Podcasts about Mahler Chamber Orchestra

Weird head tapping routines, toy lobsters on stage - Part 2 of Stage Fright uncovers the strange and diverse pre-concert routines some musicians go through, and what happens if you freeze in the middle of a performance. Fight or flight, to leave the stage or not to leave the stage, that is the question. And then the taboo topic of Beta Blockers enters the conversation... Host and MCO violist Yannick Dondelinger brings to a close this double episode of frank, funny and intimate discussion with MCO musicians around the effects, the origins, and some controversial solutions to having stage fright…. For a full transcript of the episode, please visit our website. 

From childhood trauma, to professional bow shake, to the elephant in the room - Beta Blockers. Some times you swallow the stage, and sometimes the stage swallows you… Stage fright is something we can all relate to, wether presenting a speech, teaching class, or chairing a meeting. This is especially true for the musicians of the Mahler Chamber Orchestra, who are out there on the worlds concert stages in front of thousands of people, every week, every year. Join host and violist Yannick Dondelinger for a double episode of frank, funny and intimate discussion with MCO musicians around the effects, the origins, and some controversial solutions to having stage fright. For a full transcript of the episode, please visit our website. 

Soprano Claire Booth is internationally renowned for her dedication to a vast repertoire, as well as the vitality and musicianship that she brings to the stage. Opera highlights include the title roles in Handel's Berenice for the Royal Opera and Janacek's Cunning Little Vixen for Garsington Opera, and her concert appearances have resulted in close associations with the BBC orchestras, the City of Birmingham Symphony Orchestra and the Mahler Chamber Orchestra. Claire has also collaborated with Pierre Boulez, Gustavo Dudamel and Yannick Nezet-Seguin, to name a few, and has premiered nearly 100 works over the course of her career so far.Claire's 2024 activity has focused on celebrating Schoenberg in his 150th anniversary year, with performances of a whole range of his works, and two albums centred around his music: 'Expressionist Music' with Christopher Glynn, released in May, and 'Pierrot Portraits' with Ensemble 360, released last Friday, with Pierrot Lunaire at its heart.In this episode, Claire talks more about her longstanding relationship with Pierrot Lunaire, and how the new album came to be; plus the eclectic career she's forged for herself, and how her recent Masters in Cultural Policy and Management has given her an even broader perspective on the industry as a whole. Claire also talks about the time she underwent surgery for pre-nodules, not being able to speak for a month, and wondering whether she would be able to sing again.-------------------Claire's links:WebsiteInstagram-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------This podcast is also available to listen to via The Violin Channel--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

Mit einer App für die „Vision Pro“-Brille bringt das Mahler Chamber Orchestra seine Musik direkt ins Wohnzimmer. Wie diese Technologie das Hörerlebnis verändert, verraten die Macher im Interview.Seit seiner Gründung 1997 ist das Mahler Chamber Orchestra (MCO) ein Ensemble mit einigen Besonderheiten: Es legt Wert auf seine eigene künstlerische Identität und eine demokratische Struktur. Denn geleitet wird das Orchester von den Musikern selbst, in Zusammenarbeit mit einem Managementbüro. Das MCO ist schon in mehr als 40 Ländern auf fünf Kontinenten aufgetreten. Die Musiker pflegen ein kammermusikalisches Ensemblespiel: Das Repertoire reicht von der Wiener Klassik und frühen Romantik bis zu zeitgenössischen Werken und Uraufführungen. „Alle MCO-Musiker verbindet der starke Wunsch, ihre Beziehung zum Publikum kontinuierlich zu vertiefen“, beschreibt das Orchester sich selbst. Passend dazu hat das Orchester kürzlich eine App für Apples neue „Vision Pro“-Computerbrille veröffentlicht. Diese App soll eine neue Möglichkeit bieten, Orchestermusik zu erleben: Die Nutzer können reale und virtuelle 3D-Umgebungen erkunden und mit ihnen interagieren. Sie können sich frei im virtuellen Raum bewegen und die Musik aus der Mitte der Musiker heraus erleben. Für uns interessant genug, genauer nachzufragen, wie es funktioniert. Die App bietet Raumklangaufnahmen, die in Zusammenarbeit mit Henrik Oppermann erstellt wurden. Diese Aufnahmen sollen den Zuhörer physisch, mental und sozial in den Musikprozess einbeziehen. Timothy Summers, Geiger des MCO und Mitarbeiter der MCO-App, sagt: „Zuhören bedeutet nicht nur zu erleben, sondern auch zu erforschen.“ Wir haben mit Summers und Oppermann gesprochen.

Fredrik Ekdahl is leader of the Royal Stockholm Philharmonic Orchestra's bassoon section and held the same position in the Swedish Radio Symphony Orchestra. He performs regularly with orchestras including London Symphony Orchestra, the Mahler Chamber Orchestra and Australian Chamber Orchestra. He has appeared as soloist with the Royal Stockholm Philharmonic Orchestra, the Swedish Radio Symphony Orchestra and the Aarhus Symphony Orchestra. New works have also been composed especially for Ekdahl, such as Jesper Nordin's bassoon concerto, Vicinities. Fredrik Ekdahl is a dedicated chamber musician and regularly performs in festivals all over the world. He has collaborated with world-class musicians such as violinist Janine Jansen and clarinettist Martin Fröst. Ekdahl is a Professor at the Hochschule för Musik Trossingen in Germany.     Summary   Fredrik Ekdahl discusses his journey as a bassoonist, his experiences in orchestras, his love for chamber music, and his passion for contemporary music. He shares insights on his early musical inspirations, working with renowned conductors, being well prepared for performances. He enjoys playing in orchestras and chamber music ensembles, finding joy in the direct communication and collaboration with other musicians. He also shares his passion and approach to contemporary pieces, including performing and recording Jesper Nordin's bassoon concerto “Vicinities”.    Fredrik also talks about his role as a bassoon professor in Trossingen and his hobbies outside of music. As a bassoon professor, Fredrik emphasizes the importance of a supportive and collaborative learning environment for his students.   Find out more about Fredrik's bassoon studio here: https://www.hfm-trossingen.de/hochschule/personen/detail/fredrik-ekdahl   Thank you to Tutti Fagotti GmbH for sponsoring this episode. Use discount code “legendsofreed” to enjoy a 10% discount from today until 31.08.2024 for online purchase of bassoon accessories on their website: https://www.tutti-fagotti.com   hosted by Jo Anne Sukumaran     Chapters   00:00 The Beginning of a Musical Journey 08:24 Collaborating with Conductors 15:05 The Importance of Preparation 28:32 Teaching Bassoon and Fostering a Musical Community 31:54 Finding Balance and Looking Ahead Opening credits: Camille Saint-Saëns Bassoon Sonata, courtesy of artist I. Allegretto Moderato, bassoon - Fredrik Ekdahl piano - Stefan Lindgren Recorded in Grünewaldsalen/Stockholms Konserthus in December 2021 as a part of the film series Mankind and Music at Konserthuset Play. Film - David Tarrodi Sound engineer - Håkan Ekman

Bereits zum dritten Mal gastiert das Mahler Chamber Orchestra anlässlich der Schlossfestspiele in Ludwigsburg – in diesem Jahr unter anderem mit dem Konzertprojekt „Welcome Home“. Es ist ein Education-Programm, bei dem Schulklassen Texte und Audiodateien zum Thema „Heimat“ einsenden konnten. Diese finden Eingang in ein Konzert am 24. Juni.

Presented by Juliette Caton. Edited by Sam Benoiton. Tina is the author of "Unleashing the potential of the musician's body" and the creator of the movement system Timani, which develops a deep understanding of the body to support technique and performance for musicians. In 2013 she founded the Musicians' Health and Movement Institute (MHMI) where she runs a 3-year part-time certification program for professional musicians, training them to become Timani teachers and how to implement the knowledge in their own playing. Since 2007 she has taught Timani to thousands of musicians from all over the world, everything from orchestras, chamber music groups, students and soloists. Tina has taught Timani workshops at amongst other Juilliard in New York, Yong Siew Toh Conservatory in Singapore, The Music Academy in Basel, Royal College of Music in London, The Royal Danish Music Academy in Copenhagen and for orchestras such as Mahler Chamber Orchestra and the Royal Swedish Opera Orchestra. Her background in anatomy and movement comes from her studies as a Massage Therapist, Personal Trainer, Kinetic Control Movement Therapist, twice a certified yoga teacher and through Kinaesthesia for pianists from the University of Arts in Berlin. Tina has presented at many performing arts medicine conferences and symposiums, amongst other at PAMA in Hollywood, ISPS in Melbourne and MHPC in Helsinki. As a pianist, she holds a MA from the Norwegian Academy of Music in Oslo and has performed solo and duet recitals in Norway, Denmark, Germany, Switzerland, Spain, England, USA, Moscow, Italy, New York, and Philadelphia amongst other. She has released four critically acclaimed CDs and has received several grants and awards, including the two-year Norwegian artists' working grant from the Norwegian Arts Council, Jansons Fund, RWE-Dea, and the Norwegian Fund for Performing Artists. MAIN WEBSITE https://www.timani.no/ MEMBERSHIP https://www.timanicommunity.com/ BOOK https://giamusic.com/store/resource/unleashing-the-potential-of-the-musicians-body-book-10856 3-YEAR CERTIFICATION COURSE https://www.timanicertificationcourse.com/ PERSONAL WEBSITE AND BLOG https://www.tinanilssen.no/ PUBLISHED RESEARCH ARTICLE https://www.frontiersin.org/articles/10.3389/fpsyg.2022.834012/full VOICE CHOICE - Listen to Tina's favourite vocal performance ‘Ice Bin Der Velt Abhanden Gekommen' by Jessie Norman on the VocalScope Podcast Guests Playlist on Spotify: ⁠⁠https://open.spotify.com/playlist/4pjclKQVRnnUnMW0vgu0H0%E2%81%A0⁠ Watch that Jessie Norman performance here: https://youtu.be/bxh-VTqNK0c?si=AfN5PNCwI7ZRkdbR Join the ⁠⁠VOCALSCOPE BOOK CLUB⁠⁠ Train your voice with JULIETTE CATON in the ⁠⁠VOCALSCOPE VOICE STUDIO⁠⁠ Follow Vocalscope on socials @‌vocalscope & @‌vocalscopevoice

Join host Yannick Dondelinger for an intimate conversation with Dame Mitsuko Uchida. In this heartwarming discussion, Mitsuko shares her life story, from her musical upbringing to becoming one of the most revered pianists of our time. Discover the deep roots that music has in her life and how they have shaped her career. Mitsuko also shares her unique connection with the Mahler Chamber Orchestra, her appreciation for Mozart, and touches on her upcoming role as Music Director of the Ojai Music Festival.  Throughout the episode, Mitsuko's modesty and optimism shine through, painting a portrait of an artist deeply rooted in her love for music and life. Tune in for an inspiring episode that celebrates the life and career of Mitsuko Uchida, only on Between the Bars. For a full transcript of the episode, please visit our website.   

