maxim Vengerov är solist och spelar tillsammans med Berlins filharmoniker allt under ledning av Claudio Abbado. Inspelad på skivmärke Teldec.  Sofia möter Anders Hillborg Sofia Nyblom träffade kompositören Anders Hillborg dagen efter uruppförandet av det nya verket Aeterna. Samtalet kretsar runt arbetet som tonsättare, samarbetet med violinisten Lisa Batiasjvili i den andra violinkonserten samt lite tankar om framtiden och det kommande verket som är beställt av Londons symfoniorkester.   Andra i programmet nämnda eller rekommenderade inspelningar: Chaminades Konsertstycke med pianisten Danny Driver tillsammans med BBCs skotska symfoniorkester, Glasgow, ledda av Rebecca Miller på märket Hyperion. Tjajkovskijs violinkonsert med Maxim Vengerov tillsammans med Berlins filharmoniker under ledning av Claudio Abbado på Teldec (Referensen); Vilde Frang och Danmarks radios symfoniorkester ledda av Eivind Gullberg Jensen på EMI; Janine Jansen och Mahler Chamber Orchestra under Daniel Harding på Decca; Hilary Hahn tillsammans med Liverpools filharmoniker ledda av Vasily Petrenko på DG; Lisa Batiasjvili och Berlins statskapell dirigerade av Daniel Barenboim på DG; Jascha Heifetz och Chicagos symfoniorkester under Fritz Reiner på RCA; David Oistrach och Sovjetunionens statliga symfoniorkester under Kirill Kondrasjin på Melodija; Pinchas Zuckerman och Israels filharmoniker under ledning av Zubin Mehta på Columbia samt med Itzhac Perlman tillsammans med Israels filharmoniker allt under Zubin Mehta på Angel. Ester Yoo spelar Sibelius och Glazunovs violinkonserter på DG. Barbara Hannigans framträdande i Berwaldhallen i Stockholm, då hon också sjöng och dirigerade samtidigt. Berios Sequenza III med Cathy Berberian på märket Stradivarius. Inget Svep denna vecka

Jascha Heifetz' sidste koncert.Den russisk-amerikanske violinist Jascha Heifetz (1901-1987) var i årtier indbegrebet af violinistisk perfektion. Hør ham her i højromantisk kammermusik. Franck: Violinsonate, Richard Strauss: Violinsonate samt musik af Bach, Debussy, Ravel m.fl.Jascha Heifetz, violin.Brooks Smith, klaver.(Koncert i Los Angeles 23. oktober 1972). Vært: Mathias Hammer. www.dr.dk/p2koncerten

I programmet diskuteras bl.a. Vincent D'Indys andra symfoni, mässor av Pierre de la Rue och Vadim Gluzman som solist i Prokofjevs violinkonserter. Nadja Boulanger och Schönberg i I mindre skala. I panelen Anna Nyhlin, Camilla Lundberg och Tony Lundman som tillsammans med programledaren Johan Korssell betygsätter följande skivor:VINCENT DINDY Symfoni nr 2, m.m. Skotska Nationalorkestern Jean-Luc Tingaud, dirigent Naxos 8.573522SERGEJ PROKOFJEV Violinkonserterna, Soloviolinsonat Vadim Gluzman, violin Estniska symfoniorkestern Neeme Järvi, dirigent Bis SACD 2142JOHANN SEBASTIAN BACH De franska sviterna Murray Perahia, piano DG 479 6565PIERRE DE LA RUE Mässor, Salve Regina och Magnificat sexti toni Brabant-ensemblen Stephen Rice, dirigent Hyperion CDA 68150I mindre skala Johanna Paulsson och Alexander Freudenthal vänder och vrider på några av Arnold Schönberg och Nadja Boulangers arrangemang av stort och smått.Andra i programmet nämnda eller rekommenderade inspelningar: DIndys orkesterverk med Islands symfoniorkester under ledning av Rumon Gamba, inspelad på Chandos. Prokofjevs violinkonserter med Jascha Heifetz och Bostons symfoniorkester ledda av Sergej Kussevitskij (nr 2) på RCA; David Ojstrach och Londons symfoniorkester under ledning av Lovro von Matacic på märket Warner Classics; Lidija Mordkovitj och Skotska nationalorkestern, Glasgow, under Neeme Järvi på Chandos; Janine Jansen tillsammans med Londons filharmoniker ledda av Vladimir Jurowski (nr 2) på Decca samt med Maxim Vengerov som solist tillsammans med Londons symfoniorkester allt under Mstislav Rostropovitj på Teldec. Prokofjevs symfonier med Neeme Järvi och Skotska nationalorkestern, Glasgow, på Chandos.Svepet Johan sveper över ett album med musik av Claude Debussy; Image, Jeux och La plus que lente. Det är San Franciscos symfoniorkester under Michael Tilson Thomas som framför dessa. Inspelningen är gjord på det egna märket San Francisco Symphony. I Johans julspecial nästa vecka får vi höra mer ur denna CD.

