Podcast appearances and mentions of josef rheinberger

Nuestra ruta casi infinita acompañados por las mejores primeras sinfonías de autores alemanes sigue avanzando a velocidad de crucero y hoy alcanzamos ya el 7º episodio. Los autores protagonistas de este episodio son Josef Rheinberger, Felix Woyrsch y Richard Wetz, poco habituales en los programas de conciertos pero con música interesantísima y que escuchamos aquí en muy buena compañía: la de los inefables (signifique lo que signifique eso) Carlos Iribarren y Mario Mora. Esperamos que disfrutes de estas obras de finales del siglo XIX y comienzos del XX en la nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

In deze aflevering van Kalm met Klassiek valt de avond in, want het is de laatste aflevering in het thema 'Harmonie'. Met het 'Abendlied' van Josef Rheinberger is het cirkeltje rond. Transporteer jezelf naar de machtige, echoënde Britse kathedraal waar deze muziek is opgenomen. Steek er vooral een kaars bij aan. En laat de behagelijke koorklanken je verwarmen. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7). 

Josef Rheinberger was a prolific composer in latter half of the 19th century. He born in Lichtenstein but lived most of his life in Munich, Germany, as a professor at the Royal School of Music. In this video I present and perform the 1st movement of his Piano sonata no. 4 in F# minor, Op. 184, called "The Romantic". This was a Patreon request by L. von Geist, which also introduced me to this interesting composer. Video link: https://youtu.be/WSEmdTKoSug

The end of the day is only the beginning: dusk invites the majesty of sunset, the twinkling of stars, and the cool blanket of moonlight. Anything is possible at dusk.Our guest writer this week is Marjorie Chan, www.marjoriechan.comThis week we are featuring the following music performed by the Amadeus Choir:"Die Nacht" by Josef Rheinberger"I Saw Eternity" by Stephen ChatmanCopyright © 2003 by Highgate Press, (BMI), a division of ECS Publishing Group. www.ecspublishing.com Used with permission. All rights reserved."Vineta" from "Drei Gesänge" by Johannes Brahms"Stars" by Ēriks EšenvaldsCopyright © 2012 by Musica Baltica Used with permission. All rights reserved.All Choral recordings featured in this podcast were performed and recorded by the Amadeus Choir of Greater TorontoIncidental music is composed and performed by Pouya Hamidi.About SONGWALKS:Join the Amadeus Choir of Greater Toronto for Songwalks: Choral music for your daily journey. Each episode is designed to accompany your walk through the city or countryside, at dawn or at dusk. They're the perfect way to let your imagination loose as you move through the world around you. You'll hear music by composers throughout the ages recorded by the Amadeus Choir, and spoken word poetry by leading Canadian writers, as well as members of the Amadeus Choir.Weekly episodes premiere on May 11th.Search "Songwalks" on Apple Podcasts, Google Podcasts, Spotify, and Stitcher.amadeuschoir.com/songwalksAbout THE AMADEUS CHOIR OF GREATER TORONTOEnlivening Toronto's arts community for 47 years, the award-winning Amadeus Choir is a semi-professional choir of auditioned voices from Toronto and the surrounding areas. The Choir champions the best of choral music and premieres works of Canadian and international composers through a self-produced Toronto concert series, guest performances, and special events. Known well beyond Toronto through tours, festivals, recordings, and national and international radio broadcasts, the Choir collaborates with many professional performing arts organizations in the GTA.  The Amadeus Choir is proud to take a leading role in educating the next generation of choral musicians by providing workshops for conductors, composers, singers, and students. The Choir is known for its strong support of Canadian music, and regularly commissions work from established and emerging Canadian composers.  Throughout its history, the Amadeus Choir has received numerous awards, most recently the Association of Canadian Choral Communities's "Most Innovative Performance" award in 2014 for “Music of the Spheres,” a multi-media collaboration with the Elmer Iseler Singers, the Ontario Science Centre, and the Roberta Bondar Foundation.In 2019, after celebrating the 35-year leadership of Lydia Adams, the Choir welcomed Kathleen Allan as Artistic Director and Conductor.