A passionate advocate for the bassoon, Amy Harman is much sought after as a soloist, chamber musician, teacher and communicator.   Amy was a professor at the Royal Academy of Music from 2013 to 2024 and gives masterclasses and coaches internationally. She was appointed professor of bassoon at the Robert Schumann Hochshule Düsseldorf in 2024, the first woman to hold such a position in Germany.  Aged 23 Amy was appointed solo bassoon of the Philharmonia Orchestra. Sought after as guest principal with leading orchestras in Europe including Paavo Järvi's EFO and the Mahler Chamber Orchestra, she is currently principal of Aurora Orchestra. She was selected by YCAT in 2014. Solo highlights include premiering Roxanna Panufnik's concerto for bassoon & string orchestra with the Royal Northern Sinfonia, Strauss's Concertino with the English Chamber Orchestra, Mozart's Concerto at the Festival Suoni dal Golfo in Lerici and appearing as a flying soloist at the world premiere of Stockhausen's Mittwoch aus Licht. Amy was the first bassoonist to perform a live broadcast solo recital for BBC radio 3. She performs recitals regularly in UK and Germany with her collaborator Tom Poster. Summary: Amy Harman shares her journey to becoming a bassoonist, including her early musical inspirations and her transition from playing the cello to the bassoon. She discusses her experiences with the Aurora Orchestra and their memorized performances, as shares some practice tips for listeners. Amy also talks about the importance of the Young Classical Artist Trust in shaping her career and the significance of being the first female bassoon professor in Germany, at the Robert Schumann Hochschule in Dusseldörf. In this conversation, Amy discusses the challenges facing the arts industry, particularly in the UK, and offers words of encouragement to young musicians. She emphasizes the importance of creating art and suggests pursuing a portfolio career, and shares her experience of balancing a busy career with being a mother of three. She also mentions upcoming projects she's excited about, including a performance of Elizabeth MacConkey's concertino and various chamber music festivals. Chapters   00:00 Introduction and Amy's Musical Background 07:24 Memorized Performances with the Aurora Orchestra 24:38 The Power of a Portfolio Career 30:35 Finding Inspiration in Different Genres 38:42 The Art of Memorizing Music ************************************ Find out more about Amy here. Amy's Instagram Host: Jo Anne Sukumaran, find out more here. Legends of Reed is sponsored by Barton Cane, enjoy free shipping with coupon code" legendsofreed", on their website. Opening credits: Concert recording of Amy Harman with Castalian Quartet - Cantator and Amanda (2011), by Roxanna Panufnik - courtesy of Young Classical Artist's Trust.Photo credit: Kaupo Kikas

Ein neues Album des Mahler Chamber Orchestra - vorgestellt auf NDR Kultur

Abraham Cupeiro (Sarria, Lugo, 1980) recupera instrumentos perdidos en el tiempo para crear nuevas sonoridades. Toca cerca de 100 instrumentos, pertenecientes a su colección de más de 200 de todo el mundo y distintas épocas, de los que ha construido alrededor de 50. Ha compartido escenario con prestigiosas orquestas como la Royal Philarmonic Orchestra de Londres, Mahler Chamber Orchestra o la Orquesta Sinfónica de Galicia. Ha estudiado trompeta en el Real Conservatorio Superior de Música de Madrid e Interpretación de la Música Antigua en la Universidad Autónoma de Barcelona. Su formación es clásica, pero siempre se ha sentido atraído por todo tipo de músicas formando parte de grupos de folk, jazz o música antigua. Únete a este viaje en el tiempo, a esta búsqueda de las fuentes sonoras originales. ¡Te va a sorprender! Abraham Cupeiro publica su nuevo álbum, "Mythos", el 1 de Marzo en formato físico y prosigue su gira de presentación. -Ver videoclip del disco: http://tinyurl.com/ycyck8w8 -Escuchar 'MYTHOS': http://tinyurl.com/2shn5eka - Canal de Youtube de Abraham Cupeiro: https://www.youtube.com/channel/UCURbTobUPDCMNwziivjIAHA _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Síguenos en Redes Twitter: https://twitter.com/radioelrespeto Instagram: https://www.instagram.com/radioelrespeto/ Facebook: https://www.facebook.com/radioelrespeto Redes Sociales del Equipo: | Pablo Fuente | https://www.instagram.com/pablofuente/ | Nacho Sevilla | https://twitter.com/nachorsevilla | Fernando Sierrra | https://twitter.com/Peeweeyo1 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

durée : 02:04:34 - Musique matin du mercredi 06 mars 2024 - par : Jean-Baptiste Urbain - Voilà 7 ans que Benjamin Alard poursuit, sans relâche, son intégrale des œuvres pour clavier de Bach. Alors que le 9e volume, "Les années heureuses", sortira au printemps, le claveciniste fait une incursion dans la musique de Manuel de Falla, avec le Mahler Chamber Orchestra et Pablo Heras-Casado. - réalisé par : Yassine Bouzar

Seit 38 Jahren gibt es die traditionsreiche Musikwoche Hitzacker. In diesem Jahr übernimmt ein ganzes Orchester die künstlerische Leitung des Festivals: Das Mahler Chamber Orchestra, das zu den international renommiertesten Kammerorchestern gehört. Wie das funktioniert und was das Mahler Chamber Orchestra, das MCO, in Hitzacker vorhat, darüber spricht Friederike Westerhaus mit dem Cellisten Stefan Faludi, der auch Gründungsmitglied des Mahler Chamber Orchestra ist, und dem Orchestermanager Michael Adick.

durée : 00:11:16 - Stravinsky & Falla - Benjamin Alard, Mahler Chamber Orchestra dir.Pablo Heras-Casado - C'est l'univers de la Commedia dell'arte, de Don Quichotte et de l'Espagne picaresque incarnée par le claveciniste Benjamin Alard, que nous retrouvons dans ce nouveau disque du Mahler Chamber Orchestra dirigé par Pablo Heras-Casado

Philip Hopf und sein Partner erregen mit ihrem polarisierenden Wirtschaftspodcast Aufmerksamkeit, stoßen aber auf TikTok aufgrund kontroverser Inhalte auf Kritik und Sperrung. Die Osterfestspiele in Baden–Baden erfahren ab 2026 eine Neugestaltung mit frischer künstlerischer Leitung durch das Königliche Concertgebouworkest Amsterdam und das Mahler Chamber Orchestra. Zum 80. Geburtstag wird der amerikanische Schriftsteller Richard Ford für seine tiefgreifenden Werke über die amerikanische Mittelklasse und deren Bedeutung in der heutigen fragmentierten Gesellschaft gelobt.

Wie fühlt es sich an, wenn man seine Heimat verlassen muss? Das wissen Somaya und Tajala nur zu gut. Sie sind aus ihrer Heimat Afghanistan geflohen, leben seit einem Jahr in Hamburg und gehen auf die Berufliche Schule Energietechnik Altona. Was ihnen hier gefällt, und was nicht, das verraten sie in dieser Kopfhörer-Folge. Außerdem erzählen sie, welche Rolle Musik in ihrem Leben spielt und welche Musik sie und ihre Mitschüler:innen besonders gerne hören. Und: sie sprechen mit der Geigerin Mette, die im weltberühmten Mahler Chamber Orchestra spielt und beim Elbphilharmonie-Schulkonzert »Welcome Home!« im Oktober der Frage nachgeht: »Was bedeutet Heimat für dich?«

durée : 00:28:15 - Actualités de l'orchestre - par : Christian Merlin - Un nouveau directeur musical à Birmingham, un nouveau violon solo au Mahler Chamber Orchestra, un nouveau cor solo au Boston Symphony : des nominations au programme de nos actualités du jour, mais aussi des réponses à vos messages. - réalisé par : Marie Grout

La Mahler Chamber Orchestra no tiene un órgano directivo, no representa a ningún país o auditorio, pero aún así es de las más importantes del mundo. Escuchar audio

Mucha clásica con la Mahler Chamber Orchesta, una ópera de los Reyes Magos y 'Tosca'. Conocemos la editorial Plankton y qué obras pasan a dominio público. Escuchar audio

durée : 01:59:08 - Musique matin du lundi 19 septembre 2022 - par : Jean-Baptiste Urbain - Ancien premier violon du Mahler Chamber Orchestra, le chef d'orchestre franco-italien Antonello Manacorda fait ses débuts à l'Opéra de Paris avec "La Flûte enchantée" de Mozart. Il publie également un nouveau disque Beethoven avec la Kammerakademie de Potsdam, l'ensemble qu'il dirige depuis 2010. - réalisé par : Yassine Bouzar

Violinist Patricia Kopatchinskaja is not only known for her extraordinary musical skills but also for the trailblazing staged projects, in which she does not shy away from current world issues.  In Les Adieux, a project of Patricia with the Mahler Chamber Orchestra, she focuses on climate change and the rapid deterioration of our planet. How much time have we got left on Earth? When will our natural resources be used up? When will natural disasters, rising sea levels and new illnesses bring us to our knees? The Between the Bars team met up with Patricia whilst touring through Hamburg. In the first episode of the 3-part series The Big Goodbye, they sat down with the controversial artist and discussed her motivation and drive for Les Adieux.   // 'Les Adieux' is generously supported by the German Federal Government Commissioner for Culture and the Media through "NEUSTART KULTUR", with the kind support of Rudolf Augstein Foundation. // photo: Julia Wesely

Pugen a l'"Ascensor Popap" Hemoheads, una iniciativa que ajunta metavers, art digital i salut mental; 51 Trips, una app que permet construir un

Al "Popap", Roc Massaguer, "Outconsumer", explica com cada dijous a la Mariola Dinar

