Podcasts about landowska

durée : 00:10:34 - Disques de légende du jeudi 27 février 2025 - En 1949, Wanda Landowska a 70 ans ; cela fait déjà 10 ans qu'elle s'est exilée aux Etats-Unis. C'est donc à Lakeville, dans le Connecticut, qu'elle grave le Clavier bien tempéré de Bach...

durée : 00:10:34 - Disques de légende du jeudi 27 février 2025 - En 1949, Wanda Landowska a 70 ans ; cela fait déjà 10 ans qu'elle s'est exilée aux Etats-Unis. C'est donc à Lakeville, dans le Connecticut, qu'elle grave le Clavier bien tempéré de Bach...

Carlos Iribarren | Uno de los personajes más apasionantes en la música del siglo XX fue una mujer nacida en Polonia y que influyó de manera notable (e incluso sobresaliente) en otros nombres muy importantes que compartieron con ella época y pasión. Nos referimos a la pianista, clavecinista y compositora Wanda Landowska, impulsora del resurgir de un instrumento que llevaba tiempo dormitando y volvió a suscitar el interés de algunos grandes autores como Falla, Poulenc o Martinu. Para conocer mejor a esta ilustre mujer, nos ha visitado Sonia Gonzalo, musicóloga, historiadora del arte y gestora cultural en la Fundación Juan March, en cuya sede de Madrid y algún otro emplazamiento se van a celebrar 3 conciertos con Landowska como protagonista, con música irresistible y cuyo contenido te desvelamos en esta nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

durée : 00:27:42 - Les Nuits de France Culture - par : Albane Penaranda - Francis Poulenc, compositeur et pianiste évoque, dans cet entretien de 1953, ses œuvres pour piano et orchestre. Il analyse son rapport amour-haine avec le piano et, sur un mode moins passionnel, l'amitié profonde qui le lie à Wanda Landowska, pianiste, compositrice et claveciniste. Episode 7/18. - invités : Francis Poulenc Compositeur et pianiste français

El 20 de septiembre de 1940, en St Leu la Foret, cerca de París, Wanda Landowska, de origen judío polaco, una inmensa artista, clavecinista y especialista mundial en Bach, fue despojada por completo de su propiedad por un comando nazi dirigido por el ERR de Alfred Rosenberg, responsable del robo de instrumentos musicales, partituras y bibliotecas musicales de prestigio, entre otros bienes culturales. Consciente del peligro, Landowska ya había salido de París en junio, cuando llegaron los camiones de mudanza. Salen con 60 cajas, algunas de las cuales contienen instrumentos musicales muy antiguos de valor inestimable. El caso nº 57 contiene el mayor tesoro de este decomiso: el piano en el que Chopin habría compuesto sus famosos "Preludios" durante su estancia en la Cartuja de Valldemossa, cerca de Palma de Mallorca. ¿Qué pasó con los tesoros artísticos musicales robados por toda Europa entre 1940 y 1944? Robando instrumentos, partituras, bibliotecas, matando a músicos, compositores e intérpretes judíos, el Tercer Reich quiso hacer desaparecer asesinando su música y su alma, sus tradiciones, su folklore, toda una cultura. Al explotar, con fines propagandísticos y de hegemonía cultural, la música incluso en los campos de exterminio, los nazis intentaron silenciar la identidad musical del pueblo judío.

Synopsis The piano became the dominant keyboard instrument in Mozart's lifetime in the late 18th century. Before that, the harpsichord had ruled. But for more than a hundred years after Mozart's day, the harpsichord seemed as dead as the dodo, and even the great harpsichord works of Bach and other early 18th century masters were always played on the piano—that is, until Wanda Landowska came on the scene. This indomitable woman was born in Warsaw, Poland, in 1879, and single-handedly brought the harpsichord back to life. It was on today's date in 1927 that she inaugurated an historic series of harpsichord concerts at her summer home near Paris—and, two years later, in 1929, Landowska premiered the “Concert champêtre,” by Francis Poulenc, a brand new harpsichord concerto written specially for her. Very much in the spirit of Wanda Landowska, the contemporary composer and performer Barbara Harbach is in the vanguard of today's advocates for the harpsichord. A passionate advocate for new music, she has recorded several compact discs of “20th Century Harpsichord Music” for the Gasparo label, featuring works by American composers from Samuel Adler to Ellen Taafe Zwillich. Music Played in Today's Program J. S. Bach (1685-1750) – Little Prelude in C, S. 934 (Wanda Landowska, harpsichord) Pearl 9489 Barbara Harbach (b. 1946) – Cante Flamenco, from Tres Danzas para Clavecin (Barbara Harbach, harpsichord) Gasparo 290