Today in 1917, violinist Jascha Heifetz had his Carnegie Hall Debut--he was only 16 years old at the time.  What made his playing so dynamically engaging?  And what Bing Crosby song did he compose?  Find out on today's "A Classical Day in the Life."

In Ep. 7, The Life of Fritz Kreisler, Part III finishes the story of the great Fritz Kreisler, from the end of the First World War, through his retirement in 1950, and all the way to the twilight of his life. ---------------- For all things GCP Please rate, review, and subscribe on iTunes! The App!  https://apps.apple.com/us/app/the-great-composers-the-gcp/id1465809545?fbclid=IwAR0tQTElluT8I3jn6SYFcQst70IY0Ym52LjEz1Z3DR11oq5ZGDLV_URNyHk&ls=1 Like our Facebook page! https://www.facebook.com/thegreatcomposerspodcast/ A complete bibliography for all episodes can be found on my website: www.kevinnordstrom.com The introductory quotation is from the close of Joseph Szigeti's autobiography of 1947, 'With Strings Attached' - it is telling how Szigeti ends his own autobiography with a story about Kreisler... Thank you to archive.org for all the Kreisler recordings! All works are performed by Kreisler unless otherwise noted. 1. The World is Waiting for Sunrise - by Ernst Seitz arr. Kreisler (1928) 2. Beethoven Violin Concerto in D major op. 61 (cadenza) - by Fritz Kreisler 3. String Quartet in A minor mvt. 2 'Scherzo' - by Fritz Kreisler (1935) - Fritz Kreisler and Thomas Petrie violins, William Primrose viola, Lauri Kennedy cello 4. Sicilliene et Rigaudon (in the style of Francoeur)- by Fritz Kreisler, Jascha Heifetz violin 5. Stars in My Eyes from 'Sissy" - by Fritz Kreisler (1946) 6. Songs My Mother Taught Me op. 55 no. 4 - by Antonin Dvorak arr. Kreisler (1928) 7. Beautiful Ohio Waltz - by Mary Earl (1919) 8. Recitative and Scherzo Caprice - by Fritz Kreisler, Jascha Heifetz violin 9. Violin Concerto in E minor mvt. 1 - by Felix Mendelssohn 10. Underneath the Stars - by Herbert Spencer (1917) 11. La Gitana - by Fritz Kreisler (1946)

