Podcasts about Ludovic Morlot

James Robinson, new General and Artistic Director of Seattle Opera, introduces the 2025/26 season. The Pirates of Penzance promises a musically extraordinary operatic approach to Gilbert & Sullivan; come prepared to laugh and to enjoy some familiar music as you've never heard it before. Daphne In Concert offers a rare opportunity to hear a lush Romantic masterpiece by Richard Strauss, an orchestral tour de force with splendid voices. Fellow Travelers, by Gregory Spears & Greg Pierce, is one of the most successful new American operas of the past decade: a bittersweet gay romance hidden inside a political thriller. And Carmen returns in a powerful production conducted by Seattle's beloved Ludovic Morlot and starring some of our favorite singers. Musical examples include excerpts from a 1959 Glyndebourne Pirates of Penzance, conducted by Malcolm Sargent and starring George Baker, Elsie Morison, and James Milligan; the 1964 Vienna Festival Daphne conducted by Karl Böhm and starring Hilde Gueden, Fritz Wunderlich, and James King; the recording of Fellow Travelers' world premiere, 2016 at Cincinnati Opera and starring Aaron Blake, Joseph Lattanzi, and Devon Guthrie, with the Cincinnati Symphony conducted by Mark Gibson; and Seattle Opera recordings of Carmen from 2019, Les Troyens from 2025, starring J'Nai Bridges and conducted by Ludovic Morlot, and Hansel und Gretel from 2016 starring Sasha Cooke and conducted by Sebastian Lang-Lessing.

UPPLÄSNING: Monica Wilderoth Lyssna på alla avsnitt i Sveriges Radio Play. TEMA: POESI OM KLIMAT OCH MILJÖDIKT: ”Resan till trädkronorna” av Elsa GraveDIKTSAMLING: Evighetens barnbarn (Norstedts, 1982) Hämtad ur Dikter (Norstedts, 2018)MUSIK: Gabriel Fauré: La fileuse ur Pelléas och MélisandeEXEKUTÖR: Seattles symfoniorkester, Ludovic Morlot, dirigent

Synopsis In Toronto on today's date in 2017 violinist James Ehnes gave the world premiere performance of a new violin concerto by the American composer Aaron Jay Kernis. The work was written specially for Ehnes and was a joint commission from orchestras in Toronto, Seattle, Dallas, and Melbourne. Shortly after the Toronto premiere, Ehnes performed the new concerto in Seattle with the Seattle Symphony and conductor Ludovic Morlot. A live recording of that Seattle performance was released on compact disc and was awarded not one, but TWO Grammy Awards in 2019: it was chosen as “Best Contemporary Classical Composition” and snagged the highly-competitive “Best Classical Instrumental Solo” prize. The three movements of Kernis Violin Concerto demand incredible virtuosity from the soloist, and Ehnes was up to the challenge. “James Ehnes is a truly spectacular musician and collaborator,” said Kernis. “James took everything I threw at him with good humor and generosity, and made the knuckle-busting passages and everything else I gave him sound absolutely dazzling.” As part of the commissioning agreement, Ehnes was granted exclusive performing rights of the new concerto for five years – so audiences will have to wait until March 2021 to hear if other violinist choose to tackle the demanding new Kernis Concerto! Music Played in Today's Program Aaron Jay Kernis (b. 1960) Violin Concerto James Ehnes, violin; Seattle Symphony; Ludovic Morlot, conductor. Onyx CD 4189

Composer and USC educator Veronika Krausas discusses Shostakovich, Prokofiev and contemporary composer Anna Thorvaldsdottir. This talk was given at the first performance of Shostakovich and Prokofiev with Ludovic Morlot at Walt Disney Concert Hall. Pieces discussed: Anna THORVALDSDÓTTIR Metacosmos PROKOFIEV Piano Concerto No. 1, in D-flat major, Op. 10 SHOSTAKOVICH Symphony No. 10 See this year's Upbeat Live schedule at: laphil.com/ubl. Join us in person for our 2021/22 season! Get tickets: laphil.com/calendar.

Episode 5. I am so excited and thankful to have the opportunity to sit down with 2X Grammy Award Winner, 5X Grammy Award Nominee, and Former Music Director of Seattle Symphony. Subscribe to VirtualCoffeeHouse YouTube Channel：https://youtube.com/channel/UCGdkbrfdBMhAFu4R3mwf5tQ Follow VirtualCoffeeHouse: Instagram: https://www.instagram.com/hpmspodcast/ TikTok: https://www.tiktok.com/@hpmspodcast? Facebook: https://www.facebook.com/profile.php?...

