Podcasts about Kurt Masur

durée : 00:21:16 - Disques de légende du vendredi 23 mai 2025 - En 1998 paraissait chez Philips l'intégrale des concertos pour violon de Max Bruch par le violoniste Salvatore Accardo et le Gewandhausorchester Leipzig, alors dirigé par Kurt Masur.

durée : 00:21:16 - Disques de légende du vendredi 23 mai 2025 - En 1998 paraissait chez Philips l'intégrale des concertos pour violon de Max Bruch par le violoniste Salvatore Accardo et le Gewandhausorchester Leipzig, alors dirigé par Kurt Masur.

durée : 01:28:32 - Kurt Masur, la grande tradition et l'humanité - par : Aurélie Moreau - La direction de Kurt Masur conciliait le caractère de l'orchestre avec sa propre imagination expressive. "Le but n'est pas d'atteindre une perfection froide et sans âme, mais de nous interroger sur le sens et l'expression de la musique". (Diapason).

Sobre su trabajo, Félix Romeo había escrito: «Cuando leo los libros de Julián Rodríguez siento que tienen una potencia aérea: ese misterio de que el acero pueda moverse rápidamente entre las nubes». Además de escritor, codirector de la editorial Periférica; director de la galería de arte «Casa sin fin»; de la revista de arte y estética «Sub rosa» o Premio Ojo Crítico de Narrativa de RNE en 2016, entre muchas otras cosas. Hace cinco años que falleció Julián Rodríguez Marcos, siempre en nuestro recuerdo. Cello Suite No. 2 in D Minor, BWV 1008 - Transcr. for Viola: 1. Prélude                de Johann Sebastian Bach, Kim Kashkashian            J.S. Bach: Six Suites for Viola SoloRothko Chapel 5                    Morton Feldman        Rothko ChapelTristan und Isolde, WWV 90 / Act I: Prelude to Act I de Richard Wagner, Gewandhausorchester, Kurt Masur   The Unreleased MastersSonata in D Minor, K. 32                   Domenico Scarlatti, Khatia Buniatishvili       LabyrinthClouds            Adam Baldych, Vincent Courtois, Rogier Telderman           CloudsRêverie, L. 68 de Claude Debussy    Werner Haas  Classical Piano: ImpressionsMon'ami                    Tiganá Santana          Tempo & MagmaCaring            Mathias Eick   CaringFlamenco sketches Miles Davis Kind of Blue LegacyEscuchar audio

durée : 01:58:16 - Les 90 ans de l'Orchestre National IV : les années 90 et 2000 - par : Christian Merlin - Les années 90 et 2000 sont au programme de notre histoire de l'Orchestre National : on y croisera les figures de Charles Dutoit, Kurt Masur, mais aussi de nombreux musiciens dont beaucoup sont encore présents et qui contribuent à l'évolution comme à la continuité de l'identité orchestrale. - réalisé par : Marie Grout

durée : 00:28:07 - Les 90 ans de l'Orchestre National IV - les années 90 et 2000 (4/4) : les années Masur (2) - par : Christian Merlin - Les années 90 et 2000 sont au programme de notre histoire de l'Orchestre National : on y croisera les figures de Charles Dutoit, Kurt Masur, mais aussi de nombreux musiciens dont beaucoup sont encore présents et qui contribuent à l'évolution comme à la continuité de l'identité orchestrale. - réalisé par : Marie Grout

durée : 00:28:10 - Les 90 ans de l'Orchestre National IV - les années 90 et 2000 (3/4) : Les années Masur (1) - par : Christian Merlin - Les années 90 et 2000 sont au programme de notre histoire de l'Orchestre National : on y croisera les figures de Charles Dutoit, Kurt Masur, mais aussi de nombreux musiciens dont beaucoup sont encore présents et qui contribuent à l'évolution comme à la continuité de l'identité orchestrale. - réalisé par : Marie Grout

durée : 00:28:18 - Les 90 ans de l'Orchestre National IV - les années 90 et 2000 (2/4) : Les années Dutoit - par : Christian Merlin - Les années 90 et 2000 sont au programme de notre histoire de l'Orchestre National : on y croisera les figures de Charles Dutoit, Kurt Masur, mais aussi de nombreux musiciens dont beaucoup sont encore présents et qui contribuent à l'évolution comme à la continuité de l'identité orchestrale. - réalisé par : Marie Grout

durée : 00:28:22 - Les 90 ans de l'Orchestre National IV - les années 90 et 2000 (1/4) : La fin de l'ère Maazel - par : Christian Merlin - Les années 90 et 2000 sont au programme de notre histoire de l'Orchestre National : on y croisera les figures de Charles Dutoit, Kurt Masur, mais aussi de nombreux musiciens dont beaucoup sont encore présents et qui contribuent à l'évolution comme à la continuité de l'identité orchestrale. - réalisé par : Marie Grout

Jess Gillam is joined by Italian-American violinist Francesca Dego to swap some of their favourite music. Francesca has played everywhere from Wigmore Hall to Lincoln Centre New York, and her latest recording of Brahms and Busoni violin concertos with BBC Symphony Orchestra and conductor Dalia Stasevska is out now via Chandos. Today Francesca has brought along music from neglected Finnish composer Helvi Leiviskä and a fiendish 12-tone work from Schoenberg, while I've chosen David Bowie's swansong.PLAYLIST:GIOACHINO ROSSINI – ‘Una voce poco fa' (Il barbiere di Siviglia: Act 1) [Teresa Berganza (mezzo soprano), London Symphony Orchestra, Alexander Gibson (conductor)] PETER MAXWELL DAVIES – Farewell to Stromness [Richard Casey (piano)] HELVI LEIVISKA – Orchestral Suite No 2, Op 11 (2nd mvt, Humoresque) [Lahti Symphony Orchestra, Dalia Stasevska (conductor)] DAVID BOWIE - Lazarus JOHANNES BRAHMS – Concerto for violin and cello in A minor, Op 102 (2nd mvt, Andante) [Salvatore Accardo (violinist), Heinrich Schiff (cello), Kurt Masur (conductor), Gewandhausorchester] ARNOLD SCHOENBERG – Phantasy for violin and piano [Patricia Kopatchinskaja (violin), Joonas Ahonen (piano)] LANKUM – Wild RoverProduced by Rachel Gill.

Liebe Wunderbar-Together-Crew, heute wird es musikalisch, und auch ein bisschen emotional: Felix und Katalina haben mit Ken-David Masur gesprochen, dem ersten Dirigenten, der zu Gast ist bei Wunderbar Together. Ken-David Masur dirigiert das Milwaukee Symphony Orchestra, organisiert das Chelsea Music Festival in New York – und nimmt uns mit auf eine wunderbare Reise in seinen Konzertsaal, seine Vergangenheit, und hinein in seinen trubeligen Alltag in Wisconsin. vo

Salzburg, Wien, Paris, Mailand, New York – die Schweizer Sopranistin Regula Mühlemann singt auf den wichtigsten Opernbühnen und in den renommiertesten Konzertsälen der Welt. Mit ihrer klaren, strahlenden Stimme und ihrer grossen Bühnenpräsenz zieht sie das Publikum in Bann. In Musik für einen Gast bei Eva Oertle erzählt die sympathische Luzernerin, wie sie trotz ihres Erfolgs nie die Bodenhaftung verloren hat, sie spricht über ihre Liebe zur Natur und zu Frankreich und darüber, welche Musik sie am liebsten hört. Die Musiktitel - Dino Brandao, Faber, Sophie Hunger: Derfi di hebe - Camélia Jordana: Ce qui nous lie. Bande originale du film - Samuel Hasselhorn, Ammiel Bushakevitz: «Wohin?» aus Die schöne Müllerin von Franz Schubert - Jessye Norman: «3. Beim Schlafengehen» aus den Vier letzten Lieder von Richard Strauss - Gewandhausorchester Leipzig, Kurt Masur, Leitung Die vorgespielten Titel: - Maria Stader – Non so più cosa son, cosa faccio. (Cherubino), I aus Figaros Hochzeit von W.A. Mozart - Leonard Cohen: Bird on the wire - Philippe Jaroussky: Ombra mai fu von G. F. Händel

SynopsisIn Berlin on today's date in 1915, prolific German composer Max Reger conducted the premiere performance of what would become his most popular orchestral work.Like Bach, Reger was a master of counterpoint and the fugue, and, like Beethoven, loved writing variations. Reger's Variations and Fugue on a Theme of Mozart starts off simple enough, quoting a familiar theme from one of Mozart's piano sonatas. About 30 minutes later, the simple theme develops into a massive fugue. It's all grand and clever if you like it, or bombastic and tiresome if you don't.The witty Nicolas Slonimsky, in his book Music Since 1900, described it as follows: “Mozart's ingenuous theme … is subjected to torturous melodic anamorphoses, contrapuntal contortion, canonic dislocation, rhythmic incrustation and harmonic inspissation.”To save you the trouble of Googling the definition of “inspissation,” let's just say it's not a condition you would wish on anybody!Whether you're a fan or not, Variations and Fugue on a Theme of Mozart is quintessential Reger, and one is tempted to say, “What did you expect? It's Reger to the Max!”Music Played in Today's ProgramMax Reger (1873-1916): Variations and Fugue on a Theme by Mozart; New York Philharmonic; Kurt Masur, cond. Teldec 74007

Sie sind die großen Zampanos der klassischen Musik, divenhafte Taktstockdespoten, weltentrückte Einzelgänger oder eben jene, die charismatisch zum gefeierten Genius emporsteigen. Ohne sie läuft nichts auf den Opernbühnen der Welt, im Orchestergraben und auf den Konzertpodien. Wie aber kommt der individuelle, interpretatorische Klang des Dirigenten zustande? Wie vereint er einzelne Musiker zum Klangkörper? Und wie kann man den Klang mit den Händen "formen"? Der Feature-Autor Andreas M. Simon hat die Dirigenten Kent Nagano, Kurt Masur und andere getroffen, um diesen Fragen nachzugehen. Mit: Bibiana Beglau, Ulrich Noethen und anderen Regie: Martin Heindl Produktion: rbb 2006

SynopsisOh, to have been in Vienna on today's date in 1785! Wolfgang Mozart had just finished a new piano concerto a week earlier and quite likely performed it himself for the first time as an intermission feature at a performance of the oratorio Ester, by Karl Ditters von Dittersdorf, conducted by Antonio Salieri.Now wouldn't that have made for a good scene in the movie Amadeus?Fast forward 11 years for another memorable concert at the Theater an der Wien, when on today's date in 1806, it was Beethoven's turn to premiere one of his new concertos in Emanuel Schikaneder's Viennese theater. Alongside works of Mozart, Méhul, Cherubini and Handel, Beethoven's Violin Concerto was introduced to the world, with Franz Clement as the soloist.Beethoven's friend Czerny recalled that Clement's performance was greeted with “noisy bravos.”But a contemporary Viennese music critic wrote: “While there are beautiful things in the concerto … the endless repetition of some commonplace passages could prove fatiguing.” The reviewer's final assessment? “If Beethoven pursues his present path, it will go ill with him and the public alike.”Music Played in Today's ProgramWolfgang Mozart (1756-1791) Piano Concerto No. 22; Mitsuko Uchida, piano; English Chamber Orchestra; Jeffrey Tate, cond. Philips 420 187Wolfgang Mozart (1756-1791) Magic Flute Overture; Zurich Opera House Orchestra; Nikolaus Harnoncourt, cond. Teldec 95523Ludwig van Beethoven (1770-1827) Violin Concerto; Anne-Sophie Mutter, violin; New York Philharmonic; Kurt Masur, cond. DG 471 349

durée : 00:25:16 - Patrick Messina, clarinettiste solo de l'Orchestre National de France (5/5) - par : Judith Chaine - Patrick Messina est clarinettiste solo de l'Orchestre national de France depuis 2003. Tout au long de la semaine nous suivrons cet éternel jeune homme à travers ses déambulations artistiques : les grands orchestres américains, les planches de théâtre, le cinéma… - réalisé par : Françoise Cordey

The Age of Prediction salon was co-hosted with Amy Brand, Publisher, MIT Press celebrating the publication of the new book The Age of Prediction: Algorithms, AI, and the Shifting Shadows of Risk by MIT Press authors Igor Tulchinsky and Christopher Mason. Igor is the Founder/CEO of WorldQuant, a quantitative investment firm. Christopher is Professor of Genomics, Physiology, and Biophysics at Weill Cornell Medicine and the Director of the WorldQuant Initiative for Quantitative Prediction. Alyssa Goodman, Professor of Astronomy at Harvard, co-moderates the conversation with POSTHOC founder and CEO, Susan MacTavish Best.  On the music front, Frank Almond performed on his rare, 400 year old violin, and shared the story of its theft and return. Frank held the Charles and Marie Caestecker Concertmaster Chair of the Milwaukee Symphony Orchestra for 25 years. He has also held the Concertmaster position with the Rotterdam Philharmonic with Valery Gergiev and Guest Concertmaster of the London Philharmonic with Kurt Masur. This salon was underwritten by the MIT Press. The MIT Press is a leading publisher of books and journals at the intersection of science, technology, art, social science, and design, and is widely considered the world's most innovative university press. The MIT Press has been an open access leader for over two decades, publishing hundreds of freely accessible books every year. Known for bold design and creative technology, the Press mobilizes knowledge by publishing provocative works from leading thinkers around the globe for the broadest possible impact and audience.

Un día como hoy, 18 de julio Nace: 1670: Giovanni Bononcini, compositor y violonchelista italiano (f. 1747). 1724: María Antonia Walpurgis de Baviera, mecenas, compositora, pintora y escritora alemana (f. 1780). 1845: Tristán Corbière, poeta francés (f. 1875). 1927: Kurt Masur, director de orquesta y pianista alemán (f. 2015). Fallece: 1610: Caravaggio (Michelángelo Merisi), pintor italiano (n. 1571). 1721: Antoine Watteau, pintor francés (n. 1684). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast 2023

durée : 01:29:41 - En pistes ! du mercredi 07 juin 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, vous entendrez entre autres Kurt Masur dirigeant le Gewandhausorchester dans les Symphonies de Mendelssohn mais aussi Ravel par François-Xavier Roth et son orchestre Les Siècles.

