Podcasts about mahler symphony no

Where to start with classical music? Annie and Nick call a conductor for some honest tips on the genre. Elsewhere, SAULT have released an album for free via WeTransfer, Justin Bieber has been paid to perform for an Indian billionaire and is Kendrick Lamar's video for ‘Not Like Us' the final nail in the rap beef coffin? Plus, how did Stonehenge get there and what song would you play at your funeral? Oliver Zeffman's Classical Music Tips: Claude Debussy – Prélude à l'après-midi d'un faune Shostakovich – Symphony No. 5 Mahler - Symphony No. 2 Get in touch with Annie and Nick! If you're over 16 WhatsApp 079700 82700 or email sidetracked@bbc.co.uk

Maureen Forrester Conductor: Seiji Ozawa San Francisco Symphony Orchestra 27 May 1977 Broadcast

The 2024 season of Young Artists Spotlight opens with the FOOSA Philharmonic, performing Gustav Mahler's Symphony No.5, conducted by Dr. Thomas Loewenheim.

Interpreten: Czech Philharmonic, Semyon Bychkov Label: Pentatone EAN: 8717306260435 Die lange ersehnte Fortsetzung des Mahler Symphonien Zyklus aus Prag. Semyon Bychkov und die Tschechische Philharmonie mit Gustav Mahlers erster Symphonie. Die Erwartungen werden auch hier nicht enttäuscht, wie wieder Michael Gmasz verrät. Nachdem in den vergangenen Jahren bereits höchst eindrucksvolle Aufnahmen der Zweiten Mahler mit Christiane Karg und Elisabeth Kulman, der vierten Symphonie mit Chen Reiss und der Fünften Mahler erschienen sind, war es an der Zeit, die Mahler Reihe der Tschechischen Philharmonie unter Semyon Bychkov bei Pentatone fortzusetzen. Aufgenommen auch diesmal wieder im Dvořák Saal des Rudolfinums in Prag. Der Titan, wie man die erste Symphonie gerne nennt, wobei der Titel von Mahler wieder zurückgezogen wurde, ist die neue Folge der über längere Zeit angelegten Mahler Gesamtaufnahme aus Prag und auch diese Aufnahme setzt an musikalischer Raffinesse und Qualität fort, was die bisherigen bereits geboten haben. Diese erste Symphonie von Gustav Mahler ist ein faszinierendes Werk. Naturverbunden, tänzerisch, mit traditionellen Elementen und ersten Klezmer-Anklängen. Mit ganz leisen aber doch auch feierlich lauten Tönen. Semyon Bychkov ist ein Freund der Kleinigkeiten, der feinen Nuancen, der Transparenz, trotz des großen Orchesterapparates. Das Besondere an dieser Aufnahme ist jedoch, dass Bychkov nie aufdringlich auf die speziellen Elemente in Mahlers Werk hinweist. Der Ländler im zweiten Satz ist tänzerisch, aber nicht übermäßig „gestrampft“, die Klezmerkapelle im Dritten fügt sich ins Geschehen ein, als wäre es das Normalste der Welt. Das ist die Spezialität von Semyon Bychkov und seiner Mahlerdeutung. Es wirkt alles absolut natürlich, nichts aufgesetzt oder übertrieben – und genau dafür gebührt ihm großer Dank und immer wieder eben auch die Anerkennung meinerseits zumindest als Wochenempfehlung auf radio klassik Stephansdom! (mg)

Conductor Kathryn Cavanaugh writes -The meaning of Mahler's 10th has always eluded me until recent world events unfolded in front of my eyes.As the world turns further from the gospel of Jesus Christ, Satan fills the void.  After all, Man cannot serve 2 masters.  Either we follow Good or Evil.  We cannot be on the fence and serve either.  The world just doesn't work that way.I find the world no longer forgives.  There is little love in the world today.  Hate and intolerance are everywhere, especially by those who preach tolerance and love.  I find their souls to be dry, insensitive, and full of hate towards all things good.Man kills unborn children and says it is for good.  Man operates on young children, mutilates them, and calls it for their own good.  Man kills man and calls it for the good of society.The world has gone completely mad and needs to return to the one and only Son of God to find the light again.Thus now I feel I understand the 10th!Tracks Adagio Scherzo Purgatorio Scherzo Finale

If you haven't listened to Part 1 of this episode about Mahler's 4th symphony, I highly recommend doing that, as every movement of this symphony builds to the "Heavenly Life" of the last movement. On Part 2, we'll be going through the 3rd and 4th movements. Mahler told his friend Natalie Bauer-Lechner that the 3rd movement of the symphony was created by ”a vision of a tombstone on which was carved an image of the departed, with folded arms, in eternal sleep.” As you can imagine based on that description, there is an unearthly beauty to the slow movement of Mahler's 4th. Much like the Heiliger Dankgesang movement from Beethoven's Op. 132 string quartet I talked about a couple of weeks ago, we often get the feeling in the slow movement of Mahler's 4th that we are listening to music that is coming to us from the other side. As the slow movement comes to its end, we are introduced to the last movement, a sublime and peaceful song Mahler entitled "The Heavenly Life." This is a symphony that leaves you in a state like no other in the musical world, and so today we'll go through that slow movement, investigating just how Mahler makes it so extraordinary, and then we'll talk about the last movement, a movement that has divided listeners from the beginning due to its unusual text. I can't promise we'll find all the answers, but along the way, we'll get to listen to some truly divine music. We'll also get to hear Mahler himself playing - that's right, Mahler himself! Join us!

After the truly heavenly slow movement of Mahler's 4th symphony, a soprano emerges and sings a song literally called “The Heavenly Life.” It is a symphonic ending like no other, one that leaves the listener peaceful and contented after taking a long(but not as long as usual) and winding journey with Gustav Mahler and his 4th symphony. The 4th symphony is a symphony of moments, like the famous sleigh bells that begin the piece, and a symphony of long, massive, and momentous arcs, like in the timeless 3rd movement, which might be my single favorite movement of any Mahler symphony. But this symphony, so renowned for its contentedness and beauty also features complicated emotions, drama that clouds the blue skies, and a dark side that we never truly escape, perhaps not until the very end of the symphony. Mahler said that his symphony was “divinely serene, yet profoundly sad, it can only have you laughing and crying at the same time.” What a perfect way to define Mahler's music, always full of dualisms, contradictions, ironies, and complexities, but that's what makes Mahler's music so irresistible; its ability to plumb the depths of not only the human spirit but also its psyche. Mahler's music is truly musical therapy, and if there's one of his symphonies that really exemplifies that, it's this fourth symphony. With all that said, this is also his simplest and most easily grasped symphony in terms of its purely musical content. I've gotten a lot of emails in the past from folks who are skeptical or confused about Mahler and his appeal, so if you're one of those people, than this symphony MIGHT just be the one that changes your mind. As always with Mahler, his symphonies get multi-part episodes, so this week I'll go through the first two movements of the symphony, from the sleigh bells and brilliant sunshine of the first movement, to the devilish and ironic second movement. We'll talk all about Mahler's brilliant orchestration, his use(and deliberate misuse) of form, the pure beauty of this music, and the oddly negative reception that this symphony got when it was first performed. Join us!