Nicola Campogrande"MiTo Settembre Musica"https://www.mitosettembremusica.it/itUn cartellone comune tra Torino e Milano che esplora le relazioni tra la musica e la luce attraverso grandi capolavori e creazioni inedite. 116 concerti per la sedicesima edizione, con ospiti internazionali, eccellenze nazionali e programmi appositamente impaginati per un Festival sempre più inclusivo. Seguendo il filo conduttore del tema “Luci”, tutti i programmi dei concerti sono impaginati appositamente per proporre al pubblico una nuova esperienza d'ascolto, indagando le relazioni tra la musica e la luce: si tratta di sinestesie tra suoni e immagini che a volte emergono esplicitamente dalle indicazioni scritte dal compositore in partitura, come chiaro, scuro o luminoso, e altre volte sono il frutto di riflessioni suggerite dall'ascolto della musica.«L'idea, il gioco della luce è applicato a un cartellone che, volutamente, propone molti capolavori, pagine fondamentali, capisaldi della musica classica – spiega il direttore artistico Nicola Campogrande. Perché, soprattutto in un periodo complicato e drammatico come quello che stiamo attraversando, ci sembra bello e importante fare una sorta di appello ai brani che hanno segnato la storia, invitandoli metaforicamente ad essere con noi, a manifestarsi in sala da concerto come punti fermi, appigli culturali».Questa edizione intende, quindi, “illuminare” le grandi pagine della storia della musica attraverso accostamenti inediti, interpretazioni originali e nuove chiavi di lettura, anche con brani in prima esecuzione.Alcuni dei pilastri su cui si fonda l'edizione 2022 – ovvero internazionalità, capisaldi della musica classica e novità – sono già evidenti nella serata d'apertura del Festival intitolata “Luci immaginarie”, in programma lunedì 5 settembre all'Auditorium “Giovanni Agnelli” del Lingotto di Torino e martedì 6 settembre al Teatro alla Scala di Milano. Protagonista una grande compagine rinomata nel mondo come la londinese Philharmonia Orchestra diretta per l'occasione da John Axelrod, che propone capolavori come Peer Gynt di Grieg e Shéhérazade di Rimskij-Korsakov, abbinate alla prima esecuzione italiana di The imagined forest della giovanissima e pluri-premiata compositrice inglese Grace-Evangeline Mason. O ancora nel concerto conclusivo tutto mozartiano dal titolo “Cristalli”, sabato 24 settembre al Conservatorio di Torino e domenica 25 settembre al Conservatorio di Milano, dove la Mahler Chamber Orchestra, formazione europea nata nel 1997 sotto l'egida di Claudio Abbado, presenta senza direttore un programma inusuale con Leif Ove Andsnes in veste di solista.Tra gli ulteriori appuntamenti sinfonici da non perdere si segnalano il graditissimo ritorno al Festival, nella doppia veste di direttrice d'orchestra e soprano, della canadese Barbara Hannigan, che sul podio dell'Orchestra dell'Accademia Nazionale di Santa Cecilia propone la Sinfonia Il miracolo di Haydn e la Quarta Sinfonia di Mahler cantando nel Lied finale Das himmlische Leben (La vita celeste), il 16 al Teatro Dal Verme di Milano e il 17 all'Auditorium del Lingotto di Torino. Immancabile l'Orchestra Sinfonica Nazionale della Rai, guidata dal suo Direttore ospite principale, lo statunitense di origini messicane Robert Trevino, che affianca la Symphonie Fantastique di Berlioz alla prima italiana di The wonder of life di Régis Campo, il 9 all'Auditorium Rai di Torino e il 10 al Conservatorio di Milano. Concerto festoso, poi, per celebrare i duecento anni di indipendenza del Brasile con i giovani dell'effervescente Neojiba Orchestra - Orchestra Giovanile dello Stato di Bahia, diretta da Ricardo Castro, insieme a un'istituzione del pianoforte come la portoghese Maria João Pires che suona il Terzo Concerto op. 37 di Beethoven. Ritmi, colori e strumenti sudamericani sono parte della serata grazie alle pagine di Antônio Carlos Gomez, Heitor Villa Lobos e Jamberê Cerqueira, il 13 al Conservatorio di Milano e il 14 all'Auditorium del Lingotto di Torino.Altri attesi ritorni al Festival sono la leggenda del pianoforte Ivo Pogorelich, impegnato nel recital “Luci erranti” con fantasie di Mozart, Chopin e Schumann e con il Prélude di Ravel, il raffinato tenore inglese Ian Bostridge, che canta Les illuminations op. 18 di Britten, e ancora il violista Nils Mönkemeyer, che suona con il Bach Consort Wien in un concerto che esplora il barocco e il Novecento tra Sudamerica ed Europa.Scorrendo il programma di MITO gli amanti della musica barocca, e in particolare di Johann Sebastian Bach, trovano una ricca offerta declinata in concerti con musicisti di prestigio e proposte nelle quali i brani sono accostati in modo inusuale o vengono ripensate alcune pietre miliari del repertorio. Quattro pagine tra le più celebri del grande compositore tedesco sono interpretate dall'Amsterdam Baroque Orchestra diretta da Ton Koopman, mentre è curioso il concerto intitolato “La doppia arte della fuga”, nel quale il compositore Reinhard Febel, col suo Diciotto studi sull'Arte della fuga di Bach, rilegge il capolavoro, di cui si ascoltano tutte le note, in una sorta di remix – che suona molto attuale nell'epoca del digitale – affidato al Duo Tal & Groethuysen. Ed è ancora l'ascolto di un Bach insolito quello delle Variazioni Goldberg eseguite dal fisarmonicista Samuele Telari, così come è un concerto davvero singolare quello con due clavicembali accordati in due modi diversi e suonati da Luca Guglielmi.Tanta è l'attenzione che quest'anno MITO SettembreMusica dedica al pubblico dei più piccoli, ampliando e arricchendo la proposta artistica con novità assolute e grandi interpreti. E lo dimostrano anche i tre melologhi per adulti e bambini che contengono ben due commissioni del Festival 2022 in prima esecuzione assoluta: quella a Carlo Boccadoro, che ha creato Animalia – su testi di Martino Gozzi – per “Luci bestiali” (il 10 a Torino e l'11 a Milano), e quella a Federico Gon, che ha composto Il piccolo Franz e il pifferaio magico per “Monelli” (il 24 a Torino e il 25 a Milano). Sul palco del primo concerto Laura Curino come voce recitante e l'Ensemble Cameristico dell'Orchestra Filarmonica di Torino diretto dallo stesso Boccadoro, e del secondo Elio come voce recitante (al suo ritorno dopo l'edizione dello scorso anno) e l'Orchestra degli allievi dei Conservatori di Torino e Milano diretti da Andreas Gies. Infine, i giovani de LaFil guidati da Marco Seco, con la voce recitante di Licia Maglietta, sono protagonisti dell'appuntamento dal titolo “Elefanti”, che propone un doppio Babar: quello celebre dell' Histoire de Babar le petit éléphant di Poulenc e quello del compositore François Narboni intitolato Le voyage de Babar, creato sfruttando un testo originale di Brunhoff non utilizzato da Poulenc (17 a Torino e 18 a Milano).È in prima esecuzione assoluta, inoltre, la nuova versione da camera del melologo Enoch Arden op. 38 di Richard Strauss realizzata da Ruggero Laganà, impegnato anche al pianoforte, che vede protagonista l'attrice Lella Costa come voce recitante (il 19 a Torino, il 20 Milano). Luce accesa, poi, sulle prime esecuzioni italiane, tra cui spiccano One di James MacMillan e I still dance di John Adams interpretate rispettivamente dall'Orchestra I Pomeriggi Musicali diretta da James Feddeck (l'8 a Torino e il 9 a Milano) e da quella del Teatro Regio di Torino guidata da Stanislav Kochanovsky (il 23 a Torino e il 24 a Milano), impegnate in due programmi tra Inghilterra e Scozia e tra Stati Uniti e Francia.L'edizione 2022 di MITO SettembreMusica introduce altre due importanti novità. La prima è la presenza di un festival nel festival con quattordici pianisti italiani che offrono in luoghi decentrati delle due città altrettanti concerti monografici dedicati a grandi compositori, per approfondirne la cifra stilistica, la poetica e la tecnica pianistica. Dal Beethoven di Andrea Lucchesini al Rachmaninov di Alessandro Taverna, dallo Schubert di Filippo Gorini allo Skrjabin di Mariangela Vacatello, passando per lo Chopin di Gloria Campaner, il Liszt di Maurizio Baglini e il Čajkovskij di Benedetto Lupo, solo per citarne alcuni. L'altra vede – per la prima volta – la nascita di una residenza artistica al Festival. Si tratta del finlandese Meta4 Quartet, già applaudito nella scorsa edizione, che tiene tre concerti in entrambi i capoluoghi: suona in Absolute Jest di John Adams insieme all'Orchestra Sinfonica di Milano (sul podio Patrick Fournillier), pagina che rimanda a Beethoven e alla sua Nona, in programma grazie alla partecipazione del Coro del Teatro Regio di Torino, dopo aver ripercorso l'intera storia del quartetto d'archi, da Boccherini ad Adams, in due diversi appuntamenti. Uno degli aspetti distintivi del Festival è offrire appuntamenti in orari diversi nell'arco dell'intera giornata, da quelli serali in sedi prestigiose, come l'Auditorium "Giovanni Agnelli" del Lingotto, il Teatro alla Scala, l'Auditorium Rai "Arturo Toscanini", il Teatro dal Verme e i rispettivi conservatori delle due città, a quelli diurni, per arrivare a estendersi nei luoghi decentrati. Sono confermate le introduzioni all'ascolto dei concerti, quest'anno curate da Alberto Brunero e Stefano Catucci a Torino e da Gaia Varon, Oreste Bossini e Nicola Pedone a Milano.I prezzi sono ancora una volta molto contenuti: quelli per i concerti serali vanno dai 10 ai 25 euro (ma chi è nato dal 2008 in poi paga solo 5 euro); quelli serali in luoghi decentrati con i 14 pianisti italiani, gli appuntamenti pomeridiani e per i bambini sono invece proposti a 5 euro; non mancano, poi, i concerti gratuiti.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

The acclaimed Norwegian pianist Leif Ove Andsnes joins us to talk about the second album release in his Mozart Momentum project, which documents the genius of Wolfgang Mozart by focusing on touchstone years in the composer's life (in this case, 1786). Performing with the Mahler Chamber Orchestra, Leif Ove presents a beautiful portrait during the years in which Mozart's writing for the piano was at its most revolutionary, creative and game-changing (a creativity also evidenced by his landmark opera The Marriage of Figaro, which dates from the same year). Released by Sony Classical, the album includes Mozart's Piano Concertos Nos. 23 & 24, Piano Quartet in E-flat major, Piano Trio in B-flat major and Recitative and Aria Ch'io mi scordi di te? featuring Mozart specialist (and wonderful soprano) Christiane Karg.

The acclaimed Norwegian pianist Leif Ove Andsnes joins us to talk about the second album release in his Mozart Momentum project, which documents the genius of Wolfgang Mozart by focusing on touchstone years in the composer's life (in this case, 1786). Performing with the Mahler Chamber Orchestra, Leif Ove presents a beautiful portrait during the years in which Mozart's writing for the piano was at its most revolutionary, creative and game-changing (a creativity also evidenced by his landmark opera The Marriage of Figaro, which dates from the same year). Released by Sony Classical, the album includes Mozart's Piano Concertos Nos. 23 & 24, Piano Quartet in E-flat major, Piano Trio in B-flat major and Recitative and Aria Ch'io mi scordi di te? featuring Mozart specialist (and wonderful soprano) Christiane Karg.

