Podcasts about Joseph Joachim

It's entirely possible that we would not know the name of Johannes Brahms very well if Brahms hadn't met Joseph Joachim as a very young man. Joachim, who was one of the greatest violinists of all time, had already established himself as touring soloist and recitalist, and he happened to know the musical power couple of Robert and Clara Schumann quite well. Joachim encouraged Brahms to go to Dusseldorf to meet the Schumann's, and the rest is history. I've talked about the Brahms-Schumann relationship dozens of times on the show before, but to keep it very brief, Robert Schumann's rhapsodic article Neue Bahnen(new paths) launched Brahms' career, and until Schumann's deterioration from mental illness he acted as a valued friend and mentor for Brahms. Clara Schumann, as a performer, was a powerful advocate for Brahms' music as well as a devoted and loving friend throughout the rest of their lives. Almost constantly present in this relationship was the sound of Joseph Joachim's violin. Brahms did not have a huge circle of friends, but for the often difficult to get along with composer, Joachim was a musical and spiritual companion. Brahms' legendary violin concerto was written for him, and the two collaborated closely for the entire course of their musical lives, except for one significant break. Brahms and Joachim were estranged for 7 years, until Brahms reached out with a remarkable conciliatory gesture: a concerto for Violin and Cello and that would be dedicated to Joachim. Brahms and Joachim(as well as Brahms and Clara Schumann) had often resolved disputes through music, and this was no exception. Clara Schumann gleefully wrote in her diary after Joachim had read through the piece with cellist Robert Hausmann: "This concerto is a work of reconciliation - Joachim and Brahms have spoken to each other again for the first time in years.” One would expect that a work like this would be beloved, but the Double Concerto has had a checkered history, which we'll also get into later. Clara herself wrote that it lacked "the warmth and freshness which are so often found to be in his works,” It would turn out to be Brahms' last work for orchestra, and one of the few in his later style, which makes It fascinating to look at from a compositional perspective. Partly because of the cool reception it got in its first few performances, and the practical challenges of finding two spectacular soloists who can meet its challenges, the piece is not performed all that often, though I have always adored this piece and am very grateful to Avi who sponsored this week's show from my fundraiser last year before the US election. So let's dive into this gorgeous concerto, discussing the reasons for Joachim and Brahms' break, their reconciliation, the reception this piece got, and then of course, the music itself! Join us!

In 1857, Brahms wrote to his friend Joseph Joachim about his first Piano Concerto, saying, “ “I have no judgment about this piece anymore, nor any control over it.”  Brahms first began sketching his first piano concerto in 1853, but it would be five full years before Brahms finished the piece, and another year until its first performance.  During that time, the piece became a Sonata, then a symphony, then a sonata for two pianos, and then finally a concerto for Piano and orchestra, or as the joke goes, a concerto for piano VERSUS orchestra.  The piece, and Brahms' struggles with it, are completely understandable considering Brahms' youth, and the extraordinarily tumultuous circumstances of his private life during the years of 1853-1858.  During this time period, he was anointed by no less than the kingmaker of classical music at the time, Robert Schumann, as the Chosen One that represented the future of music. He became friendly with both Robert and Clara Schumann, began achieving huge successes, then witnessed the slow mental breakdown of Robert, culminating in a suicide attempt and institutionalization, all while falling deeper and deeper in love with Clara Schumann, and she with him.  The turbulence and emotional weight of all of this is reflected in one of Brahms' most impassioned works, the first piano concerto.  We'll talk about the historical background for the piece, Brahms' working out process, and of course, the structure and insides of this massive, daunting piece.

1854- Uno de ellos, Albert Dietrich, compositor alemán muy amigo del más estrecho aprendiz de Schumann, Johannes Brahams, le escribe al violinista húngaro Joseph Joachim, para ponerlo al día.

SynopsisOn today's date in 1883, the premiere of Antonín Dvořák's Violin Concerto was given in Prague by Czech violinist František Ondrícek with the National Theatre Orchestra, led by Czech conductor Moric Anger, an old friend of Dvořák's and his onetime roommate.The concerto was commissioned by distinguished violinist Joseph Joachim, an old friend and collaborator of German composer Johannes Brahms. Brahms had sent Joachim two of Dvořák's chamber works for strings. Joachim expressed enthusiasm for these pieces and urged Dvořák to write a concerto for him.So far, so good.Dvořák had a finished score by December 1879, but Joachim had what we now would call “some issues” with the score, and, by the time Dvořák was finishing the last revisions, three years had elapsed with no talk of a premiere. Dvořák realized Joachim was unlikely ever to premiere the new concerto, so he offered it to Ondrícek, a young virtuoso who eagerly championed it in Prague and abroad.We should note that Joachim finally did perform Dvořák's concerto in Berlin in 1894, about 15 years after he had commissioned it.Music Played in Today's ProgramAntonin Dvořák (1841-1904) Violin Concerto in A minor

Avui hem sentit: "M

Avui hem sentit: Fantasia per a viol

Avui hem sentit: Obertura de les Escenes del Faus de Goethe; Concert per a viol

Avui hem sentit: Missa en do menor, per a solistes, cor i orquestra, op. 147. Escoltem les

Avui hem sentit: "Phantasiestucke" op. 111; Sonata per a viol

Brahms pt. 15a: we return to the life narrative of our great composer, picking up where we left him in the summer of 1879 adding the finishing touches to his D major violin concerto which he had written for and with the advice of his great friend, Joseph Joachim. This was the high point of their friendship and musical partnership; but for how long would the happy feelings last, and if they didn't, how long would it take Brahms to reclaim them?   Works heard in this episode in order (all by Brahms): - Hungarian Dances WoO 1 books 3-4, nos. 11-21 17. in F Sharp Minor (Andantino) 18. in D major (Molto Vivace) 19. in A Minor (Allegretto) 20. in D Minor (Poco Allegretto) 11. in D Minor (Poco Andante) 12. in D Minor (Presto) 13. in D Major (Andantino Grazioso) 14. in D Minor (Un Poco Andante) 15. in A Major (Allegretto Grazioso) 16. in G Minor (Con Moto) 21. in E Minor (Vivace) Robert Gerle - Violin Norman Shelter - Piano   - Piano Concerto no. 2 in B Flat Major, Op. 83  IV. Allegretto grazioso - Un poco più presto   - Symphony No. 3 in F major III. Poco allegretto    - 6 Lieder and Romances, op. 93a I. Der bucklichte Fiedler II. Das Mädchen III. O süsser Mai IV. Fahr wohl! V. Der Falke VI. Beherzigung Sung by Ensemberlino Vocale  https://musopen.org/music/6729-6-songs-and-romances-op-93a/ ----------------- 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