Synopsis It was Mozart who wrote the first great piano concertos, with Beethoven, Brahms and others following suit in the 19th century. Closer to our own time, the tradition continues, with new contributions appearing each year. On today's date in 1986, it was the turn of American composer, Ellen Taaffe Zwilich, when her new piano concerto received its premiere by the Detroit Symphony with Marc-Andre Hamelin the soloist. “My piano concerto does not cast the pianist as the prototypical 19th-century hero battling the orchestral forces and triumphing through overwhelming virtuosity,” said Zwilich at the time. “My concerto calls for a blending of forces – a joint exploration of the piano soloist and orchestra. The pianist is even asked to merge with various sections of the rather large orchestra at times.” “To me,” continued Zwilich, “a part of the nobility of the piano is that it can change its color, chameleon-like without losing its special identity … One composer treats the piano as a percussion instrument, another as a singer… Certainly the vast and wonderful piano repertoire explores this remarkable range. And the world of composer-pianists is large enough to embrace Serge Rachmaninoff and Art Tatum.” Music Played in Today's Program Ellen Taaffe Zwilich (b. 1939) Piano Concerto Joseph Kalichstein, piano; Florida State Orchestra; Michael Stern, Koch 7537 On This Day Births 1747 - Bohemian composer Leopold Kozeluh, (Kotzeluch) in Welwearn; He was the cousin of Johann (Jan) Antonín Kozeluh, who was also a composer; 1928 - American composer Jacob Druckman, in Philadelphia; Premieres 1870 - Wagner: opera "Die Walküre" (The Valkyrie), in Munich at the Hoftheater, with Franz Wüllner conducting; The opera was performed at the Bavarian King Ludwig II's request, but against the composer's wishes; 1912 - Mahler: Symphony No. 9, by Vienna Philharmonic, Bruno Walter conducting; 1986 - Zwilich: Piano Concerto, by the Detroit Symphony with Günther Herbig conducting and soloist Marc-André Hamelin; 2000 - Robert Kapilow: "DC Monuments," by the National Symphony; Others 1788 - Mozart finishes his Symphony No. 39 in E-flat, K.543 in Vienna. Links and Resources More on Zwilich

Interpreten: Karg, Kulman, Prague Philharmonic Choir, Czech Philharmonic, Semyon Bychkov Label: Pentatone EAN: 827949099267 Es ist nun etwas mehr als ein Jahr her, da haben wir Ihnen an dieser Stelle den Beginn der Zusammenarbeit der Tschechischen Philharmonie mit dem Label Pentatone präsentiert, nämlich mit der vierten Symphonie von Gustav Mahler. Nach der Fünften Mahler ist mittlerweile die dritte CD dieser musikalischen Partnerschaft erschienen und Semyon Bychkov hat seinen Mahler Zyklus mit der Auferstehungssymphonie fortgesetzt. Für Begeisterung und Gänsehaut sorgen bei Michael Gmasz gleich mehrere Elemente.

I left you last week after Part 1 of Mahler's 5th symphony, dazed and defeated.  There seems to be no hope, and no way out.  But as many of you know by now, Mahler reaches for the entire emotional spectrum in his music, and what Mahler builds out of the ashes of the first two movements is a complicated, difficult, and fascinating Part II, and a warm, sunny, and loving Part III.  Part II is a single movement, a massive 17 minute scherzo that serves as a bridge to Part III and also is practically a full piece on its own.  Part III of course contains the famous Adagietto, a love letter that leaves the listener full of questions that Mahler attempts to answer in the 5th movement, a sunny romp and the most unquestionably cheery movement that Mahler ever wrote.   Why does Mahler build the symphony this way?  How does a performer or an audience member deal with these hugely varied emotions?  And how does Mahler build his complicated scherzo, his apparent love letter to Alma, and his both highly unusual and highly traditional Rondo 5th movement? Join us to find out!

There is a thread of musical theory called Schenkerian analysis, based on the work of Heinrich Schenker.  Schenker believed that musical works could be boiled down to their fundamental structures and harmonies.  Entire works could be described with single chords.  If Schenker had applied his analysis to Mahler's 5th symphony, he might have played just two chords for you: a C# minor chord, and then a D Major chord.  The reason why?  Over the course of 70 minutes, Mahler takes the listener on a wild journey, starting in C# minor with a lonely military trumpet, and then ending in a glorious D Major coda that might be the most unambiguously sunny thing Mahler ever wrote: But of course, how we get there is the most fascinating part of this monumental symphony.  Today, on Part I, I'm going to take you through Part I of the symphony, which encompasses the first two movements.  Next week, we'll take a look at Parts 2 and 3 together, which take up the final three movements of the piece.  Part I of the piece represents both a shift in Mahler's music, and a nostalgic remembrance.  As always with Mahler, there are multiple meanings to every phrase.  The opening of the symphony, which sounds so unusual, is itself based on a seemingly random moment of the 4th symphony.  The funeral march that dominates the first movement is based at least partly on a piece he was writing at the same time, the Kindertotenlieder, or Songs on the Death of Children.  And the second movement, one of the most unusual and complicated movements Mahler had ever written up to this point, quotes a motive from Schubert's Death and the Maiden string quartet.  Clearly, death, a specter that always haunted Mahler, is alive and well in Part 1 of the symphony.  The first two movements of the symphony might be a perfect distillation of Mahler; they are passionate, wild, intense, but also tightly scored, precisely structured, and full of that constant push and pull between the past, the present, and the modern, that makes Mahler's music both a product of its time, but also music that is always relevant to us. Join us!

We had absolutely no intention to record a titanic almost 4 hour episode for a single movie. To be honest we procrastinated watching. TÁR is absolutely not a rote offering “prestige” film. Writer Director Todd Field has created a truly metafictional cinematic masterpiece. We would also like to put down formally, for the official record, that Cate Blanchett is our greatest living actor. Watch this film once, and allow yourself to be drawn back again and again for subsequent viewings —a remarkable cinematic achievement from a Maestro and a virtuoso performance from the cast.