Synopsis On today's date in 1903, violinist and conductor Harry West led the very first performance by the Seattle Symphony. At that time, the orchestra comprised just 24 players. For their first program, the aptly named Maestro “West” conducted Schubert and Rossini, two long-dead classical masters, and also programmed works by three living composers: Max Bruch, Jules Massenet, and Pablo Sarasate. More recently, under music director Gerard Schwarz, the Seattle Symphony earned worldwide attention with its recordings of both classical and contemporary works, including critically acclaimed recordings of symphonic works by modern American masters like Howard Hanson, David Diamond, and Alan Hovhaness, as well as newer pieces by a younger generation of American composers including Richard Danielpour and Stephen Albert.That tradition continued under Gerard Schwarz's successor Ludovic Morlot, who took particular interest in fostering music from Seattle composers, including composers within the orchestra itself. And the Seattle Symphony commissioned and premiered a work by the American composer John Luther Adams entitled “Become Ocean,” which went on to win the 2014 Pulitzer Prize for Music and the 2015 Grammy Award for Best Classical Contemporary Composition. Music Played in Today's Program Max Bruch (1838–1920) — Violin Concerto No. 2, Op. 44 (Nai-Yuan Hu, violin; Seattle Symphony; Gerard Schwarz, cond.) Delos 3156 John Luther Adams (b. 1953) – Become Ocean (Seattle Symphony; Ludovic Morlot, cond.) Cantaloupe 21161

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This week, we start out with a rousing round of Two Truths and a Lie and then we move on to our three topics:FRENCH CULTURAL HIGHS AND LOWS €300 Culture Passes for TeensPretty Yende Strip-Searched in Paris OUTLANDISH FRENCH ENSEMBLE NAMESLUDOVIC MORLOT ON FRENCH MUSICCLASSICAL MIXTAPEThe full playlistLudovicDalbavie, La source d'un regardWillStravinsky, Fantaisie sur PetrouchkaTiffanyVincent d'Indy, Symphony on a French Mountain AirKenshoFlorent Schmitt, La Tragédie de SaloméTHINK YOU CAN STUMP US? GO AHEAD AND TRY!Google Form for “Name that Tune: Stump the Hosts Edition” You can reach us at classicalgabfest@gmail.com and on social media:FacebookTwitterInstagram

Ludovic Morlot and I had such a lovely time chatting and what a charming gentleman he is. I discover what rather unconventional methods he was taught in his very first conducting lessons, how the eruption of Eyjafjallajökull in Iceland had an effect on his career, and which two conductors he likens to Federer and Nadal! If you would like to support the podcast, why not subscribe at https://www.patreon.com/amiconthepodium, and for the price of a glass of wine once a month, you can access two new series of interviews, articles, and much more. Alternatively, if you would prefer to make a one-off donation, go to https://www.justgiving.com/crowdfunding/a-mic-on-the-podium and any donation you make will be greatly appreciated!  

Ep. 139: Rose Gear, executive director and bassist. Let's Talk Off The Podium with Tigran Arakelyan. In this episode Rose speaks about her passion for hiking, capoeira, professional career as a bassist, move to PNW to work with the Seattle Symphony and Ludovic Morlot, finding a new bass, working as a Executive Director and more. Rose Gear, an experienced music and arts administrator, business professional and musician, has been appointed full-time executive director of the Cascade Symphony Orchestra by the organization’s board of directors. Gear, who has served as executive assistant to the Seattle Symphony’s music director, Ludovic Morlot, during the past four years, will be the CSO’s administrative leader, working with board members to establish and achieve the mission and values of the orchestra. She will manage business affairs and advocacy in addition to directing community relations and fundraising for the 57-year old nonprofit music organization. She will also work with Cascade Symphony Music Director Michael Miropolsky. The current Seattle area resident “graduated with distinction,” earning a bachelor’s degree in music from the University of Wisconsin. She also received an MBA – with a specialty in arts administration – from the same institution. Her background with the Seattle Symphony includes experience in marketing; patron, board member, volunteer and donor relations; and concert venue management. Prior to relocating to Western Washington, she served for a year in marketing for the Madison (Wisconsin) Symphony. © Let's Talk Off The Podium, 2020

