Podcast appearances and mentions of kurt sanderling

1943 komponiert Dimitri Schostakowitsch eines seiner abgründigsten Werke. Dabei erwartet das Sowjetregime erwartet von seinem Vorzeigekomponisten nach dem Sieg von Stalingrad optimistische Töne. Lange verboten gilt die Achte heute als eine der wichtigsten Sinfonien des 20. Jahrhunderts. Von Michael Lohse.

durée : 01:27:09 - En pistes ! du mercredi 15 novembre 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce mercredi matin, focus sur une série d'enregistrements du pianiste Peter Rösel consacrés à Rachmaninov avec le Berliner Sinfonie-Orchester et Kurt Sanderling. Les bandes originales de cette édition ont été remasterisées, permettant ainsi à l'œuvre de briller d'un nouvel éclat

durée : 00:15:38 - Le Disque classique du jour du mercredi 15 novembre 2023 - Le pianiste Peter Rösel a consacré une série d'enregistrements à des pièces légendaires de Rachmaninov. La remastérisation des bandes originales de cette édition, avec le Berliner Sinfonie-Orchester et Kurt Sanderling, permet à l'œuvre de briller d'un nouvel éclat

This week is the first of a series of episodes focusing on songs with orchestral accompaniment. The genre is almost a contradiction in terms: the intimacy and textual focus of art song with the sometimes strenuous vocal demands of singing over an orchestra. The most celebrated and successful of such songs (by Berlioz, Mahler, Ravel, Barber, Strauss, and others) are heard over and over on symphonic concerts when vocal soloists are the featured guests. And rightly so, for they are among the most glorious classical music written for the human voice. Typically for Countermelody, however, today's episode, however, will focus on repertoire and composers that are less celebrated to the point of being virtually unknown. Composers heard include Frank Martin, Alexander Zemlinsky, Jean Sibelius, Giuseppe Martucci, Franz Schreker, Othmar Schoeck, Antonín Dvořák, Alberto Ginastera, Alphons Diepenbrock and the two Andrés, Jolivet and Caplet, alongside many others, performed by such favorites as Gwyneth Jones, Phyllis Curtin, Peter Schreier, Gundula Janowitz, Yi-Kwei Sze, Mirella Freni, Francisco Araiza, Elisabeth Söderström, and Bernard Kruysen. Also heard are Helen Donath and Andrzej Hiolski, singers soon to be featured on their own episodes, alongside lesser-remembered names such as Arthur Loosli, Irene Gubrud, and Colette Herzog. Conductors include Kurt Sanderling, Antal Doráti, Herbert Kegel, Bohumil Gregor, Hermann Scherchen, and Lorin Maazel. I “guarantee” that your ears will be enchanted and your musical horizons will be expanded by this episode. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Today I am talking to pianist Peter Jablonski. We discuss piano repertoire in and outside the canon, how careers take time to develop, and wonder about the influence of social media on the longevity of a career in music.Peter Jablonski is an award-winning internationally acclaimed Swedish pianist. Discovered by Claudio Abbado and Vladimir Ashkenazy, and signed by Decca in his seventeenth year, Jablonski went on to perform, collaborate, and record with many of the world's leading orchestras and conductors, including the BBC Symphony Orchestra, Royal Philharmonic Orchestra, Leipzig Gewandhaus, Kirov (now Mariinsky), La Scala Philharmonic, Tonhalle Zürich, Orchestre National de France, NHK Tokyo, DSO Berlin, Warsaw Philharmonic, Philadelphia, Los Angeles Philharmonic, and Cleveland Orchestra; Vladimir Ashkenazy, Valery Gergiev, Andris Nelsons, Daniel Harding, Kurt Sanderling, Esa-Pekka Salonen, Riccardo Chailly, Daniele Gatti, and Myung-Whun Chung. Jablonski has performed and recorded the complete piano concertos of Beethoven, Tchaikovsky, Rachmaninoff, and Bartók, and all ten piano sonatas by Prokofiev. Hailed an ‘unconventional virtuoso' (Present Arts), during his three-decade-long career, Jablonski developed a diverse repertoire that includes works by Barber, Gershwin, Szymanowski, Lutosławski, Copland, Stenhammar, with most recent additions of such Scandinavian and European composers as Valborg Aulin, Elfrida Andrée, Laura Netzel, Johanna Müller-Hermann, Grażyna Bacewicz, and Alexey Stanchinsky.  Composers with whom Jablonski worked include Witold Lutosławski and Arvo Pärt, and he has had a number of works composed for, and dedicated to him, including Wojciech Kilar's Piano Concerto, for which he won the Orpheus award for the world premiere performance at the Warsaw Autumn Festival. Jablonski remains a supporter of today's composers and regularly gives world premieres of new works, together with those that have been neglected by music history. Jablonski's extensive discography includes recordings he has made for labels such as Decca, Deutsche Grammophon, Philips, Altara, Octavia, and Ondine. He received numerous accolades for his recordings, which include the Edison and the Grammophone Classical Music Award.Peter Jablonski is the recipient of the Litteris et Artibus medal for his services to culture, granted to him by the King of Sweden, Carl XVI Gustaf. He is also the winner of the prestigious prize Årets Svensk i Världen (International Swedish Personality of the Year), receiving it before ABBA and Astrid Lindgren. www.peterjablonski.comTwitter: @Jablonski_Phttps://www.ondine.net/?lid=en&cid=2.2&oid=6707

From Erie Philharmonic Marketing Manager Brigit Stack Dmitri Shostakovich (1906-1975) The term “protest music” typically conjures images and sounds of the 60’s folk and rock music that we come to associate with counter-culture and social movements of that era. But to anyone who’s ever listened to Dmitri Shostakovich’s music, the term applies to many pieces of orchestral music as well. In the orchestral world, in fact, there’s many instances of radical music – oftentimes without words – that spoke to political movements, uprisings, tragedies and more. Sometimes the music was composed posthumously, but it was nevertheless revolutionary and sometimes dangerous to publish or perform. Throughout the history of classical music, there is no better example of this than composer Dmitri Shostakovich. So much of what he wrote spoke to Joseph Stalin’s regime in what we now know as Russia and criticized it, even when the focus of his music was not outwardly named to be referencing that environment. Below I want to recommend some of what I believe to be the most powerful and daring music Shostakovich composed