In this episode, we discuss recordings of “Haydn: Symphonies 6, 7, 8 'Le matin' 'Le midi' 'Le soir'” by Florilegium / Ashley Solomon, “Schubert: Piano Trio No. 1 & Trout Quintet” by Busch Trio, “Mahler: Symphony No. 5” by the Czech Philharmonic Orchestra / Semyon Bychkov, “Golden Moments” by The Charles Owens Quartet, “Iglika” by Vladimir Karparov, and “Re-Generation Quartet” by Alfredo Ponissi.   The Adult Music Podcast is featured in: Feedspot's Best 60 Jazz Podcasts   Episode 96 Deezer Playlist   “Haydn: Symphonies 6, 7, 8 'Le matin' 'Le midi' 'Le soir'” (Channel) Florilegium / Ashley Solomon https://open.spotify.com/album/7qbnU1xj3vX1VhpdoNMEpv https://music.apple.com/us/album/haydn-symphonies-nos-6-7-8-le-matin-le-midi-le-soir/1643949742   “Schubert: Piano Trio No. 1 & Trout Quintet” (Alpha) Busch Trio https://open.spotify.com/album/09P2EQ7d70qwZWJeQINYnZ https://music.apple.com/us/album/haydn-symphonies-nos-6-7-8-le-matin-le-midi-le-soir/1643949742   “Mahler: Symphony No. 5” (Pentatone) Czech Philharmonic Orchestra / Semyon Bychkov https://open.spotify.com/album/7faZH08goBHFibti7wPI3V https://music.apple.com/us/album/mahler-symphony-no-5-in-c-sharp-minor/1646060411   “Golden Moments” (La Reserve Records)  Charles Owens Quartet https://open.spotify.com/album/7wBDUiuhTxikMfMMcO3zYv https://music.apple.com/us/album/golden-moments/1629126755   “Iglika” (Unit)  Vladimir Karparov https://open.spotify.com/album/1cZfLocWhhuBAL6TpMY49J https://music.apple.com/us/album/iglika/1651007673   “Re-Generation Quartet” (DDE Records)  Alfredo Ponissi https://open.spotify.com/album/0J9eAi3c9VPBFG6s2wVQW3 https://music.apple.com/us/album/re-generation-quartet/1657236216   Be sure to check out these other podcasts:  "SOMETHING came from Baltimore"   Jazz, blues, and R&B interviews from Tom Gouker. Famous Interviews and Neon Jazz  Features a wide range of artists, musicians, writers, creatives and business folks from around the globe.   "Same Difference: 2 Jazz Fans, 1 Jazz Standard" Johnny Valenzuela and Tony Habra look at several versions of the same Jazz standard each week, play snippets from each version, discuss the history of the original and the different versions.    

Since Beethoven never heard his 9th Symphony, he was unable to make any corrections to it. Gustav Mahler, a long-time fan of Beethoven and the 9th, made "corrections" to the symphony that he thought Beethoven would have made. He also updates the symphony to allow for modern instruments.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

凭借托德·菲尔德导演《塔尔》，凯特·布兰切特赢得了2022年的威尼斯影后，这也是她第3个三大+奥斯卡影后（《我不在那儿》威尼斯、《蓝色茉莉》奥斯卡、《塔尔》威尼斯）。本期播客我们聊了聊电影《塔尔》，作为一部关注古典音乐这一十分小众领域的电影，《塔尔》是一部面目模糊的电影，它似乎想揭露这一领域的“黑幕”，但又闪烁其词、蹑手蹑脚，总是尝试在作出结论和判断的时候“逃逸”。但它对具体从业人员劣迹事件的引用、对取消文化浅尝辄止的描述，又会引发观者主动参与讨论，他们甚至自发“站队”以表明立场。《塔尔》也是一部聪明又狡猾的电影，它聪明地用欧洲艺术片的美学风格包裹一个无甚新意乃至有些俗套的故事，狡猾地从中获益，以至于我们甚至可以从塔尔这个人物中看到导演的影子和这部电影的命运，一时间竟不知导演这种自我指涉的创作是自嘲还是自负。在本期播客中，我们从塔尔本人“为了具有说服力而显得有些虚假”的履历谈起，聊到本片多少有些可耻的性别意识、对取消文化的暧昧态度、基本完全沦为背景的音乐等内容。最后，我们回到一个总结性的话题：《塔尔》到底关心什么，还是说，它什么都不关心？本期嘉宾：王大可音乐爱好者，办公室摸鱼专业十级511糊弄学phd，公众号：瓦特Watt马光辉音乐媒体工作者117期《别再问我什么是流行乐》专题、91期2021年度十大金曲专题、39期林生祥专题等4期播客嘉宾时间轴：本期总时长：88:5302:39 塔尔“为了具有说服力而显得有些虚假”的履历走遍“五大”乐团、拿下文艺奖项大满贯，且不说奖项含金量及行业认可度，仅仅是标签式的罗列或许有些真实性存疑19:49 电影多少有些可耻的性别意识将99.9%在男性指挥家身上出现过的“黑历史”转移到一个女同性恋指挥家身上，女同性恋指挥家的自我性别认同为“男性”，性别意识也许厌女又恐同23:53 塔尔这个人物身上都有哪些指挥家的影子电影中不乏各种内行才懂的“梗”，但对观众来说，这些“梗”重要吗34:56 电影对取消文化的探讨电影对塔尔“被取消”的表述，是信息量充足的，还是隐晦而闪烁其词的48:16 作为一部讲古典音乐行业的电影，电影关注古典音乐本身吗？有哪些具体对音乐的讲述，有哪些部分关注在音乐家的工作57:53 《塔尔》是拍给谁看的，又是拍的谁作为人物的塔尔身上是否有电影创作者的影子1:00:31 凯特·布兰切特的“虚假”宣传一篇大明星撰写的文章是如何成为电影的反面的1:10:51 《塔尔》的异国情调化东亚想象为什么要从欧美到东南亚，为了到了东南亚指挥的是游戏配乐1:16:50 《塔尔》中的“他者”形象在高度标签化的“他者”形象裹挟下，《塔尔》到底关心什么歌单：开头：Mahler: Symphony No. 5 in C-Sharp Minor / Pt. 3 - IV. Adagietto (Rehearsals)By Cate Blanchett/Dresdner Philharmonie结尾：Elgar: Cello Concerto in E Minor, Op. 85 - I. Adagio - Moderato (Recording Session / Excerpt)By Sophie Kauer/London Symphony Orchestra/Natalie Murray Beale制作团队：监制：Peter Cat统筹：马光辉策划：马光辉剪辑：马光辉编辑：电车