Synopsis The German composer Richard Strauss wrote his first song at age 6, and his last at age 84, a year before his death in 1949. Four of his last songs were for soprano and orchestra. These Four Last Songs, as they came to be known, were premiered in London, at the Royal Albert Hall, on today's date in 1950. Strauss had written to the great Norwegian soprano Kirsten Flagstad, suggesting "I would like to make it possible that [the songs] should be at your disposal for a world premiere ... with a first-class conductor and orchestra.” Flagstad did sing the premiere performances, with the first-rate Philharmonia Orchestra of London conducted by the legendary German conductor Wilhelm Furtwangler. In addition to those famous performers, credit for the realization of Strauss's request is also due to an unlikely and exotic patron of the arts, namely the Maharaja of Mysore, who put up a cash guarantee for the Strauss premiere. And since he could not be present himself, the Maharaja asked that the premiere be recorded and the discs shipped to him in Mysore. The Maharaja had wanted to be concert pianist, but the deaths of both his father and his uncle forced him to succeed to the throne in 1940 at the age of 21. In addition to underwriting the Strauss premiere, the young Maharaja championed the music of the Russian composer Nikolas Medtner, and, in 1945, the creation of the Philharmonia Orchestra of London as a recording ensemble for the enterprising EMI producer Walter Legge. In addition to Western classical music, the Maharaja was passionate about the court music of his native land, and, under the pen name of Shri Vidya, himself composed almost 100 works in the South Indian tradition. Music Played in Today's Program Richard Strauss (1864 - 1949) "Im Abendrot (At Twlight)," from "Four Last Songs" Jessye Norman, s; Leipzig Gewandhaus Orch; Kurt Masur, conductor. Philips CD 464 742

Synopsis Today, a tip of the hat to the persistence of Ms. Elisa Hall, who lived in Boston from 1853 to 1924. Hall was a Francophile and championed the best and the latest in French music. Sadly, Elisa Hall suffered from a hearing ailment, which would eventually result in complete deafness. At the advice of her doctor, who thought it might stimulate her ears, Hall took up the saxophone – and with typical enthusiasm soon began commissioning the leading French composers of the day for new pieces for her instrument. In all, she commissioned 22 works, the most famous being by Claude Debussy. Debussy at first refused Ms. Hall's persistent offers of a commission, pleading the saxophone was “a reed animal with whose habits he was poorly acquainted.” Debussy was paid in advance, but it was years before delivered a short rhapsody in a vaguely Moorish style. In May of 1919, one year after Debussy's death, the orchestration of the piece was completed by Debussy's friend, Jean Roger-Ducasse, and premiered in Paris. Ms. Hall apparently never performed it herself. Maybe she was exasperated by the long delay or perhaps, by 1919, her own hearing had deteriorated to the point where she no longer could. Music Played in Today's Program Claude Debussy (1862 - 1918) Rhapsody for Saxophone and Orchestra Kenneth Radnofsky, alto saxophone; New York Philharmonic; Kurt Masur, conductor. Teldec 13133

Angel Subero is a Venezuelan trombonist who attended the Conservatorio Itinerante in Caracas, Venezuela, where he studied with the legendary Michel Becquet. After coming to the United States in 2001, he attended  Boston Conservatory, where he studied with Lawrence Isaacson, and New England Conservatory of Music, where he studied with Douglas Yeo. He also studied with John Rojak at the Aspen Music Festival. Subero has performed with numerous orchestras, including the Boston Symphony Orchestra, Boston Pops Esplanade Orchestra, Boston Ballet, Pittsburgh Symphony, American Composers Orchestra, the Venezuela Symphony, Simon Bolivar Symphony, and the Boston Modern Orchestra Project, to name a few. He has worked with such conductors as John Williams, Seiji Ozawa, Kurt Masur, Sir Colin Davis, Christoph von Dohnanyi, Keith Lockhart, and Robert Spano, among many others. In the realms of jazz, Latin and commercial music, Subero has appeared with artists such as Bob Brookmeyer, Aretha Franklin, Slide Hampton, Jim McNeely, Claudio Roditi, Danilo Perez, Chris Botti, and many more.

Synopsis In 1838, Robert Schumann visited the grave of Franz Schubert in Vienna and paid a courtesy call on Schubert's brother, Ferdinand, who was still alive. Schumann had heard about Ferdinand's closet full of his brother's manuscripts, and among the dusty music scores that Schumann was shown was one for a big symphony in C Major, unperformed, he was told, because people thought it was too difficult, too bombastic, and far too long. Looking at the music, Schumann was stunned, and asked if he could arrange to have the symphony played. "Sure," said Ferdinand, and Schumann sent the score off to his friend and fellow composer, Felix Mendelssohn, who was the director of the Leipzig Gewandhaus Orchestra. Mendelssohn liked what he saw, and gave the first public performance of Schubert's big symphony on today's date in 1839. After attending the rehearsal, Schumann wrote to his girlfriend, Clara Wieck, "Today I have been in seventh heaven. If only you had been there! For I cannot describe it to you; all the instruments were like human voices, and immensely full of life and wit… and the length, the divine length, like a four-volume novel… I was utterly happy, with nothing left to wish for except that you were my wife and I could write such symphonies myself!" Well, sometimes wishes do come true, and good deeds are rewarded. Schumann did marry Clara, did write symphonies of his own, and did help launch Schubert's work on its path towards worldwide recognition as a great symphonic masterpiece. Music Played in Today's Program Franz Schubert (1797 - 1828) Symphony No. 9 in C Leipzig Gewandhaus Orchestra; Kurt Masur, conductor. Philips 426 269

#DNEWS24 #Generationstalk #generationsbotschafterin #UlrikeKrämer #AgataKlaus #DeutscheNationalstiftung #Demografie Dr. Agata Klaus ist Geschäftsführerin der Deutschen Nationalstiftung in Hamburg. Die Deutsche Nationalstiftung Stiftung verfolgt mit ihrer Arbeit einen dreifachen Zweck: sie will das Zusammenwachsen Deutschlands fördern, die Idee der deutschen Nation als Teil eines vereinten Europas stärken und zu einer nationalen Identität in einem friedlichen, weltoffenen Deutschland beitragen. Die überparteiliche, unabhängige und gemeinnützige Deutsche Nationalstiftung wurde 1993 vor dem Hintergrund der Wiedervereinigung Deutschlands von Bundeskanzler a.D. Helmut Schmidt, Kurt Körber, Gerd Bucerius, Michael Otto und Hermann Josef Abs in Weimar errichtet, die ersten Vorstände waren Kurt Biedenkopf, Kurt Masur, Reimar Lüst und Peter Kreyenberg. DNEWS24 der Generationstalk – überall, wo es gute Podcasts zu hören gibt. #Generationstalk #GenerationsBotschafterin

In July of 1997, conductor Kurt Masur and actress Marthe Keller delivered a performance of César Franck's Psyché unlike any other in recorded history. Expanding upon Masur's vision, the sublime and rarely-heard symphonic poem for chorus and orchestra was augmented by Keller's immersive narration. Her words, delivered between movements with powerful eloquence, are sourced directly from Metamorphoses by the ancient writer Apuleius, which tells the captivating story of Psyché and Cupid. It was this tale, filled with eroticism, alchemy, and scandal, that inspired Franck's soaring composition.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Synopsis On today's date in 1893, Anton Seidl conducted the New York Philharmonic in the first performance of Antonin Dvořák's Symphony No. 9, a work subtitled From the New World. This was an afternoon concert, meant as a public dress rehearsal for the work's "official" premiere the following evening. Among the Dec. 15th audience was Dvořák's eight-year old son, Otakar, who had a special interest in the success of his father's new symphony. In the preceding weeks, Otakar had accompanied his father to a New York café, where Dvořák met Anton Seidl to go over the new score. Young Otakar amused himself at a nearby toyshop, where a seven-foot long model of the ocean liner Majestic was on display, complete with its own miniature steam-chamber and working propellers. It cost a whopping $45—a HUGE amount of money in those days, and the answer from papa was always: NO! Seeing that the boy's heart was set on having the toy, Anton Seidl suggested to Otakar that he wait until after the premiere and then ask his father again. Seidl told Otakar that if all went well at the premiere, Dvořák would be in a generous mood. The premiere was a great success, and, as Otakar recalled: "When Seidl offered to pay half the cost of the Majestic, Father could not say no. So that is how the three of us celebrated the success of the first performance of the New World Symphony." Music Played in Today's Program Antonin Dvořák (1841-1904) Symphony No. 9 (From the New World) New York Philharmonic; Kurt Masur, cond. Teldec 73244

Synopsis On this date in 1831, the 21-year-old Felix Mendelssohn conducted a concert in Munich consisting entirely of his own works — a concert that included the premiere of his “Piano Concerto in G Minor”, with its composer as the soloist. Mendelssohn was in high spirits and wrote these lines to family: “It is a glorious feeling to waken in the morning and to know that you are going to write the score of a grand allegro with all sorts of instruments … while bright weather promises a cheering, long walk in the afternoon. On the evening of the October 17th at half-past six, think of me, for then I will dash off with thirty violins and two sets of wind instruments [for] my new concerto in G minor. Every morning I have to write, correct and score till one o'clock, when I go to Scheidel's coffee house in Kaufinger Gasse, where I know each face by heart and find the same people every day in the same position: two playing chess, three looking on, five reading the newspapers, six eating their dinner — with me making up the seventh.” Unfortunately for posterity, Mendelssohn never said if he recognized any of that coffeehouse crowd sitting in the audience for the performance of his new concerto! Music Played in Today's Program Felix Mendelssohn (1809-1847) Piano Concerto No. 1, Op. 25 Cyprien Katsaris, piano; Leipzig Gewandhaus Orchestra; Kurt Masur, cond Teldec 8.43681

Juliano Dutra Aniceto is one of the most significant upcoming conductors of his generation, having worked in the symphonic and in the operatic fields. Currently, Juliano is developing his doctorate studies at The Peabody Institute of the Johns Hopkins University, under the mentorship of Maestro Marin Alsop, where he served as her graduate assistant. Juliano has appeared as guest conductor and music director in operatic productions in the United States and in South America, having conducted the Baltimore Symphony Orchestra, the Peabody Symphony Orchestra, the São Paulo State Youth Orchestra, São Pedro Opera House, the East Carolina University Symphony Orchestra, ECU Opera Theatre, the São Paulo University Symphony Orchestra, among others. Juliano is recognized by his versatility among genres, with 12 operatic and 3 music theater productions in his repertoire, including titles as Humperdinck's Hänsel und Gretel (North Carolina, 2019), Mozart's Die Zauberflöte (Brazil, 2017), Rossini's L'italiana in Algeri, Cimarosa's Il Matrimonio Segreto, Janáček's Katja Kabanová and Věc Makropulos, among others. In 2022, Juliano served as music director and conductor in the recording of the opera Lily, by Garth Baxter. At Peabody, Juliano is the recipient of the “Artistic Excellence Scholarship.” Juliano also serves as the Executive Assistant for the Taki Alsop Conducting Fellowship and as Hugh Hawkins Fellow researcher at The Johns Hopkins University (2021). Juliano has participated in masterclasses with Marin Alsop (his mentor), Kurt Masur, Claudio Cruz, Johannes Schlaefli, Isaac Karabtchevsky, Ernani Aguiar, Martin Schmidt, and Osvaldo Ferreira. Juliano Aniceto was born in São Paulo – Brazil, started his music education in a social program and, from an early age, his talent was recognized: reviews of his concerts, as a flute soloist, classified him as “A soloist with great future” (Invitation to the Classics, Clovis Marques). In 2022, Juliano joins the Hopkins Symphony Orchestra in the position of Assistant Conductor.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Synopsis John Lennon was born on today's date in the year 1940, in Liverpool, England — during a German air raid on that city, as it happened. With three other young lads from Liverpool, Lennon would eventually become world-famous, courtesy of the band he helped formed in 1959 called the Beatles. The Beatles started out in a Liverpool nightclub called the Cavern, playing pop tunes of the day, but soon began performing original material of their own. Before disbanding in 1970, some recognizable elements of classical music were incorporated into some Beatles songs, including a string quartet, a Baroque trumpet, and even an orchestra. And it wasn't just a one-sided exchange: Leonard Bernstein played a Beatles song on one of his “Young People's Concerts” to demonstrate sonata form. Arthur Fiedler performed symphonic arrangements of Beatles tunes at his Boston Pops concerts. And decades after the Beatles disbanded, former member Paul McCartney began composing original chamber works and big concert hall pieces, including a semi-autobiographical “Liverpool Oratorio.” Not surprisingly, some young British and American composers coming of age in the 1960s and 70s credit the Beatles as an influence. One elegant set of solo guitar arrangements of Lennon-McCartney tunes even came from Japan, courtesy of the eminent Japanese composer (and Beatles fan) Toru Takemitsu. Music Played in Today's Program Lennon and McCartney (arr. Toru Takemitsu) Here, There and Everywhere John Williams, guitar Sony 66704 On This Day Births 1585 - Baptismal date of German composer Heinrich Schütz, in Bad Löstritz; 1835 - French composer, conductor and pianist Camille Saint-Saëns, in Paris; 1914 - American composer Roger Goeb, in Cherokee, Iowa; 1938 - Finnish composer Einojuhani Rautavaara, in Helsinki; 1940 - John Lennon (of the Beatles), in Liverpool, England; Deaths 1999 - Jazz vibraphone virtuoso, Milt Jackson, age 76, in New York City; He was a member of the famous Modern Jazz Quartet; Premieres 1826 - Rossini: opera, "The Siege of Corinth," at the Paris Opéra; 1891 - Dvorák: "Requiem," Op. 89, in Birmingham, England; 1896 - Dvorák: String Quartet No. 13 in G, Op. 106, in Prague, by the Bohemian Quartet; 1921 - Janácek: "Taras Bulba" (after Gogol), in Brno; 1955 - Shostakovich: Violin Concerto No. 1, by the Leningrad Philharmonic conducted by Yevgeny Mravinsky, with David Oistrakh the soloist; 1963 - Henze: Symphony No. 4 in Berlin, with the composer conducting; 1980 - Jon Deak: Concerto for Oboe d'amore and Orchestra, by the New York Philharmonic conducted by Zubin Mehta with Thomas Stacy as soloist; 1985 - Anthony Davis: opera "X: The Life and Times of Malcolm X," in Philadelphia; The opera's New York City Opera premiere occurred the following year on September 28, 1986; 1986 - Andrew Lloyd-Webber: musical "Phantom of the Opera," at Her Majesty's Theatre in London; The musical opened on Broadway at the Majestic Theater on January 26, 1988; 1987 - Corigliano: "Campane di Ravello" (Bells of Ravello) for orchestra (a birthday tribute to Sir Georg Solti), in Chicago, with Kenneth Jean conducting; 1992 - David Ott: Symphony No. 3, by the Grand Rapids (Michigan) Symphony, Catherine Comet conducting; 1997 - Robert X. Rodriguez: "Il Lamento di Tristano," by flutist Susan Morris De Jong and guitarist Jeffrey Van, at the University of Minnesota in Minneapolis; 1999 - Bolcom: opera "A View From the Bridge," by the Lyric Opera of Chicago, Dennis Russell Davies, cond. 1999 - Michael Torke: symphonic oratorio "Four Seasons," at Avery Fisher Hall in New York, by soloists, chorus, and the New York Philharmonic, Kurt Masur conducting; Others 1973 - Leonard Bernstein gives the first of six lectures entitled "The Unanswered Question," as the Charles Eliot Norton Professor of Poetry at Harvard University. Links and Resources On The Beatles