A precocious young composer, the teacher of Charles Ives, and a NON-nationalistic Scottish work undeniably influenced by Tchaikovsky (even though it may have been intended to do the exact opposite), are all headline descriptions of the topic for this episode of the American Muse podcast: Horatio Parker and his work _A Northern Ballad_. ###Background####Bio- Youngest of the “Boston 6”, Horatio Parker was born 1863 in Auburndale, MA, a rural area at the time, now subsumed by the Boston city limits. He studied with George Whitefield Chadwick at the New England Conservatory of Music (NEC) and eventually, like most serious musicians at the time, went to Europe and studied with Josef Rheinberger at the Royal Music School in Munich. A similar comment by both these teachers points to a characteristic that Parker carried throughout his compositional career. Chadwick, speaking of the young Parked, roughly aged 17-19, says:> He was far from docile. In fact, he was impatient of the restrictions of musical form and rather rebellious of the discipline of counterpoint and fugues. His lessons usually ended with his swallowing his medicine, but with many a wry grimace.- This quote probably says as much about the youthfulness of Parker as it does the fastidious Chadwick and his own workmanship-like character. Yet, while later studying with Rheinberger, also a former teacher of Chadwick, an observation by the Boston music critic William Apthorp would confirm Parker's temptation to go against the grain:> It is said of H. W. Parker that when he was a student in Munich under Rheinberger he was repeatedly introducing some new wrinkle, some unheard of effect... Certain of these musical inventions were distasteful to the master... and others were railed at playfully but secretly endorsed and even imitated by Rheinberger himself.- Upon returning to the United States, Parker moved to New York and bounced around several church positions. This is where Parker found the strongest market for his compositions, as any choral, organ, or piano work he wrote was quickly performed and highly praised. At the end of his time in New York, Parker spent one, lone year teaching at the famous National Conservatory of Music in America. Famous mostly because this is the school at which Antonín Dvořák taught during his highly publicized visit to the “New World”. And, that lone year, 1892-1893, overlapped with Dvořák's first year.- Eventually, Parker returned to Boston, having a substantial reputation as a composer, mostly of choral works. In an ironic twist, relating to the observations of Parker as a young man, musicologist and biographer William Kearns found in Parker's diaries that one of the reasons he left his church position was “problems of discipline among the boys in the Holy Trinity Choir... he complained that they are a ‘burden' to the choirmaster and expressed the hope that the adult mixed choir at his new appointment would leave him more time for the important work of composition.” I am sure Chadwick had a laugh about that!- Parker's stay in Boston only lasted one year, as he then took a teaching position at Yale. There, Parker developed a long legacy of composition students, punctuated by Roger Sessions and the inimitable Charles Ives. Parker developed _The History of Music_ course, served as editor of _Music and Drama_, served as dean of the School of Music, conducted and developed the New Haven Symphony Orchestra as both a professional ensemble and lab orchestra for Yale music students, all while continuing to compose. It was from this position that the rest of his life would be based. Also, this move towards academia would nudge Parker to analyze his own thinking about music, it's place in society, and cause him to make definitive statements on the subject. Near the end of his life, Parker wrote in the _Yale Review_:> In truth there are two very different kinds of taste. May I call them high and low to save space?... I think an enormous part of our national common progress is made by breaking down barriers between such types. Training the lowly to enjoy exalted music is known to be meritorious. I never heard anyone commend the reverse process of training the fastidious to recognize vulgar excellence.- The man comes full circle! A somewhat rogue youth, tamed by well-disciplined teachers, now embracing the diversity of musical options. And as can be seen, these phases manifest in his composition as well###Analysis of piece- And the main event: Parker's tone poem _A Northern Ballad_- Written over the 1898-99 winter, the symphonic poem was premiered by the New Haven Symphony, conducted by the composer himself.- Overall, Parker's pure orchestral output is limited, though what he did produce was compelling. _A Northern Ballad_ being one of his most mature works elicited quite a review from a New York newspaper in 1901: “The impression left by the whole is that if Mr. Parker would give up writing church music he has the stuff in him to turn out most effective secular material. His music is virile and full bodied, and its eclecticism is not greater than that of most music now being written.”- Now, the first question I had about the title of this piece was “what North is Parker referring to?” Apparently, it is nothing to do with America at all, but that of Scotland, a nod to his own Anglo-Saxon roots. There are some noticeable Scottish folk-like resemblances, and while one performance review describes the piece as quote “Celtic rather than distinctively Norse,” another notes its use of “Scotch melodies and instrumental coloring.” Rather than a nationalistic nod, it is possible this is a reaction to Dvorak's controversial statements about American music during his tenure as Director of the National Conservatory of Music in New York, where, as I mentioned earlier, Parker and Dvorak overlapped for one year. In his biography on Parker, William Kearns suggests that “Both its title and content suggest another step in Parker's move away from German influences”. Ok, maybe the title. But, content? Uh... as you will hear, and I will point out specifically, there are quite a few elements that bear a striking resemblance to Tchaikovsky's iconic _Romeo and Juliet_ overture. Yes, I know, Tchaikovsky is of course Russian, not German. However, Tchaikovsky's style is a composite of MANY different influences from all over Europe, not the least of which is German, Italian, and French, all in addition to Russian. So, I have to say I disagree with Mr. Kearns, but let's listen and see what you think.