The acclaimed Norwegian pianist Leif Ove Andsnes joins us to talk about the second album release in his Mozart Momentum project, which documents the genius of Wolfgang Mozart by focusing on touchstone years in the composer's life (in this case, 1786). Performing with the Mahler Chamber Orchestra, Leif Ove presents a beautiful portrait during the years in which Mozart's writing for the piano was at its most revolutionary, creative and game-changing (a creativity also evidenced by his landmark opera The Marriage of Figaro, which dates from the same year). Released by Sony Classical, the album includes Mozart's Piano Concertos Nos. 23 & 24, Piano Quartet in E-flat major, Piano Trio in B-flat major and Recitative and Aria Ch'io mi scordi di te? featuring Mozart specialist (and wonderful soprano) Christiane Karg.

Leif Ove Andsnes — Mozart Momentum: 1786 (Sony Classical) Jump to giveaway form New Classical Tracks - Leif Ove Andsnes by “On stage you have to have a childlike openness,” Norwegian pianist Leif Ove Andsnes said. “There will be moments in concerts where I feel, ‘I'm creating now. It's actually happening in the moment.' Also, there is nothing as beautiful as Mozart's music.” Andsnes is an artistic partner of the Mahler Chamber Orchestra, an ensemble that has no home base. They're constantly moving because it wants to make music that gets to the core of things. Together, they've taken a deep dive in the creation of The Beethoven Journey, and now they're flowing in sync, with Andsnes conducting from the piano on his latest album, Mozart Momentum: 1786. What kind of momentum was Mozart creating? “It's about the piano concerto and what happened with that genre during Mozart's life. He writes a concerto in a minor key for the first time with very serious and dramatic music. He starts to separate the soloist from the orchestra. You have dramatic and restless music during the opening from the orchestra, but the soloist enters afterwards with completely different music. “That's the very first time this happens in any concerto. Mozart must have thought, ‘Oh, I'm on to something new here.' For me, it's a revolution. It expands the storytelling and the narrative of what a piano concerto can be. You can look at soloists as an individual and the orchestra as a society. There is new psychological drama in it.” How did Mozart's love of opera inspire his piano concertos that are on the album? “He was writing The Marriage of Figaro during this time and we hear it during the woodwind solos. He gives tremendous individuality and personality to each of the woodwind instruments. There are sections where I'm listening with pleasure to what they do in these concertos.” Can you talk about the energy in Mozart's Piano Concerto No. 24? “Normally we feel that it's very classical and balanced. The phrases are often eleven bars followed by five and then seven. He always makes sure we don't know what's coming next, so we have to guess. That guesswork gives the concerto its restless energy and drama.” Tell us about ‘Ch'io Mi Scordi Di Te?' and the soprano who sings it. “The concert aria ‘Ch'io Mi Scordi Di Te?' is text from Mozart's opera Idomeneo. It's unique how he makes the beauty of the soprano voice blend with the piano. It's like a duet. You know where one is without words and the other tells the story. There's no other piece like this in the literature. “ To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Leif Ove Andsnes — Mozart Momentum: 1786 (Presto music) Leif Ove Andsnes — Mozart Momentum: 1786 (Amazon) Leif Ove Andsnes (official site)

Dieser Mozart funkelt und spricht in vielen Farben - eine Empfehlung für Mozart-Fans und alle, die es werden wollen.

Leif Ove Andsnes and the Mahler Chamber Orchestra follow their “triumphant” (Gramophone), “sparkling” (New York Times), and award-winning Mozart Momentum 1785 release with its partner album, focusing on the composer's extraordinary creativity in the year 1786. “When you realize how quickly Mozart developed during the early years of the 1780s, it makes you ask: why did this happen? What was going on? It's about the momentum of his creativity at this time,” says Leif Ove Andsnes.The double-album Mozart Momentum 1786 includes Mozart's Piano Concertos Nos. 23 & 24, Piano Quartet in E-flat major, Piano Trio in B-flat major and Recitative and Aria Ch'io mi scordi di te? featuring guest soprano Christiane Karg. Purchase the music (without talk) at:Mozart Momentum 1786 (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson).

Norwegian pianist and conductor Leif Ove Andsnes has been called “one of the most gifted musicians of his generation” by The Wall Street Journal. He has won worldwide acclaim, eleven Grammys nominations, and six Gramophone Awards. In 2012, Andnses partnered with the Mahler Chamber Orchestra for an ambitious multi-year project titled “The Beethoven Journey,” performing all five piano concertos in 15 countries across three continents. Recently, Andsnes and the Mahler Chamber Orchestra collaborated on their second multi-year project, “Mozart Momentum 1785/86,” exploring one of the most creative and productive periods of the composer's career. Leif Ove Andsnes tells Alec about how the piano is his first language, how he prepares before a concert and what he feels all great pianists have in common.  You can listen to all of the music from this episode and other selections from Leif Ove Andsnes in a curated playlist here.  The following compositions are featured in this episode: Grieg: Piano Concerto in A minor, Op. 16 – 1st movement - Allegro Molto Moderato Leif Ove Andsnes (piano); Berlin Philharmonic Orchestra, Mariss Jansons (With the kind permission of Warner Classics)   Ludwig van Beethoven, Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor" : I. Allegro, Leif Ove Andsnes (piano)  (With the kind permission of Sony Classical)   Rachmaninov: Piano Concerto No. 2 in C minor, Op. 18 - 3rd movement – Allegro scherzando Leif Ove Andsnes (piano); Berliner Philharmonic Orchestra, Antonio Pappano (With the kind permission of Warner Classics)   Janáček: On The Overgrown Path Series 1 - JW 8/17: I. Our evenings (Moderato - Adagio)  Leif Ove Andsnes (piano); Mahler Chamber Orchestra (With the kind permission of Warner Classics) See omnystudio.com/listener for privacy information.

Opera is een complexe muziekvorm. De emoties lopen vaak hoog op en een beetje voorstelling duurt algauw drie uur. Wil je het verhaal goed kunnen volgen, dan moet je je ook nog inlezen... Afhaken? Niet doen! Want goed uitgevoerd is het een betoverend genre. In deze aflevering hink-stap-springen Guido en Joris van het jaar 1600 naar nu, van Claudio Monteverdi naar George Benjamin. Onderweg geven ze handvatten om meer grip te krijgen op het fascinerende fenomeen opera. Muziekfragmenten: - Claudio Monteverdi, ‘Dormo ancora', uit Il ritorno d'Ulisse in patria. Christoph Prégardien, Concerto Vocale o.l.v. René Jacobs. - Jean-Philippe Rameau, ‘Forêts paisibles', uit Les Indes galantes. Sabine Devieilhe, Les Ambassadeurs o.l.v. Alexis Kossenko. - Wolfgang Amadeus Mozart, ‘Se di lauri il crine adorno', uit Mitridate, re di Ponto. Michael Spyres, Les Musiciens du Louvre o.l.v. Marc Minkowski. - Richard Wagner, ‘Des Augen leuchtendes Paar', uit Die Walküre. Matthias Goerne, Hong Kong Philharmonic Orchestra o.l.v. Jaap van Zweden. - Giacomo Puccini, ‘Un bel di vedremo, uit Madama Butterfly. Renata Tebaldi, Orchestra dell'Accademia di Santa Cecilia o.l.v. Tullio Serafin. - George Benjamin, ‘Agnes and the Boy', uit Written on Skin. Barbara Hannigan, Mahler Chamber Orchestra o.l.v. George Benjamin.

An welchem Ort fühlst du dich zu Hause? Wie riecht es dort, welche Sprache wird gesprochen – und: hat deine Heimat einen Klang? Diese Fragen treiben Mohammed (17) und Béla (16) um. Sie besuchen das Konzert »Welcome home!« im Großen Saal der Elbphilharmonie, in dem das Mahler Chamber Orchestra gemeinsam mit Schülern dem Thema »Heimat« nachspürt. Im Gespräch mit zwei Mitgliedern des weltberühmten Orchesters und einer Ausstellung im Hamburger Museum für Kunst und Gewerbe erhalten die Schüler überraschende Antworten auf ihre Fragen.   

海頓的音樂，充滿了對生活的希望，他寬厚、仁慈、幽默，音樂簡單中不失細膩，樂觀裡不失優雅 這樣的風骨，是人類世界最美好的存在 生活總是要過下去的，不如帶著美好的嚮往和希望踏上這段旅程 本集主打曲 Cello Concerto No. 1 in C Major, Hob. VIIb:1: I. Moderato Gautier Capuçon · Mahler Chamber Orchestra © 2003 Erato/Warner Classics, Warner Music UK Ltd.

Der Pianist Leif Ove Andsnes kommt für ein dreitägiges Mozart-Projekt mit dem Mahler Chamber Orchestra in die Elbphilharmonie. Ein Gespräch über Karriere, über Griegs Frosch und den wichtigen Rest des Lebens.