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Ep. 102: Ludovic Morlot, conductor. Let's Talk Off The Podium with Tigran Arakelyan. Following eight years as Music Director, Ludovic Morlot is now Conductor Emeritus of the Seattle Symphony. His tenure in Seattle formed a hugely significant period in the musical journey of the orchestra. Ludovic’s innovative programming encompassed not only his choice of repertoire, but theatrical productions and performances outside the traditional concert hall space. There were numerous collaborations with musicians from different genres, commissions and world premieres. Some of these projects, including John Luther Adams’ Become Ocean, Aaron Jay Kernis’ Violin Concerto performed by James Ehnes and an exploration of Dutilleux’s music, have earned the orchestra five Grammy Awards, as well as the distinction of being named Gramophone’s 2018 Orchestra of the Year. Under Ludovic’s baton, 19 recordings have been released under the Seattle Symphony Media label which was launched in 2014. In this podcast we talk about Ludovic's departure from the Seattle Symphony, the groundbreaking initiatives he was able to create during his time with the SSO and his passion for tennis. We also talk about life changing moments, interest in orchestrating, composing, writing and much more. For more information about Ludovic Morlot please visit: https://ludovicmorlot.com/ © Let's Talk Off The Podium, 2020

Brendan Fitzgerald blog postQuestions about Brendan's audition prep? I'm happy to answer them! - Click here to schedule a 30 minute meeting!A San Diego native and avid disc golfer, Brendan Fitzgerald joined the St. Louis Symphony in September 2019 after spending two seasons with the Seattle Symphony. During this time, he performed on numerous recording projects with Ludovic Morlot, including the recent commercial releases of Marc-André Dalbavie’s Cello Concerto, John Luther Adams’ Become Desert, and Berlioz’s Requiem.Fitzgerald began his musical studies in elementary school on piano and trumpet before discovering the electric bass in eighth grade. He played in multiple punk, metal, and acoustic folk bands before deciding to devote himself more fully to the study of orchestral literature, studying with Travis Gore, a current member of the Seattle Symphony. After some time in the San Diego Youth Symphony, he attended Interlochen Arts Academy as a senior, before pursuing a Bachelor’s degree in Double Bass Performance at Northwestern University. In 2012, he enjoyed a revelatory summer at Domaine Forget, where he worked closely with renowned pedagogues Paul Ellison and David Allen Moore. He then attended the Aspen Music Festival in 2016 and 2017 as a fellowship recipient, performing alongside members of the Pittsburgh, Dallas, St. Louis, and San Francisco symphonies.Fitzgerald’s strongest influence and mentor is his undergraduate teacher, Northwestern University bass professor Andy Raciti, with whom he had the honor to perform alongside as a frequent substitute musician with the Milwaukee Symphony Orchestra. He is excited to begin work with Stepháne Denève and the rest of his SLSO colleagues, as well as enjoy the finest barbecue in the country.Support the show (https://thatsnotspit.com/support/)

In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Opéra comique, a native French form of lower-brow musical theater, features spoken dialogue, catchy tunes with easy-to-sing refrains, and middle-class values. Many of the opéra-comiques still performed today (including Carmen, The Daughter of the Regiment, and Beatrice and Benedict, as well as opéra-comique derivatives such as Faust and The Tales of Hoffmann) deal, sentimentally or ironically, with a way of life and a value system which now belongs mostly to ancient history. Musical examples on this podcast drawn from Seattle Opera recordings of Carmen, 2019, conducted by Giacomo Sagripanti; Beatrice and Benedict, 2018, conducted by Ludovic Morlot; Les contes d’Hoffmann, 2014, conducted by Yves Abel and starring Leah Partridge, Alfred Walker, and Tichina Vaughn; La fille du régiment starring Spiro Malas, Monica Sinclair, Joan Sutherland, and Luciano Pavarotti and conducted by Richard Bonynge (Decca 1967); Richard Coeur de Lion starring Michel Trempont and conducted by Edgard Doneux (EMI Classics 1956); and Faust, starring Victoria de los Angeles and Boris Christoff, conducted by André Cluytens (EMI 1953). Stay tuned for another podcast introducing another kind of opera next week!