####Excerpts- The recording of Parker's _A Northern Ballad_ you will hear is performed by the Albany Symphony Orchestra under the direction of Julius Hegyi, recorded on the New World Records label in 1986.- Tchaikovsky's _Romeo and Juliet_ Overture recording is a video recording of the Orchestra della Radio della Svizzera italiana conducted by Leopold Stokowski.- Parker begins with an open sounding woodwind chorale, not displaying either urgency or haste, merely a state of ancient being.- This is unmistakably similar to Tchaikovsky's opening bars of the Romeo and Juliet Overture.- As Parker opens up the dynamic range of the opening section, he adds the strings and sweetness of melodic inflection- Again, this compares closely to the Tchaikovsky, in a similar moment of the introduction just as the sound increases from the opening darkness.- As Parker concludes the introduction, he moves immediately into a quick section introduced by a pithy riff in the strings that will become a main motive of the rest of the work. This quickly builds to a driving rhythmic undercurrent in the horns and violas, covered by another motivic remnant of the opening, played in canon between the violins and cellos. This finally arrives at the climax with a brass canon on the same rhythmic theme, and flows back down just as smoothly as it ascended.- Another very close resemblance to Tchaikovsky, the quicker section jumps out with a tight rhythmic motive, quickly builds tension with a canonic theme, and surges to the first climax.- Back to the Parker. As he closes out this opening portion of the Allegro, Parker he briefly introduces a light motive (light as in airy, free; not as in Wagner's “leitmotif”) in the flute and clarinet that while fleeting serves to break up some of the tension created so far. It is also quite probably a stylistic element Tchaikovsky would never have used in quite the same way. Parker then uses this lower moment to fake a recap, only to roar into a developmental section, alternating strings and winds with brass and percussion. At the very height of tension, Parker mixes declamatory chords and a decidedly off putting rhythmic configuration with an emerging melody in the horns, once again originating from the slow introduction of the piece itself.- As Parker finally comes down off the high of the development, he gives us a very partial recap of the slow introduction with some modifications. Then we get a brilliant and very creative surprise. We do get a restatement of the main Allegro section, but it has now taken on the more anxious rhythmic motive underneath a sped up recap of the INTRODUCTION melodic material in the brass! Generally speaking, an overture type piece will not always recap a slow introduction section. But in this case Parker has merged the two parts together to dramatic effect!- When the piece builds to a final moment of climactic tension, Parker utilizes another recognizable element, not EXCLUSIVE to Tchaikovsky, but certainly recognizable in many of his ballets, and, once again, his _Rome and Juliet_ Overture. As the melodic line in the strings develops and rises, the woodwinds and eventually horns alone begin a quick triplet pulse, giving a sense of nervous energy which drives to the overflowing moment at the top of the phrase.- And here is a corresponding moment in the Tchaikovsky, that heart breaking melody, a mix of love, lust, and impending death... that iconic moment when you say to yourself “oh THAT'S the piece!”- At long last Parker gives us a coda. Here he sets the complete work at peace, expanding the long melodic lines that have come before, filling out the orchestration, and arpeggiating chords in the harp, all lightening the air as if floating to it's final rest at the concluding bars.###Closing- Ok, to be completely honest, despite my many comparisons to Tchaikovsky's _Romeo and Juliet_ overture, I am NOT equating the two pieces in quality. I do believe the Tchaikovsky has more depth and ability to transport the listener to a superior experience. That is NOT to detract anything from _A Northern Ballad_ and Parker's individual way of accomplishing this same task. My purpose is to both compare and differentiate the two composers, their styles, and above all show how Parker's music is of high value to anyone willing to give it their time and ears. If you are one of those people I trust you will come to a similar conclusion, and live a better life for the experience.Music:“A Northern Ballad” by Horatio Parker from the album Parker: A Northern Ballad/Chadwick: Symphony No. 2. New World Records #80339.(p) & © 1986 Anthology of Recorded Music, Inc.Used by permission.https://www.newworldrecords.org/products/parker-a-northern-ballad-chadwick-symphony-no-2Overture to 'Romeo and Juliet'By: Pyotr TchaikovskyPerformed by: Orchestra della Radio della Svizzera italiana; Leopold Stokowski, conductorSupport this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Geef ons heden ons dagelijks brood. In de 3e aflevering hoor je ds. Tom de Haan over het heilige ritme en het dagelijks brood. Wat is ervoor nodig om ruimte open te houden in onze levens? En zegt Jezus in Mattheus nou dat je je geen zorgen mag maken over wat je morgen zult eten? Terwijl voor zoveel mensen dit juist een dagelijkse zorg ís? Wat is de achtergrond van die meest praktische bede uit het Onze Vader? Je hoort de stemmen van Wil van Maris, Lize de Regt, Daan Rasmussen en Renske Bouman. Ook hoor je Anton Pauw op piano, en op orgel speelt hij het ‘Vater unser', van Josef Rheinberger (1839-1901). Het wordt gezongen door bariton Pieter Stam. Mishal Zeera nam deze uitvoering op in de Nieuwe Kerk in Haarlem. 