Synopsis 1991 was a big year for American composer John Corigliano. The Metropolitan Opera premiered his opera “The Ghosts of Versailles” and the 53-year old composer won two Grammys and the Grawemeyer Award for his Symphony No. 1. Corigliano was increasingly recognized as one of the leading American composers of his generation, and was deluged with commissions for new works. But about 10 years before all that, guitarist Sharon Isbin had asked Corigliano to write a concerto for her, and kept on asking him. On today's date in 1993, her persistence paid off when, with the St. Paul Chamber Orchestra and conductor Hugh Wolff, she gave the premiere performance of Corigliano's “Troubadours — Variations for Guitar and Orchestra.” This piece was inspired by the courtly love tradition of the medieval troubadours, whose songs combined sophisticated word play with simple but elegantly communicative melodies. “For composers the idea of true simplicity — in contrast to chic simple-mindedness — is mistrusted and scorned,” wrote Corigliano. “But the guitar has a natural innocence about it… So the idea of a guitar concerto was, for me, like a nostalgic return to all the feelings I had when I started composing — before the commissions and deadlines and reviews. A time when discovery and optimistic enthusiasm ruled my senses… Troubadours is a lyrical concerto.” Music Played in Today's Program John Corigliano (b. 1938) Troubadours Sharon Isbin, guitar; Saint Paul Chamber Orchestra; Hugh Wolff, cond. Virgin 55083 On This Day Births 1870 - French composer and organist Louis Vierne, in Poitiers; 1930 - Japanese composer Toru Takemitsu, in Tokyo; 1953 - English composer Robert Saxon, in London; Deaths 1834 - French composer François Boieldieu, age 58, in Jarcy; Premieres 1903 - Nielsen: "Helios" Overture, in Copenhagen; 1943 - Stravinsky: "Ode" (in memory of Natalie Koussevitzky), by the Boston Symphony conducted by Serge Koussevitzky; 1960 - Prokofiev: opera "The Story of a Real Man" (posthumously) at the Bolshoi in Moscow; A semi-public performance of this opera was given in Leningrad on Dec. 3, 1948, but the opera was rejected by Soviet authorities for subsequent performances during the composer's lifetime; 1966 - Stravinsky: "Requiem Canticles," in Princeton, with Robert Craft conducting; 1992 - Ligeti: Violin Concerto, in Cologne, by the Ensemble Moderne conducted by Peter Eötvös, and Saschko Gawriloff the soloist; 1993 - Corigliano: "Troubadours (Variations for Guitar and Orchestra)," at the Ordway Music Theater in St. Paul, with the St. Paul Chamber Orchestra conducted by Hugh Wolff, and guitar soloist Sharon Isbin; 1999 - Kernis: "Garden of Light" and Torke: "Four Seasons" (both commissioned by the Disney Company at the urging of its Chief Executive, Michael Eisner), for the Millennium season of the New York Philharmonic, with Kurt Masur conducting the orchestra, vocal soloists, and choirs in both pieces; Others 1739 - Handel completes in London his Concerto Grosso in a, Op. 6, no. 4 (Gregorian date: Oct. 19); 1898 - The first issue of the magazine "Musical America" is published. Links and Resources On John Corigliano On Sharon Isbin

Donald Macleod journeys into the varied musical landscape of Adolphus Hailstork, in conversation with the composer himself. American composer Adolphus Hailstork has written in many genres ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Of African-American heritage and now in his eighties, Hailstork's works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music including Kurt Masur, Daniel Barenboim and Lorin Maazel. Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that have had a significant impact upon the development of his own musical language. For many years he's been a Professor of Music at the Old Dominion University in Norfolk, and he resides in the state of Virginia, USA. His own list of teachers is impressive, not least of all Nadia Boulanger at the American Institute at Fontainebleau. Hailstork's own reputation has been significant, and he's been called the Dean of African-American composers. Music Featured: Symphony No 3 (Vivace) The Lamb String Quartet No 3 (Moderato) Piano Sonata No 2 Symphony No 3 (Scherzo) Fanfare on Amazing Grace Three Spirituals for Orchestra Symphony No 2 (Adagio) Three Spirituals for String Trio Symphony No 1 I Will Sing of Life (Songs of Life and Love) Eight Variations on Shalom Chaverim Arabesques Whitman's Journey: I launch out on the endless seas Presented by Donald Macleod Produced by Luke Whitlock For full track listings, 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 Adolphus Hailstork (1941) https://www.bbc.co.uk/programmes/m001cgkd 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

I Peenemünde vid Östersjöns kust tillverkade Hitlerregimen ohyggliga raketer. I dag är fabriken museum över ondskan. I maj 2022 gästades platsen av New York Philharmonic med världsartister. Peenemünde ligger på ön Usedom i norra Tyskland, 16 mil rakt söder om Simrishamn. I maj hölls en unik festival, en manifestation för fred, i öns gamla vapenfabrik, som efter järnridåns fall gjordes om till ett museum.En av de drivande var världsdirigenten Kurt Masur, som själv spelade en avgörande roll när Tyskland återförenades utan våld. Kurt Masur blev en hjälte, en institution, och många ville se honom som politiker men han valde musiken. Han ledde sedan en av världens mest ansedda orkestrar, New York Philharmonic i många år, men glömde aldrig Usedom.Kurt Masurs dröm var att orkestern någon gång skulle spela i Peenemünde. I maj 2022, sju år efter hans död, blev drömmen verklighet. Idel världsartister som Anne Sophie Mutter, Thomas Hampson och Jan Lisiecki spelade en noga vald repertoar tillsammans med den 106 personer starka orkestern.Platsen bär en förskräcklig historia, men musik har kraft att förändra också en fasornas fabrik som orkesterns första violinist Yulia Ziskel, själv med judiskt påbrå, uttrycker det: We really have to change the energy in this place and I think we did.En dokumentär från 2022 av Eva Sjöstrand.

The New York Philharmonic is the oldest symphony orchestra in the United States, and it has over a century's worth of archives including artifacts from performance history to images. To keep pace with online demand and to better serve the public, the New York Philharmonic turned to Amazon Web Services (AWS) to modernize its digital archives. To understand how the New York Philharmonic began its journey with AWS, the Fix This team sat down with Gabryel Smith, director of archives and exhibitions, and his colleague, Bill Levay, digital archivist at the New York Philharmonic. Gabryel and Bill share how the organization uses the cloud to preserve history, further engage with visitors, and more. Dive into the archives at: archives.nyphil.org, and listen to the opening music—a New York Philharmonic performance of Beethoven 9 with Kurt Masur, former music director, conducting.

durée : 00:26:51 - Kurt Masur, chef d'orchestre (5/5) - Kurt Masur, héros de la transition démocratique de l'ex-RDA, il a toutefois refusé d'endosser le moindre rôle politique au sein du nouveau pouvoir, préférant se consacrer à une carrière musicale exceptionnelle. Cette fois, c'est nous qui consacrons la semaine à sa carrière.

durée : 00:26:42 - Kurt Masur, chef d'orchestre (4/5) - Kurt Masur, héros de la transition démocratique de l'ex-RDA, il a toutefois refusé d'endosser le moindre rôle politique au sein du nouveau pouvoir, préférant se consacrer à une carrière musicale exceptionnelle. Cette fois, c'est nous qui consacrons la semaine à sa carrière.

durée : 00:25:54 - Kurt Masur, chef d'orchestre (3/5) - Kurt Masur, héros de la transition démocratique de l'ex-RDA, il a toutefois refusé d'endosser le moindre rôle politique au sein du nouveau pouvoir, préférant se consacrer à une carrière musicale exceptionnelle. Cette fois, c'est nous qui consacrons la semaine à sa carrière.

durée : 01:57:43 - En pistes ! du mercredi 11 mai 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Nous continuons notre exploration de la discographie du chef d'orchestre Kurt Masur. Aujourd'hui nous l'entendrons interpréter Prokofiev, Mendelssohn et Tchaïkovsky. En Pistes !

durée : 00:27:34 - Kurt Masur, chef d'orchestre (2/5) - Kurt Masur, héros de la transition démocratique de l'ex-RDA, il a toutefois refusé d'endosser le moindre rôle politique au sein du nouveau pouvoir, préférant se consacrer à une carrière musicale exceptionnelle. Cette fois, c'est nous qui consacrons la semaine à sa carrière.

durée : 00:28:12 - Kurt Masur, chef d'orchestre (1/5) - Kurt Masur, héros de la transition démocratique de l'ex-RDA, il a toutefois refusé d'endosser le moindre rôle politique au sein du nouveau pouvoir, préférant se consacrer à une carrière musicale exceptionnelle. Cette fois, c'est nous qui consacrons la semaine à sa carrière.

durée : 01:58:24 - En pistes ! du lundi 09 mai 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Qui dit lundi dit nouveau programme ! Cette semaine, nous explorerons la discographie du chef d'orchestre allemand, Kurt Masur. Aujourd'hui, nous écouterons également le nouveau disque des formations musicales de Radio France consacré à Debussy. En Pistes !

Synopsis On today's date in 2002, a new Violin Concerto received its premiere by the Boston Symphony and  German violinist Anne-Sophie Mutter, with the new work's composer, Sir Andre Previn conducting. Previn was born in Berlin, came to the United States in 1939, and became an American citizen in 1943. His Concerto reflects a homecoming of sorts in its third movement, subtitled “From a Train in Germany.”  In 1999, while riding on a German train Previn had telephoned a birthday greeting to his manager, who suggested that the new composition he was planning for Boston might reflect that return to the country of his birth. And so its 3rd movement ended up incorporating a German children's song suggested by Anne-Sophie Mutter, one that Previn had known as a child. Autobiographical inferences throughout the Concerto are also suggested by an inscription from T. S. Eliot's “Four Quartets,” which reads: “We shall not cease from exploration/And the end of all our exploring/will be to arrive where we started/and know the place for the first time.” And, as if to underscore the autobiographical interplay of life and art, Mutter and Previn were married on August 1, 2002, five months after the premiere of “their” Concerto. Music Played in Today's Program André Previn (b. 1930) — Violin Concerto (Anne-Sophie Mutter, violin; Boston Symphony; André Previn, cond.) DG 474500 On This Day Births 1681 - German composer Georg Philipp Telemann, in Magdeburg; 1727 - Baptism of German composer and keyboard virtuoso Johann Gottlieb Goldberg, in Danzig (now Gdansk); 1804 - Austrian composer and conductor Johann Strauss, Sr., in Vienna; Premieres 1734 - Handel: anthem "This is the day which the Lord hath made" in London at the French Chapel of St. James's Palace, for the wedding of Princess Anne and Prince Willem, the Prince of Orange (Gregorian date: March 25); 1824 - Schubert: String Quartet in a (D. 804) in Vienna, by the Schuppanzigh Quartet; Published the following September, this was the only chamber work of Schubert's published in his lifetime; 1847 - Verdi: opera "Macbeth," in Florence at the Teatro della Pergola; 1885 - Gilbert & Sullivan: operetta "The Mikado," at the Savoy Theatre in London; 1963 - Simpson: Symphony No. 3, in Birmingham, England; 1975 - Ulysses Kay: Quintet Concerto for brass and orchestra, in New York City; 1976 - Paul Creston: "Hyas Illahee" for chorus and orchestra, in Shreveport, La.; 1986 - Harrison Birtwistle: "Earth Dances" for orchestra, at Royal Festival Hall in London by the BBC Symphony, Peter Eotvos conducting; 1996 - Leo Ornstein: Piano Sonata No. 6, at the Yerba Buena Center in San Francisco, by pianist Marvin Tartak; 2000 - David Maslanka: Wind Quintet No. 3, in Columbus, Mo., by the Missouri Quintet; 2001 - Danielpour: Cello Concerto No. 2 ("Through the Ancient Valley"), by the New York Philharmonic, Kurt Masur conducting, with soloist Yo-Yo Ma; 2002 - Previn: Violin Concerto, by the Boston Symphony with the composer conducting and soloist Anne-Sophie Mutter; 2003 - Jim Mobberley: "Vox Inhumana" for live and prerecorded sounds, in Kansas City, by the NewEar ensemble. Links and Resources On André Previn More on Previn

In June of 2021, Enrique Márquez arrived on the campus of the renowned Interlochen Center of the Arts in Interlochen, MI as its new Director of Music. Founded in 1928, Interlochen offers students from grades 3 through 12 a wealth of arts-education opportunities through several programs, including its boarding school, the Arts Academy, and its Summer Arts Camp.Before becoming an admired arts administrator and educator, Enrique was a professional violist who made his Carnegie Hall debut in 2005. He served as principal viola of The Orchestra of the Americas and the Jeunesses Musicales World Orchestra, performing in over 25 countries in the Americas, Asia and Europe with such conducting giants Kurt Masur, Lorin Maazel, Gustavo Dudamel and Valery Gergiev.  In his native Mexico, Enrique went on to become the youngest Director General of the Veracruz Cultural Institute. He also founded the Orquesta Filarmónica de Boca del Río, which quickly became treasured not only for its performances but also for its impact in the community as a cultural and educational hub. He also earned a Master's in Cultural Policy and Management from City University London and a master's in education at Harvard University Graduate School of Education. In this interview with Pier Carlo Talenti, Enrique describes how a fundamental belief in music's power to draw out every young person's most vibrant qualities has determined his career path.  https://www.interlochen.org/news/interlochen-center-for-arts-names-enrique-marquez-director-music?fbclid=IwAR2CKijIQEjWsce8Y_uo0432wBfIZpKYhDeVmB23vdB5nlygLL-xKY1j8X4https://www.filarmonicadeboca.org.mx/