Odcinek #59, w którym siedzimy z Ewą Landowską w Chederze na krakowskim Kazimierzu i rozmawiamy o literach. Pojawiają się pierwsze zeszyty Ewy oraz zeszyty Zośki. Jest H jak historia liter i C jak czas na naukę pisania. Przychodzą D jak dialog między tym co piszemy, a jak mówimy i podwójne K jak Konstytucja i kaligrafia. Zastanawiamy się, kiedy skończyła się staranność pisania. I powracamy do pióra i pytań elementarnych o kształty liter zawartych w książce „Elementarz do nauki pisania i czytania ułożony według metody nauki pisania”.

- Teatr nadal ma siłę przenoszenia widza w inny wymiar. Kochamy scenę, dobrze się na niej czujemy, dziękujemy, że możemy tam być i grać. A publiczność tak licznie przychodzi nas zobaczyć - mówiła na antenie Dwójki aktorka Dorota Landowska, grająca postać Warii w "Wiśniowym sadzie" Antoniego Czechowa.

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Episode 12, 2020: de Falla’s Concerto for Harpsichord Wednesday 23 September 2020 When pianist Wanda Landowska asked composer Manuel de Falla to write a composition inspired by Baroque music, she envisioned the piece to be played on a harpsichord. To this end, Landowska also commissioned the French firm Pleyel to build the instrument for her which they indulged with four 7-and-a-half feet long harpsichords made up of metal frames more powerful than any harpsichord known to JS Bach. Although it took him three years to complete, de Falla, a devout Catholic, was able to translate his love for rituals and sacraments into his music. In the second movement of the composition, one can hear solemn plainchants and the clanging of cathedral bells in the bass notes of the cathedral which were inspired by the yearly Corpus Christi procession the composer witnessed in Seville, Spain in 1922. Even without the magnificent harpsichords that the composition was first performed on, ANAM Associate Artist Peter de Jager was still able to give justice to the composition when he performed it with fellow ANAM musicians in 2014. Both Peter and Phil Lambert (ANAM Music Librarian) agree that de Falla envisioned this piece with big sonorous sounds, so suitable amplification of the harpsichord is needed for its sound to match the rest of the ensemble. In this ANAM Radio episode, Peter further talks about how de Falla was able to come up with a composition of great strength that seems to look beyond the instrument. The performance featured here is from ANAM alumna Jessica Foot’s fellowship concert in 2014. Watch the video recording at https://www.youtube.com/watch?v=a-cb5tIip04&feature=youtu.be

Zocha, która naprawdę nie jest postacią w którą chce się od razu wskakiwać, bo to bardzo dziwna konstrukcja. Ale także jest to kobieta zdecydowana, artystka z krwi i kości, którą potem i teraz bardzo pokochałam. Za ogień, bezkompromisowość. Za to, że dowiaduję się od niej co to znaczy być artystą. - opowiadała