to protest the morally corrupt and apprehensible things he lived through. Much of Shostakovich’s music becomes clearly more relevant today and underscores how some of Russia’s history is playing out again in our current moment, standing as “protest music.” His music showcases that in times of strife and despair at a larger, governmental level, there are two types of this protest music: covert themes and musical styles and overt protest through topics and dedications. Shostakovich: Symphony No. 5 When Joseph Stalin was still reigning over the Soviet Union, Shostakovich often tried to hide his protests as hidden “covert” messages and themes in his music. One of the pieces that illustrated this was his Symphony No. 5. The piece was written after a newspaper article condemned his opera, Lady Macbeth of the Mtsensk District. His opera was denounced in the newspaper Pravda, in an article titled “Muddle Instead of Music.” Solomon Volkov wrote, “the Party newspaper…carried out a sentence that was to be final (and not subject to appeal): ‘This is music intentionally made inside out…This is leftist muddle.’ As will be shown, these angry opinions belonged personally to Stalin, the country’s main cultural arbiter” (34). Shostakovich immediately began to fear for his life and his family’s safety, sleeping in the stairwell in case Stalin’s police came to take him away in the middle of the night. To illustrate the fear of dying in Stalin’s Soviet Union, “Someone said then ‘it used to be a lottery now it’s a queue’” (Volkov 213). Before his composition of the 5th Symphony, his older sister had been arrested and his mother-in-law sent to a concentration camp. His music was too vulgar and dark and Stalin wanted the Soviet Union and its history to remain in a positive light – whether it meant glorifying its heroes or more “optimistic” sounding music. Although the music has its darker moments, it ends with a triumphant and more positive tone/major key (the same key as Beethoven’s “Ode to Joy”), keeping the overall message of the symphony tongue in cheek. This interpretation is depicted especially in the audience’s response to its premiere. “By the end of the symphony, the entire audience was standing, applauding wildly through their tears” (Volkov 150). The standing ovation was said to last for more than 30 minutes. The apparent “joyful” final movement of the piece turns around, however, and mocks the very thing Shostakovich was trying to save himself from. The terror felt by many under Stalin was so profound that even the joy and appreciation felt towards their leaders and country was often forced out of necessity and not true patriotism. Shostakovich later said, “I think it is clear to everyone what happens in the Fifth [Symphony]. The rejoicing is forced, created under threat, as in Boris Gudunov. It’s as if someone were beating you with a stick and saying. ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering. ‘Our business is rejoicing, our business is rejoicing.’” (qtd. in Volkov 183). News had also reached Stalin that Shostakovich was depressed and contemplating suicide after the Pravda article, which made him consider taking further action against him. Volkov wrote, “Shostakovich’s suicide could turn into an international scandal with unpredictable ramifications” (117). Shostakovich’s new symphony gave Stalin the chance to keep the composer around and still maintain his cultural authority – to praise the piece and set all back to normal, however terrifying that might still be for Shostakovich.Shostakovich plays a fragment of Symphony No. 7 on pianoAnother composition of Shostakovich’s that illustrates his covert protests of his government is Symphony No. 7, dubbed “Leningrad” and linked with the Siege of Leningrad by Hitler’s forces. Although the piece was mobilized as propaganda to bolster the war effort, it was composed under different intentions and still qualifies as protest music. The onset of the siege of Leningrad allowed him to hide his intentions even more, and Shostakovich also smuggled the piece outside of the country to be performed in the United States and England. Arturo Toscanini – an anti-fascist himself – premiered the piece with the NBC Radio Orchestra. The enemy within their own country was disguised as the enemy outside – the Axis powers now invading and terrorizing the Soviet Union. Due to Shostakovich’s son’s confirmation of events and the practice of “glasnost” (openness about Russia’s history) under Mikhail Gorbachev, much was revealed about the motives and messages behind Symphony No. 7. Testimony by Solomon Volkov was a contested source on so much of Shostakovich’s intentions behind his works, disputed by some to be Volkov’s words more than the late composer’s. Later, however, Maxim Shostakovich (his son) confirmed that many of the political views detailed were indeed his father’s. Musicologist Ludmila Mikheyeva claimed that the themes of this symphony were played for his students before the war with Germany even began. Later, Shostakovich said, “Even before the war, there probably wasn't a single family who hadn't lost someone, a father, a brother, or if not a relative, then a close friend. Everyone had someone to cry over, but you had to cry silently, under the blanket, so no one would see. Everyone feared everyone else, and the sorrow oppressed and suffocated us. It suffocated me, too. I had to write about it, I felt it was my responsibility, my duty. I had to write a requiem for all those who died, who had suffered. I had to describe the horrible extermination machine and express protest against it” (qtd. in Volkov 172). The actual siege by outside forces simply gave the piece a disguise to wear as it expressed so much of the loss all, including Shostakovich, had felt. Shostakovich on the cover of TIME magazine - the composer was used as wartime propaganda in Russia. Shostakovich dressed and posed on a roof as a firefighter for after bombing raids, although he never served in the war After Stalin’s death in 1953, Shostakovich began using more overt methods to protest the brutality and mistreatment of people under Stalin and fascism. One of the most overt representations of this was his String Quartet No. 8., written and finished in 1960 in only 3 days. The dedication made his intentions clear: it was dedicated to “the victims of fascism and war,” and composed shortly after the composer reluctantly joined the Communist Party. His