In this episode, international soloist Stefan Jackiw talks to us about his journey overcoming a serious injury.  He tells us how he got injured, the steps he took to heal, the mental impact it had on him, and how he stays injury free. He also elaborates on: What his musicology studies brought to his playing What collaborating with other musicians mean to him Establishing strong fundamentals on the instrument How he maximizes his practice time His injury story: How it happened Facing the stigma attached to being an injured musician The mental impact it had on him and the new mindsets he developed as a result The reflection he did, the changes he implemented and how he overcame it How he modified his setup and technique as a result How he remains injury free The very important concept of surrendering in practicing How our level of stress and the amount of pressure we tolerate affects our playing How to plan practice     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use every day!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we're currently discussing The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT STEFAN JACKIW: Website: https://stefanjackiw.com/ YouTube: https://www.youtube.com/results?search_query=stefan+jackiw Instagram: https://www.instagram.com/stefanjackiwviolin/ Facebook: https://www.facebook.com/StefanJackiw/   Stefan Jackiw is one of America's foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of "uncommon musical substance" that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. This season, he will re-unite with Juraj Valcuha to make his debut with the Konzerthaus Orchestra Berlin performing Korngold's Violin Concerto. He also returns performing Stravinsky to the Bournemouth Symphony with Kirill Karabits, the Helsinki Philharmonic with Hans Graf, and the RTÉ National Symphony in Dublin with Leonard Slatkin.  Other highlights include performances with the San Diego Symphony and Rafael Payare, the Indianapolis and Baltimore Symphonies with David Danzmayr, and the Omaha Symphony. In recital, Stefan continues touring the complete Ives Sonatas with Jeremy Denk, with whom he has recorded the sonatas for future release on Nonesuch Records. He also appears on tour with harpsichordist Mahan Esfahani, exploring works for violin and harpsichord and featuring a new commission by Lester St. Louis, and continues to perform alongside pianist Conrad Tao and cellist Jay Campbell as part of the Junction Trio, with stops this season in Massachusetts, Washington D.C., Ohio, California, Texas, New Mexico, Florida, and more. Highlights of recent seasons include his debut with the Cleveland Orchestra and Juraj Valcuha, with whom he also re-united for performances in Dallas, Detroit, and Luxembourg; performances of Prokofiev's Second Violin Concerto at Carnegie Hall with Mikhail Pletnev, as part of a multi-city tour with the Russian National Orchestra; as well as performances with the St. Louis Symphony under Nicholas McGegan, the Minnesota Orchestra under Ilyich Rivas, the Rotterdam Philharmonic under Yannick Nézet-Séguin, the Indianapolis Symphony under Krzysztof Urbanski, and the Pittsburgh Symphony under Valčuha. Other highlights in Europe included his performances with the Netherlands Radio Symphony and Ludovic Morlot at the Concertgebouw. In Asia, Stefan has appeared with the Tokyo Symphony at Suntory Hall under the direction of Krzysztof Urbanski, and the Seoul Philharmonic under Venzago. He has also toured Korea, playing chamber music with Gidon Kremer and Kremerata Baltica. In Australia, Stefan toured with the Australian Chamber Orchestra play-directing Mendelssohn. He also gave the world premiere of American composer David Fulmer's Violin Concerto No 2 “Jubilant Arcs”, written for him and commissioned by the Heidelberg Festival with the Deutsche Kammerphilharmonie under Matthias Pintscher. Recital highlights have included his performances of the complete Ives violin Sonatas with Jeremy Denk at Tanglewood and Boston's Jordan Hall, and performance of the complete Brahms violin sonatas, which he has recorded for Sony. He also recently recorded the Beethoven Triple with Inon Barnatan, Alisa Weilerstein, Alan Gilbert and Academy St. Martin in the Fields. Jackiw has performed in numerous important festivals and concert series, including the Aspen Music Festival, Ravinia Festival, Caramoor International Music Festival, Schleswig-Holstein Music Festival, New York's Mostly Mozart Festival, the Philharmonie de Paris, Amsterdam's Concertgebouw, the Celebrity Series of Boston, and the Washington Performing Arts Society. As a chamber musician, he has collaborated with such artists as Jeremy Denk, Steven Isserlis, Yo-Yo Ma, and Gil Shaham, and forms a trio with Jay Campbell and Conrad Tao. At the opening night of Carnegie Hall's Zankel Hall in New York, Jackiw was the only young artist invited to perform, playing alongside such artists as Emanuel Ax, Renée Fleming, Evgeny Kissin, and James Levine. Born to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. He lives in New York City.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

We meet the occupant of the Charles Simonyi Principal Horn Chair in the Seattle Symphony. Jeffrey Fair has been playing in the SSO since 2003 when Gerard Schwarz was music director. In 2013 he won the principal horn position during Ludovic Morlot’s tenure as music director. Jeff Fair tells KING FM’s Dave Beck about Jeff’s journey as a musician from a grade school child picking up the french horn for the first time in Oklahoma, to performing the pinnacle horn solos of the symphonic repertory with one of the world’s finest orchestras, the Seattle Symphony.