The contemporary setting of Todd Field's new TÁR has inspired some to label it a movie about the modern idea of “cancel culture,” but the film's baseline ideas about sex and power are more timeless, and its story of a woman using her social influence to manipulate others, and her attendant downfall, links it specifically to 1988's DANGEROUS LIAISONS. While we could have easily spent this entire episode and then some dissecting and debating the many small, nuanced details that bring TÁR to life, we do eventually bring our discussion around to the other film in this pairing to consider what it shares with DANGEROUS LIAISONS in its depiction of feminine power in a patriarchal society, sexual gamesmanship, and public humiliation as comeuppance. Plus, we use Your Next Picture Show to consider the other highlights of Todd Field's small but mighty directorial filmography. Please share your comments, thoughts, and questions about DANGEROUS LIAISONS, TÁR, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, leaving a short voicemail at 773-234-9730, or commenting on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes and more.  Outro music: Mahler Symphony No. 5 Next Pairing: Martin McDonagh's IN BRUGES and THE BANSHEES OF INISHERIN Learn more about your ad choices. Visit megaphone.fm/adchoices

Synopsis Today's date marks the original Columbus Day, honoring the Italian explorer who for decades was described as the man who “discovered America.” In recent years Native American leaders have pointed out that indigenous peoples had been living on the continent for thousands of years, and Columbus didn't “discover” anything — in fact, he didn't even know where he was, which is why he called the people he found here “Indians.” Some historians now think that Viking explorers from Scandinavia arrived in America long before Columbus – and others suggest the Chinese arrived before those Europeans. Even so, it's Columbus who has a national holiday (now always observed on the closest Monday in October), and concert music written to celebrate it. For example, there's a “Columbus Suite” by Victor Herbert, originally commissioned for the 1893 Chicago World Fair to celebrate the 400th anniversary of the Columbus voyage, but not actually premiered until 1903. A much more recent “Columbus-inspired” work, and much more elegiac in tone, is by the Native American composer James DeMars. It's titled: “Premonitions of Christopher Columbus” and is scored for Native American flute, African drum, and chamber orchestra. In this work, DeMars blends sounds of the various ethnic traditions that would come to make up modern America. Music Played in Today's Program Victor Herbert (1859-1924) Columbus Suite Slovak Radio Symphony; Keith Brion, cond. Naxos 8.559027 James DeMars (b. 1952) Premonitions of Christopher Columbus Tos Ensemble with R. Carlos Nakai, Native American flute Canyon 7014 On This Day Births 1686 - German composer and lutenist Silvius Leopold Weiss, in Breslau; 1713 - Baptismal date of German composer Johann Ludwig Krebs, in Butterstedt, Weimar; 1872 - English composer Ralph Vaughan Williams, in Down Ampney, Gloucestershire; 1880 - English-born Canadian composer and organist Healey Willan, in London; Deaths 1692 - Italian composer Giovanni Battista Vitali, in Bologna, age 60; Premieres 1910 - Vaughan Williams: "A Sea Symphony" (after Walt Whitman) at the Leeds Festival; 1924 - Mahler: Symphony No.10 (1st and 3rd movements only), arranged by Ernest Krenek (with additional retouching by Alexander von Zemlinksy and Franz Schalk), by Vienna Philharmonic, Franz Schalk conducting; The American premiere of these two movements was give on Dec. 6, 1949, by the Erie (Pa.) Philharmonic conducted by the composer's nephew, the Austro-American conductor Fritz Mahler (1901-1973); The English musicologist Deryck Cooke prepared the first performing edition of Mahler's entire Tenth Symphony which received its first performance on August 13, 1964, by the London Symphony conducted by Berthold Goldschmidt; Since then, Cooke has revised his arrangement, and several other musicologists have prepared their own rival performing editions of Mahler's surviving notation for this symphony; 1931 - Rachmaninoff: “Variations on a Theme of Corelli (La Folia)” for solo piano, in Montréal (Canada), by the composer; 1951 - Bizet: opera "Ivan le Terrible" (posthumously), in Bordeaux; 1951 - Dessau: opera "Die Verurteilung des Lukullus" (The Trial of Lucullus) (2nd version), in East Berlin at the Deutsche Staatsoper; 1961 - Douglas Moore: opera "The Wings of the Dove" (after the novel by Henry James), in New York; 1971 - Andrew Lloyd Webber: rock musical "Jesus Christ Superstar," in New York City; A choral version of this musical was performed in Kansas City, Kan. On May 15, 1971, and a touring company was launched to present the musical on July 12, 1971; Prior to any staged presentations, the work was first released as a double LP record album in October of 1970; 1984 - Olly Wilson: "Siinfonia," by the Boston Symphony, Seiji Ozawa conducting; 1984 - Ellen Taaffe Zwilich: "Celebration" for orchestra, by the Indianapolis Symphony, John Nelson conducting; 1997 - Sallinen: "Overture Solennel," in Monaco by the Monte Carlo Philharmonic, James DePreist conducting; 1998 - Philip Glass: opera "The Voyage," at the Metropolitan Opera in New York, Bruce Ferden conducting; 2000 - Rautavaara: Harp Concerto, in Minneapolis with harpist Kathy Kienzle and the Minnesota Orchestra, Omso Vänskä conducting; Others 1739 - Handel completes in London his Concerto Grosso in Bb, Op. 6, no. 7 (Gregorian date: Oct. 23). Links and Resources On Columbus Day On Victor Herbert On James DeMars

durée : 00:16:46 - Le Disque classique du jour du mercredi 07 septembre 2022 - Après une lecture sur instruments d'époque de la Symphonie n° 1, unanimement saluée par la critique, François-Xavier Roth et Les Siècles reviennent à Mahler.

台北大師星秀音樂節更多資訊： https://www.taipeimaf.com/ch/concerts-events/ —————————————————- 2022台北大師星秀音樂節 本次將抽出「一組」交響樂團巡演音樂會門票（一組共兩張）

Mahler once said this to Bruno Walter, his protege and great advocate of Mahler's works: "What one makes music from is still the whole—that is the feeling, thinking, breathing, suffering, human being”   You could almost just stop there with the last movement of Mahler 9.  This is music so full of feeling, thinking, breathing, suffering, but also of also acceptance and consolation, that words fail to describe its emotional impact. But as always with Mahler, this isn't merely an emotional outpouring, a dumping of his innermost feelings onto the audience. It is a superbly paced, beautifully written movement, and despite its 25 minute length, and very stable and slow tempo, the movement does the seemingly impossible and feels both endless and compact at the same time.   So today, while of course we'll talk about the emotional content of the music, I want to focus a bit more on how Mahler writes this music to make it so effective, and how he finds a way to reach the peaks of expression and the epitome of using silence as music. And finally, we'll explore how and to whom Mahler says goodbye to at the end of this symphony, as everything fades away. Join us!