son, Maxim, claims the dedication was for all victims of totalitarian, fascist regimes while his daughter Galina claims that Shostakovich meant it for himself. Both interpretations have merit; many of the melodies of the string quartet were taken from Jewish folk tradition and although we often learn of the anti-Semitism in Hitler’s Germany, it was far more rampant than we think. It permeated the United States as well as Stalin’s Soviet Union. As Shostakovich had said, “Jewish folk music has made a most powerful impression on me. I never tire of delighting in it. It can appear to be happy while it is tragic. It’s almost always laughter through tears. Jews became a symbol for me. I tried to convey that feeling in my music. It was a bad time for Jews then. In fact, it’s always a bad time for them” (qtd. in Civetta). His daughter’s interpretation carries the same merit because Shostakovich’s musical motif is repeated in every movement of this string quartet. This motif is known as the DSCH motif, standing for the notes of D, E flat, C, and B natural. In German musical notation this would be written as D, Es, C, and H, resembling D. Sch, or Dmitri Shostakovich. He often added it to his music to represent himself and it is no coincidence that he would be frequently represented in a piece dedicated to the victims of fascism and war: he himself was one. Since Stalin upheld these policies of anti-Semitism and often singled out Shostakovich’s music for its vulgar, dark nature, this composition after the ruler’s death was a breath of fresh air. It stands as a true protest against the pressures and sorrows Shostakovich had felt his whole life, feelings he often felt mutually expressed in Jewish music. The second movement especially mobilizes one to stand up for what is right, to take down that which oppresses and hurts and to perhaps understand through music other’s lived experiences. “Bloody Sunday” at the Winter Palace in Russia, 1905 Perhaps the most relevant and protest-oriented composition of Dmitri Shostakovich’s is his Symphony No. 11, “The Year 1905.” The historic events that inspired it conjure images of the last few weeks of protests across our country and the world. The dedication of the piece is a telling enough introduction, with movements titled after the events of the 1905 protests and rebellion against the Tsar and the Russian monarchy. These protests proceeded the 1917 Bolshevik Revolution, Lenin’s rise to power and the eventual leadership under Joseph Stalin. 1905 was a time of unrest involving everyone from the peasant to the working class, the military and more. One of the main events of this revolution was “Bloody Sunday,” where protestors led a march to the Winter Palace to deliver a petition to the Tsar. As they advanced, guards fired upon them, resulting in hundreds of deaths. Protests, strikes, and looting erupted once again in response. Tens of thousands of people would die as the government attempted to restore peace. The opening movement of Symphony No. 11 is titled “The Palace Square,” and introduces the foreboding sense of calm before the violence, which is depicted so well in the second movement, called “The 9th of January,” titled so after the event’s date. The third movement pays homage to those who perished as a result of Bloody Sunday, using the funeral march “You fell as victims,” while the final movement foreshadows that the seeds of the 1917 revolution have been sown. The ending is both foreboding and yet triumphant – a warning and a rallying cry. Revolutionary texts were also heavily cited in the melodies of the movements, not lyrically, but the melodies were known by many as most people grew up singing or hearing those songs. One such song was the march “You fell as victims.” Another was “Rage, Tyrants,” which tolls, “Let our call thunder like a thunderbolt, […] As the sun of freedom will look from behind a cloud, - To death! To death! To your death, tyrants!” Symphony No. 11 was often called a “film score without a film,” because it so aptly and tangibly expresses through music the fear, violence, and oppression of the events on January 9. One could argue that so much of Dmitri Shostakovich’s music does. These overt protestations after Stalin’s death came as protests to his memory – to the history and glorification he wanted so much for the Soviet Union and himself. Shostakovich and his music outlived the cruel ruler, and helped to rewrite his image in the eyes of his countrymen and the world. These symphonies and string quartets certainly connect to the many things we see protested and mourned today. Though we may not have Russia’s history, we have our own. We have the Boston Massacre, the American Revolution, the Civil War, the Montgomery Bus Boycotts, the Freedom Rides, the Farmworker’s Union strikes, the March on Washington and many other events, including today’s protests. Although most of us might not live in fear of disappearing from our homes in the night, we still find ourselves fighting for some of the same liberties, freedoms, and comforts. Stalin saw arts and culture as an integral tool in emboldening and influencing the society around him – and he was right. At the same time that a piece of music could claim to bow its head respectfully towards a leader, it could also mock and hide its meaning in subtle ways and key signatures. We can mobilize music again to share our feelings and look ahead towards a time where we no longer feel the constant barrage of these negativities. Perhaps most important of all, we can sympathize with and try to understand the pain and oppression of others. As conductor Kurt Sanderling said, “The quartets are messages to all his friends. The symphonies are messages to mankind” (qtd. in Anderson 374). Shostakovich managed to bottle up the visceral feelings of fear, pain, injustice, anger and sorrow and express them so often wordlessly through music. Music can once again be a revolutionary act to stand up, stand out and express things we often cannot put into words or share plainly and openly.Want to hear more about music history and what we’re performing next? Sign up for our email list: Sign up

Auch wenn die Sanderling-Diskographie weiß Gott nicht klein ist: Diese elf CDs mit Symphonien und Konzerten von Beethoven, Bruckner, Brahms und Rachmaninow bieten spannende neue Einblicke, etwa die ersten beiden Klavierkonzerte Rachmaninows mit Swjatoslaw Richter in Aufnahmen aus den 50er-Jahren.