Dominique Phinot's giljotinering 1556, Orfeusmyten med bögförtecken, Saint-Saëns i svandun, lesbiska symaskinsprinsessan de Polignac, Polarpristagaren Pierre Boulez och tonsättaren Thomas Adès. Tonsättaren R. Timothy Brady's opera Edalat Square hade premiär i Atlanta, USA, och handlar om två tonårskillar som 2005 avrättas i Iran för att de älskade män. Sedan den iranska revolutionen 1979 har ca 4 000 människor avrättats I Iran p g a lavaat, sex mellan män.I  Tjajkovskijs Ryssland är homosexualitet kriminellt ända till 1993, i Schuberts Österrike är homosexualitet olagligt ända till 1971. I Händels, Brittens och Pears England fram till 1967. I dagens Sverige, där samkönat sex varit tillåtet sedan 1944, vågar inte en homosexuell musikprofessor och en lesbisk sopran komma ut ur garderoben 2006. Medan Stockholms Gaykör firar 25 år i konfetti och tårar.Om programserien: "Det osynligas piano" - konstmusik komponerad på homoerotik och lesbiska passioner. Phinot I giljotinen. Corelli & Händel som Orfeus. Landowska och Boulanger i svatsjukedrama. Tjajkovskij och Saint-Saëns i svandun. Ravel i garderoben och Poulenc kommer ut. Ethel Smyth älskar symaskinsprinsessan. Horowitz' piller hjälper inte. Blitzstein och Vivier mördas. Oliveros rädd, lyssnar djupt. Meredith Monk ropar. Musikprofessor kränkt. Sopran tystnar. Musiklexikon censurerar. Thomas Adès gift. Schubert, Janne & Sverker Åström. Tiina, Stella, Ira och Gardeman. Tonårsbögar hängs I Iran Timothy skriver opera. Låtlista: När jag för mig själv i mörka skogen går Wilhelm Peterson-Berger (1867-1942) Stella Scott, sopran. The Hermiatge Orchestra. dir. Mats Liljefors   Live i S:t Petersburg Ur operan Edalat Square R Timothy Brady Liveinspelning I Atlanta 2007. Geschwinde, ihr wirbelnden Winde, BWV 201 Aria: Mit Verlangen druck ich deine zarten Wangen (Bass) BACH, J.S. Stuttgart Gachinger Kantorei  Stuttgart Bach Collegium  Helmuth Rilling, Conductor. Sibylla Rubens, soprano / Ingeborg Danz, alto / Lothar Odinius, tenor / James Taylor, tenor / Matthias Goerne, baritone / Dietrich Henschel, bass BACH, J.S.: Contest Between Phoebus and Pan (The), BWV 201 (Secular Cantata) Hännsler CLASSIC CD92.061 (NAXOS) VIVONS MAMYE ET LAMOUR POURSUYVONS Motett PHINOT, DOMINIQUE. CATULLUS, GAJUS VALERIUS HUELGAS ENSEMBLE. Van, dirigent Inspelad: BELGIEN  2000 Lent Barraqué, Jean Herbert Henck, piano Barraque, Jean - Sonate Pour Piano ECM NEW SERIES 1621 453 914-2 Varjele, Jumala, soaste Veljo Tormis Stockholms Gaykör Kärlek förändrar allt Inspelat maj 2006 Nybrokajen 11 Sonata XII Movement 2 Allegro Arcangelo Corelli (1653-1713) Hugo Reyne, blockflöjt m fl Corelli : Christmas Concerto Opus 111 Concerto XI Con Quattro Violini Obligati In A Op 7 Presto Guiseppe Valentini Adrian Chandler, Violin And Conductor Mhairi Lawson Soprano The Rise Of The North Italian Violin Concerto: 1690-1740 AVIE AV2106 Oboe Sonata In G Minor, HWV 404 - 1. Andante Emma Kirkby, Charles Medlam; London  Baroque Händel, Georg Friedrich Handel: Sacred Cantatas BIS-CD-1065 Mut! Schubert, Franz Benjamin Britten; Peter Pears Schubert Winterreise (D. 911) Benjamin Britten 1963 Decca 466 382-2 DECCA 417 473-2 Quintet - Third Movement Adés, Thomas Adés, Thomas, piano; Arditti Quartet Adés Schubert Piano Quintets EMI Classics 7243 5 57664 2 Valse Scherzo, Op. 34 Piotr Ilich Tchaikovsky (1840-93) Itzhak Perlman, violin, Yuri Temirkanov; Leningrad Philharmonic Orchestra Tchaikovsky Gala In Leningrad RCAVictor Red Seal RD60739 Chansons Francaises, Op. 65 - 6. Rondel Piotr Ilich Tchaikovsky (1840-93) Jessye Norman. Evgeni Shenderovich Tchaikovsky Gala In Leningrad RCAVictor Red Seal RD60739 Da, Chas Nastal! - Prostite VI The Maid Of Orleans Tchaikovsky, Peter Ilych (1840-1893) Olga Borodina Olga Borodina - Arias - Orchestra Of The Welsh National Opera - Carlo Rizzi PHILIPS 446 663-2 The Swan Camille Saint-Saëns Clara Rockmore And Nadia Reisenberg Gravikords, Whirlies & Pyrophones ellipsis arts CD3530 Pavane pour une infante defunte Ravel, Maurice (1875-1937) Pierre Boulez, dir. The Cleveland Orchestra Ravel, Debussy - Voice & Orchestra Works DG 471 614-2