En el episodio de hoy tenemos como invitado a Darío Mariño, Clarinete Solista de la Orquesta Sinfónica del Gran Teatro del Liceo de Barcelona. Darío inició sus estudios con el clarinete en Galicia y más adelante decidió continuar con su formación en Berlín. Entre sus profesores principales se encuentran José María Belló, Carlos Casadó, Vicente Alberola, Karl-Heinz Steffens y Wenzel Fuchs. Ha colaborado con diferentes orquestas jóvenes, como la JONDE y la Gustav Mahler, donde tuvo la oportunidad de trabajar junto a Claudio Abbado. Entre los años 2010 y 2012, fue academista de la Karajan Akademie en la Filarmónica de Berlín y desde entonces colabora como primer clarinete con orquestas como la Filarmónica de Berlín, Mahler Chamber Orchestra y algunas de las mejores orquestas europeas. Antes de conseguir su plaza en la Orquesta Sinfónica del Gran Teatro del Liceo, Darío fue solista de clarinete de la Konzerthausorchester Berlin, y de la orquesta del Teatro estatal de Kassel. Ha trabajado con directores como Simon Rattle, Valery Gergiev, Christian Thielemann, Daniel Barenboim, Daniel Harding, Andris Nelsons, Herbert Blomsted, Paavo Järvi, Iván Fischer y Christoph Eschenbach, entre otros. Como músico de cámara fundó el Natalia Ensemble, el Trio Hanns Eisler y el Berliner Nonett y comparte escenario con algunos de los músicos con mayor proyección a nivel internacional. Como solista, ganó en 2008 el Primer Premio y Medalla de oro en el concurso de solistas del Primer Palau de Barcelona, interpretando y grabando desde entonces los conciertos para clarinete de Mozart, Weber, Artie Shaw y Copland. Apasionado por la pedagogía, enseña en Masterclases tanto de clarinete como de música de cámara y orquesta en diversos formatos. Una gran trayectoria y que tenemos la oportunidad de conocer con más detalle en este episodio, donde hablaremos de: Toda su trayectoria desde los inicios con el clarinete y qué fue lo que hizo que quisiera dedicarse a la música Por qué decidió cambiar del sistema francés al alemán y cómo vivió ese cambio Hablaremos sobre en qué casos podría ser una mejor opción estudiar el Superior en España o en otro país y los pros y contras, dependiendo siempre de cada caso en en particular. Su etapa estudiando en Berlín con Wenzel Fuchs Cómo es ser Academista de la Filarmónica de Berlín y qué supuso en su carrera Su primera vez tocando con la Filarmónica de Berlín y la primera vez que tocó como Solista en esta Orquesta Cómo fue trabajar junto a Claudio Abbado y qué es lo que destaca de algunos de los directores con los que ha trabajado De esto y mucho más es de lo que hablaremos en este episodio. Si quieres escuchar a Darío tocando la 1ª Sinfonía de Mahler con la Filarmónica de Berlín bajo la dirección de Daniel Harding, te dejo este enlace aquí para que lo veas. Y como he comentado antes, ya estamos de nuevo en Septiembre, donde empezamos nuevo curso, nuevos proyectos, nuevos retos… Porque Septiembre es un mes para eso, para empezar. Y aunque nos cueste dejar atrás el verano, es momento de volver a la rutina. ¿Pero qué hacer después de haber estado unas semanas de descanso sin tocar el clarinete? ¿Cómo empezar a estudiar? ¿Hay algún ejercicio que me hará retomar la forma antes? Estas puede que sean algunas de las preguntas que te estés haciendo. Y de eso es de lo que vamos a hablar ahora mismo. Igual que los deportistas no empiezan a entrenar a tope después de las vacaciones, necesitan de un proceso de adaptación o pretemporada, lo mismo pasa con la práctica musical. No podemos pasar de 0 a 100. Por eso he subido algunas clases a la academia donde explico unos ejercicios para empezar mejor y colocar todo en el sitio lo antes posible. Estas clases funcionan muy bien si has estado de vacaciones o un has tenido un tiempo inactividad. Así que si quieres volver a la rutina y empezar el curso en forma, puedes echarle un vistazo a estas clases en academiadeclarinete.com No te pierdas el apartado de Masterclasses, donde habrán novedades este mes. Recuerda que en academiadeclarinete.com tienes a tu disposición cientos de clases grabadas en vídeo con ejercicios, técnicas, partituras y todo lo que necesitas, para mejorar como clarinetista. También tienes disponible la sección de Masterclasses, donde grandes clarinetistas colaboran regularmente compartiendo todo lo que saben con los estudiantes de la academia, y de esta manera, hacer de esta plataforma un lugar de referencia y aprendizaje para toda la comunidad de clarinetistas de habla hispana. Muchas cosas están por llegar. No te lo pierdas. Descarga gratis la Guía de estudio del Clarinetista. *Fotografía: Paco Amate (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "//forms.aweber.com/form/75/1002537775.js"; fjs.parentNode.insertBefore(js, fjs); }(document, "script", "aweber-wjs-lxvwl76h6"));

Beim Musikfest treffen sich die besten Orchester der Szene in Berlin. Am Donnerstagabend war das Mahler Chamber Orchestra in der Stadt – und Dirigent und Komponist George Benjamin macht daraus ein Gesamtkunstwerk. Von Jens Lehmann

Born in Luxembourg, Philippe Schartz developed an early interest in the trumpet from listening to his father play in the village wind band. His passion was cultivated by his teachers who have included Dino Tomba, a great friend and mentor. He continued his studies at the Royal College of Music in London with the late David Mason, and then was invited to join the Special Student programme at the Eastman School of Music in Rochester, New York. A winner of many prizes and awards, he has developed a highly successful career as an orchestral and a chamber musician as well as a soloist, performing all over Europe, the USA, South America , China and Japan. As a member and Principal Trumpet of the Gustav Mahler Youth Orchestra, and the founding Principal Trumpet of the Mahler Chamber Orchestra until the summer of 2002, and currently, Principal Trumpet of the BBC National Orchestra of Wales since 1999, he has performed to much critical acclaim under conductors such as Claudio Abbado, Pierre Boulez, and Bernard Haitink. In 2009 he was appointed Principal Trumpet of the Solistes Européens, Luxembourg.A post he held until 2019. He has been broadcast on the BBC and numerous European radio and television networks, in addition to issuing 10 solo CDs. An enthusiastic member of the teaching staff at the Royal Welsh College of Music and Drama and Cardiff University, Philippe has given master-classes/recitals  and educational workshops at all the major UK music colleges as well as many leading Universities in the USA, South America, Canada, Japan and Continental Europe, including the School of Music and Sonic Arts at Queen's University, Belfast. He made his BBC Proms debut as a soloist in 2011, and has become a Yamaha Trumpet artist since 2009. Learn more about Philippe Schartz: www.philippeschartz.net Show notes: https://bobreeves.com/blog/philippe-schartz-trumpet-interview/ More about Bob Reeves Brass: www.bobreeves.com

In this episode, we discuss recordings of “Melancholy Grace” by Jean Rondeau, “Mozart Momentum – 1785” by Leif Ove Andsnes / Mahler Chamber Orchestra, “Johannes Brahms: Piano Concertos” by András Schiff / Orchestra of the Age of Enlightenment, “After the Real Thing” by Roy Mor, “I Remember You” by Stephen Riley, and “Masters & Baron Meet Blanton & Webster” by the Mark Masters Ensemble.   The Adult Music Podcast is featured in: Feedspot's Top 20 Classical Music Podcasts Feedspot's Top 25 Jazz Podcasts   Episode 20 Deezer Playlist   “Melancholy Grace” (Erato) Jean Rondeau (harpsichord) https://open.spotify.com/album/4CiQThXDK2Ip8pdtlA2j9z https://music.apple.com/us/album/melancholy-grace/1561190945   “Mozart Momentum – 1785” (Sony) Leif Ove Andsnes (piano), Mahler Chamber Orchestra, Matthew Truscott (violin), Joel Hunter (viola), Frank-Michael Guthmann (cello) https://open.spotify.com/album/1j3AzLmAJVP7HbQMCwqlzq https://music.apple.com/us/album/mozart-momentum-1785/1560605515   “Johannes Brahms: Piano Concertos” (ECM) András Schiff (piano/director), Orchestra of the Age of Enlightenment https://open.spotify.com/album/2egGFfaZ4wBSDgl7gGST67 https://music.apple.com/us/album/brahms-piano-concertos/1561178466   “After the Real Thing” (Ubuntu) Roy Mor https://open.spotify.com/album/3cxhAgOgEBKAQJPHoV6stf https://music.apple.com/us/album/after-the-real-thing/1557628865   “I Remember You” (SteepleChase) Stephen Riley https://open.spotify.com/album/28IqChYvhVv0erB4fNKq7L   “Masters & Baron Meet Blanton & Webster” Mark Masters Ensemble (Capri Records) https://open.spotify.com/album/2QwuiSaDsQc7IVIjuNVOtl https://music.apple.com/us/album/masters-baron-meet-blanton-webster/1570361073  

Le pianiste norvégien enregistre un disque Mozart avec le Mahler Chamber Orchestra. Dernière de Demandez le programme.

Le pianiste norvégien enregistre un disque Mozart avec le Mahler Chamber Orchestra. Dernière de Demandez le programme.

In deze aflevering: Guiseppe Verdi, dé operacomponist van Italië. Schepper van maar liefst 26 opera's waaronder Nabucco, Aida, La Traviata. Een man met een turbulent leven. Een muzikale alleskunner voor wie in het 19e-eeuwse Italië honderdduizenden de straat op gingen. Muziek in deze aflevering: Aida – Triomfmars Coro e Orchestra del Teatro alla Scala di Milano o.l.v. Tullio Serafin Nabucco - Slavenkoor Deutsche Oper Berlin o.l.v. Giuseppe Sinopoli La Traviata – Libiamo ne' lieti calici Luciano Pavarotti, Dame Joan Sutherland, London Opera Chorus & National Philharmonic Orchestra o.l.v. Richard Bonynge Cherubini - Sonate voor orgel  Olivier Latry La forza del destino – Ouverture  Berliner Philharmoniker o.l.v. Claudio Abbado Oberto – Ouverture  Academy of St. Martin in the Fields o.l.v. Neville Marriner Oberto – Basta, basta o fedeli! Violeta Urmana, Academy of St. Martin in the Fields o.l.v. Neville Marriner Nabucco – Slavenkoor Deutsche Oper Berlin o.l.v. Giuseppe Sinopoli Attila – Santo di patria, Allor che i forti corrono, Da te questo or m'e concesso Cristina Deutekom, Royal Philharmonic Orchestra o.l.v. Lamberto Gardelli La Traviata – Prelude Berliner Philharmoniker o.l.v. Claudio Abbado La Traviata – Sempre libera  Anna Netrebko, Mahler Chamber Orchestra o.l.v. Claudio Abbado Lady Macbeth – Vieni, t'affretta  Shirley Verrett, Orchestra Teatro alla Scala di Milano o.l.v. Claudio Abbado Aida – Triomfmars  Orchestra del Teatro alla Scala di Milano o.l.v. Tullio Serafin Messa da Requiem – Dies irae: Dies irae  Coro e Orchestra del Teatro alla Scala di Milano o.l.v. Riccardo Muti  Otello – Una Vela! Una Vela! Luciano Pavarotti, Kiri Te Kanawa, Chicago Symphony Orchestra & Chorus o.l.v. Georg Solti  Otello – Niun mi tema  Luciano Pavarotti, Chicago Symphony Orchestra & Chorus o.l.v. Georg Solti  La Traviata – Addio del passato  Maria Callas, Orquestra de Sinfonica del Teatro Nacional de Santa Carlos o.l.v. Franco Ghione

durée : 00:05:25 - Classic & Co - par : Anna Sigalevitch - C'est un projet du pianiste et chef d'orchestre Leif Ove Andsnes avec le Mahler Chamber Orchestra, visant à explorer les années 1785 et 1786 de Mozart. Le premier volet vient de paraître chez Sony Classical.

Pianist Leif Ove Andsnes widmet sich mit dem Mahler Chamber Orchestra einem außerordentlich reichen Werkausschnitt von Mozart: "Mozart Momentum 1785" heißt das aktuelle Doppelalbum. Das ist eine bewegend musizierte und faszinierende Referenzaufnahme, ein Highlight nicht nur für Mozart-Fans!

Eine Chefposition auf Lebenszeit bedeutet auch ein Ende jeder Perspektive über diese Position hinaus. Bei den Berliner Philharmonikern hat sich Claudio Abbado als erster aus dieser Tradition befreit. Er gründete ein eigenes Orchester für sich. In Luzern, wo er das Mahler Chamber Orchestra zum Stamm des Lucerne Festival Orchestra machte, prägte er nochmals einen ganz neuen Stil.

durée : 00:16:40 - Mozart Momentum 1785 - Leif Ove Andsnes, Mahler Chamber Orchestra - "Mozart Momentum", l'histoire d'un moment clé dans la vie de Mozart. Voici le nouveau projet du pianiste Leif Ove Andsnes qui s'est lancé un nouveau défi.