Am 22. April steht Michael Sanderling in der Philharmonie im Gasteig am Pult der Münchner Philharmoniker und dirigiert Werke von Beethoven sowie Schostakowitschs "Babij Jar"-Symphonie. Uta Sailer hat den Dirigenten getroffen und mit ihm über das Konzert und die Freundschaft zwischen seinem Vater - dem 2011 verstorbenen Kurt Sanderling - und Dmitrij Schostakowitsch gesprochen.

Nyårspanelen utvärderade skivåret som gått och lyfte också fram några av sina personliga favoriter. Programledaren Johan Korssell presenterade även resultatet av omröstningen av 2016 års skiva. På 1:a plats med 23 poäng: SJOSTAKOVITJ OCH GLAZUNOV Violinkonserter Nicola Benedetti, violin Bournemouth symfoniorkester Kirill Karabits, dirigent Decca 4788758ÅRETS SKIVA 2016 SE RESULTATET OCH RÖSTA SJÄLV! (Länk till totalfemmorna)  Följande favoritskivor spelades ur i programmet, i tur och ordning: ALBAN BERG LUDWIG VAN BEETHOVEN (Årtiondets skiva)Violinkonserter Isabelle Faust, violin Orchestra Mozart, Bologna Harmonia Mundi HMC 902105 AMANDA MAIER (Johannas första val) Violinkonsert, Pianokvartett, Svenska melodier och danser Gregory Maytan, violin, Ann-Sofi Klingberg, piano, m.fl. Helsingborgs symfoniorkester Andreas Stoehr, dirigent dB Productions dBCD 174 MARIE JAËLL (Evabritts första val) Portraits volym 3 Chantal Santon-Jeffery m.fl Belgiska radions filharmoniker Hervé Niquet, dirigent Edizione Singulares ES 1022DMITRI SJOSTAKOVITJ (Alexanders första val) Symfoni nr 5 d-moll Berlins symfoniorkester Kurt Sanderling, dirigent Eterna 0300750BC DOMENICO SCARLATTI (Johannas andra val) Klaversonater Jevgenij Sudbin, piano Bis BIS 2138 GERALD FINZI (gick bort för 60 år sedan) Kammarmusik Kölns kammarsolister MDG 903 1894-6 ANTON BRUCKNER (Evabritts andra val) Symfoni nr 8 c-moll Hamburgs filharmoniker Simone Young, dirigent Oehms OC 026-11ANTON BRUCKNER - JOHANNES BRAHMS (en av årets totalfemmor)Motetter Tenebrae-ensemblen Nigel Short, dirigent Signum SIGCD 430HARTMANN WEINBERG SJOSTAKOVITJ (Alexanders andra val) Wartime consolations Linus Roth, violin Württembergs kammarorkester, Heilbrunn Ruben Gazarian, dirigent Challenge CC 72680 EDWARD ELGAR (Johans val) Gerontius dröm Janet Baker m.fl Londons filharmoniska kör Londons filharmoniker Adrian Boult, dirigent Ica Classics ICAD 5140 (DVD) EINOJUHANI RAUTAVAARA (en av årets totalfemmor) Rubáiyát, Balada, Canto V, 4 Rasputin-sånger Gerald Finley, baryton, m.fl. Helsingfors filharmoniker John Storgårds, dirigent Ondine ODE 1274-2 NEGLECTED WORKS FOR PIANO (Johanna och Evabritts gemensamma favorit samt Evabritts tredje val) Musik av Amy Beach, Ruth Almén, Germaine Tailleferre m.fl Bengt Forsberg, piano dB dBCD 170 FRANZ SCHUBERT (Johannas tredje val) Stråkkvartett nr 14 d-moll (arr) Patricia Kopachinskaja, violin Saint Pauls kammarorkester Alpha Classics ALPHA 265 Här börjar 3 i topp mot Årets skiva:  FRANZ SCHUBERT (En av årets totalfemmor) Stråkkvintett, Sånger Ebène-kvartetten Gautier Capucon, cello Matthias Goerne, baryton, m.fl Erato 0825646487615PETER TJAJKOVSKIJ SERGEJ PROKOFJEV (en av årets totalfemmor)Pianokonserter Beatrice Rana, piano Cecilia-akademins orkester, Rom Antonio Pappano, dirigent Warner Classics 08225646009091 HANS ABRAHAMSEN (en av årets totalfemmor) Let me tell you Barbara Hannigan, sopran Bayerska radions symfoniorkester Andris Nelsons, dirigent Winter & Winter 910 232-2 DMITRI SJOSTAKOVITJ ALEXANDER GLAZUNOV (en av årets totalfemmor) Violinkonserter Nicola Benedetti, violin Bournemouths symfoniorkester Kirill Karabits, dirigent Decca 4788758 ÅRETS SKIVA 2016 RESULTATET! CD-revyns panel har lagt sina röster, 3 poäng till den bästa, 2 respektive 1 poäng till de skivor som hamnar på andra och tredje plats av dessa fyra  äkta toppnoteringar från året som gått: Första plats med 23 poäng: SJOSTAKOVITJ OCH GLAZUNOV Violinkonserter Nicola Benedetti, violin Bournemouth symfoniorkester Kirill Karabits, dirigent Decca 4788758Andra plats med 13 poäng: HANS ABRAHAMSEN Let me tell you Barbara Hannigan, sopran Bayerska radions symfoniorkester Andris Nelsons, dirigent Winter & Winter 910 232-2 På delad tredje plats med vardera 12 poäng:FRANZ SCHUBERT Stråkkvintett C-dur samt sånger Ebène-kvartetten m.fl. Matthias Goerne, baryton Erato 0825646487615PROKOFJEV TJAJKOVSKIJ Pianokonsert nr 2 Pianokonsert nr 1 Beatrice Rana, piano Santa Cecilia-akademins orkester Antonio Pappano, dirigent Warner Classics 0825646009091 CD-revyn önskar GOTT NYTT ÅR!Nu byter vi namn till MUSIKREVYN I P2 Programmet tar ett kortare jullov och är åter på plats under nytt namnMUSIKREVYN I P2 söndag 22 januari kl 12.03.