Synopsis There are several examples in the catalog of German Romantic composer Johannes Brahms, of works that emerged from his pen in contrasting pairs. The most famous being his two concert overtures: the comic and upbeat “Academic Festival Overture,” and the dark, stoic pessimism of his “Tragic Overture.” While composing the jaunty Academic Festival Overture in 1880, to acknowledge an Honorary Doctorate he had received the previous year from the University of Breslau, Brahms felt compelled to write a more serious companion piece. To his friend the publisher Simrock, he wrote: "I could not refuse my melancholy nature the satisfaction of composing an overture for a tragedy," To another friend, Carl Reinecke, he wrote, "One weeps, the other laughs." Hans Richter conducted the premiere of the “Tragic” Overture in Vienna on today's date in 1880, and the following month Brahms himself led the premiere of his “Academic Festival” Overture in Breslau. And the new works soon came to the New World: On November 12, 1881, the enterprising Theodore Thomas conducted the New York Philharmonic in the American premiere of the “Tragic” Overture, and one week later, the “Academic Festival” Overture as well with the Brooklyn Philharmonic. Music Played in Today's Program Johannes Brahms (1833–1897) — Academic Festival Overture, Op. 80 (New York Philharmonic; Kurt Masur, cond.) Teldec 77291 Johannes Brahms — Tragic Overture, Op. 81 (Vienna Symphony; Wolfgang Sawallisch, cond.) Philips 438 760

Synopsis On today's date in 1999, the Lyric Opera of Chicago premiered a new opera by the American composer William Bolcom, based on “A View from the Bridge,” a powerful play by Arthur Miller. Now, not all stage plays “translate” well into opera, as Bolcom was well aware: “In theater, you have the text and then below it you have the subtext,” said Bolcom. “In opera it is pretty much the opposite, the subtext is what you are really dealing with first and foremost: big, raw emotions, which are supported by the text. In fact, Miller's play, although set in Brooklyn in the 1950s, has often been likened to a Greek tragedy, a theatrical form in which the chorus plays an important role. Bolcom saw that as a real opportunity: "If you are going to do an opera from a play, it better have a dimension that the play doesn't. In a play, you can't have your chorus speak because it is financially prohibitive: as soon as the chorus opens up its mouth the price goes up because of actors' equity. So, naturally one of the great resources of opera houses is an opera chorus, a resource you CAN use much more easily." Music Played in Today's Program William Bolcom (b. 1938) — A View from the Bridge (Lyric Opera of Chicago; Dennis Russell Davies, cond.) New World 80558 On This Day Births 1585 - Baptismal date of German composer Heinrich Schütz, in Bad Löstritz; 1835 - French composer, conductor and pianist Camille Saint-Saëns, in Paris; 1914 - American composer Roger Goeb, in Cherokee, Iowa; 1938 - Finnish composer Einojuhani Rautavaara, in Helsinki; 1940 - John Lennon (of the Beatles), in Liverpool, England; Deaths 1999 - Jazz vibraphone virtuoso, Milt Jackson, age 76, in New York City; He was a member of the famous Modern Jazz Quartet; Premieres 1826 - Rossini: opera, "The Siege of Corinth," at the Paris Opéra; 1891 - Dvorák: "Requiem," Op. 89, in Birmingham, England; 1896 - Dvorák: String Quartet No. 13 in G, Op. 106, in Prague, by the Bohemian Quartet; 1921 - Janácek: "Taras Bulba" (after Gogol), in Brno; 1955 - Shostakovich: Violin Concerto No. 1, by the Leningrad Philharmonic conducted by Yevgeny Mravinsky, with David Oistrakh the soloist; 1963 - Henze: Symphony No. 4 in Berlin, with the composer conducting; 1980 - Jon Deak: Concerto for Oboe d'amore and Orchestra, by the New York Philharmonic conducted by Zubin Mehta with Thomas Stacy as soloist; 1985 - Anthony Davis: opera "X: The Life and Times of Malcolm X," in Philadelphia; The opera's New York City Opera premiere occurred the following year on September 28, 1986; 1986 - Andrew Lloyd-Webber: musical "Phantom of the Opera," at Her Majesty's Theatre in London; The musical opened on Broadway at the Majestic Theater on January 26, 1988; 1987 - Corigliano: "Campane di Ravello" (Bells of Ravello) for orchestra (a birthday tribute to Sir Georg Solti), in Chicago, with Kenneth Jean conducting; 1992 - David Ott: Symphony No. 3, by the Grand Rapids (Michigan) Symphony, Catherine Comet conducting; 1997 - Robert X. Rodriguez: "Il Lamento di Tristano," by flutist Susan Morris De Jong and guitarist Jeffrey Van, at the University of Minnesota in Minneapolis; 1999 - Bolcom: opera "A View From the Bridge," by the Lyric Opera of Chicago, Dennis Russell Davies, cond. 1999 - Michael Torke: symphonic oratorio "Four Seasons," at Avery Fisher Hall in New York, by soloists, chorus, and the New York Philharmonic, Kurt Masur conducting; Others 1973 - Leonard Bernstein gives the first of six lectures entitled "The Unanswered Question," as the Charles Eliot Norton Professor of Poetry at Harvard University. Links and Resources On William Bolcom

Synopsis Few 19th century composers chose their parents as wisely as Felix and Fanny Mendelssohn. Papa was a wealthy banker in Berlin, who held Sunday afternoon chamber concerts for his musically gifted children at their home. The kids could perform their own pieces, and if young Felix had composed a little symphony for strings, why Papa would just hire the necessary musicians to have it performed. In July of 1826, when he was 17, Felix Mendelssohn wrote to a friend: “I have grown accustomed to composing in our garden. Today or tomorrow I am going to dream there ‘A Midsummer Night's Dream.'” Mendelssohn had been reading a German translation of Shakespeare's comedy, and on today's date in 1826, completed a concert overture for the play. Felix and Fanny gave the first performance in a two-piano version at one of the family concerts, and a private home orchestral reading followed later. Mendelssohn intended his piece to represent the whole of the drama in miniature: “At the end,” he wrote, “after everything has been satisfactorily settled and the principal players have joyously left the stage, the elves and fairies bless the house, and disappear with the dawn. So the play ends, and my overture, too.” Music Played in Today's Program Felix Mendelssohn (1809 - 1847) – A Midsummer Night's Dream Overture (Leipzig Gewandhaus Orchestra; Kurt Masur, cond.) Teldec 46323

Un Día Como Hoy 18 de Julio: Nace: 1670: Giovanni Bononcini, compositor y violonchelista italiano (f. 1747). 1724: María Antonia Walpurgis de Baviera, mecenas, compositora, pintora y escritora alemana (f. 1780). 1845: Tristán Corbière, poeta francés (f. 1875). 1927: Kurt Masur, director de orquesta y pianista alemán (f. 2015). Fallece: 1610: Caravaggio (Michelángelo Merisi), pintor italiano (n. 1571). 1721: Antoine Watteau, pintor francés (n. 1684). Una producción de Sala Prisma Podcast. 2021

Synopsis Wynton Marsalis says it all began with a dare in the 1990s from the late German conductor Kurt Masur, then the music director of the New York Philharmonic.  “He came to a concert of mine,” said Marsalis, “when I was like 28 or 29, and said he wanted me to write for the New York Philharmonic. I started laughing like, man, I have never even written for a big band.” Well, since then jazz trumpeter Marsalis has written more than one work for a big bands like the New York Philharmonic, and in 2010 that ensemble, along with the Los Angeles Philharmonic, the London Symphony, and the Berlin Philharmonic commissioned his Third Symphony, a work titled “Swing Symphony.” It was the Berlin Philharmonic who gave the first performance of the work, and on today's date in 2010 encored their premiere on the internet. Said Wynton Marsalis, “Swing to a jazz musician means ‘coming together, and in this case it's about TWO orchestras coming together.” Marsalis included parts for himself and his Jazz at Lincoln Center Orchestra in his new score, in contrast – and in harmony – with the forces of a traditional symphony orchestra. Music Played in Today's Program Wynton Marsalis (b. 1961 ): Swing Symphony (Symphony No. 3) (Jazz at Lincoln Center Orchestra; St. Louis Symphony; David Robertson, cond.) Blue Engine Records BE-0017

Synopsis Wynton Marsalis says it all began with a dare in the 1990s from the late German conductor Kurt Masur, then the music director of the New York Philharmonic.  “He came to a concert of mine,” said Marsalis, “when I was like 28 or 29, and said he wanted me to write for the New York Philharmonic. I started laughing like, man, I have never even written for a big band.” Well, since then jazz trumpeter Marsalis has written more than one work for a big bands like the New York Philharmonic, and in 2010 that ensemble, along with the Los Angeles Philharmonic, the London Symphony, and the Berlin Philharmonic commissioned his Third Symphony, a work titled “Swing Symphony.” It was the Berlin Philharmonic who gave the first performance of the work, and on today's date in 2010 encored their premiere on the internet. Said Wynton Marsalis, “Swing to a jazz musician means ‘coming together, and in this case it's about TWO orchestras coming together.” Marsalis included parts for himself and his Jazz at Lincoln Center Orchestra in his new score, in contrast – and in harmony – with the forces of a traditional symphony orchestra. Music Played in Today's Program Wynton Marsalis (b. 1961 ): Swing Symphony (Symphony No. 3) (Jazz at Lincoln Center Orchestra; St. Louis Symphony; David Robertson, cond.) Blue Engine Records BE-0017

Synopsis Today’s date marks two anniversaries in the life of American composer, teacher, and organist Leo Sowerby, who lived from 1895 to 1968. Sowerby was born on May 1st in Grand Rapids, Michigan, and on his 32nd birthday in 1927, was hired as the permanent organist and choirmaster at St. James’ Church in Chicago, where he remained for the next 35 years. Sowerby wrote hundreds of pieces of church music for organ and chorus, plus chamber and symphonic works, which are only recently receiving proper attention. It’s not that Sowerby was neglected during his lifetime–he won many awards, including a Pulitzer Prize in 1946–but many seemed “put off” by both his unabashedly Romantic style and his unprepossessing physical appearance. The younger American composer Ned Rorem, who took theory lessons from Sowerby, puts it this way: “Leo Sowerby was … of my parents’ generation, a bachelor, reddish-complexioned and milky skinned, chain smoker of Fatima cigarettes, unglamorous and non-mysterious, likable with a perpetual worried frown, overweight and wearing rimless glasses, earthy, practical, interested in others even when they were talentless; a stickler for basic training, Sowerby was the first composer I knew and the last thing a composer was supposed to resemble.” Music Played in Today's Program Leo Sowerby (1895 – 1968) Classic Concerto David Mulbury, organ; Fairfield Orchestra; John Welsh, cond. Naxos 8.559028 On This Day Births 1582 - Early Italian opera composer Marco da Gagliano, in Gagliano; 1602 - Baptism of English madrigal composer William Lawes, in Salisbury ; He was the younger brother of the more famous English composer Henry Lawes (1696-1662); 1872 - Swedish violinist and composer Hugo Alfvén in Stockholm; 1895 - American organist and composer Leo Sowerby, in Grand Rapids, Mich.; 1899 - Icelandic composer Jón Leifs, in Sólheimar; Deaths 1904 - Czech composer Antonin Dvorák, age 62, in Prague; 1978 - Soviet composer Aram Khachaturian, age 74, in Moscow; Premieres 1786 - Mozart: "The Marriage of Figaro" in Vienna at the Old Burgtheater; 1886 - Franck: "Symphonic Variations" for piano and orchestra, in Paris; 1909 - Rachmaninoff: "The Isle of the Dead," in Moscow, conducted by the composer (Julian date: April 18); 1925 - Piston: Three Pieces for flute, clarinet, and bassoon (his first published work), at the École Normale in Paris, by the Blanquart-Coste-Dherin trio; 1939 - Barber: "The Virgin Martyrs," with students from the Curtis Institute of Music on a CBS Radio broadcast, with the composer conducting; 1971 - Dave Brubeck: oratorio "Truth Has Fallen," at the opening of the Center for the Arts in Midland, Mich.; 1987 - Harrison Birtwistle: "Endless Parade" for trumpet, vibraphone and strings, in Zurich (Switzerland) by the Collegium Musicum conducted by Paul Sacher, with trumpeter Hakan Hardenberger; 2002 - Jennifer Higdon: "Blue Cathedral," by the Curtis Institute Symphony conducted by Robert Spano, commissioned to celebrate the 75th anniversary of the Curtis Institute of Music; 2003 - Lukas Foss: Concertino ("Passacaglia, Bachanalia, Passacaglia") for vocal soloists, chorus and orchestra, by the New York Choral Artists and the New York Philharmonic, Kurt Masur conducting; Others 1761 - Franz Joseph Haydn begins his 30-year tenure as Second-Kapellmeister at Prince Esterhazy's estate in Eisenstadt; In 1766, Haydn succeeded the much older composer Gregor Joseph Werner as First-Kapellmeister; 1825 - first documented American performance of Haydn's Symphony No. 100 ("Military") at Boylston Hall in Boston, at a benefit concert for Haydn's former pupil, Johann Christian Gottlieb Graupner (1767-1836); 1837 - American premiere of Rossini's opera "Semiramide" in New Orleans; 1938 - The German Reichsmusikkammer (Imperial Ministry of Music) forbids Aryan music instructors to teach pupils of Jewish extraction. Links and Resources On Sowerby An essay "Leo Sowerby at 100"