The Rev. Dr. Victoria Hart Gaskell, preaches a sermon entitled “In and Out of the Wilderness.” The remainder of the recording is a re-broadcast from previous services. The Marsh Chapel Choir sings “Kyrie, from Mass in E-flat major (Cantus Missae)” by Josef Rheinberger and "Sing and Ponder" by LarryL. Fleming, along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "Counting the Cost". The Marsh Chapel Choir sings “Abendlied" by Josef Rheinberger and "Sicut Moses" by Heinrich Schütz along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "Counting the Cost". The Marsh Chapel Choir sings “Abendlied" by Josef Rheinberger and "Sicut Moses" by Heinrich Schütz along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "This Holy Mystery: Communion Meditation". The Marsh Chapel Choir sings “Tu es Petrus" by G.P. da Palestrina and "Osterhymne" by Josef Rheinberger along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "This Holy Mystery: Communion Meditation". The Marsh Chapel Choir sings “Tu es Petrus" by G.P. da Palestrina and "Osterhymne" by Josef Rheinberger along with service music and hymns.

Ottawa choral music fans are in for a real treat June 2nd. Pierre Massie and his award-winning choir The Stairwell Carollers will be celebrating the finale of their 40th anniversary season with a diverse program of six centuries of music sung in six languages. 2018 Spring concert Programme - Eya Eya The concert will feature a number of Renaissance gems from England, Spain, France and Germany, 19th century gems like Abendlied by Josef Rheinberger, and modern masterpieces by Lauridsen, Stroope and Gjeilo. In addition, Pierre has programmed his award-winning “Eya eya gaudeamus” – the title track for the concert – as well as a brand-new arrangement of a medieval song – “In natali Domini” – by fellow Caroller David Rain. Throughout their 40 years, the Stairwell Carollers have been singing in a humanitarian key. Net proceeds from concerts and CD sales have allowed the Carollers to present donations to dozens of local charities and music scholarships to local high school students totalling over $140,000. The Carollers are delighted to announce that this year's $1000 music scholarship will be presented at their June 2 concert to Rayna Crandlemire, a talented singer, who also plays violin, clarinet and piano. Rayna attended De La Salle High School and will be continuing her music education at the University of Toronto this fall, where she has also been awarded a music scholarship. Congratulations Rayna! In addition, on June 2 a donation of $2000 will be presented to the Galilee Centre. The Stairwell Carollers have a soft spot in their hearts for Arnprior's Galilee Centre, as their special 40th anniversary workshop was just held there in May, led by the inspiring Gabriel Lewis-O'Connor, a former member of the renowned male chorus Chanticleer, who will be singing in Ottawa in July. The Carollers will make an official presentation of the donation and scholarship grants at their spring concert “Eya eya gaudeamus” at Saint Barnabas Church (corner of James St & Kent St) on June 2nd, 7:30pm. Hope to see you there! Tickets are available at the door for $20, or in advance for $15 from The Leading Note, 370 Elgin St; Compact Music, 190 & 785 1/2 Bank St; Books on Beechwood, 35 Beechwood Ave, or online at http://www.stairwellcarollers.com/Concerts.html. David Rain, who sings tenor with the Carollers, has been taking his musical cues from the back of Pierre Massie's head for 25 years. About our A cappella Choir: Pierre Massie started The Stairwell Carollers in 1977 while studying music at Ottawa University. We are ranked with the best of Ontario choirs, winning both the 2010 and 2013 Ontario Music Festival Association competitions. A registered Canadian charity, Net proceeds of our concert, CD and cookbook sales are gifted to local charities.