Sale koncertowe już są martwe - powiedział Glenn Gould w 1966 roku, dwa lata po tym, jak przestał publicznie występować i zamknął się w studiu nagraniowym. Jego zdaniem technologia rejestracji dźwięku miała walnie przyczynić się do upadku filharmonii. Co więcej, nagrania miały fundamentalnie zmienić słuchacza, który stanie się równym partnerem wykonawcy i kompozytora, bo będzie miał wpływ na ostateczny kształt brzmieniowy słuchanego utworu - właśnie poprzez technologię. To nie jedyne poglądy na przyszłość Goulda. Jak rzeczywistość cyfrowa oraz pandemia je zweryfikowały? Co powiedziałby np. na wielką popularność playlist z klasyką, w tym tych spod znaku Dark Academia? Zapraszam do słuchania! Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego. W odcinku zabrzmiały następujące utwory: J.S. Bach, Inwencja dwugłosowa c-moll nr 7, BWV 778, Glenn Gould (fp.), Sony Classical (SS 6622), 1999. J.S. Bach, Das Wohltemperierte Klavier, Fuga a-moll nr 20, BWV 865, Glenn Gould (fp.) Sony Classical (SM2K 52 600), 1993. J. Brahms, Taniec węgierski nr 1 g-moll (fragment), Joseph Joachim (vn.), Victor D 803-B, 1903.

Synopsis Some famous composers were notorious perfectionists – and then there was Johannes Brahms, the Perfectionist of Perfectionists. He spent 14 years tinkering with the score of his First Symphony, remember. Brahms once claimed he had written and discarded twenty string quartets before publishing his first two in the year 1873. To say Brahms was his own severest critic would be putting it mildly, but there was one other person whose opinion Brahms valued above all others, and that was Clara Schumann, one of the finest pianists of her day, the widow of his mentor Robert Schumann, and a fine composer in her own right. So it comes as no surprise that the Third String Quartet of Brahms, the Quartet in B- flat Major, published as his Opus 67, was first performed as a kind of “test run” at the Berlin home of Clara Schumann on today's date in the year 1876. The performers were the famous Joachim Quartet, led by violinist Joseph Joachim, a long-time friend of Brahms. Unlike his preceding quartets, both austere and introspective works, this one was light-hearted and cheerful – "a useless trifle," as Brahms himself put it, adding it was just his way to "avoid facing the serious countenance of a symphony." Music Played in Today's Program Johannes Brahms (1833 - 1897) String Quartet No. 3 in Bb, Op. 67

Shellac Stack No. 313 visits again with an old friend, JiHoon Suk, as we explore rarities and oddities from his collection of classical and operatic vinyl pressings made from original metal parts. From Edvard Grieg (himself!) to Joseph Joachim, Pablo de Sarasate, Enrico Caruso, Louise Homer, and Nellie Melba, it's a fascinating and entertaining glimpse … Continue reading »

Ein besonderer Freundschaftsbeweis: Johannes Brahms‘ Doppelkonzert diente als "Versöhnungswerk" zwischen ihm und Joseph Joachim. Wie es dazu kam und was danach geschah erzählt Ihnen Yaltah Worlitzsch in dieser Folge von "Klassik to Go". So können Sie bestens informiert zum Brahms-Festival gehen und am 17. März 2023 die Geschwister Tetzlaff gemeinsam mit der NDR Radiophilharmonie live erleben.

Synopsis The first Piano Concerto by Brahms received its premiere public performance on today's date in 1859 with the Hanover Court Orchestra under the direction of Brahms's close friend Joseph Joachim and its 25-year composer as soloist. That first night audience had never heard anything quite like it. In his biography of Brahms, Jan Swafford describes what was expected of a piano concerto back then, namely “virtuosic brilliance, dazzling cadenzas, not too many minor keys, [and nothing] too tragic.” “To the degree that these were the rules,” writes Swafford, “[Brahms] violated every one of them.” His concerto opens with heaven-storming drama, continues with deeply melancholic lyricism, and closes with something akin to hard-fought, even grim, triumph. Rather than a display of flashy virtuosity, Brahms's concerto comes off as somber and deeply emotional. A second performance, five days later in Leipzig, was hissed. "I am experimenting and feeling my way,” Brahms wrote to his friend Joachim, adding, "all the same, the hissing was rather too much." Now regarded a dark Romantic masterpiece, it's important to remember how long it took audiences to warm to Brahms' music. The American composer Elliott Carter recalled that even in the 1920s, Boston concert goers used to quip that the exit signs meant, "This way in case of Brahms." Music Played in Today's Program Johannes Brahms (1833-1897) Piano Concerto No. 1 in D Minor, Op. 15 - I. Maestoso - Poco più moderato Maurizio Pollini, piano; Berlin Philharmonic; Claudio Abbado, cond. DG 447041 On This Day Births 1899 - Russian-born American composer Alexander Tcherepnin, in St. Petersburg (Julian date: Jan. 9); Deaths 1851 - German opera composer Albert Lortzing, age 49, in Berlin; 1948 - Italian composer Ermanno Wolf-Ferrari, age 72, in Venice; Premieres 1713 - Handel: opera "Teseo" (Julian date: Jan. 10); 1725 - Bach: Sacred Cantata No. 111 ("Was mein Gott will, das g'scheh allzeit") performed on the 3rd Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1816 - Cherubini: "Requiem," in Paris; 1880 - Rimsky-Korsakov: opera "May Night," in St. Petersburg, Napravnik conducting (Julian date: Jan. 9); 1904 - Janácek: opera "Jenufa" in Brno at the National Theater; 1927 - Roussel: Suite in F for orchestra, in Boston; 1929 - Schreker: opera "Der Schatzgräber" (The Treasure Hunter), in Frankfurt at the Opernhaus; 1930 - Shostakovich: Symphony No. 3 ("May First"), in Leningrad; 1936 - Gershwin: "Catfish Row" Suite (from the opera "Porgy and Bess"), by the Philadelphia Orchestra, Alexander Smallens conducting; 1947 - Martinu: "Toccata e due canzona" for chamber orchestra, in Basel, Switzerland; 1968 - Bernstein: song "So Pretty" (a song protesting the Vietnam War) at Philharmonic Hall (now Avery Fisher Hall) in New York City, with singer Barbra Streisand and the composer at the piano; 1968 - Allan Pettersson: Symphony No. 6, in Stockholm; 1988 - Christopher Rouse: Symphony No. 1, by the Baltimore Symphony, David Zinman conducting; Links and Resources On Brahms