Vi pratar Schönberg med redaktionens favoritviolinist Isabelle Faust och utnämner syskonen Tetzlaffs nya Dvorák-skiva till ett facit för hur pianotrior ska låta. KODÁLY ORCHESTRAL MUSIC Orkestermusik av Zoltán Kodály Ungerska statens symfoniorkester Ádám Fischer, dirigent Budapest festivalorkester Iván Fischer, dirigent Brilliant Classics 95603 Betyg: 4 AMERICAN CONCERTOS BAIBA SKRIDE Violinkonserter av Leonard Bernstein, Erich Wolfgang Korngold och Miklós Rósza Baiba Skride, violin Göteborgs symfoniker Tamperes filharmoniker Santtu-Matias Rouvali, dirigent Orfeo C 932 182 A Betyg: 5 DVORÁK PIANO TRIOS NOS. 3 & 4 Pianotrior av Antonín Dvorák Christian Tetzlaff, violin Tanja Tetzlaff, cello Lars Vogt, piano Ondine ODE 1316-2 Betyg: 5 BERLIOZ GRANDE MESSE DES MORTS Musik av Hector Berlioz Bergens filharmoniska orkester och körer Bror Magnus Tødenes, tenor Edward Gardner, dirigent Chandos CHSA 5219 Betyg: 4 Musikrevyn möter: Stjärnviolinisten Isabelle Faust Under Musikrevyns 13-åriga historia har ingen fått så många totalfemmor i betyg som den tyska violinisten Isabelle Faust. Nyligen gästade hon Sverige och Sveriges Radios symfoniorkester som solist i Arnold Schönbergs tekniskt oerhört svårspelade, många skulle nog också säga svårlyssnade, violinkonsert. En konsert som Isabelle Faust dessutom spelade in för skivbolaget Harmonia Mundi under sin vecka i Berwaldhallen. För Musikrevyns Johan Korssell berättar hon om sin relation till Schönbergs violinkonsert. Referensen: Två aktuella inspelningar av Berlioz rekviem Ungefär samtidigt med Edward Gardners Chandos-inspelning av Berlioz-rekviet anlände i höstas en inspelning från Seattles symfoniorkester med den franske dirigenten Ludovic Morlot. Vi lyssnar och jämför tolkningarna.

Ahorrar para viajar a Seattle estaba justificado en Enero del 2015. El grunge no se ha ido para muchos de nosotros pero es que además de vez en cuando brilla con luz propia con mucha intensidad. Mad Season se formó en 1994 por Layne Staley de Alice in Chains, Mike McCready de Pearl Jam, Barrett Martin de Screaming Trees y John Baker de los Walkabouts. Sonic Evolution es un "invento" de Ludovic Morlot, responsable de la orquesta sinfónica de Seattle. Ludovic habló con Mike McCready y rápidamente al proyecto se sumaron Chris Cornell, Matt Cameron, Stone Gosard, Jeff Ament.... ¿El resultado? Disfrútalo! El programa está patrocinado por Angus – Iván Gongo – Luis Ignacio Parada – Antonio Galiana y Jhonny Moss. Tú también puedes apoyar el programa desde http://darwiniansradiobike.com/programas/bienvenido-los-90/

Ahorrar para viajar a Seattle estaba justificado en Enero del 2015. El grunge no se ha ido para muchos de nosotros pero es que además de vez en cuando brilla con luz propia con mucha intensidad. Mad Season se formó en 1994 por Layne Staley de Alice in Chains, Mike McCready de Pearl Jam, Barrett Martin de Screaming Trees y John Baker de los Walkabouts. Sonic Evolution es un "invento" de Ludovic Morlot, responsable de la orquesta sinfónica de Seattle. Ludovic habló con Mike McCready y rápidamente al proyecto se sumaron Chris Cornell, Matt Cameron, Stone Gosard, Jeff Ament.... ¿El resultado? Disfrútalo! El programa está patrocinado por Angus – Iván Gongo – Luis Ignacio Parada – Antonio Galiana y Jhonny Moss. Tú también puedes apoyar el programa desde http://darwiniansradiobike.com/programas/bienvenido-los-90/