Synopsis Today’s date marks two anniversaries in the life of American composer, teacher, and organist Leo Sowerby, who lived from 1895 to 1968. Sowerby was born on May 1st in Grand Rapids, Michigan, and on his 32nd birthday in 1927, was hired as the permanent organist and choirmaster at St. James’ Church in Chicago, where he remained for the next 35 years. Sowerby wrote hundreds of pieces of church music for organ and chorus, plus chamber and symphonic works, which are only recently receiving proper attention. It’s not that Sowerby was neglected during his lifetime–he won many awards, including a Pulitzer Prize in 1946–but many seemed “put off” by both his unabashedly Romantic style and his unprepossessing physical appearance. The younger American composer Ned Rorem, who took theory lessons from Sowerby, puts it this way: “Leo Sowerby was … of my parents’ generation, a bachelor, reddish-complexioned and milky skinned, chain smoker of Fatima cigarettes, unglamorous and non-mysterious, likable with a perpetual worried frown, overweight and wearing rimless glasses, earthy, practical, interested in others even when they were talentless; a stickler for basic training, Sowerby was the first composer I knew and the last thing a composer was supposed to resemble.” Music Played in Today's Program Leo Sowerby (1895 – 1968) Classic Concerto David Mulbury, organ; Fairfield Orchestra; John Welsh, cond. Naxos 8.559028 On This Day Births 1582 - Early Italian opera composer Marco da Gagliano, in Gagliano; 1602 - Baptism of English madrigal composer William Lawes, in Salisbury ; He was the younger brother of the more famous English composer Henry Lawes (1696-1662); 1872 - Swedish violinist and composer Hugo Alfvén in Stockholm; 1895 - American organist and composer Leo Sowerby, in Grand Rapids, Mich.; 1899 - Icelandic composer Jón Leifs, in Sólheimar; Deaths 1904 - Czech composer Antonin Dvorák, age 62, in Prague; 1978 - Soviet composer Aram Khachaturian, age 74, in Moscow; Premieres 1786 - Mozart: "The Marriage of Figaro" in Vienna at the Old Burgtheater; 1886 - Franck: "Symphonic Variations" for piano and orchestra, in Paris; 1909 - Rachmaninoff: "The Isle of the Dead," in Moscow, conducted by the composer (Julian date: April 18); 1925 - Piston: Three Pieces for flute, clarinet, and bassoon (his first published work), at the École Normale in Paris, by the Blanquart-Coste-Dherin trio; 1939 - Barber: "The Virgin Martyrs," with students from the Curtis Institute of Music on a CBS Radio broadcast, with the composer conducting; 1971 - Dave Brubeck: oratorio "Truth Has Fallen," at the opening of the Center for the Arts in Midland, Mich.; 1987 - Harrison Birtwistle: "Endless Parade" for trumpet, vibraphone and strings, in Zurich (Switzerland) by the Collegium Musicum conducted by Paul Sacher, with trumpeter Hakan Hardenberger; 2002 - Jennifer Higdon: "Blue Cathedral," by the Curtis Institute Symphony conducted by Robert Spano, commissioned to celebrate the 75th anniversary of the Curtis Institute of Music; 2003 - Lukas Foss: Concertino ("Passacaglia, Bachanalia, Passacaglia") for vocal soloists, chorus and orchestra, by the New York Choral Artists and the New York Philharmonic, Kurt Masur conducting; Others 1761 - Franz Joseph Haydn begins his 30-year tenure as Second-Kapellmeister at Prince Esterhazy's estate in Eisenstadt; In 1766, Haydn succeeded the much older composer Gregor Joseph Werner as First-Kapellmeister; 1825 - first documented American performance of Haydn's Symphony No. 100 ("Military") at Boylston Hall in Boston, at a benefit concert for Haydn's former pupil, Johann Christian Gottlieb Graupner (1767-1836); 1837 - American premiere of Rossini's opera "Semiramide" in New Orleans; 1938 - The German Reichsmusikkammer (Imperial Ministry of Music) forbids Aryan music instructors to teach pupils of Jewish extraction. Links and Resources On Sowerby An essay "Leo Sowerby at 100"

American violist Rita Porfiris  has performed in major concert halls and music festivals worldwide as a chamber musician, orchestral musician, and as a soloist.Currently the Associate Professor of Viola and Director of Chamber Music at The Hartt School, she has also been on the faculties of New York University, the University of Houston Moores’ School of Music, Florida International University, and the Harlem School for the Arts in New York. She has given master classes, lectures and clinics across the U.S., United Kingdom, Germany, Japan, Argentina, Brazil, Iceland, Taiwan, and the Dominican Republic.Ms. Porfiris is a member of the Miller-Porfiris Duo and the Hartt Quartet. As a founding member of the Plymouth Quartet, she was in-residence at the Ojai Festival, Mainly Mozart, Point Counterpoint, and the Internationale Quartettakademie Prag-Wien-Budapest. She was the recipient of Austria’s prestigious Prix Mercure, a prize winner in the Fischoff Chamber Music Competition and the Primrose International Viola Competition, and a laureate of the Paolo Borciani International Quartet Competition.In her 20 year-long career as an orchestral musician, 15 years of which were spent with the Houston Symphony, she worked under some of the most recognized conductors of the 20-21 Centuries, including Leonard Bernstein, Sergiu Celibidache, Kurt Masur, Michael Tilson Thomas, and Christoph Eschenbach. Equally at home in a wide variety of genres, Rita has shared the stage with Burt Bacharach, Ray Charles, Bernadette Peters, Lyle Lovett, Rod Stewart, and Tony Bennett, to name a few.Highlights of recent seasons include chamber concerts with Lynn Harrell, Joseph Kalichstein, and Jamie Laredo; tours to Israel, Europe, and Taiwan; sold-out concerto appearances at the historic Gewandhaus in Leipzig, Germany; Baltimore, Maryland and Lincoln, Nebraska; and a performance of the rarely played Romantic Rhapsody for Violin, Viola and Orchestra by Arthur Benjamin as part of the Miller-Porfiris Duo. In May 2016, the Baltimore Sun declared "Rita Porfiris proved an ideal soloist, as much for her richness of tone and impeccable articulation as for the warmth and subtlety of her phrasing."Rita’s transcriptions for the viola of both classical music staples and pop favorites have been enjoyed worldwide by audiences and performers. Gramophone Magazine called her  transcription of Gliere’s Eight Pieces Op. 39, recorded on the Miller-Porfiris Duo’s second CD “Eight Pieces,”  "satisfying" and "sung with beautiful warmth." Recent acclaim from Fanfare for the Duo's third CD, entitled "Divertimenti" declares their playing "a lightning bolt" and speaks to the "color, fire, and passion."Ms. Porfiris received both her BM and MM in Viola Performance from The Juilliard School, studying with William Lincer. Other teachers and mentors included Paul Doktor, Norbert Brainin, and Harvey Shapiro.WebsiteUncertainty of Fate Festival

durée : 00:58:06 - Kurt Masur, le Commandeur - par : Aurélie Moreau - "Je n'ai jamais eu envie d'être une star. Je voulais rester quelqu'un que l'on peut aborder dans le rue", confiait Kurt Masur, chef d'orchestre humaniste, exigeant, d'une stature impressionnante et possédant une grand autorité naturelle. - réalisé par : Vivian Lecuivre

Nina Kennedy is a world-renowned concert pianist, orchestral conductor, and award-winning filmmaker. She gave her first piano recital at nine and was a soloist with the Nashville Symphony, playing Gershwin's Rhapsody in Blue at 13. She holds a master's degree from the Juilliard School where she studied with Leonard Bernstein. Kurt Masur was her conducting mentor, during his tenure as music director with the New York Philharmonic and L'Orchestre National de France. For 12 years, she lived and performed in Europe, residing in Amsterdam, Vienna, Cologne, and Paris. Nina wrote the script for a short film by Alberto Ferreras of HBO that was screened at the Berlin International Film Festival, New York's New Fest, and film festivals in Frankfurt, Jerusalem, London, Los Angeles, Munich, Oslo, Philadelphia, and Sydney.  Nina produced and directed the documentary about her father entitled Matthew Kennedy: One Man's Journey. He was the director of the Fisk Jubilee Singers. The film was screened at international film festivals including the African Diaspora Film Festival in New York, the Pan African Film Festival in Los Angeles, and Nashville's International Film Festival (NaFF), and the International Black Film Festival of Nashville. Nina won the Rosetta Miller Perry prize for Best Film by a Black Filmmaker. Nina Kennedy is the host of The Noshing with Nina Show, an award-winning cable television talk show at Manhattan Neighborhood Network. She authored Practicing for Love: A Memoir. https://www.infemnity.com/nina-kennedy-booking https://www.youtube.com/watch?v=dQ_aMM2Lo4k http://wijsf.org

Im Gewandhaus zu Leipzig spielt die Musik: Axel und Paula erkunden die Musikstadt Leipzig und besuchen zuallererst das Gewandhaus am Augustusplatz. Auf den Spuren von Mendelssohn, Bach und Kurt Masur treffen sie auf den Gewandhausdirektor Andreas Schulz und die Musikerin Dorothea Hemken.

durée : 00:25:25 - Disques de légende du mardi 02 mars 2021 - Une page d'histoire ! En 1973, le chef d'orchestre allemand Kurt Masur et l'Orchestre du Gewandhaus de Leipzig enregistrent "La première Nuit de Walpurgis" de Felix Mendelssohn. Cantate profane pour solistes, chœur et orchestre, elle avait été créée en 1843 au Gewandhaus de Leipzig.

Schon mit zwölf stand Patrick Hahn am Dirigentenpult. Vom großen Kurt Masur habe er später gelernt, wie „die Aura eines Menschen Musik beeinflusst“. Mit 25 Jahren ist der Österreicher jetzt zum Generalmusikdirektor in Wuppertal berufen worden. Moderation: Marco Schreyl www.deutschlandfunkkultur.de, Im Gespräch Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Atse Theodros is a freelance trumpet player and brass repair tech at J. Landress Brass in New York City. After apprenticing at the shop during his last year of study at Manhattan School of Music, Atse has spent the last 5 years carving out his niche as a member of the small but mighty team. J. Landress Brass, Manhattan's only brass shop, is in high demand for cleaning, repairs, and instrument sales for NYC's busy freelancers. As a brass tech, Atse is involved in cleaning, repairs, polishing, and general triage when a player walks through the door with a non-functioning horn and says "I've got a show at 8!".Born and raised in Orlando, Florida, Atse holds a Bachelor’s in Music Education degree from the University of Florida, earning certification to teach K-12 in the state of Florida. Atse earned a Master of Music degree as well as a Professional Studies Certificate at Manhattan School of Music in the Orchestral Performance Program, studying under Mark Gould and Ethan Bensdorf. Other primary teachers include Vincent Penzarella, Thomas Smith, and Dr. Joyce Davis. He is an active musician in the greater New York and Florida regions. Orchestral experience includes a position as Associate Principal/3rd Trumpet with the Ocala Symphony Orchestra in Ocala, Florida. Atse has performed under the baton of such conductors as Leonard Slatkin, Kurt Masur and participated in master classes with James Thompson, Thomas Hooten, and Michael Sachs. Atse maintains an active lifestyle, enjoying various sports such as football and basketball in time outside of music as well.Support the show (https://buymeacoff.ee/doublerspodcast)

Today we discuss:Why it’s not unusual to start studying to be a conductor as an undergraduate, and the benefits of learning to conduct from the beginning instead of waiting until grad school (2:59)Fundamental skills for conductors, and a curriculum for Miguel’s students (9:01)How Miguel and the Conducting Institute have embraced technology to continue teaching valuable skills over distance during COVID-19 (18:13)Why it’s important that we emphasize the fundamentals, and how our respect for the music extends through our preparation and to the audience (23:22)The ABCs of score study and score reading, and why Fixed-do is superior to Moveable-do for conductors (28:13)The attitudes critical to learning to become a successful conductor, and the marathon of preparation that was studying with Otto-Werner Mueller and Kurt Masur (36:26)The lessons of life brought to Miguel through having children and giving a shallow performance of The Planets (47:59)Why music is important, an unexpected hidden gem, and the power of a smile (56:31) Other Links:Miguel's WebsiteUniversity of Nebraska Omaha, School of MusicThe Conducting InstituteMiguel's Conducting Program for High School StudentsFind this and all other episodes at PodiumTimePod.com. Subscribe and download Podium Time on your favorite podcast player and connect with us on Facebook, Twitter, and Instagram at @PodiumTimePod. You can also join our Facebook Group, the Podium Time Inner Circle to ask questions and continue the conversation after every episode. Want to send us an email? Use the contact page on our website! If you’d like to support the podcast monetarily and get bonus content, consider joining our Patreon community at Patreon.com/PodiumTimePod. If you’re in the market for a new baton, use our promo code “PodiumTime” at Pagubatons.com for 20% off your first order. Support the show (https://patreon.com/podiumtimepod)

In the final episode of the series, Andy takes a look at some of Beethoven's later works and asks his guests to explain which 1 piece of his music best describes the great composer's legacy and influence. References to tour merch, Wimpy and privet hedges may also feature. Many thanks to the following musicians who contributed to this episode: Pianist Stephen Hough, conductor Karin Hendrickson, clarinettist Julian Bliss, Scala Radio presenter Jack Pepper, violinist Nicola Benedetti, leader of the Royal Scottish National Orchestra Maya Iwabuchi, conductor Jonathon Heyward, violinist Anna Phoebe from AVAWAVES and music director of the Halle Orchestra Mark Elder. Thanks also to the London Philharmonic Orchestra for providing some of the music extracts - we heard their recording of the 5th symphony, conducted by Kurt Masur, and the 9th, conducted by Klaus Tennstedt. You can find LPO Label releases on all major streaming platforms and at lpo.org.uk/recordings. This podcast also features clips of Beethoven's Piano Concertos 3 & 4, performed by Elizabeth Sombart and the Royal Philharmonic Orchestra, and the Piano Concerto No.5 performed by Alessio Bax and the Southbank Sinfonia - all are available at https://signumrecords.com

Alondra de la Parra ist eine mexikanische Dirigentin. Sie wurde in New York City geboren, wo sie im Alter von 20 Jahren die Manhattan School of Music besuchte, um das Dirigieren zu erlernen; Im Alter von 23 Jahren gründete sie das Philharmonic Orchestra of the Americas (POA) mit dem Ziel, die Arbeit junger Solisten und Komponisten in Nord- und Südamerika zu fördern; Als Mentee des großen Kurt Masur fand sie ihren eigenen Weg der Führung. Gekonnt setzt sie Vertrauen und Kommunikation ein, um gemeinsam mit ihren Orchestern musikalische Höchstleistungen zu erreichen.

