Podcasts about kabalevsky

durée : 00:13:18 - Le Disque classique du jour du lundi 19 mai 2025 - Cet album marque les débuts discographiques du jeune violoncelliste norvégien Theodor Lyngstad, qui a choisi de réunir l'unique concerto pour violoncelle de Robert Schumann et le deuxième de Dmitri Kabalevsky.

durée : 00:13:18 - Le Disque classique du jour du lundi 19 mai 2025 - Cet album marque les débuts discographiques du jeune violoncelliste norvégien Theodor Lyngstad, qui a choisi de réunir l'unique concerto pour violoncelle de Robert Schumann et le deuxième de Dmitri Kabalevsky.

Guest conductor Paolo Bortolameolli will lead the Charlotte Symphony Orchestra (CSO) in Kabalevsky's Cello Concerto No. 1 , featuring cellist Christine Lamprea plus works by Corigliano and Gabriela Ortiz. Bortolameolli is a strong advocate for bringing new compositions and new audiences to classical music. He describes some of his novel approaches to this challenge. He also talks about the music on the program for the upcoming CSO concerts. Pictured: Paolo Bortolameolli photo by Michiko Tierney. Paolo Bortolameolli , conductor

En este primer episodio me presento brevemente. Además, encontrarás una historia sobre un pueblo en el que todos los habitantes eran caballos. Se trata de un cuento que fue inventado a partir de la obra para piano "Canciones de la caballería" de Dimitry Kabalevsky. En este episodio suena: "Canciones de la Caballería", la pieza no.29 del op. 27 de Kabalevsky tocado en el piano por mi.

In the midst of the awards season for classical music recordings, this week I am joined by Marina Frolova-Walker, a Russian-born British musicologist and music historian, to discuss the subject of her 2016 book Stalin's Music Prize: Soviet Culture and Politics. Marina specialises in German Romanticism, Russian and Soviet music, and nationalism in music, and is Professor of Music History and Director of Studies in Music at Clare College, Cambridge. Its a great chat, taking in some of the less well known Russian composers like Myaskovsky, Weinberg and Kabalevsky as well as the two titans, Prokofiev and Shostakovich.You can listen to the podcast right here on this page, or click on the links in the player (via the symbol of the box with the arrow coming out of the top) to find it in Apple, Spotify, Stitcher and other popular podcast apps, where you will be able to subscribe and receive notifications when new episodes become available in the future.We would love to hear your feedback and suggestions for future topics, and guests who you would like us to talk to. Please email us at info@prestomusic.com

Here is our "Impact Classics" episode, which originally aired LIVE on Thursday, June 18, 2020. Today's show features selections from Kabalevsky, Peabo Bryson, Beethoven, Cyndi Lauper, Johnny Cash, and more! As you will recall, we provide the very BEST music EVER written, recorded, and performed from all genres. We hope that that the presented music is perfect by which to write, relax, work, clean your house, pay bills, attend to your garden, driving, etc. "Impact Classics" airs LIVE as follows: Tuesdays and Thursdays 11:00 am, ET (Repeated on the same days at 3:00 pm, Midnight, 3 am, 6 am, and 9 am) Enjoy!

Here is our "Impact Classics" episode, which originally aired LIVE on Tuesday, June 16, 2020. Today's show features selections from Kabalevsky, Paul Davis, Elvis, Shostakovich, Buddy Rich, Marimba solo, and more! As you will recall, we provide the very BEST music EVER written, recorded, and performed from all genres. We hope that that the presented music is perfect by which to write, relax, work, clean your house, pay bills, attend to your garden, driving, etc. "Impact Classics" airs LIVE as follows: Tuesdays and Thursdays 11:00 am, ET (Repeated on the same days at 3:00 pm, Midnight, 3 am, 6 am, and 9 am) Enjoy!

durée : 01:58:10 - En pistes ! du lundi 26 août 2019 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le violon sera roi dans l'émission d'aujourd'hui avec le coffret annuel des meilleurs moments du Concours Reine Elisabeth 2019. Kurt Masur dirige le London Philharmonic Orchestra dans les Symphonies n° 3 et 5 de Beethoven. Le pianiste Georgijs Osokins enregistre Rachmaninov. - réalisé par : Davy Travailleur

This coffee break begins our investigation of music composed under Russia's Soviet regime beginning with a piece by Kabalevsky, a simple, open composition which might be the Soviet ideal. We battle on the ice with Prokofiev's composition for Alexander Nevsky, the epic movie by Sergei Eisenstein--another piece vaunted by the Kremlin. But Prokofiev ran afoul of Premier Stalin with the sometimes dissonant, ethereal Cantata on the 20th Anniversary of the October Revolution. Shostakovitch, too, was chastised by Stalin for his opera Lady Macbeth, which lacked simplicity and was immoral, not up to Soviet standards, according to the Kremlin. After Stalin's death, Shostakovitch composed String Quartet No. 8 in C Minor, Op. 110 which memorialized the terror under the Stalin regime. Listen to the full piece here https://www.youtube.com/watch?v=41HIXtBElH4 Contact the show at YCCB@mauriceriverpress.com

Con cuatro sinfonías en su haber, Dmitry Kabalevsky es uno de los compositores más importantes dentro de la producción sinfónica soviética en el siglo XX. Les presentamos las dos primeras por la notable Orquesta Sinfónica de Malmö, bajo la dirección de Darrell Ang.