It's easy to forget that Mahler, for all of his ubiquitous success nowadays, was much better known as a conductor during his life than as a composer.  He had basically one major success in his compositional career: a performance of his 8th symphony in Munich in 1910 that finally seemed to give him the approval he craved from the audience.  But for much of his compositional life, Mahler was misunderstood. His symphonies were either too long, too dense, too confusing, too esoteric, too vulgar, too banal, lacking in sophistication, or had too MUCH sophistication - the list goes on and on.  Mahler famously said in regards to his music that “my time will come” and it certainly has come, with regular performances of his music all around the world.  But as we discuss the third movement of Mahler's 9th symphony today, I want to keep reminding you that Mahler was really not a popular man.  Even as a conductor, he had bitter enemies that drove him out of his position as the Director of the Vienna Court Opera in 1907.  As a person, he could charitably be described as difficult, with moments of kindness followed by bouts of stony silence or fierce rages.  Mahler was a complicated man, and it's perhaps in this third movement that we can learn so much about this side of Mahler that doesn't get talked about as much - that bitter, sarcastic, nasty side of him that many choose to ignore, preferring to focus on the love and warmth that he instills into much of his music.  In the third movement of his 9th symphony, Mahler seems to be letting out some of his rage and anger at the Viennese public, concerned in his mind only with intrigue and gossip, and those critics who trafficked in open Anti-Semitism in order to bring him down from his lofty perch.  But amidst all of this, Mahler continually grasps for order throughout the movement, only to find it ripped away from him.  This is the shortest movement of Mahler's 9th symphony, but it is also the most dense.  So today, we'll talk about that bitter pill that is this movement, a movement that is nevertheless relentless in its search for beauty, form, and order. Join us!

Remember where we ended in the first movement of Mahler's 9th symphony? After a 27 minute farewell which touched on the two poles of rage and acceptance, while filling in every conceivable emotion in between, we ended in total peace, calm, and acceptance .   There is a lot about this symphony that is traditional - it has four movements, it's tonal(for the most part), it uses(mostly) traditional forms, but there is one thing about the symphony which is extremely unusual: the fact that it is bookended by two slow movements.  A traditional symphony takes the form of a moderately fast first movement, either a slow movement or a fast dance movement for the second movement, the same for the third(almost always the opposite of whatever the second movement was), and a fast last movement to send the crowd home happy.  Mahler,  using a form that he never used before, and would never be used again by any composer, writes a slow first movement, then 2 fast dance movements, followed by a slow final movement.  It's a fascinating formal design, but one that presents a lot of problems to solve; how do you contrast the two middle dance movements?  How do you create a sense of excitement when you've just finished a 27 minute slow movement which could easily be its own piece?  And perhaps most importantly, how do you conceive of the arc of a 16 minute dance movement, one that seems almost shockingly simplistic in its basic harmony and melody.  Well, Mahler finds a way through a combination of genuine joy, sarcasm, bitterness, and irony, emotions we will certainly be talking about as we take apart this second movement.

Two events, occurring on the same day, drove Mahler to the brink. His daughter Maria died at the age of just 4, and Mahler himself was diagnosed with a heart condition that would prove to be fatal. He became consumed even more so than he ever was before with the idea of death, the afterlife, and all the philosophical trials and travails that came with these thoughts.  These ideas of death did not come only from his own sense of loss and grief; they were about his place in history, and how he would be remembered. The 9th symphony explores all of these questions in a remarkably powerful way. The symphony sets up two poles: acceptance and struggle, and then wavers between them for its duration, vacillating between desperately clinging to life, and accepting and letting go.  Leonard Bernstein famously said that the symphonies' 4 movements represent 4 ways for Mahler to say farewell, but they could just as easily be 4 movements for Mahler to say he will be here forever. Join us today for part 1 to discuss the first movement of this monumental symphony!

2022 Grammy Winner for Best Choral PerformanceGustavo Dudamel and the Los Angeles Philharmonic Orchestra secured their third GRAMMY® in succession on Sunday. Having won the Best Orchestral Performance awards in 2020 with Andrew Norman's Sustain and 2021 with Charles Ives: Complete Symphonies, this time they secured the GRAMMY® for Best Choral Performance with their gripping interpretation of Gustav Mahler's Symphony No. 8, the “Symphony of a Thousand.”. The Los Angeles Philharmonic was joined by the Los Angeles Master Chorale, Pacific Chorale, Los Angeles Children's Chorus, National Children's Chorus (and their respective artistic directors: Grant Gershon, Robert Istad, Fernando Malvar-Ruiz, and Luke McEndarfer) and soloists Tamara Wilson, Leah Crocetto, Erin Morley, Mihoko Fujimura, Tamara Mumford, Simon O'Neill, Ryan McKinny, and Morris Robinson.Purchase the music (without talk) at:Mahler: Symphony No. 8 "Symphony of a Thousand" (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#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 Katy Solomon from Morahana Arts and Media.

Composer and conductor of the Los Angeles Youth Orchestra Russell Steinberg delves into Mahler's Symphony No. 7 in E minor. This talk was given at the performance of Mahler's Seventh at Walt Disney Concert Hall. Pieces discussed: MAHLER Symphony No. 7 in E minor 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.

This week on Backstage Chicago, we sit down with two musicians, Bill Buchman (Bassoon) and Max Rami (Viola), from one of the oldest and greatest orchestras in the world: The Chicago Symphony Orchestra. We talk about its 131-year history and its impact on the arts and culture community, not only in Chicago but around the world. Tune in next week when we visit the Chicago Tap Theatre! This episode's featured music courtesy of the Chicago Symphony Orchestra: MASCAGNI Intermezzo from Cavalleria Rusticana Chicago Symphony Orchestra Riccardo Muti, conductor CSO Resound 2018 STRAVINSKY III. Scherzino: Allegro from Pulcinella Chicago Symphony Orchestra Pierre Boulez, conductor CSO Resound 2010 MAHLER Symphony No. 1 in D Major IV. Stürmisch bewegt – Energisch Chicago Symphony Orchestra Bernard Haitink, conductor CSO Resound 2009

馬勒真的沒有那麼難系列在這邊告一段落啦！ 今天是第九號交響曲，包含了對人生的感念，世俗庸庸碌碌的生活， 以及面對死亡時不同於第二號交響曲的復活，第九號交響曲描寫更多的是對世界的感謝 D大調開始但以降D大調結束也代表著人生一切都回不去了。

This week, on part 2 of this look at Mahler 1, we're going to take a deep dive into the third and fourth movements of this massive and massively ambitious symphony. We'll talk about Frere Jacques, bizarre woodcuts, Klezmer bands, cries of wounded hearts, the most touching consolation, terror, rage, standing horn sections, and one of the most exhilarating endings of any symphony. Mahler's 1st symphony was one of the most ambitious statements a young composer ever made, so let's finish the journey together!

終於來到最感動的第五樂章！ Instagram: Kimi_Clmusic [EP.10]馬勒真的沒有那麼難！第二號交響曲「復活」第五樂章

No one makes a grand statement quite like Gustav Mahler, and his first symphony, nearly an hour long, was one of the boldest statements ever made by a young composer. Today I'll take a look at the history behind the early inspirations behind the piece, Mahler's turbulent life, and the first two movements of the symphony. As the great Bernard Haitink said, Mahler had a talent for suffering, but this symphony is often full of a naivete and joy missing from Mahler's later works. Join us to find out more!