Con anterioridad, hemos analizado varios conjuntos de obras que, de una forma u otra, comprenden y comparten cierta unidad. Por ejemplo, los tres ballets rusos de Stravinsky, las sinfonías de Brahms o nuestro repaso de los conciertos para piano a lo largo de la Historia. Hoy nos movemos en un terreno semejante, pues dedicamos el programa a hablar sobre los cuatro grandes conciertos para violín alemanes del siglo XIX. Pese a que el nombre es larguísimo, la realidad es que son cuatro piezas para violín y orquesta que nos hablan del desarollo técnico del instrumento y de un movimientp estético muy concreto, representado en los cuatro compositores que nombraremos hoy: Beethoven, Mendelssohn, Max Bruch y Brahms. Cada uno de estos conciertos tiene una historia particular que lo hace único y a la vez está muy conectado con los otros tres por las razones que contaremos en este podcast. Y, sobrevolando a todas las obras, la figura del violinista húngaro Joseph Joachim está presente durante todo el episodio, vigilando que hablemos bien de las piezas que tanta importancia tuvieron en su vida.

Jacques Sagot. El Concierto para violín en re mayor, Op. 61 de Ludwig van Beethoven, escrito en 1806, es el único concierto del compositor para este instrumento. Es una importante obra del repertorio violinístico, y es frecuentemente interpretada y grabada hoy en día. Su duración aproximada es de 45 minutos. Hay además una adaptación para piano y orquesta compuesta por el mismo Beethoven, denominada Op. 61a. La obra no tuvo buena recepción por parte de los espectadores, y el concierto fue ejecutado pocas veces durante las décadas siguientes. La obra fue resucitada hacia 1844, 17 años después de la muerte de Beethoven, interpretada por Joseph Joachim y con la orquesta dirigida por Felix Mendelssohn. (Wikipedia) #larevistacr www.larevista.cr

durée : 01:28:18 - Joseph Joachim Raff et l'ombre de Franz Liszt - par : François-Xavier Szymczak - Compositeur négligé, Joseph Joachim Raff est de fait passé sans transition du vedettariat à l'anonymat musical. Encouragé à ses début par Félix Mendelssohn et Franz Liszt, sa musique fut néanmoins portée par d'immenses interprètes tels que Dietrich Fischer-Dieskau ou Itzhak Perlman. - réalisé par : Emmanuel Benito

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

Sein Violinkonzert hat Mendelssoh viel Mühe gekostet. Sechs Jahre quält er sich mit dem Werk, das er seinem Jugendfreund Ferdinand David widmet. Dem Resultat hört man die Anstrengung nicht an. (Autor: Christoph Vratz) Von Christoph Vratz.

durée : 00:24:58 - Max Bruch, Concerto pour violon n°1 - par : Anne-Charlotte Rémond - Le 5 janvier 1868, à Brême, le grand violoniste et compositeur Joseph Joachim créé la version définitive du Concerto pour violon n°1 de Max Bruch. Dans Musicopolis, Anne-Charlotte Rémond vous invite à suivre les étapes de la création de cette oeuvre virtuose ! - réalisé par : Claire Lagarde

Pt. 12:  It is early November 1876 and Brahms is in the audience as the orchestra at Carlsruhe premieres his first symphony in C minor. The concert goes better than expected and riding high on his success, Brahms performs the symphony many more times elsewhere. Its positive reception gladdened his heart and he quickly produced another symphony to celebrate, then a series of other wonderful works including the first violin sonata in G major, and the monumental violin concerto for Joseph Joachim.  Works heard in this episode in order (all by Brahms): -Symphony no. 2 in D major op. 73, mvt. 3 Allegretto grazioso -Capriccio in B minor op. 76, no. 2, Luis Sarro, piano, https://musopen.org/music/2037-8-piano-pieces-op-76/ -Sonata in G major, op. 78, mvts. 2, 3, Chang Ji (Mrs. the GCP), violin and Haeri Su, Piano ----------------- 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

Kaum zu glauben, dass Beethovens einziges Violinkonzert bei der Uraufführung so irritierte, dass es für fast vier Jahrzehnte praktisch in der Schublade verschwand. Doch das Werk ist eben kein typisches Virtuosenstück, sondern eine Symphonie der Klangfarben, (Autor: Michael Lohse)

Gioachino Antonio Rossini was Born 29 February 1792, Died 13 November 1868, was an Italian composer who gained fame for his 39 operas. He also wrote many songs, some chamber music , piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians. His father was a trumpeter and his mother a singer. Rossini began to compose by the age of 12 and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere. His productivity necessitated an almost formulaic approach for some components , such as overtures and a certain amount of self-borrowing. During this period he produced his most popular works, including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola. His works of this period brought to a peak the opera buffa tradition he inherited from masters such as Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Otello, Tancredi and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims , later cannibalised for his first opera in French, Le comte Ory. Revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. Rossini's withdrawal from opera for the last 40 years of his life has never been fully explained. Contributary factors may have been ill-health, the wealth his success had brought him, and the rise of spectacular grand opera under composers such as Giacomo Meyerbeer. . In the early 1830s to 1855, when he left Paris and was based in Bologna, Rossini wrote relatively little. On his return to Paris in 1855 he became renowned for his musical salons on Saturdays. Regularly attended by musicians and the artistic and fashionable circles of Paris. for which he wrote the entertaining pieces Péchés de vieillesse. Guests included Franz Liszt, Anton Rubinstein, Giuseppe Verdi, Meyerbeer and Joseph Joachim. Rossini's last major composition was his Petite messe solennelle (1863). He died in Paris in 1868.