[Kabbalat Shabbat, Friday evening service] L’kha dodi likrat kallah, p’nei shabbat n’kab’lah. *Shamor v’zakhor b’dibur ehad, hishmi·anu eil ham’yuhad. Adonai ehad ush’mo ehad, l’shem ul’tiferet v’lit’hilah. L’kha . . . Likrat Shabbat l’khu v’nelkhah, ki hi m’kor ha-b’rakhah. Mei-rosh mi-kedem n’sukhah, sof ma·aseh b’mahashavah t’hilah. L’kha . . . Mikdash melekh ir m’lukhah, kumi tz’i mi-tokh hahafeikhah. Rav lakh shevet b’emek ha-bakhah, v’hu yahamol alayikh hemlah. L’kha . . . Hitna·ari mei-afar kumi, livshi bigdei tifartekh ami. Al yad ben yishai beit ha-lahmi, korvah el nafshi ge·ala. L’kha . . . *Hitoreri hitoreri, ki va orekh kumi ori. Uri uri shir dabeiri, k’vod Adonai alayikh niglah. L’kha . . . Lo teivoshi v’lo tikalmi, ma tishtohahi u-mah tehemi, Bakh yehesu aniyei ami v’nivn’ta ir al tila. L’kha . . . V’hayu limshisah shosayikh, v’rahaku kol m’valayikh. Yasis alayikh elohayikh, kimsos hatan al kallah. L’kha . . . Yamin u-smol tifrotzi, v’et Adonai ta·aritzi. Al yad ish ben partzi, v’nism’hah v’nagilah. L’kha . . . *Bo·i v’shalom ateret ba·alah, gam b’simhah uv’tzoholah. Tokh emunei am s’gulah, bo’i khalah, bo·i khallah. L’kha . . . Come my beloved, to greet the bride; let us welcome Shabbat. *“Observe” and “remember”were uttered as one; so we heard it from the singular One. God is one and God’s name is one, reflected in fame, in splendor, and in praise. Come . . . Shrine of our sovereign, royal city, rise up from destruction and fear no more. End your dwelling in the tear-filled valley, for with God’s compassion you will be upraised. Come . . . Awake! Rise up from the dust! Dress yourself in this people’s pride. By the hand of Jesse’s son, of Bethlehem’s tribe bring my redemption without further delays. Come . . . *Rouse yourself, rouse yourself, for your lamp is lit; let the flame rise up and glow. Awake awake, utter songs of praise, for God’s glory is revealed to your gaze. Come . . . Do not be embarrassed, do not be ashamed. Why are you downcast? Why do you moan? The poorest of your people, trust in this: the city will be rebuilt as in ancient days. Come . . . Your despoilers shall be despoiled, your tormentors removed far away. God and you will celebrate together, a bride and groom in joyful embrace. Come . . . You will spread out to the left and the right, acclaiming Adonai our God with delight. Redeemed by the scion of Peretz’s line, we shall joyously chant songs of praise. Come . . . *Come in peace, crown your spouse, surrounded by gladness and joyous shouts. Come to the faithful, the people You treasure with pride, come, my bride; come my bride. Come . . . from L'dor Vador, releases October 10, 2016 Mario Castelnuovo-Tedesco (1895–1968) Born in Florence, Mario Castelnuovo-Tedesco was descended from a prominent Jewish banking family that had lived in the city since the expulsion of Jews from Spain in 1492. He was one of the foremost guitar composers of the twentieth century, with almost one hundred compositions for that instrument. After immigrating to the US in 1939, he worked for MGM Studios for fifteen years, composing scores for some 200 Hollywood movies as well as becoming a significant influence on other major film composers, including Henry Mancini, André Previn, and John Williams. He also wrote concertos for Jascha Heifetz and Gregor Piatigorsky as well as several operas. His work was inspired by great literature and also by his Jewish heritage, most notably the Bible and Jewish liturgy.

In Ep. 6, The Life of Fritz Kreisler, Part II tells the story of this great violinist composer's life from 1900 to the end of The First World War. We will see him achieve glory on the concert stage, in composition, and on the battlefield. ---------------- For all things GCP Please rate, review, and subscribe on iTunes! The App!  https://apps.apple.com/us/app/the-great-composers-the-gcp/id1465809545?fbclid=IwAR0tQTElluT8I3jn6SYFcQst70IY0Ym52LjEz1Z3DR11oq5ZGDLV_URNyHk&ls=1 Like our Facebook page! https://www.facebook.com/thegreatcomposerspodcast/ A complete bibliography for all episodes can be found on my website: www.kevinnordstrom.com Thank you to for archive.org for all the Kreisler! Works and performers for this episode are... 1. Caprice Viennois - Written and performed by Fritz Kreisler (1924) 2. Poeme - Ernst Chausson composer, Jascha Heifetz violin 3. Schön Rosmarin - Written and performed by Fritz Kreisler (1943) 4. Liebesfreud - Written and performed by Fritz Kreisler (1926) 5. Humoresque - by Dvorak arr. Kreisler, Fritz Kreisler violin (1938) 6. Violin Concerto in C in the style of Vivaldi - Written and performed by Kreisler 7. Liebesfreud - by Kreisler arr. Rachmaninov - performed by Rachmaninov 8. Tabourin Chinois - Written and performed by Fritz Kreilser #1, 4, 5, 8 - https://archive.org/details/FRITZKREISLER1875-1962Violin #2 - https://archive.org/details/ChaussonPoemeOp.25heifetzMonteux #3 - https://archive.org/details/FRITZKREISLER-TheseAreMyFavorites-NEWTRANSFER #7 - https://archive.org/details/ViolinConcertoInC