For Cacophony episode 99, I wanted to explore something deeply personal. Mahler's Symphony No.4 is one of the first pieces I discovered for myself and it moves me like very little else. Sometimes pained, sometimes playful, but most often sublime, the third movement takes you all the way to heaven, just by opening your heart. Listening time 33 mins (podcast 11', music 22')   Music here, on Youtube or Spotify with conductor Esa-Pekka Salonen (who conducted the performance I recorded off the radio back in the day) and the LA Philharmonic Orchestra. The solo singer in the last movement if you listen to that is Barbara Hendricks. You can buy a high quality download of the whole piece for the shockingly low price of £1.11 here!   What do you think of this brilliant piece? What do you think of Cacophony? Tell us with a comment at the website, Facebook or Twitter. Please share this episode and the trailer!   If you'd like to support Cacophony with cash you can click here to 'buy us a Kofi"!    Thanks for listening!      

延續上次的第一樂章，這次是間奏曲的二三樂章 有純樸的蘭德勒舞曲，諷刺的聖安東尼奧跟魚傳道的故事，很感人的原光第四樂章！！ [EP.9]馬勒真的沒有那麼難！第二號交響曲「復活」第二、三、四樂章

聽復活總是聽最後五分鐘？？帶你認識其他很棒的樂章！ [EP.8]馬勒真的沒有那麼難！第二號交響曲「復活」第一樂章

對馬勒聞風喪膽嗎？別怕！今天帶你來淺談馬勒第一號交響曲！ [ep.7] 馬勒真的沒有那麼難！馬勒 第一號交響曲「巨人」

Synopsis During his later years, the German composer Johannes Brahms was a frequent visitor to the town of Meiningen, where the Grand Duke had a fine orchestra that gave stellar performances of Brahms' music. Early in 1891, Brahms heard one member of that orchestra, the clarinetist Richard Mülhfeld, perform chamber works by Mozart and Weber. Brahms was so impressed that they became fast friends. Listening to Mülhfeld play, Brahms became so enthusiastic about the clarinet's possibilities that he began writing chamber works for his new friend. Brahms was always particularly fond of the female alto voice whose timbre is similar to that of the clarinet, so Brahms promptly nicknamed Mülhfeld “Fraeulein Clarinet” and the “new prima donna.” For Mülhfeld, Brahms wrote a clarinet trio, which was followed by a clarinet quintet, and finally, a pair of clarinet sonatas, both composed in the summer of 1894. These two sonatas were first played by Mülhfeld with Brahms at a private performance in the home of the sister of the Duke of Meiningen on today's date that year. In November, the pair also gave private performances in Frankfurt for Clara Schumann and at Castle Altenstein for the Duke of Meiningen.  The first public performances occurred in Vienna in January of 1895. Music Played in Today's Program Johannes Brahms (1833 – 1897) — Clarinet Sonata, Op. 120, no. 2 (Michael Collins, clarinet; Mikhail Pletnev, piano) Virgin 91076 On This Day Births 1829 - Music publisher Gustav Schirmer, in Königsee, Thuringia; He came to America in 1840 with his parents, and in 1861 founded in New York City the music publishing house that bears his name, G. Schirmer, Inc.; 1911 - Swedish composer Allan Pettersson, in Västra Ryd; Deaths 1949 - Greek composer Nikos Skalkottas, age 45, in Athens; 1972 - French composer and pianist Robert Casadesus, age 73, in Paris; Premieres 1894 - Brahms: two Clarinet Sonatas, Op. 120, at a private performance in the home of the sister of the Duke of Meiningen at Berchtesgaden, by clarinetist Richard Mühlfeld (of the Grand Ducal Orchestra of Meiningen) with the composer at the piano; Brahms and Mühlfeld also gave private performances of both sonatas on November 10-13, 1894, in Frankfurt (for Clara Schumann and others); on November 14, 1894, at Castle Altenstein (for the Duke of Meiningen); and on Jan. 7, 1895, in Vienna (for members of the Tonkünstler Society); The first public performances of the two sonatas took place in Vienna on January 8 (Sonata No. 2) and 11 (Sonata No. 2), 1895, with the same performers, as part of the Rosé Quartet's chamber music series; 1908 - Mahler: Symphony No. 7 ("Song of the Night"), in Prague, with the composer conducting; 1927 - Schoenberg: String Quartet No. 3, in Vienna, by the Kolisch Quartet; 1937 - Hanson: Symphony No. 3 (partial performance), on a CBS Radio Symphony concert conducted by the composer; The first complete performance occurred with the rival network's NBC Symphony, again with the composer conducting, on March 26, 1938; 1970 - Morton Feldman: "The Viola in My Life" No. 1 for viola and orchestra, in London; 1998 - André Previn: opera "A Streetcar Named Desire," with cast including Rene Fleming, by the San Francisco Opera, the composer conducting; 1998 - Michael Torke: "Jasper" for orchestra, by the Madison (Wisc.) Symphony, John DeMain conducting; 1999 - Elmer Bernstein: Guitar Concerto, with Honolulu Symphony conducted by Samuel Wong and soloist Christopher Parkening; 2002 - John Adams: "On the Transmigration of Souls" for vocal soloists, chorus and orchestra, by the New York Philharmonic, Lorin Maazel conducting; 2002 - John Adams: “On the Transmigration of Souls” for vocal soloists, chorus and orchestra, by the New York Philharmonic, Lorin Maazel conducting; Others 1725 - J.S. Bach gives organ recitals in the Sophienkirche, Dresden, on Sept. 19 and 20; 1738 - Oratorio librettist Charles Jennens writes to a young relative describing a visit to Handel the previous day, dismayed by Handel's ideas for their collaboration on the oratorio "Saul": "Mr. Handel's head is more full of maggots than ever . . ." (Gregorian date: Sept. 30). Links and Resources On Johannes Brahms More on Mülhfeld's clarinet