Synopsis On today's date in 1937, a gala concert in Berlin presented the premiere performance of Robert Schumann's Violin Concerto in D-minor, a work composed in the fall of 1853, shortly before Schumann's tragic mental collapse. The Concerto was never given a public performance during Schumann's lifetime, although the great 19th century violinist Joseph Joachim read through the score during an orchestral rehearsal early in 1854, and played the work privately in 1855, with piano accompaniment provided by Schumann's wife, Clara. Clara, Joachim and their mutual friend Johannes Brahms all judged the concerto sub-par and perhaps embarrassing evidence of Schumann's declining mental state. Oddly enough, the 1937 premiere in Berlin, attended by none other than Adolf Hitler, was presented as part of the Nazi's “Strength Through Joy” cultural program. German commentators touted Schumann's ties to the German “folk,” while American critics bemoaned that most of the great German violinists of the day were unavailable for this important premiere, having all left Germany for racial or political reasons. On this side of the Atlantic, it was violinist Yehudi Menuhin who gave the American premiere of Schumann's long-neglected Concerto a month later, first with piano accompaniment at Carnegie Hall, then later with the St. Louis Symphony. Music Played in Today's Program Robert Schumann (1810 – 1856) — Violin Concerto in D Minor (Gidon Kremer, violin; Philharmonia Orchestra; Riccardo Muti, cond.) EMI 69334

18th-21st Centuries This week we hear works by Leopold Mozart, John Field, Joseph Joachim, Dmitri Shostakovich, and Charlotte Bray. 138 Minutes – Weeks of November 08 and November 15, 2021

Synopsis As a young man in his 20s, just starting out on his musical career, the Czech composer Antonin Dvorak had a rough time making ends meet. He played viola in a theater orchestra, worked as a church organist, and took on music students. But by the time he hit his 30s, things started to click. His own music, composed in his rare, free moments, was starting to attact attention. The German composer Johannes Brahms took him under his wing and helped Dvorak find a publisher. The year 1878 was a particularly auspicious one for Dvorak. He was in his late 30s, and the publication of his first set of Slavonic Dances for piano four-hands had proven to be something of a smash hit with amateur musicians across Europe. Some of Dvorak's orchestral and chamber works published that year were also doing very well. Dvorak was approached by the leader of the Florentine String Quartet and asked to write a chamber piece in his popular “Slavonic” style. The result was Dvorak's “String Quartet No. 10, Op. 51.” Dvorak showed it to Brahms, who liked the new work and in turn showed it to some of HIS friends, including Josef Hellmesberger, whose String Quartet was the best in Vienna. But as it turned out, Dvorak's new Quartet was premiered in Berlin, on today's date in 1879, by the Quartet headed by another of Brahms' old friends, the virtuoso violinist Joseph Joachim. Music Played in Today's Program Antonin Dvořák (1841 – 1904): String Quartet in Eb, Op. 51 (Takacs Quartet) London 466 197

Synopsis As a young man in his 20s, just starting out on his musical career, the Czech composer Antonin Dvorak had a rough time making ends meet. He played viola in a theater orchestra, worked as a church organist, and took on music students. But by the time he hit his 30s, things started to click. His own music, composed in his rare, free moments, was starting to attact attention. The German composer Johannes Brahms took him under his wing and helped Dvorak find a publisher. The year 1878 was a particularly auspicious one for Dvorak. He was in his late 30s, and the publication of his first set of Slavonic Dances for piano four-hands had proven to be something of a smash hit with amateur musicians across Europe. Some of Dvorak's orchestral and chamber works published that year were also doing very well. Dvorak was approached by the leader of the Florentine String Quartet and asked to write a chamber piece in his popular “Slavonic” style. The result was Dvorak's “String Quartet No. 10, Op. 51.” Dvorak showed it to Brahms, who liked the new work and in turn showed it to some of HIS friends, including Josef Hellmesberger, whose String Quartet was the best in Vienna. But as it turned out, Dvorak's new Quartet was premiered in Berlin, on today's date in 1879, by the Quartet headed by another of Brahms' old friends, the virtuoso violinist Joseph Joachim. Music Played in Today's Program Antonin Dvořák (1841 – 1904): String Quartet in Eb, Op. 51 (Takacs Quartet) London 466 197

Johannes Brahms was a German composer, pianist, and conductor of the Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow. Brahms composed for symphony orchestra, chamber ensembles, piano, organ, voice, and chorus. A virtuoso pianist, he premiered many of his own works. He worked with leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim. Many of his works have become staples of the modern concert repertoire. Brahms has been considered both a traditionalist and an innovator, by his contemporaries and by later writers. His music is rooted in the structures and compositional techniques of the Classical masters.

Three Romances, opus 22                                                   Clara Schumann (1819-1896)Andante molto — Allegretto — Leidenschaftlich schnellClara Schumann probably wrote her Three Romances for Christmas, 1849, at the same time her husband Robert wrote his Three Romances for Oboe and Piano, but like many of her compositions they were not published immediately.  As the sole family breadwinner after Robert became ill, Clara was obliged to devote most of her time and energy to her career as a virtuoso pianist. She performed the Romances for King George V of Hanover in 1853 (he loved them) with the violinist Joseph Joachim, and finally published them in 1856 with a dedication to Joachim. They mirror Robert's Three Romances in form; though there is no published oboe version, they suit it beautifully, suggesting that they might have been originally intended for that instrument.

這集做超長，因為輪到超「瑣」的巨蟹代表～冠豪我本人的星座啦！ 從個性優缺點、守護星、人際相處之道、神話故事，到名人特選， 再到巨蟹音樂大師的「巨」細靡遺分享， 相信所有熟悉巨蟹的人聽了，一定會頻頻點頭稱是！ . 【本集重點】 ＊個性優缺點：讓巨蟹秒崩潰的方式是什麼呢？ ＊本位星座：既想開創又想守成的矛盾 ＊巨蟹的典型形象－月亮與海 ＊巨蟹的親子相處之道 ＊如何挑逗巨蟹男？ ＊最適合巨蟹座的職業是什麼？ ＊巨蟹名人點將錄 ＊巨蟹音樂家大盤點： 1.馬勒（Gustav Mahler）：每首交響曲就是一個世界，充滿巨蟹最豐沛、歇斯底里的情感！ 演奏示範：「第五號交響曲第四樂章」（電影《Morte a Venezia（魂斷威尼斯）》使用配樂） 2.楊納傑克（Leoš Janáček）：大器晚成，命運卻如被老天捉弄般乖舛的作曲家 3.姚阿幸（Joseph Joachim）：推廣小提琴經典作品，也為布拉姆斯與舒曼、克拉拉一家牽線的大媒人 4.葛路克（Christoph Willibald von Gluck）：德國歌劇改革者 5.雷史畢基（Ottorino Respighi）：義大利管弦魔法師，羅馬三部曲讓你穿越古今 6.卡爾奧福（Carl Orff）：德國作曲家與音樂教育家，你一定聽過的「布蘭詩歌」作曲者 演奏示範：「布蘭詩歌」 7.艾倫孟肯（Alan Menken）：8座奧斯卡音樂獎項的紀錄保持人 演奏示範：最能代表戀家巨蟹的單曲「Home」（音樂劇「美女與野獸」插曲） . 【延伸欣賞】 與神像撞臉！許效舜超像越南山神

a cura di Massimiliano Samsa.