There are scintillating sounds aplenty in our new release of orchestral works by Dmitry Kabalevsky (1904-1987). Raymond Bisha introduces a programme of two overtures and a pair of symphonies by the Russian composer who endeavoured to position himself as both a progressive and a conservative during his country’s difficult Soviet era. The performances are by familiar Naxos artists: the Malmö Symphony Orchestra and conductor Darrell Ang already have some 40 highly successful recordings for the label in the catalogue.

Éric Lu nous interprète La Courante en fa majeur de George Frederick Handel suivi du premier mouvement de la Sonatine de Kabalevsky

Éric Lu nous interprète La Courante en fa majeur de George Frederick Handel suivi du premier mouvement de la Sonatine de Kabalevsky

Incidental music creates a mood, or illustrates the action for what is going on in a play, movie or television show.

Even though classical music is sometimes referred to as "serious music," a lot of times it just isn't. Serious, that is -- classical composers wrote some very funny music.

The kind of galop that Dmitri Kabalevsky put his suite The Comedians has nothing to do with horses. In fact, it's not even spelled the same as a horse's gallop. The one-l galop is a lively dance. Quite a few composers have written galops.

After Dmitri Kabalevsky wrote music for a play called The Inventor and the Comedians, he put selections from that music into a concert suite called The Comedians. Listen to what's going on in that suite.

By the time Dmitri Kabalevsky was 14, the Russian Revolution had turned his country into a communist state. In spite of the Soviet Union's control over artists of all kinds, Kabalevsky managed to make a successful career as a composer.

VIDEOS: Steven Isserlis plays Tsintsadze and Kabalevsky Steven Isserlis, the English cellist and a guest in the WQXR Café, said that he’d like to write a book about what it’s like to be a professional musician. He's not the first with that idea but one expects he’d have a lot to say. Isserlis can wax lyrically about the joys of playing the Beethoven cello sonatas, the religiosity he finds in the cello music of Bach, and why a rarity like Kabalevsky's Second Cello Concerto is "a real winner of a piece." A prolific writer whose output includes two children's books, Isserlis blogs on such diverse topics as Hitler's musical tastes and Victorian literature. A fan of the Beatles, he is an acquaintance of Paul McCartney and styles his hair not unlike the Fab Four once did. In conversation Isserlis is as witty and opinionated as his writing, as spirited and assured as his musical performance. Isserlis is most animated when talking about Beethoven, a composer he resisted for the first half of his career. Five years ago, he dove in with a day-long Beethoven marathon at the Wigmore Hall. This week, he performs more Beethoven with fortepianist Robert Levin over four programs at the 92nd St. Y. Further Beethoven cycles are planned this year in San Francisco and Tokyo, as well as a recording with Levin. "I had this resistance to Beethoven and I don’t know why,” Isserlis told Naomi Lewin. “It’s the most wonderful, life-enhancing music. You resist it and then you give into it. It just takes you over. It’s a very important part of my life now.” Isserlis’s late-life conversion seems to mirror a similar decision to record the Bach cello suites in 2007 – some three decades into his career. The Bach album earned much critical acclaim. "It’s like some women never feel ready to have babies and then there comes a time,” he said. “I finally got up my courage to do it.” The decision came with some encouragement from his then-90-year-old father. "It was really what kicked me into the studio,” said Isserlis. “He came and sat in the studio when I recorded the Sixth Suite, which was his favorite.” Isserlis was born into a musical family in London (his parents and two sisters are musicians). At 14, he moved to Scotland where he studied with Jane Cowan, a revered cello teacher who had students read Goethe's Faust because she thought it would help them play Beethoven better. In the mid 1970s he studied at Oberlin College Conservatory in Ohio. His big breakthrough came in 1989, when composer John Tavener wrote The Protecting Veil for him, which became one of the major cello works of the late 20th century. Now 53, does Isserlis ever tire of the touring treadmill, with orchestras asking for the same limited bunch of concertos? "Audiences do come for famous pieces,” he acknowledges. But he quickly insists that he has struck a healthy balance. “I can’t imagine ever getting tired of Elgar, Dvorak or Schumann, because they are masterpieces and I love them and they always say new things to me.” Video: Amy Pearl; Sound: Jason Isaac; Production & text: Brian Wise; Interview: Naomi Lewin

Here's a hint: a kooky communist commotion!

Here’s a hint: a kooky communist commotion!

Yo-Yo talks Eugene Ormandy, Kabalevsky, Shostakovich and the Philadelphia Orchestra.