World-renowned violinist, former concertmaster of the New York Philharmonic and the Los Angeles Philharmonic, discusses his career as studio musician in film recordings in L.A. and his collaborations with John Williams Hosted by Maurizio Caschetto L.A. Studio Legends is a new series of podcast talks on The Legacy of John Williams dedicated to legendary orchestra musicians from the Los Angeles area who performed in hundreds of film soundtrack recordings, including many by composer John Williams. These artists are not only responsible for playing in some of the most iconic movie scores in the history of cinema: they're some of the truly finest and talented orchestra players of the 20th and 21st century. The first guest of this new series is certainly a musician who can be defined in a class of himself, who also enjoyed a global recognition throughout his distinguished career: world-renowned violinist Glenn Dicterow. Glenn Dicterow has established himself as one of the most prominent American concert artist of his generation and lived through a varied and storied career through more than four decades. He has been the concertmaster of the New York Philharmonic for 34 years (from 1980 to 2014) and served as that orchestra leader under esteeemed music directors Zubin Mehta, Lorin Maazel, Kurt Masur and Alan Gilbert. Before landing the position in New York, Dicterow was member of the Los Angeles Philharmonic Orchestra, starting in 1971 as associate concertmaster, and then becoming concertmaster there before turning 25. During those years, he also worked extensively as a studio musician for film and television soundtracks recorded in Los Angeles (along with many other L.A. Phil members, including his father Harold Dicterow), playing in literally hundreds of scores, including many by John Williams. Among the works he did for him, Dicterow played in the violin section for The Poseidon Adventure, The Towering Inferno, Close Encounters of the Third Kind, Jaws 2 and 1941. After becoming concertmaster of the NY Phil, Dicterow continued to work as featured soloist for film soundtracks including Altered States by John Corigliano, The Untouchables by Ennio Morricone and Interview with the Vampire by Elliot Goldenthal. In this wide-ranging conversation, Glenn talks about his long and distinguished career both as concertmaster of one of the world's leading ensembles and his life as a studio musician, where you can face unexpected challenges. Dicterow offers his own views on how the style of playing in Hollywood orchestras evolved through the years, and how it ties with its European roots. Dicterow talks extensively about his friendship and collaboration with John Williams throughout the years, but also spends time talking about his experiences with the legendary Leonard Bernstein. For more information and the full list of musical excerpts featured in the episode, visit thelegacyofjohnwilliams.com

Andy Bush finds out who kept a roof over Ludwig's head by commissioning him to write music. Turns out there were quite a few princes, but only one of them was called a donkey… The guests in this episode are conductor Carlo Rizzi, leader of the Royal Scottish National Orchestra Maya Iwabuchi, Anna Phoebe from AVAWAVES, cellist Matthew Barley, conductor Jonathon Heyward and Music Director of the Hallé Orchestra Sir Mark Elder. This podcast features clips of Beethoven's Missa Solemnis, performed by the London Philharmonic Orchestra conducted by Christoph Eschenbach, and Beethoven's Symphony No.3, performed by the LPO conducted by Kurt Masur. The extracts of Beethoven's Symphonies 5 & 9 in the podcast introduction are also performed by the LPO; LPO Label releases are available on all major streaming platforms and at lpo.org.uk/recordings. The recordings of Beethoven's Piano Concertos 3 & 4 are performed by Elizabeth Sombart and the Royal Philharmonic Orchestra, and the Piano Concerto No.5 is performed by Alessio Bax and the Southbank Sinfonia - all are available at https://signumrecords.com

S'entretenir avec le pianiste, compositeur, chef d'orchestre et pédagogue Bruno Rigutto, c'est ouvrir un merveilleux livre empli d'images et d'anecdotes qui vous font délicieusement plonger dans l'histoire de la musique classique sur plus de six décennies. Seul élève du génial électron libre à la virtuosité rare, Samson François, qui, en pyjama, l'a reçu pour une première leçon mémorable, lauréat, entre autres, du concours Tchaïkovski ou Marguerite-Long, le virtuose Rigutto a enregistré des interprétations passées à la postérité dont le concerto de Schumann sous la baguette de Kurt Masur. Laissez-vous portez par la voix du maître…

durée : 01:27:54 - Joyeux anniversaire Hélène Grimaud (2/3) - par : François-Xavier Szymczak - Hélène Grimaud, l’amie des loups, se fait concertante aux côtés de Kurt Masur, Vladimir Ashkenazy, Esa-Pekka Salonen ou Pierre Boulez. - réalisé par : Céline Parfenoff

Ep. 82: Yaniv Attar, conductor Conductor Yaniv Attar works with professional and community orchestras in WA and PA. In this podcast we talk about his early start in guitar, journey to the Juilliard School and passion that led him to a successful conducting career. We also discuss balancing a busy life in music and family, programming for various orchestras, as well as the positive and negative impact that music organizations will face post Covid-19.  Yaniv also talks about the Harmony from Discord series, which programs powerful music that originated from and flourished in spite of the Holocaust. Lastly, we talk about the meaning of a successful conducting career, advice to young conductors and a special story from a masterclass with Kurt Masur.  For more information about Yaniv Attar please visit his official website: https://www.yanivattar.com/  

durée : 00:25:03 - Les Grands entretiens - par : Judith Chaine - Dernier volet de nos entretiens avec la pianiste russe Elisabeth Leonskaja.

2020 está sendo considerado o “ano Beethoven”. Embora o aniversário de 250 anos do compositor alemão seja comemorado somente no dia 17 de dezembro, as principais orquestras do Brasil e do mundo colocaram as criações do gênio de Bonn no roteiro desse ano. Uma delas é a Orquestra Sinfônica Municipal (São Paulo), que irá interpretar as sinfonias, os concertos, um oratório e a única ópera escrita por Beethoven. Roberto Minczuk, regente titular do conjunto erudito, explica ao Amarelas em Vídeo por que a música do alemão é importante até nos dias de hoje. Ele ressalta os avanços do compositor em relação ao que era feito naquele período, seu diálogo com os tempos atuais (o que indica até uma associação curiosa com o rock pesado), as inovações que trouxe para o universo erudito e as dificuldades de se reger suas obras. “Em Bach e Mozart até dá para uma orquestra tocar sozinha. Isso não acontece com Beethoven”, comenta. Minczuk fala ainda da devoção de seu mentor, o maestro alemão Kurt Masur (1927-2015), que aos 84 anos ainda se dava ao luxo de estudar as partituras do compositor. A entrevista se encerra com um guia básico das obras de Beethoven.

durée : 01:27:54 - Joyeux anniversaire Hélène Grimaud (2/3) - par : François-Xavier Szymczak - Hélène Grimaud, l’amie des loups, se fait concertante aux côtés de Kurt Masur, Vladimir Ashkenazy, Esa-Pekka Salonen ou Pierre Boulez. - réalisé par : Céline Parfenoff

Montag, 9. Oktober 1989. Noch rechnet in der DDR niemand damit, dass die Mauer bald fallen könnte. Doch die Demonstrationen in Leipzig sind die bis dato größten in der Geschichte DDR seit 1953. Einer der Haupt-Protagonisten: ausgerechnet ein Musiker - Kurt Masur. Er hält eine Ansprache, die landesweit gesendet wird. Und dazu beiträgt, dass die DDR-Diktatur bei den Demonstrationen nicht die Waffen auf die eigene Bevölkerung richtet. Falk Häfner erinnert sich an diesen Tag.

durée : 00:14:40 - Le Disque classique du jour du lundi 26 août 2019 - Musique = Clapping de Steve Reich Voix = Coco Bonnier

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

Today is January 6 and the Navigate the Chaos question is "Is it possible to do the impossible?" Those who navigate the chaos understand anything is possible. For example, it is possible to conduct an orchestra without a baton. Due to an injury to his right arm when he was 16, Kurt Masur, the music director emeritus of the New York Philharmonic, spent his career conducting orchestras without a baton. St. Francis of Assisi noted "Start by doing what is necessary; then do what's possible; and suddenly you're doing the impossible."

Sie war Schülerin von Kurt Masur, leitete Orchester in Großbritannien und Polen und ist seit dieser Spielzeit GMDin des Gerhart-Hauptmann-Theaters in Görlitz und Zittau. Wolfgang Schilling hat mit ihr gesprochen.

Mit den Worten "Be strong" hat Kurt Masur seine einstige Schülerin Alondra de la Parra verabschiedet, und die Dirigentin hat sie sich zu Herzen genommen. Mittlerweile ist die gebürtige Mexikanerin international gefragt - ein Porträt.

Why did this guy get 2 million searches and what is the spirit of an entrepreneur?

Musikrevyn recenserar Prokofjevs pianokonserter med solisten Olli Mustonen, Beethovens sena stråkkvartetter med Mosaiques-kvartetten och Richard Strauss opera Salome med Emily Magee i huvudrollen. Veckans skivor: SERGEJ PROKOFJEV Pianokonserter nr 2 och 5 Olli Mustonen, piano Finska radions symfoniorkester Hannu Lintu, dirigent Ondine ODE 1288-2 LUDWIG VAN BEETHOVEN De sena kvartetterna Mosaïque-kvartetten Naïve V5445 RICHARD STRAUSS Salome Emily Magee, Peter Bronder m.fl Hessiska radions symfoniorkester i Frankfurt Andrés Orozco-Estrada, dirigent Pentatone PTC 5186602 Referensen: Olli Mustonen vs Yuja Wang. Panelen jämför Olli Mustonens tolkning med en inspelning av Prokofjevs andra pianokonsert med Yuja Wang, tillsammans med Simon Bolivars symfoniorkester i Caracas under Gustavo Dudamels ledning. Deutsche Grammophon, 2013. Fler rekommenderade inspelningar: Pianisten Beatrice Rana spelar Sergej Prokofjevs andra pianokonsert tillsammans med orkestern Accademia di Santa Cecilia i Rom, under ledning av dirigenten Antonio Pappano. Warner, 2015. Pianisten Vladimir Ashkenazy spelar Prokofjevs alla fem pianokonserter med Londons symfoniorkester under ledning av André Previn, Decca.  Pianisten Jean-Efflam Bavouzet spelar Prokofjevs alla fem pianokonserter med BBC:s filharmoniker i Manchester under ledning av Gianandrea Noseda. Chandos.   Pianisten Michel Béroff spelar Prokofjevs alla fem pianokonserter tillsammans med orkestern Gewandhaus under ledning av dirigenten Kurt Masur i Leipzig. Warner, 1974.  Belcea-kvartettens inspelning av Beethovens samtliga stråkkvartetter. Alpha, 2016. Quartetto Italianos inspelning av Beethovens stråkkvartetter. 1960-talet, Philips.  Budapestkvartettens liveinspelningar från Library of Congress, 1940-60-tal Bridge Records. Busch-kvartettens inspelningar av Beethovens stråkkvartetter. 1930- och 40-tal. Salome med sopranen Cheryl Studer i huvudrollen. Tyska statsoperans orkester under ledning av Giuseppe Sinopoli, utgiven på Deutsche Grammophon, 1991. Salome med sopranen Hildegard Behrens i huvudrollen. Wienfilharmonikerna under ledning av Herbert von Karajan. Warner, 1977. Salome med Birgit Nilsson i huvudrollen. Wiens filharmoniker under ledning av Georg Solti. Decca, 1961. Johans val: Johan Korssell rekommenderar en ny inspelning av den franske tonsättaren Florent Schmitts symfoni nr 2, samt sviter ur baletten "Antoine och Cléopatre", med BBC:s symfoniorkester under ledning av Sakari Oramo, utgiven på Chandos.

In dieser Radioreise bringt Sie Alexander Tauscher in die Kaiserbäder auf der Insel Usedom. Freuen Sie sich auf die prächtigen Orte Bansin, Heringsdorf und Ahlbeck. Wir machen Urlaub in der sonnenreichsten Region Deutschlands. Dabei laufen wir über die längste Seepromenade Europas. Die Geschichte der Kaiserbäder rollen wir ausführlich auf und schauen, wie sich diese Region heute entwickelt hat. Denn die Insel ist inzwischen grenzenlos. Wie läuft es auch im täglichen Leben mit Deutschen und Polen? Wir suchen Antworten. Wir sprechen über die vielen Kultur-Angebote auf Usedom, vor allem über das Usedomer Musikfestival. Es verbindet schon viele Jahre die Länder entlang der Ostsee. Der Intendant dieses Festivals spricht über die spannenden Anfangsjahre mit Kurt Masur und über die Ausrichtung des Festivals. Er macht uns damit Reiselust auf Kultur-Urlaub im Spätsommer. Heute also Ferien zwischen Dünen, Strand, Meer und dem Konzertsaal. Urlaub zwischen mondänen Villen und dem Trubel an der Pro

In dieser Radioreise bringt Sie Alexander Tauscher in die Kaiserbäder auf der Insel Usedom. Freuen Sie sich auf die prächtigen Orte Bansin, Heringsdorf und Ahlbeck. Wir machen Urlaub in der sonnenreichsten Region Deutschlands. Dabei laufen wir über die längste Seepromenade Europas. Die Geschichte der Kaiserbäder rollen wir ausführlich auf und schauen, wie sich diese Region heute entwickelt hat. Denn die Insel ist inzwischen grenzenlos. Wie läuft es auch im täglichen Leben mit Deutschen und Polen? Wir suchen Antworten. Wir sprechen über die vielen Kultur-Angebote auf Usedom, vor allem über das Usedomer Musikfestival. Es verbindet schon viele Jahre die Länder entlang der Ostsee. Der Intendant dieses Festivals spricht über die spannenden Anfangsjahre mit Kurt Masur und über die Ausrichtung des Festivals. Er macht uns damit Reiselust auf Kultur-Urlaub im Spätsommer. Heute also Ferien zwischen Dünen, Strand, Meer und dem Konzertsaal. Urlaub zwischen mondänen Villen und dem Trubel an der Pro