Violinist Gil Shaham has just released his cd of the Beethoven and Brahms concertos with the Knights and Eric Jacobsen. Gil describes the relationship of Joseph Joachim to Brahms and Beethoven, talks about the tempo and the metronome that heps in getting a fresh spirit into the Beethoven, working with the Knights, the cover art and notes, the Pittsburgh Symphony, Mariss Jansons, the pandemic, being quarantined in London and much more even getting the instrument out of the case to play some examples.

Van de acht strijkkwartetten van Charles Villiers Stanford is het Vijfde kwartet, in Bes-gr.t., opus 104 misschien wel het meest persoonlijke, niet in de laatste plaats omdat het een eerbetoon is aan de kort voor de voltooiing ervan in 1907 overleden violist en vriend van Stanford, Joseph Joachim. Boven de partituur staat dan ook “In […]

Voor de Ier Charles Villiers Stanford was het strijkkwartet bij uitstek een product van een klassieke, evenwichtige en zuivere wereld, die verloren dreigde te raken. Tussen 1890 en 1920 componeerde hij een achttal strijkkwartetten, waarbij zijn vriendschap met Joseph Joachim als een rode draad door zijn loopbaan liep. Stanfords Vierde strijkkwartet, in g-kl.t., opus 99, […]

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born in Toronto, Canada in 1873, Maud Allan (born Ulah Maud Allan Durrant) would go on to have an important career as a dancer, having initially begun her artistic career as a pianist. In the late 1870s, the Durrant family moved to San Francisco when, by the mid-1890s, at the recommendation of her music teacher, Prof. Eugene Bonelli at the San Francisco Conservatory of Music, Allan went to Germany to study music in Berlin. She also travelled to Weimar, where she was a student of pianist, Ferruccio Busoni. While in Germany – a period which saw the hanging of her beloved brother, Theo, for the murder of two young women – Allan began to shift her interest from the piano to dance, focusing primarily on the dances of Ancient Greece. The creative and original Allan took great delight in researching and designing her costumes, many of which she herself sewed. Allan, a lifelong solo dancer, did not consider her unique manner of movement to have much to do with dance, rather, her routines were known as “musically impressionistic mood settings.” The tall, athletic Allan had no formal dance training and had disliked having been compared to Isadora Duncan, another barefoot dancer. Following her first dance performances in Vienna in 1903, Allan travelled throughout Europe, dancing before countless people of distinction. The list of individuals with whom Allan had some level of acquaintance and for which she mentions in her book, includes Sarah Bernhardt, Johannes Brahms, Ferruccio Busoni, François Delsarte, the Earl and Countess of Dudley, Yvette Guilbert, Joseph Joachim, King Edward VII, Princess Eugènie Murat, Marcel Remy, Franz Stuck, Eugène Ysaÿe and many others. Having danced to the music of composers such as Bach, Brahms, Chopin, Rubinstein, Schubert, Tchaikovsky and others, Allan is best remembered for her dances of Salomé, the origins of which are described in her book and for whom Marcel Remy composed the music. The controversial dance was sought after by audiences worldwide, bringing rise to “Salomania.” Allan also played the lead role in a private performance of Oscar Wilde’s play, Salome, which was still banned from public performance in England. A resulting lawsuit initiated by an ultra-right-wing Conservative MP, brought scandal to Allan’s career. Nevertheless, Allan continued dancing and also began acting. During the Second World War, she settled in Los Angeles, working as a draughtswoman at Macdonald Aircraft. Having once enjoyed considerable fortune, she died forgotten and a pauper, in 1956, at the age of eighty-three. Most refreshing in her book, My Life and Dancing, published in 1908, is the author’s imagination, particularly in the form of fairies and “Fairyland” and she held particular affection for nature, books, museums, galleries, artistic freedom and even her beloved dollies. In her memoir, Allan also speaks of her fond memories of winters in Canada and of her views on the importance of the education of women. According to the Maud Allan archives at the Dance Collection in Toronto: “While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.” Numerous artifacts of Maud Allan ephemerae can be found at the Dance Collection. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

On today’s date in 1883, the premiere of Antonín Dvořák’s Violin Concerto was given in Prague by the Czech violinist František Ondrícek with the National Theatre Orchestra led by a Czech conductor named Moric Anger, an old friend of the Dvořák’s and his one-time roommate. The concerto was commissioned by the distinguished violinist Joseph Joachim, an old friend and collaborator of the German composer Johannes Brahms. Brahms had sent Joachim two of Dvořák’s chamber works for strings. Joachim expressed enthusiasm for these pieces and urged Dvořák to write a concerto for him. So far, so good. Dvořák had a finished score by December 1879, but Joachim had what we now would call “some issues” with the score, and, by the time Dvořák was finishing the last revisions, three years had elapsed with no talk of a premiere. Dvořák realized Joachim was unlikely to ever premiere the new Concerto, so he offered it to Ondrícek, a young virtuoso who eagerly championed it in Prague and abroad. We should note that Joseph Joachim finally did perform Dvořák’s Concerto in Berlin in 1894, some 15 years after he had commissioned it.

Episode 6, 2020: Dvořák’s Serenade for winds Wednesday 8 July 2020 Antonin Dvořák’s road to success was long and hard. But like many successful composers of his time, his perseverance enabled him to create masterpieces that endured time and space. In December 1877, he travelled to Vienna to meet Johannes Brahms, the first great composer to truly appreciate his work. It was on this trip that he was able to watch a performance of Mozart’s Gran Partita for twelve winds and double bass or contrabassoon. Inspired by what he heard, he began working on his own Serenade for winds the following month, completing it in two weeks. Of this composition, Brahms wrote to his friend, violinist Joseph Joachim, “Take a look at Dvořák's Serenade for wind instruments. I hope you will enjoy it as much as I do... It would be difficult to discover a finer, more refreshing impression of really abundant and charming creative talent. Have it played to you; I feel sure the players will enjoy doing it!" ANAM oboist Noah Rudd can relate to the way Dvořák was able to persevere through the inspiration and encouragement from other artists. Having moved from New Zealand to Australia to attend ANAM, and discovering different aesthetics and depth of sound, Noah is as inspired by being around his fellow ANAM musicians and playing alongside ANAM Artistic Director and internationally acclaimed oboist Nick Deutsch. In this episode of ANAM Radio, Noah chats with Phil Lambert about his experience in performing Dvořák’s Serenade for winds and the prominence of the second oboe in the lower registers of the composition. The performance featured in this episode is from the Homage to Gideon Klein concert at ANAM in 2019. Watch the full recording of the performance at https://www.youtube.com/watch?v=Cy77gUCLFck&feature=youtu.be