I programmet diskuterar panelen bl.a. kammarmusik av Mozart och Devienne med fagotten i fokus samt violinisten Esther Yoos tolkning av Sibelius och Glazunov. Sofia Nyblom möter Daniel Barenboim. I panelen Camilla Lundberg, Rainer Clute och Sebastian Stevensson (gäst och P2s artist 2016-17) som tillsammans med programledaren Johan Korssell betygsätter följande skivor:JEAN SIBELIUS ALEXANDER GLAZUNOV Violinkonserter Esther Yoo, violin Philharmonia Orchestra Vladimir Ashkenazy, dirigent DGG 481 215 7 RIMSKY-KORSAKOV, BALAKIREV, IPPOLITOV-IVANOV, ERKIN Scheherazade, Islamey, Kaukasiska skisser, Köcekce Borusan Istanbuls filharmoniker Sascha Goetzel, dirigent Onyx ONYX 4124SERGEJ RACHMANINOV Vigilia, midnattsmässa Bryan Taylor, Paul Davidson m.fl Phoenix Chorale, Kansas City Chorale Charles Bruffy, dirigent Chandos CHSA 5148 W A MOZART FRANCOIS DEVIENNE Sonat för fagott och cello Fagottkvartetter nr 1-3 Matthias Rácz, fagott, Medlemmar ur Merel-kvartetten Ars Produktion ARS 38 194 Sofia möter Sofia Nyblom har träffat pianisten och dirigenten Daniel Barenboim i samband med att han gav en i pianoafton i Stockholms konserthus i april.Andra i programmet nämnda eller rekommenderade inspelningar: Rimsky-Korsakovs Scheherazade med Chicagos symfoniorkester ledd av Seiji Ozawa på skivmärke Warner; Royal Philharmonic Orchestra under Leopold Stokowski på RCA; Londons symfoniorkester under ledning av Leopold Stokowski på Decca; samt med Concertgebouw-orkestern ledd av Kirill Kondrasjin på Philips. Rachmaninovs Vigilia med Radiokören ledd av Tönu Kaljuste på Virgin. Sibelius violinkonsert med Anne-Sophie Mutter och Dresdens statskapell dirigerade av André Previn på DG; Viktoria Mullova och Bostons symfoniorkester ledd av Seiji Ozawa på Philips; med Leonidas Kavakos och Lahtis symfoniorkester på Bis samt med Jascha Heifetz och Londons filharmoniker ledda av Thomas Beecham på RCA. Glazunovs violinkonsert med Anne-Sophie Mutter och Washingtons symfoniorkester ledd av Mstislav Rostropovitj på Erato samt med Jascha Heifetz och Londons filharmoniker ledda av John Barbirolli på Documents. Esther Yoos inspelning av Tjajkovskijs violinkonsert som släpps till hösten.  Inget svep denna vecka     

Niccolò Paganini, Yehudi Menuhin, Jascha Heifetz, Daniel Hope - sie alle spielten oder spielen darauf: auf einer Violine aus den Werkstätten der Familie Guarneri. Das BR-Klassik "Stichwort" stellt die Instrumentenbau-Dynastie vor.