Synopsis The year 1960 marked the centenary of the birth of composer Gustav Mahler, and the British musicologist named Deryck Cooke hit upon the idea of preparing a performing edition of Mahler's Symphony No. 10, a work left unfinished at the time of Mahler's death in 1911. This was a daunting task for two reasons. First, Mahler's widow, Alma, had resisted efforts for a close examination of Mahler's manuscript for his 10th Symphony, as it was peppered with emotionally charged comments to her in Mahler's hand, painful reminders that her husband had just discovered she was having an affair with another man. Secondly, although Mahler had sketched out his symphony in full, most of it was not orchestrated. Now, Mahler was a master orchestrator, and many argued that only a similarly gifted composer could flesh out Mahler's sketches. Schoenberg and Shostakovich were both asked to do so, but both declined. Deryck Cooke, however, persisted, and completed his version of Mahler's Tenth in time for some excerpts to be broadcast in 1960. Even Alma was impressed, and eventually relented, and so, on today's date in 1964, the London Symphony gave the first complete concert performance of Cooke's arrangement of Mahler's Symphony No. 10. Music Played in Today's Program Gustav Mahler (1860 - 1911) arr. Cooke — Symphony No. 10 (Berlin Philharmonic; Sir Simon Rattle, cond.) EMI 56972 On This Day Births 1879 - English composer John Ireland, in Inglewood (Bowdon), Cheshire; Deaths 1912 - French opera composer Jules Massenet, age 70, in Paris; Premieres 1841 - R. Schumann: "Concert Fantasy" for Piano and Orchestra, at a closed rehearsal of the Leipzig Gewandhaus Orchestra conducted by Felik Mendelssohn, with Clara Schumann (8 and 1/2 months pregnant) as the soloist; This "Concert Fantasy" was revised as the first movement of Schumann's Piano Concerto in a, Op. 54, which Clara Schumann premiered in Dresden on December 4, 1845 at a concert conducted by Ferdinand Hiller; 1876 - First complete performance of Richard Wagner's "Ring" cycle begins at Bayreuth with a performance of "Das Rheingold" (this opera had received its premiere performance in Munich on Sept. 22, 1869); 1964 - Mahler: Symphony No. 10, arranged for performance by the English musicologist Deryck Cooke, is performed complete for the first time by the London Symphony conducted by Berthold Goldschmidt; With the assistance of Colin and David Matthews, Cooke revised his performing edition of Mahler's Tenth, and this revised version - known as "Cooke II" - was first performed on October 15, 1972, by the New Philharmonia under Wyn Morris; 1973 - Thea Musgrave: Viola Concerto at a London Proms Concert, with her husband, Peter Mark, the soloist; 1976 - Duke Ellington: ballet "Three Black Kings" (posthumously), at the New York State Theater at Lincoln Center in New York, by the Alvin Ailey American Dance Theater and the Duke Ellington Orchestra conducted by Mercer Ellington.

I speak with Red Deer Symphony Conductor Claude Lapalme about his career and what does a conductor do when he can't conduct for a year? Also the strange life of Adolphe Sax, and the German composer who got himself on the cover of TIME magazine.   LINKS TIME Magazine's 1938 article featuring Richard Strauss: http://content.time.com/time/covers/0,16641,19380725,00.html   “Ben Folds Composes a Song LIVE for Orchestra In Only 10 Minutes” https://www.youtube.com/watch?v=BytUY_AwTUs   Adolphe Sax's 201st birthday doodle: https://www.google.com/doodles/adolphe-saxs-201st-birthday   The Metropolitan Museum has a collection of instruments associated with Sax: https://www.metmuseum.org/exhibitions/listings/2014/celebrating-sax   Public Radio International's report on Adolphe Sax https://www.pri.org/stories/2013-12-03/meet-dangerous-belgian-who-invented-sax   Claude Lapalme is the music director of the Red Deer Symphony Orchestra: https://www.rdso.ca/musicians   “Behind the Red the Red Door” for String quartet composed by Arthur Bachmann and presented by the RDSO: https://www.youtube.com/watch?v=zX-TUNSS9dM   Claude is artistic director of the baroque ensemble Rosa Barocca: http://www.rosabarocca.ca/home.html   Claude Lapalme's recommendations— Mahler Symphony No.5: https://music.apple.com/us/album/mahler-symphony-no-5/1566087845?app=music https://open.spotify.com/album/4HfSZiDvcUOcoaLdLpZWIP   Mahler Symphony No.4: https://open.spotify.com/album/35QVkJzvDOxwQWRISo0Ndc https://music.apple.com/us/album/mahler-symphony-no-4/1466028476   Corigliano Clarinet Concerto: https://music.apple.com/us/album/barber-third-essay-corigliano-clarinet-concerto/393436361 https://open.spotify.com/album/4CBEI9htRG14HfzM1aOGuq   Liberson King Gesar: https://open.spotify.com/album/4CBEI9htRG14HfzM1aOGuq   Vincent Ho Arctic Symphony: https://open.spotify.com/album/2x8qSrgsS711NH93Tj4xM3 https://music.apple.com/us/album/vincent-ho-the-shaman-arctic-symphony-live/1293250081   John Estacio: Orchestral Works: https://music.apple.com/us/album/frenergy-the-music-of-john-esacio/320290175   Jan Zelenka: https://music.apple.com/ca/album/zelenka-pisendel-concerti/361263786 Early Italian Masterpieces: https://music.apple.com/ca/album/perla-barocca-early-italian-masterpieces/913838720   Support the podcast at https://www.buymeacoffee.com/culturemonster   excerpt from Richard Strauss: Don Juan performed courtesy of the Frankfurt Radio Symphony excerpt from Jakob Dont: Caprice arranged for tenor saxophone, courtesy of David Hernando Vitores excerpt from Bach, performed by Jeremy Brown  https://www.culturemonster.ca First published June 2021

Maestro Osmo Vanska talks about his new recording of the Mahler Symphony No. 10 and his plans to record all the Mahler Symphonies even though he wil step down as Music Director in 2022. He enjoys guest conducting, still has an orchestra in Korea and will return to Heinz Hall the season after next. About the Mahler 10, he points to the special viola writing, the tuba, Alma Mahler's wild and crazy time, the private messages Mahler wrote on his manuscript and much more. Osmo Vanska says he spent much of the pandemic practicing the clarinet, doing push ups and enjoying time with loved ones. He's had a home in Minnesota over the past two decades where he loves the cold weather and he describes the generous funding classical radio receives from the Finnish government.

In this episode John Warner, founder and music director of Orchestra for the Earth, describes his orchestra's initiatives for climate action; what green routing is; and how Mahler's composition huts inspired a new way of engaging with one of the most important topics we face today.SHOW NOTES*0:54 – taking action through music *3:32 – three initiatives *5:51 – Mahler's composition huts *6:32 – [musical excerpt: Mahler Symphony No. 2 “Resurrection”] – building back better; touring and green routing *10:46 – producing digital content *14:14 – future perspectives Musical creditsMusical excerpts from Gustav Mahler's, Symphony No. 2 in c-minor, “Resurrection”, Orchestra for the Earth conducted by John Warner.Intro and outro composed by Miguel Kertsman

The last movement is an extended sonata form, characterized by drastic changes in mood and tempo, the sudden change of glorious soaring melody to deep agony. The movement is punctuated by three hammer blows. Alma quoted her husband as saying that these were three mighty blows of fate befallen by the hero, “the third of which fells him like a tree”.She identified these blows with three later events in Gustav Mahler's own life: the death of his eldest daughter Maria Anna Mahler, the diagnosis of an eventually fatal heart condition, and his forced resignation from the Vienna Opera and departure from Vienna. When he revised the work, Mahler removed the last of these three hammer blows so that the music built to a sudden moment of stillness in place of the third blow.Some modern performances restore the third strike of the hammer. The piece ends with the same rhythmic motif that appeared in the first movement, but the chord above it is a simple A minor triad, rather than A major turning into A minor. After the third ‘hammer blow' passage, the music gropes in darkness and then the trombones and horns begin to offer consolation. However after they turn briefly to major they fade away and the final bars erupt in minor.---A listening guide of Symphony No. 6 - 4th Movement with Lew Smoley.