Some famous composers were notorious perfectionists—and then there was Johannes Brahms, the Perfectionist of Perfectionists. He spent 14 years tinkering with the score of his First Symphony, remember. Brahms once claimed he had written and discarded twenty string quartets before publishing his first two in the year 1873. To say Brahms was his own severest critic would be putting it mildly, but there was one other person whose opinion Brahms valued above all others, and that was Clara Schumann, one of the finest pianists of her day, the widow of his mentor Robert Schumann, and a fine composer in her own right. So it comes as no surprise that the Third String Quartet of Brahms, the Quartet in B-flat Major, published as his Opus 67, was first performed as a kind of "test run" at the Berlin home of Clara Schumann on today's date in the year 1876. The performers were the famous Joachim Quartet, led by violinist Joseph Joachim, a long-time friend of Brahms. Apparently Clara and Joseph liked the new quartet, but Brahms arranged for one more trial run the following month, and probably tinkered with the score right up to its first public performance by the Joachim Quartet in Berlin on October 30, 1876. Brahms had composed his Third Quartet the previous summer, while on vacation, and unlike his preceding two string quartets, both austere and introspective works, this one was light-hearted and cheerful—"a useless trifle," as Brahms himself put it, adding it was just his way to (quote) "avoid facing the serious countenance of a symphony."

Some famous composers were notorious perfectionists—and then there was Johannes Brahms, the Perfectionist of Perfectionists. He spent 14 years tinkering with the score of his First Symphony, remember. Brahms once claimed he had written and discarded twenty string quartets before publishing his first two in the year 1873. To say Brahms was his own severest critic would be putting it mildly, but there was one other person whose opinion Brahms valued above all others, and that was Clara Schumann, one of the finest pianists of her day, the widow of his mentor Robert Schumann, and a fine composer in her own right. So it comes as no surprise that the Third String Quartet of Brahms, the Quartet in B-flat Major, published as his Opus 67, was first performed as a kind of "test run" at the Berlin home of Clara Schumann on today's date in the year 1876. The performers were the famous Joachim Quartet, led by violinist Joseph Joachim, a long-time friend of Brahms. Apparently Clara and Joseph liked the new quartet, but Brahms arranged for one more trial run the following month, and probably tinkered with the score right up to its first public performance by the Joachim Quartet in Berlin on October 30, 1876. Brahms had composed his Third Quartet the previous summer, while on vacation, and unlike his preceding two string quartets, both austere and introspective works, this one was light-hearted and cheerful—"a useless trifle," as Brahms himself put it, adding it was just his way to (quote) "avoid facing the serious countenance of a symphony."

The Francis-Lee Duo presented a programme featuring the works of two powerful women composers from the 19th century who were dedicated to their craft and to overcoming the challenges they experienced as women in a male dominated industry. After moving to Düsseldorf in early 1853, Clara produced several works, among them the Three Romances for violin and piano, Op. 22.for violin and piano. She dedicated this work to violinist Joseph Joachim, which was later performed for King George V of Hanover. Perhaps the earliest and most prominent American woman composer, Amy Beach was a leading representative of the late 19th-century Romantic style and her works were characterized by technical mastery, spontaneity, and originality. The Francis-Lee Duo performed her richly lyrical and emotional Sonata for violin and piano, Op. 34 - one of her most important works.

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This week we have a Patreon-sponsored episode looking at the Brahms Violin Concerto. This is a piece inextricably linked with the great violinist Joseph Joachim. We'll talk all about the genesis of the concerto, and the lively back and forth Brahms and Joachim shared over the more difficult parts of the piece. Along with the structure of this masterpiece, we'll also compare 3 recordings from Heifetz, Oistrakh, and Ferras, exploring how great violinists of the past tackled this monumental challenge.

Donald Macleod explores the life, music and perseverance of Antonín Dvořák. Antonín Dvořák was no spring chicken when he found success as a composer. He was in his early thirties before he made his mark in his native Czech Republic, despite composing from a young age. Donald Macleod follows Dvořák as he attempts to win over successive audiences: from Prague to Vienna, England to America, before eventually returning to Prague and to the opera stage. Who did he need to impress in order to achieve the success he craved? Donald Macleod introduces us to Dvořák as he struggles to carve his path as a composer. We’ll meet his influential friends who championed his work, including Brahms, the conductor Hans Richter and the virtuoso violinist Joseph Joachim. Dvořák’s ambition eventually took him to America, but as well as inspiring many of his best-known works, found him embroiled in arguments about the nature of American music and struggling with homesickness. Donald considers what drove Dvořák to tirelessly persevere, particularly with the operatic genre, when his other works were so well received by audiences at home and abroad. Music featured: Slavonic Dances, Op 46 (Dumka) In Nature’s Realm, Op 91 Symphony No 3 in E flat major, Op 10 Písně Milostné, Op 83 Serenade, Op 44 Piano Trio in F minor, Op 65 Moravian Duets, Op 32 (How small the field of Slavíkov is & Water and Tears) Symphonic Variations, Op 78 String Quartet No 10 in E flat major, Op 51 Violin Concerto in A minor, Op 53 Czech Suite, Op 39 Stabat Mater, Op 58 Svatá Ludmila, Op 71 Symphony No 8 in G major, Op 88 Requiem, Op 89 (Hostias) Piano Trio in E minor, Op 90 (Dumky) Cello Concerto in B minor, Op 104 Violin Sonatina in G, Op 100 Biblical Songs, op 99 String Quartet No 12 in F major, Op 96 (American) Symphony No 9, Op 95 (From the New World) Vanda (Overture) The King and the Charcoal Burner (Act 11, scene 7) Dimitrij (Act 4, scene 3) The Noon Witch, Op 196 Rusalka (Act 3) Presented by Donald Macleod Produced by Cerian Arianrhod for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Antonín Dvořák https://www.bbc.co.uk/programmes/m0009zxh And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

In 1857, Brahms wrote to his friend Joseph Joachim about his first Piano Concerto, saying, “ “I have no judgment about this piece anymore, nor any control over it.” The piece is one that probably has more emotional backstory than any other of Brahms' works. It emerged out of Brahms' complicated friendship with Robert and Clara Schumann, and out of the massive expectations that had been placed upon him. We'll talk all about this massive work, Brahms' youth, and much, much more! Thanks for listening!