Bernardo Alviz was born and raised in Bogota, Colombia.  He started his music studies at the age of 17 and holds a Bachelor's degree from the Universidad Javeriana in Bogota as well as a Bachelor's and Master's degree from the Hochschule für Musik Hanns Eisler Berlin in Germany. Bernardo is a passionate performer of contemporary music and has performed in some of the most renowned festivals including the Lucerne festival in 2017 with Heinz Holliger and Mathias Pintcher as chief conductors; as principal bass with the Solistenensemble Kaleidoskop at the Donaueschingen Musiktagen in 2017 as well as at the Rainy Days music festival in Luxembourg 2014; as principal bass of the Staatskapelle Berlin during the Infektio! Music festival in Berlin in 2016; and as principal bass with the Mahler Chamber Orchestra at the Malmo International Chamber music festival 2016 in Sweden.   We talk about growing up in Colombia, his training in Germany, meeting his wife Phoebe Russell, and their subsequent move to Australia, and getting established as a bassist there.  We also dig into his struggles with a performance injury and the mystery surrounding it, the struggles and discoveries that have come from it, and his move into teaching a large studio of young bassists and doing a PHD in composition.   Enjoy, and be sure to check out Bernardo’s website to learn more about this work!   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 80+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Dorico - Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism. It is easy enough for anyone to learn, yet has hundreds of advanced notations, features, options and sounds to satisfy even the most demanding professionals.  With its streamlined, natural user interface, students and those with less experience in scoring can compose and arrange straight into Dorico, making learning the language of music notation much faster and more intuitive. Editing and making changes — such as instrument, time signature or key — are straightforward, with the notation instantly and correctly adapting to include them, reinforcing the learning outcome.   Ear Trumpet Labs - They make hand-built mics out of Portland, OR and they have an excellent mic for upright bass called Nadine. The Nadine is a condenser mic with a clear natural sound and incredible feedback rejection. This mic is a completely new design -- the head mounts in between the strings above the tailpiece with a rubber grommet, and the body securely straps to the tailpiece with velcro elastic. A 14-inch Mogami cable connects the two parts making it easy to place on any bass. It’s durable and holds up to the demanding needs of the instrument while offering excellent sound quality. Ear Trumpet Labs is offering a free t-shirt just for Contrabass listeners with the purchase of a mic, just visit EarTrumpetLabs.com/contrabass to claim yours and check out the Nadine!   Modacity - Are you a practice-savvy musician? Get Modacity – the music practice app that organizes, focuses, and tracks your progress.  Recorder… metronome… tone generator… timer… note taking… Do away with the random assortment of music practice apps in your arsenal. Modacity™ combines all the tools you need into one easy to use, music practice tool.  Organize, focus, and reflect on your practice – motivating you to increase retention in less time.  Modacity has a special offer for Contrabass Conversations listeners that includes lifetime access to the app.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion theme music by Eric Hochberg

Hoy tenemos como invitado a Juanlu Puelles, miembro de la Orquesta de Macao durante cinco temporadas como clarinete bajo y requinto. Juanlu cuenta con una gran experiencia internacional, ha tocado con orquestas como London Symphony, Teatro Real de Madrid, Mahler Chamber Orchestra, Les Dissonances, Hong Kong Philarmonic y Malasyan Philarmonic. Ha sido profesor invitado en EEUU, China y España. Actualmente reside en Valencia siendo profesor de ESMAR y de MUSIKEX. Además de su formación musical se ha dedicado a investigar sobre cómo mejorar la salud del músico durante toda su carrera. Y ha obtenido la formación durante tres años en Barcelona con Malen Cicerol en el método corporal Diafreo, del cuál nos hablará durante la entrevista. En este episodio hablaremos de: Sus inicios con la música Su etapa como estudiante en Musikene Los años que estuvo en Berlín y todo lo que le aportó esta experiencia Su etapa tocando en el Teatro Real y su camino para conseguir la plaza en la Orquesta de Macao Hablaremos del método Diafreo Del Music Masters Course Valencia, un proyecto que lleva a cabo junto a su profesor Vicente Alberola Y muchas cosas más. Dejo el enlace del MMCV para que puedas acceder y ver toda la información. Recuerda que en academiadeclarinete.com tienes a tu disposición clases grabadas en vídeo con ejercicios, técnicas, repertorio y todo lo que necesitas para mejorar como clarinetista. En la sección de Masterclasses hay una nueva clase con Ángel Belda (clarinetista de la Orquesta Nacional de España) sobre el solo de orquesta de las Danzas de Galanta. En esta masterclass vamos a estudiar en profundidad y con todo detalle este gran solo del repertorio orquestal, para que lo puedas aprender de una forma clara y lo puedas tocar mucho mejor si tienes una prueba o simplemente por si tienes curiosidad por aprender y mejorar con el clarinete. Clases nuevas y nuevos profesores irán colaborando regularmente para hacer de esta academia un lugar de referencia y aprendizaje para toda la comunidad de clarinetistas de habla hispana. Accede a todo el contenido en academiadeclarinete.com y sigue aprendiendo con grandes clarinetistas desde donde tú quieras, y a tu ritmo. Descarga gratis la Guía de estudio del Clarinetista. (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "//forms.aweber.com/form/75/1002537775.js"; fjs.parentNode.insertBefore(js, fjs); }(document, "script", "aweber-wjs-lxvwl76h6"));

"Wir wunderten uns alle", so Daniel Barenboim über Claudio Abbados initiative Neigung zu Nachwuchs-Orchestern. Hat Abbado etwa die Education-Arbeit in die Welt gesetzt? Viele seiner neuen Ensembles, darunter das Chamber Orchestra of Europe, das Mahler Chamber Orchestra und das Orchestra Mozart, leben weiter.

Belgian trumpeter Jeroen Berwaerts is a musical force to be reckoned with, whose all-embracing love of music knows no genre boundaries. Praised for his outstanding technical capabilities and sensitive musicality, his repertoire encompasses every epoch, from baroque to contemporary music and jazz.  Placing the standard repertoire for trumpet in ingenious programmes and unusual contexts has become Jeroen Berwaerts’ calling card. One such programme places Handel’s Feuerwerksmusik and dances from Rameau’s opera Dardarus alongside chansons by Jacques Brel. The singing roles in such programmes is generally taken up by Jeroen Berwaerts himself, who – alongside his active career as a trumpeter – completed jazz vocal studies at the Royal Conservatory of Ghent  Jeroen Berwaerts’ extraordinary commitment to contemporary music is evident in the numerous world premieres he has given, including Toshio Hosokawa’s second trumpet concerto Im Nebel and Francesco Filidei’s Carnevale. After Håkan Hardenberger he was the second trumpeter worldwide to add HK Gruber’s Busking (2007) to his repertoire.   In 2017, Jeroen Berwaerts’ discography was complemented by the album Signals from Heaven, recorded with Salaputia Brass, with whom he is trumpeter, jazz-vocalist and ensemble director. His recording of Paul Hindemith’s trumpet sonata with Alexander Melnikov was released on Harmonia Mundi in 2015. In 2012 he recorded Shostakovich’s Concerto for Piano, Trumpet and Orchestra under Teodor Currentzis with the Mahler Chamber Orchestra, the same year he recorded Toshio Hosokawa’s Voyage VII with the Orchestre Philharmonique du Luxembourg.  Jeroen Berwaerts studied in Karlsruhe with the celebrated trumpet virtuoso Reinhold Friedrich. Since 2008, he has been a Professor of Trumpet at the Hochschule für Musik in Hannover. Jeroen Berwaerts is Professor in Residence at the Royal Academy of Music in London. He is an official Yamaha Artist.   

En este episodio, tenemos como invitado a Luis Cámara, clarinete solista de la Orquesta Sinfónica de Euskadi y de Verbier Festival Chamber Orchestra.  Clarinetista de Jaén, Luis se inició con este instrumento como la mayoría de jóvenes, en la banda de su pueblo, Bailén. Más adelante, estudió en el Real Conservatorio Superior de Madrid y perfeccionó sus estudios con Javier Martínez y Vicente Alberola. Luis ha colaborado como solista con diferentes orquestas, como la Orquesta Sinfónica de Madrid, Orquesta del Gran Teatre del Liceu, Gulbenkian Orchestra, Orquesta Filarmónica de Malasia además de haber colaborado con la Mahler Chamber Orchestra, Danish National Symphony y la Orquesta de Radio Televisión Española. Entre sus próximos proyectos se encuentra una serie de colaboraciones como solista con la Liverpool Philarmonic Symphony Orchestra y participará en el ciclo de música de cámara del teatro Victoria Eugenia en San Sebastián junto a la pianista Julia Siciliano y miembros del Jerusalem Quartet. En este episodio hablaremos de: Los dos profesores que más han influido en su carrera y que le motivaron para querer dedicarse a la música Los pros y contras de irse a estudiar al extranjero y qué cosas debemos tener en cuenta antes de dar este paso tan importante De actualidad, situación en las orquestas y cultura en nuestro país Hablaremos de pruebas a orquesta, audiciones, preparación, de cómo afrontarlas en mejores condiciones y de lo realmente importante que la mayoría de aspirantes se olvidan a la hora de enfrentarse a una prueba Por qué es importante dejar de pensar como clarinetistas y pensar más en el conjunto, como músicos Hablaremos de su experiencia tocando en Ópera y en orquestas sinfónicas y de los aprendizajes que ha sacado en diferentes situaciones De esto y mucho más, hablaremos en este episodio. Pero antes de nada, como siempre, academiadeclarinete.com, la primera academia de clarinete online para hispanohablantes donde tienes a tu disposición clases grabadas en vídeo con ejercicios, técnicas, repertorio y todo lo que necesitas para mejorar como clarinetista, clases nuevas todas las semanas. No te pierdas la nueva sección de masterclasses, donde tendrás la oportunidad de tener acceso a clases magistrales grabadas en vídeo con diferentes clarinetistas. Clases nuevas y nuevos profesores irán colaborando regularmente para hacer de esta academia un lugar de referencia y aprendizaje para toda la comunidad de clarinetistas de habla hispana. Accede a todo el contenido en academiadeclarinete.com y sigue aprendiendo con grandes clarinetistas desde donde tú quieras, y a tu ritmo. Descarga gratis la Guía de estudio del Clarinetista. (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "//forms.aweber.com/form/75/1002537775.js"; fjs.parentNode.insertBefore(js, fjs); }(document, "script", "aweber-wjs-lxvwl76h6"));