Wanda Landowska var en av 1900-talets tidiga förkämpar för cembalomusikens återuppväckande. 1900 flyttade Landowska till Paris och studerade 1600- och 1700-talens musik ur alla aspekter. Hon spelade Bachs cembalokonserter på piano, men blev övertygad om att det enda riktiga var att spela dem på cembalo. Till sina konserterturnéer lät hon bygga en tvåmanualig cembalo hos Pleyel. 1925 grundade hon en skola för tidig musik norr om Paris, som hon tvingades lämna 1940 när tyskarna närmade sig. Efter Andra världskriget bosatte hon sig i USA. Genom sin forskning, sina böcker och inspelningar fick hon ett stort inflytade på 1900-talets uppfattning av den historiska cembalomusiken. Mer information på sverigesradio.se/p2

Wanda Landowska var en av 1900-talets tidiga förkämpar för cembalomusikens återuppväckande. 1900 flyttade Landowska till Paris och studerade 1600- och 1700-talens musik ur alla aspekter. Hon spelade Bachs cembalokonserter på piano, men blev övertygad om att det enda riktiga var att spela dem på cembalo. Till sina konserterturnéer lät hon bygga en tvåmanualig cembalo hos Pleyel. 1925 grundade hon en skola för tidig musik norr om Paris, som hon tvingades lämna 1940 när tyskarna närmade sig. Efter Andra världskriget bosatte hon sig i USA. Genom sin forskning, sina böcker och inspelningar fick hon ett stort inflytade på 1900-talets uppfattning av den historiska cembalomusiken. Mer information på sverigesradio.se/p2

Wanda Landowska var en av 1900-talets tidiga förkämpar för cembalomusikens återuppväckande. 1900 flyttade Landowska till Paris och studerade 1600- och 1700-talens musik ur alla aspekter. Hon spelade Bachs cembalokonserter på piano, men blev övertygad om att det enda riktiga var att spela dem på cembalo. Till sina konserterturnéer lät hon bygga en tvåmanualig cembalo hos Pleyel. 1925 grundade hon en skola för tidig musik norr om Paris, som hon tvingades lämna 1940 när tyskarna närmade sig. Efter Andra världskriget bosatte hon sig i USA. Genom sin forskning, sina böcker och inspelningar fick hon ett stort inflytade på 1900-talets uppfattning av den historiska cembalomusiken. Mer information på sverigesradio.se/p2

Wanda Landowska var en av 1900-talets tidiga förkämpar för cembalomusikens återuppväckande. 1900 flyttade Landowska till Paris och studerade 1600- och 1700-talens musik ur alla aspekter. Hon spelade Bachs cembalokonserter på piano, men blev övertygad om att det enda riktiga var att spela dem på cembalo. Till sina konserterturnéer lät hon bygga en tvåmanualig cembalo hos Pleyel. 1925 grundade hon en skola för tidig musik norr om Paris, som hon tvingades lämna 1940 när tyskarna närmade sig. Efter Andra världskriget bosatte hon sig i USA. Genom sin forskning, sina böcker och inspelningar fick hon ett stort inflytade på 1900-talets uppfattning av den historiska cembalomusiken. Mer information på sverigesradio.se/p2

Harpsichordist Skip Sempé performed on Wanda Landowska's unique Pleyel instrument and on her clavichord, speaking about her Bach performances and the Library's substantial Landowska archives. For captions, transcript, and more information visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=5986