Jessica Chicka, The Universal Chaplain for International Students preaches a sermon entitled "Have You Come to Destroy Us?". The Marsh Chapel Choir sings "Verleih uns frieden gnädiglich" by Heinrich Schütz, and "Kyrie" by Josef Rheinberger along with service music and hymns.

Jessica Chicka, The Universal Chaplain for International Students preaches a sermon entitled "Have You Come to Destroy Us?". The Marsh Chapel Choir sings "Verleih uns frieden gnädiglich" by Heinrich Schütz, and "Kyrie" by Josef Rheinberger along with service music and hymns.

Welcome to Secrets of Organ Playing Podcast #89! http://www.organduo.lt/podcast Today's guest is Wolff von Roos, a young and talented organist student from Ball State University, Indiana. He took an interest in the organ when he was about three years old. When he was 6 he started piano. Throughout those years he taught himself about the organ and methods. By the time he was 15 he started taking organ instruction. He's 20 years old right now and is currently studying music/organ performance with Raul Prieto Ramirez at Ball State University. He is also taking outside formal instruction from Travis Person who teaches at the University of Indianapolis. Wolff currently serves as Assistant Organist (Organ Scholar) at Broadway United Methodist in Indianapolis, IN. He also works as a solo freelance concert organist and play in an organ duo team called 2Chamades with Jacob Minns. He loves to study works from Josef Rheinberger to Vaughan Williams, from Olivier Messiaen and Louis Vierne to underrated composers like Grégoire Rolland, etc. Wolff also enjoys learning about improvisation in all kinds of styles, his favorite improviser is Pierre Cochereau. He likes to discover orchestra & piano works that have been turned into organ pieces. and enjoys transcribing works himself. He is a huge fan of the Romantic era in the organ world. English, French, German you name it. In this conversation among other things, we talk about starting learning the piece, extremely slow tempos and performances for organ duet. ​​Enjoy and share your comments below. ​ And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. Thanks for caring. Relevant links: ​https://www.facebook.com/VonRoos18 ​https://www.facebook.com/2Chamades https://www.facebook.com/OrgansnMusic https://www.youtube.com/channel/UCQ9c-VbiA36n51SXIhnPz1Q​

Lieder von Freddy Mercury, Johannes Brahms, Friedrich Silcher, Max Reger, Henry Purcell, Josef Rheinberger, Gustav Mahler, Clytus Gottwald, Claudio Monteverdi u.a. | Philippe Jaroussky, Dorothee Mields, Christoph Pregardien, Nuria Rial u.a. | Dresdner Kammerchor, SWR Vokalensemble u.a.

- direkte fra Sct. Catharinæ Kirke, Hjørring. Stemningsmættet nordisk vokalmusik af bl.a. Grieg og Bo Holten, sommersange af Frederick Delius og Veljo Tormis samt aften- og nattemusik af Brahms og Josef Rheinberger. DR VokalEnsemblet. Dirigent: Olof Boman. Ca. kl. 21.00: Organisten Dmitri Egholm, der er debuteret fra Det Kgl. Danske Musikkonservatroium, spiller César Franck og Louis Vierne. Vært: Klaus-Møller Jørgensen.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "The Marsh Spirit". The Marsh Chapel Choir sings "Kyrie, from Mass in E-flat major" by Josef Rheinberger and "Let all mortal flesh keep sience" by Edward C. Bairstow along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "The Marsh Spirit". The Marsh Chapel Choir sings "Kyrie, from Mass in E-flat major" by Josef Rheinberger and "Let all mortal flesh keep sience" by Edward C. Bairstow along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "A Common Grace". The Marsh Chapel Choir sings "Kyrie, from Mass in E-flat major" by Josef Rheinberger, "Locus iste a Deo factus est" by Anton Bruckner and "Ave verum corpus" by Orlando di Lasso along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "A Common Grace". The Marsh Chapel Choir sings "Kyrie, from Mass in E-flat major" by Josef Rheinberger, "Locus iste a Deo factus est" by Anton Bruckner and "Ave verum corpus" by Orlando di Lasso along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "Justifying Grace". The Marsh Chapel Choir sings "Kyrie, from Mass in E-flat major (Cantus Missae)" by Josef Rheinberger and "Christus factus est" by Anton Bruckner along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "Justifying Grace". The Marsh Chapel Choir sings "Kyrie, from Mass in E-flat major (Cantus Missae)" by Josef Rheinberger and "Christus factus est" by Anton Bruckner along with service music and hymns.