I programmet diskuterar panelen bl.a. Weinbergs opera Idioten samt Mahlers 10e symfoni med Nézet-Séguin. Dessutom har Sofia Nyblom intervjuat dirigenten och violinisten Nikolaj Znaider. I panelen Alexander Freudenthal, Johanna Paulsson och Måns Tengnér som tillsammans med programledaren Johan Korssell betygsätter följande skivor:FELIX MENDELSSOHN Stråkkvartetter nr 1 och 4 Escher-kvartetten Bis BIS 1960GUSTAV MAHLER Symfoni nr 10 Orchestre Métropolitan Yannick Nézet-Seguin, dirigent Atma ACD 2 2711PROKOFJEV TJAJKOVSKIJ Pianokonsert nr 2 Pianokonsert nr 1 Beatrice Rana, piano Santa Cecilia-akademins orkester Antonio Pappano, dirigent Warner Classics 0825646009091MIECZYSLAW WEINBERG Idioten Juhan Tralla, Steven Scheschareg m.fl. Mannheims nationalteaters orkester Thomas Sanderling, dirigent PanClassics PC 10328Sofia möter Sofia Nyblom träffade den danskfödde violinisten och dirigenten Nikolaj Znaider då han gästspelade i Stockholms konserthus och dirigerade Dvoraks sjätte symfoni.Mendelssohns stråkkvartetter med Emerson-kvartetten på skivmärke DG; Mosaïque-kvartetten på Astrée samt med Talich-kvartetten på Calliope. Bruckners sjunde symfoni med Stuttgart-radions symfoniorkester ledd av Kurt Sanderling på Hänssler jämfördes med Orchestre Metropolitan och dirigenten Yannick Nézet-Seguin på Atma. Mahlers tionde symfoni med Berlins symfoniker ledd av Kurt Sanderling på Berlin Classics; Polska radions symfoniorkester dirigerad av Robert Olson på Naxos; Junge Deutsche Philharmonie under Rudolph Barshai på Brilliant Classics; Simon Rattles två inspelningar gjorda på EMI med Berlins filharmoniker respektive Bournemouths symfoniorkester samt med Berlin-radions symfoniorkester under ledning av Riccardo Chailly på Decca. Prokofjevs pianokonsert med Yuja Wang tillsammans med Simón Bolívars symfoniorkester ledd av Gustavo Dudamel på DG. Tjajkovskijs pianokonsert Svjatoslav Richter och Tjeckiska filharmonin under ledning av Karel Ancerl på märke Supraphon. Weinbergs opera Idioten jämfördes med Wagners Parsifal. Båda arbetar med ledmotiv-teknik.Johan sveper över den nyutkomna utgåvan med violinisten Vilde Frang som solist i Korngolds och Brittens violinkonserter tillsammans med Hessiska radions symfoniorkester i Frankfurt, ledda av James Gaffigan. Utgiven på Warner Classics. 