"When I hear Beethoven, I feel like he's reading my mind, reading my soul. It's impossible to comprehend. I compare Beethoven to someone like Da Vinci. Similar level of genius. His music is one of the great treasures we have." On today's program, cellist Pablo Ferrández is here. A colleague of Daniel on stage and a friend offstage, they have a lot talk about when it comes to cello, music, and music's role in modern life. But this is not a conversation where two musicians talk shop. Quite to the contrary-- it's a conversation with appeal to the general public, to even the most casual of listeners or someone with just a passing interest in music. Great music shapes us, it colors every aspect of our lives, it makes itself relevant and indispensable just by virtue of it existing. So where do we turn in these pandemic times when we need music the most? What do musicians do? Why does Beethoven mean so much, so long after his death? Is "relevance" an escape word-- a myth?-- people use when they don't want to fully confront a great work of art? Prizewinner at the XV International Tchaikovsky Competition and SONY Classical exclusive artist, Pablo Ferrández announces himself as a musician of stature. A captivating performer, “Ferrández has the lot: technique, mettle, spirit, authority as a soloist, expressivity and charm” (El Pais). Recent highlights include the debuts at the Hollywood Bowl with Los Angeles Philharmonic under G.Dudamel, with Bayersichen Rundfunk Symphony Orchestra under D. Gatti, with Bamberg Symphony under C. Eschenbach, performances of Brahms Double Concerto and Beethoven Triple Concerto with Anne-Sophie Mutter, and appearances with the London Philharmonic, Israel Philharmonic, Rotterdam Philharmonic, Vienna Symphony, and Orchestre National de France, among others. The 20/21 season will bring the debuts with Filarmonica della Scala under R. Chailly, Mahler Chamber Orchestra under D. Gatti, Salzburg Mozarteum Orchestra, Philharmonia Orchestra, BBC Scottish Symphony, RTE National Symphony Orchestra, Festival Strings Luzern, Orchestra de la Svizzera Italiana, Moscow State Symphony Orchestra and returns with the Dusseldorf Symphony at the Elbphilharmonie, Orchestra Sinfonica Nationale RAI, St. Petersburg Philharmonic, Spanish National Orchestra, RTVE Orchestra, Orquesta Sinfónica de les Illes Balears and the Basque National Orchestra. He will also be Artist-in-residence at the Tenerife Symphony Orchestra. As a recitalist and chamber musician, he frequently collaborates with such artists as Vadim Repin, Martha Argerich, Gidon Kremer, Yuja Wang, Nikolay Lugansky, Khatia Buniatishvili, Beatrice Rana, Denis Kozhukhin, Maxim Rysanov, Ray Chen, Alice Sara Ott, Elena Bashkirova, Luis del Valle and Sara Ferrández. Born in Madrid in 1991, in a family of musicians, Pablo Ferrández joined the prestigious Escuela Superior de Música Reina Sofía when he was 13 to study with Natalia Shakhovskaya. After that he completed his studies at the Kronberg Academy with Frans Helmerson and became scholar of the Anne-Sophie Mutter Foundation. Mr. Ferrández plays the Stradivarius “Lord Aylesford” (1696) thanks to the Nippon Music Foundation. ----------------- talkingbeats.com Please consider supporting Talking Beats with Daniel Lelchuk via our Patreon: patreon.com/talkingbeats In addition to early episode access, bonus episodes, and other benefits, you will contribute to us being able to present the highest quality substantive, long-form interviews with the world's most compelling people. We believe that providing a platform for individual expression, free thought, and a diverse array of views is more important now than ever.

J'ai eu le plaisir d'interviewer Béatrice Muthelet, elle évoque son itinéraire musical, son apprentissage en Israël notamment auprès de figures telles que Chaim Taub à l'époque violon solo de l'Orchestre Philharmonique d'Israël et premier violon du Quatuor de Tel-Aviv, puis son apprentissage de l'alto aux cotés de Pinchas Zukerman et ses rencontres d'immenses chefs comme Claudio Abbado ou Günter Wand et puis son rôle d'alto solo au sein du Mahler Chamber Orchestra. J'espère que ce plaisir que j'ai eu à interviewer Béatrice Muthelet sera partagé.   -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

Violinist Alexi Kenney has been called, "a talent to watch" by The New York Times and is the definition of a multi-faceted and whole musician. He has appeared as a soloist with orchestras all over the world, including the Indianapolis Symphony, Detroit Symphony, St. Paul Chamber Orchestra, and the Lausanne Chamber Orchestra in Switzerland. He has served as guest concertmaster of Pittsburgh Symphony and Mahler Chamber Orchestra and has participated as a chamber musician in festivals such as Marlboro, Yellow Barn, and Ravinia. Alexi and I discuss the question: What does classical music have to offer the modern world? We dive into what life skills we gleaned from our early music training, the conservatism of arts organization, if music schools prepare students for a career in music, and the meaning of tradition. You can find out more about Alexi at his website, alexikenney.com, or on Instagram @alexikenney.

Gabriel FAURE - Sicilienne opus 78. Camille Thomas et Julien Libeer . La Dolce Volta 29. Piotr TCHAIKOVSKI - Deuxième et Troisième mouvements du Concerto pour violon et orchestre en ré majeur opus 35. Janine Jansen et le Mahler Chamber Orchestra sous la direction de Daniel Harding . DECCA 4780651 Claude DEBUSSY - L'Isle Joyeuse . Jean-Efflam Bavouzet . Chandos 10443 . Joseph HAYDN - L'ouverture de L'isola disabitata . Il Giardino Armonico sous la direction de Giovanni Antonini . Alpha 672.

Jess Gillam and soprano Ella Taylor have a ‘virtual’ listening party, with music from Prokofiev, Ella Fitzgerald, Bach and Ella’s favourite track by their favourite band tUnE-yArDs. Playlist: Prokofiev - Symphony no. 1 (Op.25) in D major "Classical", 4th movement; Molto vivace London Symphony Orchestra, Valery Gergiev tUnE-yArDs - Water Fountain Gordon, Lang and Wolfe - Shelter: Before I Enter Caroline Shaw (vocals), Martha Cluver (vocals), Mellissa Hughes (vocals), Ensemble Signal, Brad Lubman Ella Fitzgerald - Misty George Benjamin - Written on Skin - Part one, scene 6 Barbara Hannigan, Bejun Mehta, Mahler Chamber Orchestra, George Benjamin Marvin Gaye - Abraham, Martin and John Bach - Double Violin concerto in D minor - 3. Allegro Isabelle Faust, Akademie fur Alte Musik Beethoven - Last string quartet, version for String orchestra; III. Lento assai - cantante e tranquillo Bernstein, Vienna Philharmonic

David Elton is principal trumpet of the London Symphony Orchestra since December 2017 and the Sydney Symphony Orchestra since 2011. David is also a trumpet professor at the Royal College of Music in London, and a member of the Australian National Academy of Music brass faculty in Melbourne. As a soloist, David has performed Haydn’s Trumpet Concerto in Vietnam with the London Symphony Orchestra, given the world-premiere of James Ledger’s Trumpet Concerto (a work that was written for him) with the West Australian Symphony Orchestra, as well as performing other concerti with various orchestras including the Sydney and Canberra Symphony Orchestras, and the Australian Chamber Orchestra. Prior to his LSO and SSO appointments, David Elton was Principal Trumpet with the West Australian Symphony Orchestra (2005-2011) and the Adelaide Symphony Orchestra (2000-2004).  He has also performed as a Guest Principal Trumpet with the New York Philharmonic, Chamber Orchestra of Europe, Mahler Chamber Orchestra, Australian Chamber Orchestra, the Australian World Orchestra and the Hong Kong Philharmonic. For more information visit www.davidelton.com.au or www.bobreeves.com/77 for the show notes for this episode.

Leah Tagami Andonov is the First Violinist in the Oslo Philharmonic. She is a former CCPC member and the daughter of members Kyoko and Mark Meredith. She regularly performs with the Mahler Chamber Orchestra and the Norwegian Chamber Orchestra. She has previously served as Concertmaster in both the Danish National Symphony Orchestra and Trondheim Symphony Orchestra. Leah has a Master’s degree from the Guildhall School of Music and Drama in London, where she studied with David Takeno. Her previous mentors include Victor Danchenko, Alf Richard Kraggerud, and Pavel Berman.

durée : 01:57:46 - En pistes ! du mercredi 25 septembre 2019 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu d'En Pistes : Rameau arrangé pour accordéon par Teodoro Anzellotti, Manuel de Falla par le Mahler Chamber Orchestra dirigé par Pablo Heras-Casado, William Christie, Judith Nelson et Stanley Ritchie célèbrent Jean-Joseph Cassanéa de Mondonville, un des fondateurs de la sonate classique... - réalisé par : Lionel Quantin

durée : 00:19:34 - Le Disque classique du jour du mercredi 25 septembre 2019 - Nous attendions ce disque avec impatience : le plus andalou des chefs d’orchestre n’avait pas encore enregistré le répertoire national. - réalisé par : Lionel Quantin

Mark currently plays bass trombone with the Mahler Chamber Orchestra and Luzern Festival Orchestra and regularly works with the Philharmonia, Royal Philharmonic, Bavarian Radio Orchestra and Deutsche Symphony Orchestra. He is internationally active as a teacher holding positions at the Zaragoza, Weimar and Alicante Conservatories and has given masterclasses at the Royal Academy and Guildhall Schools of music in London. He is also an artistic advisor to the Youth Philharmonic of Columbia and directed the Mahler Chamber Orchestra academy for 9 years.Mark has played in some amazing venues all across the world and Karl and Aidan asked him about his career, life as a touring classical musician and some of the parallels between the the rock and classical world.Karl and Aidan also treat Mark to a large amount of excitement about the new Tool album - we did try to contain ourselves!Click Here to see Mark performing with the Lucerne Festival Orchestra Click here for Caroline’s Capuchin’s new single

It is such a pleasure to have Phoebe Russell on the podcast! Phoebe joined the Queensland Symphony Orchestra in 2017 as Principal Bass after graduating from the Berlin Philharmonic’s Karajan Academy.  Phoebe is originally from Melbourne, Australia. She has worked with a remarkable number of professional orchestras across the globe, including the Berlin Philharmonic, Bavarian Radio Symphony Orchestra, the Radio Symphony Orchestra Berlin, Deutsches Symphonie Orchester, the Netherlands Philharmonic and the Mahler Chamber Orchestra. Phoebe has also built a remarkable career outside of the orchestra as a soloist, and she is the lecturer in double bass at The University of Queensland and a faculty member of the Queensland Conservatorium of Music. We dig into all kinds of topics, like Phoebe’s musical journey from Melbourne to Berlin, how studying in Berlin shaped her bass playing, spending time with Gary Karr, this year’s Women in Bass concert celebrating fantastic double bass women from Australia and New Zealand, and much more. I hope you enjoy this conversation as much as I did, and be sure to follow Phoebe on Instagram and also check out her awesome appearance on TwoSetViolin’s YouTube Channel!   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: D'Addario Strings This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut.   Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.   Kolstein Music The Samuel Kolstein Violin Shop was founded by Samuel Kolstein in 1943 as a Violin and Bow making establishment in Brooklyn, New York. Now on Long Island, over 60 years later, Kolstein’s has built a proud reputation for quality, craftsmanship and expertise in both the manufacture and repair of a whole range of stringed instruments, and has expanded to a staff of twelve experts in restoration, marketing and production. A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools. Steve Swan String Bass Steve Swan String Bass features the West Coast’s largest selection of double basses between Los Angeles and Canada.  Located in Burlingame, just south of San Francisco, their large retail showroom holds about 70 basses on display. Their new basses all feature professional setups and come with a cover at no additional cost. Used and consignment instruments receive any needed repairs and upgrades before getting a display position on the sales floor. The Bass Violin Shop The Bass Violin Shop offers the Southeast’s largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome!   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging Subscribe to the podcast to get these interviews delivered to you automatically!