Wynton Marsalis joined us for Behind The Note Podcast today! We talked many things including leadership, building a team, and turning vision into reality. Rate Behind The Note Podcast on the platform you're using right now to read this script and to listen to the show. Press Play. Enjoy. Share. ---------------------------------------------------------------------------- Here is Wynton's Bio straight from his website: Wynton Marsalis is an internationally acclaimed musician, composer, bandleader, educator and a leading advocate of American culture. He is the world’s first jazz artist to perform and compose across the full jazz spectrum from its New Orleans roots to bebop to modern jazz. By creating and performing an expansive range of brilliant new music for quartets to big bands, chamber music ensembles to symphony orchestras, tap dance to ballet, Wynton has expanded the vocabulary for jazz and created a vital body of work that places him among the world’s finest musicians and composers. The Early Years Wynton was born in New Orleans, Louisiana, on October 18, 1961, to Ellis and Dolores Marsalis, the second of six sons. At an early age he exhibited a superior aptitude for music and a desire to participate in American culture. At age eight Wynton performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker, and at 14 he performed with the New Orleans Philharmonic. During high school Wynton performed with the New Orleans Symphony Brass Quintet, New Orleans Community Concert Band, New Orleans Youth Orchestra, New Orleans Symphony, various jazz bands and with the popular local funk band, the Creators. At age 17 Wynton became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center. Despite his youth, he was awarded the school’s prestigious Harvey Shapiro Award for outstanding brass student. Wynton moved to New York City to attend Juilliard in 1979. When he began to pick up gigs around town, the grapevine began to buzz. In 1980 Wynton seized the opportunity to join the Jazz Messengers to study under master drummer and bandleader Art Blakey. It was from Blakey that Wynton acquired his concept for bandleading and for bringing intensity to each and every performance. In the years to follow Wynton performed with Sarah Vaughan, Dizzy Gillespie, Sweets Edison, Clark Terry, John Lewis, Sonny Rollins, Ron Carter, Herbie Hancock, Tony Williams and countless other jazz legends. Wynton assembled his own band in 1981 and hit the road, performing over 120 concerts every year for 15 consecutive years. With the power of his superior musicianship, the infectious sound of his swinging bands and an exhaustive series of performances and music workshops, Marsalis rekindled widespread interest in jazz throughout the world. Wynton embraced the jazz lineage to garner recognition for the older generation of overlooked jazz musicians and prompted the re-issue of jazz catalog by record companies worldwide. He also inspired a renaissance that attracted a new generation of fine young talent to jazz. A look at the more distinguished jazz musicians of today reveals numerous students of Marsalis’ workshops: James Carter, Christian McBride, Roy Hargrove, Harry Connick Jr., Nicholas Payton, Eric Reed and Eric Lewis, to name a few. Classical Career Wynton’s love of the music of Bach, Beethoven, Mozart and others drove him to pursue a career in classical music as well. He recorded the Haydn, Hummel and Leopold Mozart trumpet concertos at age 20. His debut recording received glorious reviews and won the Grammy Award® for “Best Classical Soloist with an Orchestra.” Marsalis went on to record 10 additional classical records, all to critical acclaim. Wynton performed with leading orchestras including the New York Philharmonic, Los Angeles Philharmonic, Boston Pops, The Cleveland Orchestra, Saint Louis Symphony Orchestra, English Chamber Orchestra, Toronto Symphony Orchestra and London’s Royal Philharmonic, working with an eminent group of conductors including: Leppard, Dutoit, Maazel, Slatkin, Salonen and Tilson-Thomas. A timeless highlight of Wynton’s classical career is his collaboration with soprano Kathleen Battle on their recording Baroque Duet. Famed classical trumpeter Maurice André praised Wynton as “potentially the greatest trumpeter of all time.” Record Production To date Wynton has produced over 80 records which have sold over seven million copies worldwide including three Gold Records. His recordings consistently incorporate a heavy emphasis on the blues, an inclusive approach to all forms of jazz from New Orleans to modern jazz, persistent use of swing as the primary rhythm, an embrace of the American popular song, individual and collective improvisation, and a panoramic vision of compositional styles from dittys to dynamic call and response patterns (both within the rhythm section and between the rhythm section and horn players). Always swinging, Marsalis blows his trumpet with a clear tone and a unique, virtuosic style derived from an encyclopedic range of trumpet techniques. The Composer Wynton Marsalis is a prolific and inventive composer. The dance community embraced Wynton’s inventiveness by awarding him with commissions to create new music for Garth Fagan (Citi Movement-Griot New York & Lighthouse/Lightening Rod), Peter Martins at the New York City Ballet (Jazz: Six Syncopated Movements and Them Twos), Twyla Tharp with the American Ballet Theatre (Jump Start), Judith Jamison at the Alvin Ailey American Dance Theatre (Sweet Release and Here…Now), and Savion Glover (Petite Suite and Spaces). Marsalis collaborated with the Lincoln Center Chamber Music Society in 1995 to compose the string quartet At The Octoroon Balls, and again in 1998 to create a response to Stravinsky’s A Soldier’s Tale with his composition A Fiddler’s Tale. With his collection of standards arrangements, Wynton reconnected audiences with the beauty of the American popular song (Standard Time Volumes I-VI). He re-introduced the joy in New Orleans jazz with his recording The Majesty Of The Blues. He extended the jazz musician’s interplay with the blues in Levee Low Moan, Thick In The South and other blues recordings. With Citi Movement, In This House On This Morning and Blood On The Fields, Wynton invented a fresh conception for extended form compositions. His inventive interplay with melody, harmony and rhythm, along with his lyrical voicing and tonal coloring assert new possibilities for the jazz ensemble. In his dramatic oratorio Blood On The Fields, Wynton draws upon the blues, work songs, chants, call and response, spirituals, New Orleans jazz, Ellingtonesque orchestral arrangements and Afro-Caribbean rhythms; and he uses Greek chorus-style recitations to move the work along. The New York Times Magazine said the work “marked the symbolic moment when the full heritage of the line, Ellington through Mingus, was extended into the present.” The San Francisco Examiner stated, “Marsalis’ orchestral arrangements are magnificent. Duke Ellington’s shadings and themes come and go but Marsalis’ free use of dissonance, counter rhythms and polyphonics is way ahead of Ellington’s mid-century era.” Wynton extended his achievements in Blood On The Fields with All Rise, an epic composition for big band, gospel choir, and symphony orchestra – a classic work of high art – which was performed by the New York Philharmonic under the baton of Kurt Masur along with the Morgan State University Choir and the Lincoln Center Jazz Orchestra (December 1999). Marsalis collaborated with Ghanaian master drummer Yacub Addy to create Congo Square, a groundbreaking composition combining elegant harmonies from America’s jazz tradition with fundamental rituals in African percussion and vocals (2006). For the anniversary of the Abyssinian Baptist Church’s 200th year of service, Marsalis blended Baptist church choir cadences with blues accents and big band swing rhythms to compose Abyssinian 200: A Celebration, which was performed by the Jazz at Lincoln Center Orchestra and Abyssinian’s 100 voice choir before packed houses in New York City (May 2008). In the fall of 2009 the Atlanta Symphony Orchestra premiered Marsalis’ composition Blues Symphony. By infusing blues and ragtime rhythms with symphonic orchestrations Wynton creates a fresh type of enjoyment of classical repertoire. Employing complex layers of collective improvisation, Marsalis further expanded his repertoire for symphony orchestra with Swing Symphony, premiered by the renowned Berlin Philharmonic in June 2010, creating new possibilities for audiences to experience a symphony orchestra swing. Marsalis’ rich and expansive body of music for the ages places him among the world’s most significant composers. Television, Radio & Literary In the fall of 1995 Wynton launched two major broadcast events. In October PBS premiered Marsalis On Music, an educational television series on jazz and classical music. The series was written and hosted by Marsalis and was enjoyed by millions of parents and children. Writers distinguished Marsalis On Music with comparisons to Leonard Bernstein’s celebrated Young People’s Concerts of the 50s and 60s. That same month National Public Radio aired the first of Marsalis’ 26-week series entitled Making the Music. These entertaining and insightful radio shows were the first full exposition of jazz music in American broadcast history. Wynton’s radio and television series were awarded the most prestigious distinction in broadcast journalism, the George Foster Peabody Award. The Spirit of New Orleans, Wynton’s poetic tribute to the New Orleans Saints’ first Super Bowl victory (Super Bowl XLIV) received an Emmy Award for Outstanding Short Feature (2011). From 2012 to 2014 Wynton served as cultural correspondent for CBS News, writing and presenting features for CBS This Morning on an array topics from Martin Luther King, Nelson Mandela and Louis Armstrong to Juke Joints, BBQ, the Quarterback & Conducting and Thankfulness. Marsalis has written six books: Sweet Swing Blues on the Road, Jazz in the Bittersweet Blues of Life, To a Young Musician: Letters from the Road, Jazz ABZ (an A to Z collection of poems celebrating jazz greats), Moving to Higher Ground: How Jazz Can Change Your Life and Squeak, Rumble, Whomp! Whomp! Whomp! a sonic adventure for kids. Awards and Accolades Wynton Marsalis has won nine Grammy Awards® in grand style. In 1983 he became the only artist ever to win Grammy Awards® for both jazz and classical records; and he repeated the distinction by winning jazz and classical Grammys® again in 1984. Today Wynton is the only artist ever to win Grammy Awards® in five consecutive years (1983-1987). Honorary degrees have been conferred upon Wynton by over 25 of America’s leading academic institutions including Columbia, Harvard, Howard, Princeton and Yale (see Exhibit A). Elsewhere Wynton was honored with the Louis Armstrong Memorial Medal and the Algur H. Meadows Award for Excellence in the Arts. He was inducted into the American Academy of Achievement and was dubbed an Honorary Dreamer by the “I Have a Dream Foundation.” The New York Urban League awarded Wynton with the Frederick Douglass Medallion for distinguished leadership and the American Arts Council presented him with the Arts Education Award. Time magazine selected Wynton as one of America’s most promising leaders under age 40 in 1995, and in 1996 Time celebrated Marsalis again as one of America’s 25 most influential people. In November 2005 Wynton Marsalis received The National Medal of Arts, the highest award given to artists by the United States Government. United Nations Secretary-General Kofi Annan proclaimed Wynton Marsalis an international ambassador of goodwill for the Unites States by appointing him a UN Messenger of Peace (2001). In 1997 Wynton Marsalis became the first jazz musician ever to win the Pulitzer Prize for Music for his epic oratorio Blood On The Fields. During the five preceding decades the Pulitzer Prize jury refused to recognize jazz musicians and their improvisational music, reserving this distinction for classical composers. In the years following Marsalis’ award, the Pulitzer Prize for Music has been awarded posthumously to Duke Ellington, George Gershwin, Thelonious Monk and John Coltrane. In a personal note to Wynton, Zarin Mehta wrote: “I was not surprised at your winning the Pulitzer Prize for Blood On The Fields. It is a broad, beautifully painted canvas that impresses and inspires. It speaks to us all … I’m sure that, somewhere in the firmament, Buddy Bolden, Louis Armstrong and legions of others are smiling down on you.” Wynton’s creativity has been celebrated throughout the world. He won the Netherlands’ Edison Award and the Grand Prix Du Disque of France. The Mayor of Vitoria, Spain, awarded Wynton with the city’s Gold Medal – its most coveted distinction. Britain’s senior conservatoire, the Royal Academy of Music, granted Mr. Marsalis Honorary Membership, the Academy’s highest decoration for a non-British citizen (1996). The city of Marciac, France, erected a bronze statue in his honor. The French Ministry of Culture appointed Wynton the rank of Knight in the Order of Arts and Literature and in the fall of 2009 Wynton received France’s highest distinction, the insignia Chevalier of the Legion of Honor, an honor that was first awarded by Napoleon Bonaparte. French Ambassador, His Excellency Pierre Vimont, captured the evening best with his introduction: “We are gathered here tonight to express the French government’s recognition of one of the most influential figures in American music, an outstanding artist, in one word: a visionary… I want to stress how important your work has been for both the American and the French. I want to put the emphasis on the main values and concerns that we all share: the importance of education and transmission of culture from one generation to the other, and a true commitment to the profoundly democratic idea that lies in jazz music. I strongly believe that, for you, jazz is more than just a musical form. It is tradition, it is part of American history and culture and life. To you, jazz is the sound of democracy. And from this democratic nature of jazz derives openness, generosity, and universality.” Jazz at Lincoln Center In 1987 Wynton Marsalis co-founded a jazz program at Lincoln Center. In July 1996, due to its significant success, Jazz at Lincoln Center was installed as new constituent of Lincoln Center, equal in stature with the New York Philharmonic, Metropolitan Opera, and New York City Ballet – a historic moment for jazz as an art form and for Lincoln Center as a cultural institution. In October 2004, with the assistance of a dedicated Board and staff, Marsalis opened Frederick P. Rose Hall, the world’s first institution for jazz. The complex contains three state-of-the-art performance spaces (including the first concert hall designed specifically for jazz) along with recording, broadcast, rehearsal and educational facilities. Jazz at Lincoln Center has become a preferred venue for New York jazz fans and a destination for travelers from throughout the world. Wynton presently serves as Managing and Artistic Director for Jazz at Lincoln Center. Under Wynton’s leadership, Jazz at Lincoln Center has developed an international agenda presenting rich and diverse programming that includes concerts, debates, film forums, dances, television and radio broadcasts, and educational activities. Jazz at Lincoln Center is a mecca for learning as well as a hub for performance. Their comprehensive educational programming includes a Band Director’s Academy, a hugely popular concert series for kids called Jazz for Young People, Jazz in the Schools, a Middle School Jazz Academy, WeBop! (for kids ages 8 months to 5 years), an annual High School Jazz Band Competition & Festival that reaches over 2000 bands in 50 states and Canada. In 2010 the Jazz at Lincoln Center Orchestra established its first residency in Cuba with a rich cultural exchange of performances with Cuban musicians including Chucho Valdes and Omara Portuondo and education programs for kids. Education In 2011 Harvard University President Drew Faust invited Wynton to enrich the cultural life of the University community. Wynton responded by creating a 6 lecture series which he delivered over the ensuing 3 years entitled Hidden In Plain View: Meanings in American Music, with the goal of fostering a stronger appreciation for the arts and a higher level of cultural literacy in academia. From 2015 to 2021 Wynton will serve as an A.D. White Professor at Cornell University. A.D. White Professors are charged with the mandate to enliven the intellectual and cultural lives of university students. Giving Back Wynton Marsalis has devoted his life to uplifting populations worldwide with the egalitarian spirit of jazz. And while his body of work is enough to fill two lifetimes, Wynton continues to work tirelessly to contribute even more to our world’s cultural landscape. It has been said that he is an artist for whom greatness is not just possible, but inevitable. The most extraordinary dimension of Wynton Marsalis, however, is not his accomplishments but his character. It is the lesser-known part of this man who finds endless ways to give of himself. It is the person who waited in an empty parking lot for one full hour after a concert in Baltimore, waiting for a single student to return from home with his horn for a trumpet lesson. It is the citizen who personally funds scholarships for students and covers medical expenses for those in need. Immediately following Hurricane Katrina, Wynton organized the Higher Ground Hurricane Relief Concert and raised over $3 million for musicians and cultural organizations impacted by the hurricane. At the same time, he assumed a leadership role on the Bring Back New Orleans Cultural Commission where he was instrumental in shaping a master plan that would revitalize the city’s cultural base. Wynton Marsalis has selflessly donated his time and talent to non-profit organizations throughout the country to raise money to meet the many needs within our society. From My Sister’s Place (a shelter for battered women) to Graham Windham (a shelter for homeless children), the Children’s Defense Fund, Amnesty International, the Sloan Kettering Cancer Institute, Food For All Seasons (a food bank for the elderly and disadvantaged), Very Special Arts (an organization that provides experiences in dance, drama, literature, and music for individuals with physical and mental disabilities) to the Newark Boys Chorus School (a full-time academic music school for disadvantaged youths) and many, many more – Wynton responded enthusiastically to the call for service. It is Wynton Marsalis’ commitment to the improvement of life for all people that portrays the best of his character and humanity. In 2011 Wynton joined with Harvard University President, Drew Faust to present a series of 6 lectures to the student body over 3 years. The series entitles Hidden In Plain View: Hidden Meanings in American Music was developed to foster a stronger appreciation of the arts and a higher level of cultural literacy amount college students.