"När vinden vänder" handlar om sex människor som lyckades förverkliga sig och sina musikaliska drömmar mot alla odds. I första delen berättas om Constance Mozart, grovt förtalad hustru till Mozart. Medverkar gör svenska musikvetaren Viveca Servatius, författare till biografin Constance Mozart och brittiska dirigenten Jane Glover, som skrev Mozart's Women.Ordet Constance betyder trogen, trofast, noggrann, beständig. Det här programmet kommer att visa att Constance Mozart var just så. Dessutom var hon mycket musikalisk en god pianist och en ypperlig sångerska. I motsats till hur hon har skildrats av musikhistorikerna, nämligen som ointelligent, omusikalisk och som en försumlig och ovärdig hustru till Mozart.Constance Weber föds i Tyskland 1762 och gifter sig som 20-åring med Wolfgang Amadeus Mozart i Stephansdomen i Wien.De är gifta under drygt nio år och Constance föder i äktenskapet sex barn, varav fyra barn dör i späd ålder. Två söner överlever.Constance lever under en tid när kvinnornas rörelse- och yttrandefrihet alltmer inskränktes, men trots detta kan hon betraktas som musikhistoriens mest nedvärderade kvinna, skriver musikforskaren Viveca Servatius i sin biografi Constance Mozart.-Min bild av Constance Mozart hade formats negativt genom Mozartbiografier och annan kurslitteratur på Musikvetenskapliga institutionen, berättar musikvetaren Viveca Servatius i programmet.-I den ena Mozartbiografin efter den andra framställdes Constance som den grå askungen, som genom Mozarts naiva kärlek långsamt växer in i rollen som den bortskämda fru Mozart.Enligt dessa är Constance en konstig, lat, otrogen kvinna som inte förstår Mozarts storhet. Men så läser Viveca Servatius biografin 1791: Mozart's Last Year av Robbins Landon och hennes bild av Mozarts hustru förändras totalt.Dirigenten Jane Glover har dirigerat i operahusen över hela västvärlden, inte minst Mozartoperor. Under en period var hon konstnärlig ledare för London Mozart Players.-Den briljanta pjäsen Amadeus av Peter Schaffer blev den förfärliga filmen Amadeus av Milo Forman. Filmen låtsas vara en sann historia. Personen som överlever moraliskt är Mozart, medan Constance skildras som ett blåst, vulgärt fnask, menar dirigenten Jane Glover.-Den person som startade förtalet av Constance, och som var den negativa mytens upphov, var Mozarts far Leopold Mozart, som i det längsta försökte hindra sonen att gifta sig med Constance Weber.  Musikhistorikerna svalde Leopolds obarmhärtiga lögner, förklarar Jane Glover. Constance är i verkligheten en bra tjej med en stark känsla för ekonomi. Hon är festlig och älskar livet, och mellan Constance och Wolfgang brinner en stark passion.Leopold Mozart avskyr Constances familj Weber. Hos dem musiceras det ständigt och två av Constances tre systrar, Josepha och Aloisia, är skickliga sångerskor, ja, Aloisia hyllas som sin tids viktigaste sopran.Äldsta systern Josepha blir den allra första Nattens Drottning i Mozarts opera Trollflöjten. Constance själv sjunger bl a sopransolot Et incarnatus est vid uruppförandet 1783, av den då ofullbordade Mozarts stora C-mollmässa, i Benediktinerkyrkan i Salzburg. En mycket svårsjungen mässa.Under åren med Constance skapar Wolfgang sina bästa verk. Vinden vänder 1791 när den blott 29-åriga Constance blir änka. Mozart avlider endast 35 år gammal. Constance överlever honom med mer än 50 år!För Constance vänder vinden återigen när hon efter Mozarts död möter den danske diplomaten Georg Nissen, som är utstationerad i Wien. 1809 gifter de sig och skapar ett harmoniskt, lyckligt äktenskap. De bosätter sig mellan 1810 och 1820 i hans hemstad Köpenhamn. Nissen skriver en biografi över Mozart och Constance ser till att biografin trycks efter Nissens död 1826.Constance ägnar största delen av sitt liv åt att promovera Mozarts musik och bevara hans musikaliska kvarlåtenskap. Det är bland annat hennes förtjänst att Mozarteum finns i Salzburg.Människor från hela världen vallfärdar till Salzburg för att se Mozarts änka Constance som, under sina sista år, spenderar somrarna i ett litet hus utanför stadens centrum.-Constance var en älsklig, modest kvinna. Hon njöt av att visa upp sin välskötta trädgård med alla blommor och hon visade känslosamt fram Mozarts kvarlåtenskap med stolthed och glädje, berättar Jane Glover.Constance dör i Salzburg 1842, 80 år gammal.Låtlista:12:03 Rudy Stevenson, Lisle Atkinson, Bobby Hamilton, Nina Simone - Wild Is The Wind Album: Four Women Kompositör: Dimitri Tiomkin Bolag: VERVE 12:05 Jimmy Scott, Ray Charles - If I Should Lose You Album: Falling In Love Is Wonderful Kompositör: Ralph Rainger, Leo Robin Bolag: RHINO RECORDS 12:06 Ronald Brautigam - Rondo In D, K 485 Kompositör: WOLFGANG AMADEUS MOZART Bolag: Bis 12:10 Mitsuko Uchida - Sonat För Piano Nr 12 F-Dur Kv 332: Sats 2, Adagio Album: Sonat För Piano Nr 12 F-Dur Kv 332 Adagio Kompositör: Wolfgang Amadeus Mozart Bolag: UNIVERSAL MUSIC 12:12 Edita Gruberova, Nikolaus Harnoncourt, Zürich-Operans Orkester - Die Zauberflöte: Nr 14 Album: Die Zauberflöte Kompositör: Wolfgang Amadeus Mozart Bolag: TELDEC 12:14 Renée Fleming, Charles Mackerras, Orchestra Of Saint Luke's (New York) - Die Entführung Aus Dem Serail: Nr 6, Akt 1, "Ach Ich Liebte" Album: Mozart Arias Kompositör: Wolfgang Amadeus Mozart Bolag: DECCA 12:18 Jane Glover, London Mozart Players - Serenad Kv 361 B-Dur För 12 Blåsare & Kontrabas Album: Serenad Kv 361 B-Dur - Gran Partita Kompositör: Wolfgang Amadeus Mozart Bolag: NOVELLO 12:22 Jane Glover, London Mozart Players - Serenad Kv 361 B-Dur För 12 Blåsare & Kontrabas Album: Serenad Kv 361 B-Dur - Gran Partita Kompositör: Wolfgang Amadeus Mozart Bolag: NOVELLO 12:26 Kurt Sanderling, Bbc Northern Symphony Orchestra (Manchester) - Don Giovanni: Uvertyr Album: Don Giovanni Overture Kompositör: Wolfgang Amadeus Mozart Bolag: BBC RECORDS 12:29 Frederica Von Stade, Edo De Waart, Rotterdams Filharmoniska Orkester - Le Nozze Di Figaro: Nr 6 Kompositör: Wolfgang Amadeus Mozart Bolag: PHILIPS 12:32 Kathleen Battle, André Previn, Royal Philharmonic Orchestra (London) - Vorrei Spiegarvi Oh Dio...Ah Conte (Kv 418) Album: Arior Kompositör: Wolfgang Amadeus Mozart Bolag: EMI 12:37 Kathleen Battle, André Previn, Royal Philharmonic Orchestra (London) - Vorrei Spiegarvi Oh Dio...Ah Conte (Kv 418) Album: Arior Kompositör: Wolfgang Amadeus Mozart Bolag: EMI 12:40 Barbara Hendricks, Neville Marriner, Academy Of Saint Martin-In-The-Fields (London), Justin Sillman - Mässa Nr 18 C-Moll Kv 427: Nr 14, Et Incarnatus Est Album: Airs Sacrés Kompositör: Wolfgang Amadeus Mozart Bolag: EMI 12:46 Barbara Hendricks, Neville Marriner, Academy Of Saint Martin-In-The-Fields (London), Justin Sillman - Mässa Nr 18 C-Moll Kv 427: Nr 14, Et Incarnatus Est Album: Airs Sacrés Kompositör: Wolfgang Amadeus Mozart Bolag: EMI 12:49 Hans Pålsson - Fantasi För Piano Kv 396 C-Moll Album: Sonatas And Fantasias Kompositör: Wolfgang Amadeus Mozart Bolag: CHAMBER SOUND 12:55 Hans Pålsson - Fantasi För Piano Kv 396 C-Moll Album: Sonatas And Fantasias Kompositör: Wolfgang Amadeus Mozart Bolag: CHAMBER SOUND 12:58 Cheryl Studer, Neville Marriner, Academy Of Saint Martin-In-The-Fields (London) - La Clemenza Di Tito: Nr 23, Akt 2, "Non Piu Di Fiori"      Album: Queen Of The Night      Kompositör: Wolfgang Amadeus Mozart     Bolag: PHILIPS