Klassisk på nettet er en times klassisk musik med et bestemt tema og det er i denne uge årstallet 1901. Store komponister døde det år og andre blev født, musik blev påbegyndt, færdiggjort eller uropført.  Der er musik af Verdi, Rachmaninov, Carl Nielsen, Dvorak og Mahler blandt andre og dertil skønne sopraner som Anna Netrebko og Tina Kiberg og en fantastisk violonist som Jascha Heifetz. Tilrettelæggelse: Kirsten Rønn

Today in 1917, violinist Jascha Heifetz had his Carnegie Hall Debut--he was only 16 years old at the time.  What made his playing so dynamically engaging?  And what Bing Crosby song did he compose?  Find out on today's "Day in the Life."

Vi hör Finska Radions Symfoniorkester spela musik av Lotta Wennäkoski och Emerson-kvartetten spela Alban Berg. Och så sveper Johan över samtliga Sibelius symfonier. I panelen sitter Ella Petersson, Tithi Hahn och Tony Lundman som tillsammans med programledaren Johan Korssell betygsätter följande skivor:LOTTA WENNÄKOSKI Soie, Hava, Amor omnia suite Kersten McCall, flöjt Finska radions symfoniorkester Dima Slobodeniouk, dirigent Ondine ODE 1259-2GABRIEL FAURÉ RICHARD STRAUSS Violinsonater Itzhak Perlman, violin, Emanuel Ax, piano DGG 00028948117741ALBAN BERG EGON WELLESZ Lyrisk svit Sonette der Elisabeth Barrett Browning Renée Fleming, sopran Emerson-kvartetten Decca 478 8399PETER TJAJKOVSKIJ Symfoni nr 5 e-moll, Romeo och Julia, fantasiuvertyr San Franciscos symfoniorkester Michael Tilson Thomas, dirigent SFS Media SFS 0062Johans val Johan Korssell spelar valda delar ur Simon Rattle och Berlins filharmonikers cykel med samtliga Sibelius symfonier. En box bestående av 6 CD inspelade på det egna märket Berliner Philhamoniker.Andra nämnda eller rekommenderade inspelningar- Tjajkovskijs Romeo och Julia med San Franciscos symfoniorkester ledd av Seiji Ozawa på DG. - Wennäkoskis Soie minner om Per Mårtenssons Flöjtkonsert. - Richard Strauss violinsonat med Jascha Heifetz och Arpad Sandor på Biddulph. - Gabriel Faurés violinsonater med Arthur Grumiaux och Paul Crossley inspelad på Philips.    Johans svepJohan sveper över Sibelius Belsazars gästabud med Åbo filharmoniker ledd av Leif Segerstam på skivmärke Naxos samt över Stravinskys violinkonsert med solisten Itzhak Perlman som spelar tillsammans med Bostons symfoniorkester under ledning av Seiji Ozawa på DG.

Works for violin and piano by Vitali, Debussy, and Szymanowski performed by Angelo Xiang Yu, violin, and Dina Vainshtein, piano on April 20, 2014.Vitali: Chaconne in G Minor for violin and pianoDebussy: Sonata for Violin and Piano in G MinorSzymanowski: Nocturne and Tarentella, Op. 28Today, we’ll introduce a violinist who we think you’ll be hearing much more about: Angelo Xiang Yu. He swept a number of major competitions, winning the prestigious Yehudi Menuhin International Violin Competition in 2010. He attended New England Conservatory here in Boston for his undergraduate education and Artist Diploma and, this fall, will continue studying there for his Master’s degree.For his Gardner Museum recital in April 2014, he brought with him a program that, as we’ll hear today, showcased his breadth and virtuosity.The Vitali Chaconne has a notable history with virtuoso violinists. In fact, Jascha Heifetz chose this piece as the curtain-raiser for his own American debut, at Carnegie Hall in 1917. But according to modern scholars, it’s quite unlikely that this work was actually written by its supposed Baroque-era author, Tomaso Antonio Vitali, a violinist from Bologna. The piece has a distinctly Romantic flavor for a work that supposedly hails from the early 1700’s.We’ll hear the Chaconne first, followed by the Debussy Sonata – one of the composer’s final works – and finally the Szymanowki Nocturne and Tarantella, all performed by violinist Xiang Yu and pianist Dina Vainshtein.