The first movement, which for the most part has the character of a march, features a motif consisting of an A major triad turning to A minor over a distinctive timpani rhythm. The chords are played by trumpets and oboes when first heard, with the trumpets sounding most loudly in the first chord and the oboes in the second. This motif, which some commentators have linked with fate, reappears in subsequent movements. The first movement also features a soaring melody which the composer's wife, Alma Mahler, claimed represented her. This melody is often called the “Alma theme”. A restatement of that theme at the movement's end marks the happiest point of the symphony.---A listening guide of Symphony No. 6 - 1st Movement with Lew Smoley from ClassicalPodcasts.com.

As the second part of the symphony follows the above-mentioned third movement, the Scherzo. Totally unexpected, the character of the symphony seems to change: A joyful and exuberant, nearly burlesque atmosphere, caused by the typical Mahlerian rural valses, seems to spread, but it does not seem to be serious, rather forced, nearly exaggerated, as if one tries to chase away a depression by artificial cheerfulness, to turn towards a life full of force and energy in order not having to listen to the inner tragic.The irony which often can be found in Mahler's other Scherzi is completely missing, instead, tragic sighs of the wind instruments are heard among the valses over and over again, the joyful motion is interrupted by phases of deep thoughtfulness where wistful wind phrases imitate each other like echoes. In a sharp and vehement ending, the Scherzo stops abruptly.---A listening guide of Symphony No. 5 - 3rd Movement with Lew Smoley.

The both first movements are in the tragic and gloomy keys of c-sharp minor resp. a minor; The only programmatic indication, Trauermarsch (funeral march), is found in the first movement. The silence is broken by the solitary fanfare of a trumpet which is one of the three main themes of this movement.Out of this comes the melancholy and heavy funeral march dominated by the strings; the woodwind players introduce the third theme in the key of a flat major thus lighting up the gloom in a charming way, but the calmly flowing motion, after other rapid fanfares, is suddenly interrupted by a wild and dramatic interlude.The returning to the second theme is followed by a reedition of the charming third theme this time in the key of b flat minor. Another interlude in a minor follows hinting the theme of the second movement and ends in a desperate climax. The dramatic and exciting movement is closed by a solitary trumpet signal and its flute echo, the final point is set by a single pizzicato tone of cellos and basses.---A listening guide of Symphony No. 5 - 1st Movement with Lew Smoley.

The cheerful fifth movement, “Es sungen drei Engel”, is one of Mahler's Des Knaben Wunderhorn songs, (whose text itself is loosely based on a 17th-century church hymn, which Paul Hindemithlater used in its original form in his Symphony “Mathis der Maler”) about the redemption of sins and comfort in belief. Here, a children's choir imitating bells and a female chorus join the alto solo.---A listening guide of Symphony No. 3 - 5th Movement with Lew Smoley.

Energisch, Stormily agitated – Energetic. The fourth movement is by far the most involved, and expansive. It brings back several elements from the first movement, unifying the symphony as a whole. The movement begins with an abrupt cymbal crash, a loud chord in the upper woodwinds, string and brass, and a bass drum hit, all in succession. This contrasts greatly with the end of the third movement. As the strings continue in a frenzy of notes, fragments of a theme in F minor appear, presented forcefully in the brass, before being played in entirety by the majority of winds:The movement continues frantically until an expansive lyrical theme is presented in the strings. Eventually, the opening fragments in the brass emerge, and the energy picks up once more.Mahler then presents the initial motive, in the brass, this time in D major, and the horns play a full-forced altered version of the descending fourth pattern from the beginning of the symphony, as if heading to a climax.---A listening guide of Symphony No. 1 - 4th Movement with Lew Smoley.

This week, Carl chooses a movement from Mahler's 1st symphony with a very familiar tune.

Seth Hanes, author of Amazon Best Seller Break Into the Scene and the blog Musican's Guide to Hustling, chats about Mahler Symphony No. 1 and what encouraged him to help musicians get gigs! Visit Seth at sethhanes.com.

Alex and Fernando discuss composers 11 through 20 on their averaged Top 100 Composers list. This episode includes Prokofiev, Mahler, Bartok, Grainger, Mozart, Copland, Ravel, Scriabin, Elgar, and Rimsky-Korsakov.Excerpts used in this episode include:Prokofiev - Piano Sonata No. 7, Op. 83, Mvt. III (This work is licensed under the Creative Commons Public Domain Mark 1.0 License. To view a copy of this license, visit http://creativecommons.org/publicdomain/mark/1.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.)Mahler - Symphony No. 5, Mvt. I (Waterloo-Cedar Falls Symphony Orchestra, excerpt cropped from original recording. This work is licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.)Bartok - Allegro Barbaro (Simone Renzi, excerpt cropped from original recording. This work is licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.)Grainger - Lincolnshire Posy, Mvt. IV (United States Marine Band, excerpt cropped from original recording. This work is licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.)Mozart - Symphony No. 29, Mvt. I (Das Orchester Tsumugi, excerpt cropped from original recording. This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.)Scriabin - 5 Preludes, Op. 74 V. Fier, belliqueux(Michal Gajzler, excerpt cropped from original recording. This work is licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.)Rimsky-Korsakov - Russian Easter Festival Overture (This work is licensed under the Creative Commons Public Domain Mark 1.0 License. To view a copy of this license, visit http://creativecommons.org/publicdomain/mark/1.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.)Intro: Tchaikovsky - Symphony No. 6, Mvt. II (This work is licensed under the Creative Commons Public Domain Mark 1.0 License. To view a copy of this license, visit http://creativecommons.org/publicdomain/mark/1.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.)Outro: Dvorak - Symphony No. 8, Mvt. III (DuPage Symphony Orchestra, excerpt cropped from original recording. This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.)

Season 2, Ep. 5 – Music Director of the Mormon Tabernacle Choir, Mack Wilberg talks about collaborating with the Utah Symphony on the new album, Mahler Symphony No. 8.