We’re concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today’s episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra.  Lieberman has performed with many of the world’s greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble’s leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series “Barry Lieberman and Friends” at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.

We’re concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today’s episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra.   Lieberman has performed with many of the world’s greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble’s leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series “Barry Lieberman and Friends” at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.

This week's Contrabass Conversations episode features the second half of our interview with double bassist Guy Tuneh, conducted over a distance of thousands of miles. It was a real pleasure to get to sit down and chat with Guy--he's a warm, intelligent, and passionate individual, and these traits come through in his speaking just like they do in his bass playing. You can visit him online at www.guytuneh.com. You will also get a chance to hear the great jazz bassist Brian Bromberg perform and hear some bass playing from L.A. bassist Nam Chi Vu. Enjoy! Guy D. Tuneh dedicates his work to challenging the traditional role of the bass player, and to stretching the limits of bass-playing. Beyond approaching the double bass literature from a new direction, these goals are achieved by performing music which until now was considered impossible to perform on this instrument. For example, he was the first bass player to ever perform an un-transcribed version of the Tchaikovsky’s Rococo Variations in concert, achieving a higher standard of technical and artistic level. Guy Tuneh set a landmark in double bass performing - to be the first Bass-Solist to ever perform an un-transcribed version of the Elgar cello concerto and Villa Lobos Fantasia for Cello on bass in concert and to be the first Bass-solist to perform first time ever an un-transcribed version of the both Beethoven F and G Violin Romances on double bass in concert, Paganini's Cantabile in D, Capriccio Nr. 9 as an un-transcribed version and an un-transcribed version of Mozarts Rondo C-Major for Violin, Sonata KV 301 for Violin in G and Mahlers Lieder eines fahrenden Gesellen for low voice on double bass as well. Guy Tuneh has set a personal goal to combine passion, personality, character, and unique technique, in his approach to music performance. Aiming at winning over wide and diverse audiences, he constantly seeks new challenges. Coming from a deep and intense personal involvement, his performances attempt to deliver strong massages to the audience and result in intense, captivating, and awe-inspiring experiences. Guy D. Tuneh has been studying in Germany and Switzerland and performing internationally, Mr.Tuneh has been active as a solo performer and chamber musician. Having begun as a violin student at the age of 6, he was drawn to the tone color of the double bass, joining Michael Klinghoffer's bass studio at the S. Rubin Academy of Music at Tel Aviv University. Later, he continued his bass studies under Barbara Sanderling at the Hochschule Für Musik "Hanns Eisler" in Berlin, which followed a Solo Artist Diploma at the Music Academy Basel in Switzerland. Additionally, he took master classes with Yoan Goilav, Gary Karr and Miloslav Gajdos. Guy Tuneh's orchestra performances included engagements as a principl bassist with the Berliner Kammeroper, Mendelssohn Players Berlin, Ensemble "Echo" of the Deutsche Staatsoper Berlin, and the West-Eastern Divan Orchestra (Winner of ECHO–Klassik AWARD 2006 & ECHO-Klassik AWARD 2007) under Daniel Barenboim. These performances, which included chamber music collaborations with Mr. Barenboim were recorded for the ORF (National Austrian Public Service) at the Salzburg Festival and at the Lucerne Festival, along with many other performances on German radio and TV. He also performed with Theater Erfurt, Solistes Européens Luxembourg, with the NDR (North German Radio Orchestra - Hannover) and Ensemble Modern. As an orchestra bassist Mr. Tuneh performed under such distinguished conductors as Kurt Sanderling, Zubin Mehta, Sir Simon Rattle, Nicolas Harnoncourt and Pierre Boulez. Winner of a Villa Musica Scholarship, Guy Tuneh has performed all over Germany as a Soloist and as a chamber musician to great acclaim, and participated in Solo and chamber music performances recorded by the (Southwest German Radio). These performances included collaborations with members of Ensemble Villa Musica. Mr. Tuneh participated at festivals such as the "Verbier Festival", "Festival di Musica d'Insieme di Sessa Aurunca", "Fètes musicales en Touraine", "Busan Maru International Music Festival" and the "Internationales Bodenseefestival". Guy Tuneh's performances as a solo performer and chamber musician included collaborations with Vesselina Kasarova, Natalia Gutman, Rainer Kussmaul, Heinz Holliger, Ensemble-Modern, The Baltic Guitar Quartet, The Berlin Chamber Orchestra, Kammersolisten der Deutschen Oper Berlin, Ensemble Les Dissonances and other distinguished musicians. Mr. Tuneh maintains an active double bass teaching career, giving master classes world wide. Learn more at guytuneh.com.