In this episode, I have a wonderful conversation with Dr. Immanuel Abraham.  Immanuel talks to us about his path to a professional career, all things mindful and efficient practice, and the importance of learning to compose in enhancing your performance on your instrument! Immanuel has a wonderful approach to practicing and music-making and I hope you enjoy his story and find yourself inspired by his dedication and determination!   ALL ABOUT guest: Website: https://www.immanuelabraham.com/ Instagram: https://www.instagram.com/theviolindoctor/ Facebook: https://www.facebook.com/TheViolinDoctor/ The Violin Guild: https://www.facebook.com/groups/TheViolinGuild/ YouTube channels: https://www.youtube.com/channel/UCddZDSbY6_Y4cIa-nMsY2oA   Biography American violinist and composer, Dr. Immanuel Abraham, graduated Summa Cum Laude from both the University of Michigan (MM, 2015) and University of Arizona (DMA, 2018) with degrees in Violin Performance. He has earned numerous awards, recognitions, and is a sought-after composer.  His most recent commissions have included complete scores for theatrical works, string quartets, and "The Abraham 24 Caprices for Solo Violin", which have premiered in 3 countries. Dr. Abraham has performed in 7 countries, been featured on CBS Detroit, Buzzfeed, and Fiddlerman's exclusive blog series "Music Is For Everyone." His Instagram @TheViolinDoctor engages 20K followers. ​Dr. Abraham began music studies at in 2004 under Chicago Civic Orchestra Concertmaster, Guillaume Combet. Only months later, he auditioned into the Merit School of Music Conservatory.  In the next three years he placed 2nd in the institution's Annual Concerto Competition and became Concertmaster of the Merit Symphony Orchestra.  Simultaneously, he served as asst. concertmaster in the Chicago Youth Symphony (including the 2008 CYMI under Maestro Gustavo Dudamel) and was Concertmaster of the Blue Lake International Youth Symphony Orchestra. Graduating with highest honors, he continued violin studies at the University of Michigan under Naumberg Award-Winner, Andrew Jennings. There he began to compose and explore the Electric Violin as well. In 2013, he won the Blue Lake Fine Arts Camp Concerto Competition, soloing the Conus Violin Concerto for a live audience of over 1,500 and airing live on FM Radio.  In 2014, he placed 2nd in the Stamp.FM Online Music Awards, and opened for world-class bands We The Kings and HelloGoodbye at the Michigan Theater. His first year in Arizona, he won the University of Arizona 2015 Concerto Competition with the Brahms Violin Concerto. He premiered his own cadenza, replacing the 1867 standard by Joseph Joachim.  Dr. Abraham also served as the Arizona Symphony Orchestra concertmaster for two years under Maestro Thomas Cockrell, and the Arizona Contemporary Ensemble ("ACE") under Maestro Daniel Asia.  He  also is a recipient of the Fred Fox School of Music​ Graduate Fellowship. ​Dr. Abraham has enjoyed work as the concertmaster of the Michigan Pops Orchestra, sub-anchor for Blue Lake Public Radio, Violin Specialist for the Sphinx Organization, Violin; Viola; Cello; faculty at the Chicago Music Store, Allegro School of Music, Blue Lake Fine Arts Camp, and as the United States Consultant for the 1st Oskar Rieding International Competition for Young Violinists. He also served two years as an assistant teacher for the University of Arizona, giving weekly lectures in music history. Today, Dr. Abraham directs his own private studio of two-dozen local Arizonan students (sign up here!) He plays on a modern violin by renown Japanese luthier, Tetsuo Matsuda.  He is also the creator of Facebook's most popular bowed-string forum, The Violin Guild™, comprising over 30,000 members worldwide!   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 producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Using two recent articles by David Brooks (New York Times opinion columnist and cultural commentator) as a jumping off point, Richard and Eric begin discussing the intersection and entanglement of ‘meaning' and ‘emotion.' How do these two concepts interact broadly as well as more intimately within a choral rehearsal and performance setting?  Does one influence the other?  How do we engage these concepts as artists and musicians?Brooks, D. (2019, January 3). The Morality of Selfism. The New York Times, p. A19.Brooks, D. (2015, January 5). The Problem with Meaning. The New York Times, p. A23.'musica obscura' highlights Richard Wagner's edition of Palestrina's “Stabat Mater.”'Readings and Writings' is taken from a letter written by famed violinist Joseph Joachim (1831-1907) about his  friend Johannes Brahms,  who was visiting his home in 1854.

En Podcast om traditionell spelmansmusik av och med Thomas von Wachenfeldt. Musik i vinjetten: Kornvagna', gammal "Helsingepålska" efter Jon-Erik Hall.I detta avsnitt kommer vi att stifta bekantskap med Jon-Erik Öst och Hjort Anders Olsson, två av den svenska spelmansrörelsens verkliga giganter.För er som gärna stötta Trad-Podden ekonomiskt finns det några olika möjligheter. Besök patreon.com/tradpodden för mer information.Du kan swisha valfri summa till 0707471858, eller via PayPal http://tradpodden.podomatic.com/paypal_donationText, musik (om ej annat anges)och berättare: Thomas von Wachenfeldt.Musik i programmet: 1. Amungen 2. Gärdebylåten (Hjort Anders, Nils Agenmark och Ole Hjorth)3. Fru Granhammars polska 4. På fäbodvallen (Konsert 1953 i Bergsjö med Ester och Jon-Erik Öst)5. Brudpolska efter Pekko-Per (Hjort Anders Olsson)6. Vallåt på kohorn efter modern (Hjort Anders Olsson)7. Ungersk dans nr. 1 (Joseph Joachim 1903)8. Brudmarsch från Lappland (Konsert 1953 i Bergsjö med Ester och Jon-Erik Öst)9. Polska efter Blinda Palm (Hjort Anders Olsson)10. Skansenpolskan11. I skymningen12. Gånglåt från Gränsfors efter Jon-Erik Öst