I had such a great time spending a week with Diego at Andrés Martin’s bass festival this fall.  Diego is one of the most inspiring double bassists I know, and he's doing great things for the double bass both in Spain and in his home country of Uruguay. About Diego Zecharies: Diego Zecharies is a highly dedicated professional musician who has mastered his art globally, branching out as recording artist, professor, soloist, principal bass, producer and pedagogue, born in Montevideo Uruguay, nowadays based in Spain. Diego began his studies in his hometown, continues in Jerusalem and graduated with the highest qualification in the ÜdK Berlin (University of Arts Berlin) under the guidance of Prof. Rainer Zepperitz, Prof. Klaus Stoll and violin Prof. Ilan Gronich. During his studies, Diego performed as a principal bass at the Mahler Jugend Orchester, the Junge Deutsche Philharmonie and the Jeunesses Musicales World Orchestra. He won the Friczay Stipendium at Deutsche Symphonie Orchester Berlin and played as a substitute with the Rundfunk Symphonie-Orchester Berlin. Diego served as Principal Bass position in The Mahler Chamber Orchestra, the bandArt Orchestra, Brandenburg Symphoniker, Philharmonie Potsdam, and Sinfonica di Milano. He also is assiduously invited as Principal Bass at the Orchestra della Svizzera Italiana (Lugano, Switzerland); the Ensemble Les-Dissonances (Paris) with violinist David Grimal; collaborated with the the Israel Philharmonic; the Jerusalem Chamber Orchestra and the Luzern Festival Orchestra, recording together with Maestro Abbado many concerts for ARTE and for the Deutsche Grammophone. Diego played chamber music concerts with Emmanuel Ax, Christian Zacharias and Elizabeth Leonskaya, symphonic concerts with world-class conductors such as Mehta, Maazel, Abbado, Nagano, Ashkenazy, Temirkanov, Pappano, Sinopoli, Ozawa, Welzer Möst and soloists such as Yo-Yo Ma, Yuri Bashmet, Anna Sophie Mutter, F.P. Zimmerman, Martha Argerich, Alfred Brendel, Maurizio Pollini, Gordan Nikolic and others, always as Principal Bass. Diego is Principal Solo Bass in Galicia Symphony Orchestra from the year 2002. Renowned as a very active and passionate soloist, Diego’s research has brought him to perform some world-premiere material including entire unaccompanied Double Bass recitals, like at the BASS EUROPE Convention in Amsterdam 2014 and ISB World Convention 2015 in Denver (U.S.A) with great appreciation both critics and public. Diego appeared as soloist with: the Chamber Orchestra of Galicia Symphony; the Camerata of the Ministry of Education and Culture of Montevideo; the Galicia Symphony Orchestra; the OJS of Montevideo, the Orquesta de Baja California,among others and gave the opening unaccompanied Double Bass recital for the UNESCO Chair Culture of Peace and Human Rights under the World Peace Forum 2010. Diego has given numerous master classes in Europe, South América and South Korea, been assigned as coach on many youth orchestras across Spain and Germany and has recently been appointed as Director of the International Double Bass Festival of Montevideo and Director of the Double-Bass Cathedra of the Uruguayan National Orchestral Training Plan. This cathedra foresees a minimum of 3 seminars with solo recitals and telematic virtual master classes given throughout the year, plus an international festival every 2 years. In Spain, Diego is the Artistic Director of the “ReSuena Project”, which brings together kids from diverse cultural and social backgrounds, throughout the creation of youth symphony orchestras and choirs all over the city, project originally inspired on Venezuela’s “El Sistema de Orquestas”. Links to Check Out: Diego's website Music For Double Bass Solo, Duo And Quintett (new album) Montevideo International Double Bass Festival Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. D’Addario Strings This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets. Subscribe to the podcast to get these interviews delivered to you automatically!

I'm thrilled to be chatting today with Alexandra Scott!  Alexandra plays bass in the Bavarian Radio Symphony Orchestra and teaches at the Hochschule für Musik in Karlsruhe, and she was a headliner for the 2017 International Society of Bassists Convention. More About Alexandra: Born in Somerset, England, Alexandra Scott began her studies at the Yehudi Menuhin School in London. Later, whilst studying at the Royal Academy of Music, she became a member of the European Union Youth Orchestra, the Mahler Youth Orchestra and the UBS Verbier Festival Orchestra. She completed her bachelor of music at the Guildhall School of Music and Drama with “First-Class Honours” under Rinat Ibragimov. In 2005 Alexandra moved to Berlin where she held a scholarship from the Berlin Philharmonic Karajan Academy. Among her teachers at this time were Klaus Stoll, Janne Saksala and Esko Laine. At the age of 23 she was appointed Principal Double Bass with the NRD Radio Philharmonic in Hanover. Alexandra is a dedicated chamber musician and appears regularly at leading international festivals in collaboration with artists such as Lisa Batiashvili, Gautier Capuçon, Reinhold Friedrich, Francois Leleux, Vilde Frang, Valeriy Sokolov, Eduard Brunner, Sergio Azzolini und Harriet Krijgh. She often plays with the Chamber Orchestra of Europe, the Mahler Chamber Orchestra and Amsterdam Sinfonietta, and is a founding member of the period instrument ensemble, L’accademia giocosa. Since May 2007, Alexandra holds the position of Sub-Principal Double Bass with the Bavarian Radio Symphony Orchestra, with whom she played as a soloist under Maris Jansons in 2015. Alexandra is also a passionate teacher. Since 2012 she has been Professor for Double Bass at the Hochschule für Musik in Karlsruhe. Alongside teaching the members of the Academy of the Bavarian Radio Symphony Orchestra, she also coaches the Gustav Mahler Academy, the German Youth Orchestra and the National Youth Orchestra of Great Britain. Links to Check Out: Alexandra's Website Interview (in German) with Alexandra Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. The Upton Bass String Instrument Company.  Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr.  Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. Check out this video of David Murray "auditioning" his Upton Bass! The Bass Violin Shop, which  offers the Southeast's largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Subscribe to the podcast to get these interviews delivered to you automatically!

I programmet diskuteras ungersk kammarmusik med Notos-kvartetten, Ester Yoo tolkar Tjajkovskij, orkestermusik av Chaminade samt Barbara Hannigan som både sjunger och dirigerar på ny skiva. I panelen Ditte Hammar, Edward Klingspor och Per Lindqvist som tillsammans med programledaren Johan Korssell betygsätter följande skivor: HUNGARIAN TREASURES Kammarmusik av Dohnányi, Kodály och Bartók Notos-kvartetten RCA 88985411882 PETER TJAJKOVSKIJ Violinkonsert D-dur m.m. Esther Yoo, violin Philharmonia Orchestra Vladimir Ashkenazy, dirigent DGG 481 5032 CÉCILE CHAMINADE Callirhoë, Konsertstycke för piano och orkester Victor Sangiorgio, piano BBCs konsertorkester Martin Yates, dirigent Dutton CDLX 7339 CRAZY GIRL CRAZY Musik av Luciano Berio, Alban Berg och George Gershwin Barbara Hannigan, sopran och dirigent Ludwig Orchestra Alpha ALPHA 293 Referensen Tjajkovskijs violinkonsert Johan jämför med och refererar till en inspelning där Maxim Vengerov är solist och spelar tillsammans med Berlins filharmoniker allt under ledning av Claudio Abbado. Inspelad på skivmärke Teldec.  Sofia möter Anders Hillborg Sofia Nyblom träffade kompositören Anders Hillborg dagen efter uruppförandet av det nya verket Aeterna. Samtalet kretsar runt arbetet som tonsättare, samarbetet med violinisten Lisa Batiasjvili i den andra violinkonserten samt lite tankar om framtiden och det kommande verket som är beställt av Londons symfoniorkester.   Andra i programmet nämnda eller rekommenderade inspelningar: Chaminades Konsertstycke med pianisten Danny Driver tillsammans med BBCs skotska symfoniorkester, Glasgow, ledda av Rebecca Miller på märket Hyperion. Tjajkovskijs violinkonsert med Maxim Vengerov tillsammans med Berlins filharmoniker under ledning av Claudio Abbado på Teldec (Referensen); Vilde Frang och Danmarks radios symfoniorkester ledda av Eivind Gullberg Jensen på EMI; Janine Jansen och Mahler Chamber Orchestra under Daniel Harding på Decca; Hilary Hahn tillsammans med Liverpools filharmoniker ledda av Vasily Petrenko på DG; Lisa Batiasjvili och Berlins statskapell dirigerade av Daniel Barenboim på DG; Jascha Heifetz och Chicagos symfoniorkester under Fritz Reiner på RCA; David Oistrach och Sovjetunionens statliga symfoniorkester under Kirill Kondrasjin på Melodija; Pinchas Zuckerman och Israels filharmoniker under ledning av Zubin Mehta på Columbia samt med Itzhac Perlman tillsammans med Israels filharmoniker allt under Zubin Mehta på Angel. Ester Yoo spelar Sibelius och Glazunovs violinkonserter på DG. Barbara Hannigans framträdande i Berwaldhallen i Stockholm, då hon också sjöng och dirigerade samtidigt. Berios Sequenza III med Cathy Berberian på märket Stradivarius. Inget Svep denna vecka

Norwegian pianist Leif Ove Andsnes on his complete cycle of Beethoven piano concertos at the 2015 Proms, marking the grand finale of his 'Beethoven Journey' with the Mahler Chamber Orchestra.

1 - Canto Yanomami/ Yanomami indian chant. 2 - "Symphonie phantastique - Un bal" (Berlioz). Les Musiciens du Louvre. Members of Mahler Chamber Orchestra. Marc Minkowski, regente/conductor. 3 - Canto do curió Ana Dias/ Brazilian birdcall. 4 - "Let´s get it on" (Marvin Gaye). Marvin Gaye. 5 - "Fuga y mistério" (Piazzolla). Gidon Kremer, Violino/violin. Andrei Pushkarev, vibrafone/vibraphone. Kremerata Baltica.

The Mahler Chamber Orchestra (MCO), founded in 1997 by Claudio Abbado, performed Mozart's Quintet in E-flat Major, Villa-Lobos' Fantasia Concertante and Poulenc's Trio for Oboe, Bassoon and Piano.