I programmet diskuteras bl.a. Florian Boeschs tolkning av Schubert-sånger, Brahms Violinkonsert samt musik av Erkki Melartin. Johan möter dirigenten Omer Meir Wellber och sveper över Brahms-3a. I panelen Alexander Freudenthal, Camilla Lundberg och Evert van Berkel som tillsammans med programledaren Johan Korssell betygsätter följande skivor: ERKKI MELARTIN Traumgesicht, Marjatta samt ur baletten The Blue Pearl Soile Isokoski, sopran Finska radions symfoniorkester Hannu Lintu, dirigent Ondine ODE 1283-2 A MOVEABLE FEAST Musik av Vaughan Williams, Ravel och De Falla Stockholm Syndrome Ensemble Channel Classics CCS 36916 FRANZ SCHUBERT Sånger Florian Boesch, baryton Malcolm Martineau, piano Onyx ONYX 4149 JOHANNES BRAHMS Violinkonsert D-dur Nils-Erik Sparf, violin Uppsala kammarsolister Paul Mägi, dirigent Swedish Society SCD 1162 Referensen - Brahms violinkonsert: Johan jämför med och refererar till Anne-Sophie Mutters inspelning av Brahms violinkonsert tillsammans med New Yorks filharmoniker och dirigenten Kurt Masur på skivmärket DG.  Johan möter Omer Meir Wellber Johan Korssell träffade den israeliske dirigenten i Berwaldhallen i Stockholm då Meir Wellber gästade Sveriges Radios Symfoniorkester och serverade musik av Sjostakovitj och Schubert.  Andra i programmet nämnda eller rekommenderade inspelningar: Schuberts sånger med Christian Gerhaher ackompanjerad av Gerold Huber på Sony Classical. Brahms violinkonsert med violinisten Janine Jansen tillsammans med Santa Cecilia-akademins orkester i Rom ledda av Antonio Pappano inspelad på Decca; Anne-Sophie Mutter och Berlins filharmoniker ledda av Herbert von Karajan på DG; David Oistrach och Cleveland-orkestern under George Szell på EMI; Isaac Stern och Philadelphia-orkestern under Eugene Ormandys ledarskap på Columbia samt med Leonidas Kavakos och Gewandhaus-orkestern under Riccardo Chailly på Decca. Nils Erik Sparfs inspelning med Mozarts fem violinkonserter tillsammans med Uppsala kammarorkester på Swedish Society. Svepet Johan sveper över ett album där Thomas Hengelbrock leder Elbphilharmonie, Hamburg i Johannes Brahms fjärde symfoni e-moll. Skivmärke Sony Classical.

Friedhelm Eberle, Schauspieler, Regisseur und Professor im Interview. Mit 80 Jahren steht Friedhelm Eberle immer noch auf der Bühne: Vor 2 Wochen trat er auf den Stelzenfestspielen bei Reuth vor etwa 2000 Zuschauern auf. Er erhielt den Nationalpreis der DDR. Er ist Träger des Kunstpreises der Stadt Leipzig. Er hat in Filmklassikern wie „Nackt unter Wölfen“ und „Polizeiruf 110“ gespielt. Über 45 Jahre war er am Leipziger Schauspielhaus engagiert. Mit Kurt Masur und dem Leipziger Gewandhausorchester hat er 2 CDs herausgebracht. Mit den Produktionen „Peer Gynt“ und dem „Sommernachtstraum“ sind sie international aufgetreten. Seit 1965 ist er Dozent und Professor für das Fach „das künstlerische Wort“ an der Leipziger Schauspielschule. Friedhelm Eberle ist ein Meister der Rhetorik! Er erzählt von der erfolgreichen Zusammenarbeit mit Kurt Masur, was man im Fach "das künstlerische Wort" lernt und gibt Tiergedichte zum Besten. ▶️ Weitere Infos zur aktuellen Folge erhalten Sie über meinen Hörerservice: https://www.birgit-schuermann.com/podcast ▶️ Buchen Sie einen Platz in einem meiner Rhetorik-Seminare: https://www.birgit-schuermann.com/seminare ▶️ Lassen Sie sich von mir für Ihre individuelle Redesituation vorbereiten: https://www.birgit-schuermann.com/kontakt ▶️ Hier lesen Sie praktische Tipps in meinem Rhetorik-Blog:https://www.birgit-schuermann.com/blog ▶️ Wie hilfreich waren meine Tipps und Anregungen für Sie? Haben Sie weitere Ideen? Wenn ja, lassen Sie es mich in den Kommentaren wissen! ▶️ Folgen Sie mir auf Instagram: https://www.instagram.com/birgit_schuermann/ ▶️ Besuchen Sie mich auf Facebook: https://www.facebook.com/Birgit-Schürmann-303072753190327/ ▶️ Welche Fragen, Anregungen oder Themenwünsche haben Sie? Schreiben Sie mir unter podcast@birgit-schuermann.com

Zum Gedenken an den verstorbenen Kurt Masur wurde in White Plains nahe New York City nun eine Straße nach dem Dirigenten benannt. Sie liegt an einem Ort, der für die Familie Masur auch persönlich von großer Bedeutung ist.

The new BBC drama series, Dickensian, sees Charles Dickens's most famous stories and characters co-existing on the same Victorian streets. John Wilson talks to Tony Jordan, the creator of the series.The German conductor Kurt Masur led both the London and the New York Philharmonic Orchestras and encouraged a peaceful reunification of Germany. Norman Lebrecht pays tribute to Masur who died at the weekend aged 88.Ron Howard has proved himself an extraordinarily diverse director, from his Oscar-winning A Beautiful Mind to Frost/Nixon, Apollo 13, Parenthood, Splash and Rush. His latest film, In The Heart of The Sea, starring Chris Hemsworth, Benjamin Walker and Ben Whishaw, he explores the true story that inspired Melville's Moby Dick.And if you're in need of some cultural inspiration this Christmas but have had enough of the obvious festive fare, Front Row have selected four arts experts to champion an alternative Christmas treat each day this week. Tonight, the art critic Waldemar Januszczak reveals his out of the ordinary Christmas image.

I veckans program hör vi bl a Londons symfoniorkester och John Eliot Gardiner framföra Mendelssohns Symfoni nr 5. Och så berättar den estniska dirigenten Anu Tali om mentorn Eric Ericson. Veckans panel består av Alexander Freudenthal, Aurélie Ferriere, Edward Klingspor och programledaren Johan Korssell som betygsätter följande skivor: THÉODORE DUBOIS Portraits, vol.2 Chantal Santon, sopran, m.fl. Giardini-kvartetten, Les Siècles Francois-Xavier Roth, dirigent Ediciones Singulares 8461723651 Betyg: 4 radioapparater  PURE HANDEL Water Music, Kantater, Concerto Grosso F-dur op 6:2 m.m Maria Keohane, sopran, EU:s barockorkester Lars Ulrik Mortensen, dirigent och cembalo Estonian Record Productions ERP 6212 Betyg: 4 radioapparater FELIX MENDELSSOHN Symfoni nr 5, uvertyren till Ruy Blas, m.m Londons symfoniorkester,  John Eliot Gardiner, dirigent LSO LSO 0775 Betyg: 4 radioapparater  PHILIP GLASS The complete Piano Etudes Maki Namekawa, piano Orange Mountain OMM 0098 Betyg: 2 radioapparater  Sofia möter Anu Tali Anu Tali är sedan ett par år musikchef för Sarasota Orchestra i Florida, debuterade nyligen med Houstons Symfoniorkester och är chefsdirigent för Nordiska Symfoniorkestern. CD-revyn porträtterar henne i ett samtal om mentorn Eric Ericson och om vikten av att musiker är politiskt medvetna.  Johans svep Johan sveper över valda delar ur första satsen ur Sjostakovitjs tionde symfoni med Bostons symfoniorkester ledd av Andris Nelsons. Inspelad live i Symphony Hall i Boston, april 2015. Skivmärke DG. Andra i programmet nämnda eller rekommenderade inspelningar Mendelssohns femte symfoni med Wiens filharmoniker under ledning av John Eliot Gardiner på DG; Gewandhausorkestern dirigerad av Kurt Masur på Wea; New Yorks filharmoniker ledd av Dimitri Mitropoulos på Urania; Bostons symfoniorkester under Charles Münch på RCA samt med Londons symfoniorkester dirigerad av Claudio Abbado (alla symfonier) på DG. Théodore Dubois andra pianokonsert med solisten Cédric Tiberghien, BBC:s skotska symfoniorkester och dirigenten Andrew Manze på Hyperion.    

New Zealander Gemma New is the Associate Conductor of the New Jersey Symphony Orchestra as well as the founder and director of the Lunar Ensemble.  At 27, she has already garnered international success and accolades in the company of such luminary maestros at Kurt Masur, Gustav Meier and Marin Alsop. Gemma is truly an inspiration for rising talent among female conductors. You can find out more about Gemma and her concert calendar on her website here.  Post your comments on our Facebook Page at Chris Stafford Radio and follow on Twitter @chrisestafford.  This podcast is available for download from the iTunes Podcast store to your Smartphone Podcast App. [Photo: Fred Stucker]

  Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient piece is given new life by each new musician who plays it. Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient piece is given new life by each new musician who plays it. Audio production by Todd “Toddy Ruxpin” Hulslander, with kind of creepy hovering during the editing process by Dacia Clay. Music in this episode: – “Life Carries On” from Dismal Times, by Earthen Grave – Brahm’s Violin Concerto, Rachel Barton Pine with Chicago Symphony Orchestra. Carlos Kalmar conducting. – “Rock You Like a Hurricane” from Love at First Sting by the Scorpions. – “Ice Cream Man” from Van Halen by Van Halen. – Mendelssohn’s Violin Concerto in E Minor as performed (not necessarily in this order) by: — Rachel Barton Pine with Gottinger Symphonie Orchester. Christoph-Mathias Mueller conducting. — Joshua Bell with Camerata Salzburg. Roger Norrington conducting. — Fritz Kreisler with Berlin State Opera Orchestra. Leo Blech conducting. — Jascha Heifetz with Boston Symphony Orchestra. Sir Thomas Beecham conducting. — Maxim Vengerov with Leipzig Gewandhaus Orchestra. Kurt Masur conducting. — Isaac Stern with Philadelphia Orchestra. Eugene Ormandy conducting. — Henryk Szeryng with London Symphony Orchestra. Antal Dorati conducting. — Nathan Milstein with New York Philharmonic. Bruno Walter conducting. — Anne-Sophie Mutter with Berlin Philharmonic. Herbert von Karajan conducting.  — Itzhak Perlman by London Symphony Orchestra. Andre Previn conducting. — Maud Powell For more information about Classical Classroom: www.houstonpublicmedia.org/classroom For more information about Rachel Barton Pine: www.rachelbartonpine.com But wait! There’s more! In this short Classical Classroom, she talks about the most important thing her two musical loves share in common: emotional power. Audio production by Todd “Goes to 11” Hulslander with lighters in the air by Dacia Clay. Music in this episode: – “Death Is Another Word” from Earthen Grave, by Earthen Grave – Brahm’s Violin Concerto, Chicago Symphony Orchestra, Carlos Kalmar conducting. – “Rock You Like a Hurricane” from Love at First Sting by the Scorpions – “Ice Cream Man” from Van Halen by Van Halen – “Arpeggios from Hell” by Yngwie Malmsteen – Tchaikovsky’s Violin Concerto in D major, Vadim Repin with Kirov Orchestra. Valery Gergiev conducting. – Sibelius’ Violin Concerto in D minor, Salvatore Accardo with London Symphony Orchestra. Sir Colin Davis conducting. – “Wasted Years” from Somewhere in Time by Iron Maiden – “Ozzy/ Black Sabbath Medley” by Rachel Barton Pine

La trompa es capaz de transmitir gran sensibilidad por esa manera tan suya de ser, de emitir los sonidos, de frasear, de vibrar, de respirar y dar vida a tantas hermosas melodías. Porque eso es lo que es la trompa: color y melodía en estado puro, mucho más que ritmo y apoyo armónico; bien lo saben sus más animados defensores, sean estos pequeños estudiantes o grandes maestros de la composición e interpretación.Haydn, Concierto nº 1 en Re mayor, Hoboken VII D/3: Allegro: Hermnann Baumann (trompa) y Academy of St Martin in the Fields, Neville Marriner (dir.).Mozart, Concierto nº 1 en re mayor, K.412: Michael Thompson (trompa solista y director), Bournemouth Sinfonietta. Weber, Concertino para trompa y orquesta op.45, y R. Strauss, Concertino para trompa nº 1: Hermann Baumann (trompa), Orquesta de la Gewandhaus de Leipzig, Kurt Masur (dir.).Escuchar audio