Ribbons & Bows Podcast 5  In this episode,   women violinists who hailed from other countries in the late 19th and early 20th centuries. Because no history of women violinists in this period would be complete without at least nod to the international women on the scene, in this program, we will meet five superlative Russians: Nathalie Boshko, Cecelia Hansen, Margaret Pardee, Lea Luboshutz, and Frances Berkova. Three greats from Great Britain, Isolde Menges , Orrea Pernel, Ida Haendel;.  Two French fiddlers: Genette Neveu &  Renee Chemet. Two Hungarian Rhapsodizers, Jelly D’Aranyi, Stefi Geyer. And Italian immortal Valentina Crespi.  We’ll cover a lot of ground, in this international survey so we hope you’ll join us! Let’s pack up our bags and get going! Podcast 5 Featured Violinists Isolde Menges, Orrea Pernel, Ida Haendel, May Harrison, Valentina Crespi, Sefi Geyer, Lea Luboshutz, Frances Berkova, Nathalie Boshko, Cecelia Hansen, Margaret Pardee, Jelly d’Aranyi, and Renee Chemet Podcast 5 Other Mentions Leopold Auer, Carl Flesch, John Eliot Gardiner, Sir Colin Davis, Joyce Rathbone, Andre Tchaikowsky, Sir William Glock, Miecyzslaw Michalowicz, George Enesco, Hubay, Bela Bartok, Hans-Heinz Schneeberger, Othmar Schoeck, Efrem Zimbalist, Mischa Elmann, David Oistrach, Eugene Ysaye, Ivan Galamian, Louis Persinger, Sascha Jacobsen, Albert Spalding, Myra Hess, Joseph Joachim, Robert Schumann, Yehudi Menuhin, George Kulenkampff, Jules Boucherit, Nadia Boulanger, Line Talluel Podcast 5 Music & Credits Maud Powell- Souvenir (Drdla) Deborah Tien-Price/Karen Shinozaki Sor – Sonata for Violin KV454 2nd Movement (Mozart), Romanze (Kreisler), Concerto Op 64 (Mendelssohn), Symphonie Espagnole (Lalo), Nocturne in C#m (Chopin), Violin Concerto No 1 in D major Op 6 (Paganini) Deborah Tien-Price – Partita No 1 in Bm (Bach) Josh Workman – War Theme Ginette Neveu – Violin Concerto in D major Op 61 (Beethoven) ### 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.

A girl, play violin? Not too long ago, it just wasn’t done. These women did it. Then, they disappeared. In this episode, we set the stage for the violin in music, and meet four shining starlets of the early stage through the late Romantic Era – those wonderful women born in the late 1800s at the turn of the century –the pioneering pioneers in our evolving story… Ms. Maud Powell… Florence Austin, Florence Hardeman, and Vera Barstow. Podcast 1 Featured Violinists Maud Powell, Florence Austin, Florence Hardeman, and Vera Barstow. Other Mentions Andrea Amtai, Antonio Stradivari, Nicolo Armati, Henry Shradieck, Camille Urso, Ovdie Musin, Eugene Ysaye, Luigi Von Kunits, John Philip Sousa, William Lewis, Hanry Schradieck, Charles Dancla, and Joseph Joachim. Podcast 1 Music & Credits Maud Powell – Souvenir (Drdla), Polonaise Op. 38 (Vieuxtemps), Air-Have Pity, Sweet Eyes, Deep River (Coleridge-Taylor), Tambourin (LeClair), Bouquet American Op 33 St. Patricks Day (Vieuxtemps), Violin Concerto No 2 Op 22 Romance (Wieniawski), Violin Concerto No 7 in G (Arr) Allegro Maestro (Beriot), Zephyr (Blumenleben), La Boheme Potpouri/introduction, musetta’s waltz, Bright Eyes as Yours (Wieniawski) Devon Filo – Improvisation Smithsonian Institute Brass Band – Free and Easy Ralk Kirkpatrick – Sonata in G Major, K105 (Scarlatti) Billy Murray –  Over There (George M Cohan) Vera Barstow –  Ballet Music from Rosamunde (Schumbert-Kreisler), Viennese Popular Song-The Old Refrain (Transcribed by Fritz Kreisler) Bill Brown and his Brownies – Hot Lips (Brusse, Lange, Davis) ### 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.

Donald Macleod explores the lifelong friendship between Brahms and the great violin virtuoso Joseph Joachim - and the music of genius that resulted

How did two of the greatest violin concerti reach the concert hall? Mr. Somers explains some of the background of the Brahms and Dvorak concerti as we listen to some amazing "fiddle" music. Was Brahm piece "enhanced" by the brilliant violinist Joseph Joachim, the wunderkind who brought the Beethoven violin concerto to life? Was Dvorak a victim of prejudice because of his Czech heritage? Did Brahms come to the rescue to open the door to the music world for Dvorak's work? contact the show at yccb@mauriceriverpress.com

Why the lackluster response to Beethoven's Violin Concerto when it premiered in 1806? Was the violinist showboating and unprepared to play or was the piece too complex and difficult for that era's audience to appreciate? Almost 40 years later, Felix Mendelssohn recused the piece from the dustbin of history and conducted a performance in London with Joseph Joachim, an 11-year-old boy, as soloist. Only then did the world recognize yet another work of Beethoven's genius that pushed the limits of the form. Contact the show at yccb@mauricereiverpress.com

"Forma lliure" El prestigi

En esta entrega conoceremos la estrecha relación de amistad y admiración que Johannes Brahms y Joseph Joachim, dos de los más célebres músicos del siglo XIX, mantuvieron a lo largo de cuatro décadas

This week marks the 183rd birthday anniversary of the great violinist/composer Joseph Joachim. We celebrate with Cedille's Grammy-nominated recording of Joachim's colossal Violin Concerto "In the Hungarian Style " plus the cadenza Joachim wrote for the Brahms Violin Concerto, of which Joachim gave the premiere in 1879.

 Rachel Barton Pine discusses the great 19th Century violinist Joseph Joachim on the 100th anniversary of his death, and considers his enduring influence as a violinist, educator, and composer.  Includes musical examples from the Brahms Violin Concerto, written for Joachim, and an anecdote about Van Halen.playing time: 12:50 SUBSCRIBE TO THIS PODCAST ON I-TUNES! Do you have a question you'd like Rachel to answer on her podcast? Just send your question via text or as an MP3 attachment to: rachelbartonpine@aol.com Thanks for listening! visit Rachel online: www.rachelbartonpine.comwww.myspace.com/rachelbartonpinewww.youtube.com/RachelBartonPine Rachel Barton Pine's podcast is produced by Windy Apple Studios www.windyapple.com