Guy D. Tuneh dedicates his work to challenging the traditional role of the bass player, and to stretching the limits of bass-playing. Beyond approaching the double bass literature from a new direction, these goals are achieved by performing music which until now was considered impossible to perform on this instrument. For example, he was the first bass player to ever perform an un-transcribed version of the Tchaikovsky’s Rococo Variations in concert, achieving a higher standard of technical and artistic level. Guy Tuneh set a landmark in double bass performing - to be the first Bass-Solist to ever perform an un-transcribed version of the Elgar cello concerto and Villa Lobos Fantasia for Cello on bass in concert and to be the first Bass-solist to perform first time ever an un-transcribed version of the both Beethoven F and G Violin Romances on double bass in concert, Paganini's Cantabile in D, Capriccio Nr. 9 as an un-transcribed version and an un-transcribed version of Mozarts Rondo C-Major for Violin, Sonata KV 301 for Violin in G and Mahlers Lieder eines fahrenden Gesellen for low voice on double bass as well. Guy Tuneh has set a personal goal to combine passion, personality, character, and unique technique, in his approach to music performance. Aiming at winning over wide and diverse audiences, he constantly seeks new challenges. Coming from a deep and intense personal involvement, his performances attempt to deliver strong massages to the audience and result in intense, captivating, and awe-inspiring experiences. Guy D. Tuneh has been studying in Germany and Switzerland and performing internationally, Mr.Tuneh has been active as a solo performer and chamber musician. Having begun as a violin student at the age of 6, he was drawn to the tone color of the double bass, joining Michael Klinghoffer's bass studio at the S. Rubin Academy of Music at Tel Aviv University. Later, he continued his bass studies under Barbara Sanderling at the Hochschule Für Musik "Hanns Eisler" in Berlin, which followed a Solo Artist Diploma at the Music Academy Basel in Switzerland. Additionally, he took master classes with Yoan Goilav, Gary Karr and Miloslav Gajdos. Guy Tuneh's orchestra performances included engagements as a principl bassist with the Berliner Kammeroper, Mendelssohn Players Berlin, Ensemble "Echo" of the Deutsche Staatsoper Berlin, and the West-Eastern Divan Orchestra (Winner of ECHO–Klassik AWARD 2006 & ECHO-Klassik AWARD 2007) under Daniel Barenboim. These performances, which included chamber music collaborations with Mr. Barenboim were recorded for the ORF (National Austrian Public Service) at the Salzburg Festival and at the Lucerne Festival, along with many other performances on German radio and TV. He also performed with Theater Erfurt, Solistes Européens Luxembourg, with the NDR (North German Radio Orchestra - Hannover) and Ensemble Modern. As an orchestra bassist Mr. Tuneh performed under such distinguished conductors as Kurt Sanderling, Zubin Mehta, Sir Simon Rattle, Nicolas Harnoncourt and Pierre Boulez. Winner of a Villa Musica Scholarship, Guy Tuneh has performed all over Germany as a Soloist and as a chamber musician to great acclaim, and participated in Solo and chamber music performances recorded by the (Southwest German Radio). These performances included collaborations with members of Ensemble Villa Musica. Mr. Tuneh participated at festivals such as the "Verbier Festival", "Festival di Musica d'Insieme di Sessa Aurunca", "Fètes musicales en Touraine", "Busan Maru International Music Festival" and the "Internationales Bodenseefestival". Guy Tuneh's performances as a solo performer and chamber musician included collaborations with Vesselina Kasarova, Natalia Gutman, Rainer Kussmaul, Heinz Holliger, Ensemble-Modern, The Baltic Guitar Quartet, The Berlin Chamber Orchestra, Kammersolisten der Deutschen Oper Berlin, Ensemble Les Dissonances and other distinguished musicians. Mr. Tuneh maintains an active double bass teaching career, giving master classes world wide. Learn more at guytuneh.com.