Podcast appearances and mentions of marc andre hamelin

In this episode, we discuss recordings of “Voix humaines. Marais: Pièces inédites pour flûte” (Alpha) by Les Musiciens de Saint-Julien & François Lazarevitch, “Dvořák & Price: Piano Quintets” (Hyperion) by Takacs Quartet & Marc-Andre Hamelin, “Marsalis: Blues Symphony” (Pentatone) by The Detroit Symphony Orchestra / Jader Bignamini, “Changes in Life” (Self Release) by Robert Cozma, “Rivers” (BYNK Records) by Reggie Watkins, and “Unleashed” (Posi-Tone Records) by Altin Sencalar.   The Adult Music Podcast is featured in: Feedspot's 100 Best Jazz Podcasts   Episode 207 Deezer Playlist   Fair use disclaimer: Music sample clips are for commentary and educational purposes. We recommend that listeners listen to the complete recordings, all of which are available on streaming services in the links provided. We also suggest that if you enjoy the music, you consider purchasing the CDs or high-quality downloads to support the artists.   “Voix humaines. Marais: Pièces inédites pour flûte” (Alpha) Les Musiciens de Saint-Julien, François Lazarevitch https://open.spotify.com/album/3NTz8U3lkStlp37z2Alkop https://music.apple.com/us/album/voix-humaines-marais-pièces-inédites-pour-flûte/1794243774 https://music.amazon.com/albums/B0DV9MCX1M   “Dvořák & Price: Piano Quintets” (Hyperion) Takacs Quartet, Marc-Andre Hamelin https://open.spotify.com/album/1i8Dx19cZUT4y5TcD9bomJ https://music.apple.com/us/album/dvořák-price-piano-quintets/1791744025 https://music.amazon.com/albums/B0DTKP5X5F   “Marsalis: Blues Symphony” (Pentatone) Detroit Symphony Orchestra / Jader Bignamini https://open.spotify.com/album/0fTJMgJD49Spi9tdn7z2Qe https://music.apple.com/us/album/marsalis-blues-symphony/1776950590 https://music.amazon.com/albums/B0DLCLFV9J   “Changes in Life” (Self Release) Robert Cozma https://open.spotify.com/album/41qnTMc8sglH0SkkftPiQ8 https://music.apple.com/us/album/changes-in-life/1798194618 https://music.amazon.com/albums/B0DY7YLJZX   “Rivers” (BYNK Records) Reggie Watkins https://open.spotify.com/album/6DV1QqDHDaxEh2S7OCmNo2 https://music.apple.com/us/album/rivers/1800825903 https://music.amazon.com/albums/B0DZR3JB4V   “Unleashed” (Posi-Tone Records) Altin Sencalar https://open.spotify.com/album/7aL6W8bJ9nHuC2Rxe0nBTc https://music.apple.com/us/album/unleashed/1792511834 https://music.amazon.com/albums/B0DVBB2FDC

Marc-André Hamelin – Fauré: Nocturnes and Barcarolles (Hyperion) New Classical Tracks - Mark-Andre Hamelin and Cathy Fuller by “The thing about him is that he's so honest and real and natural,” pianist and radio host Cathy Fuller says. “He never thinks about how he comes across so much as how the music gets to the other person, and you can even sense that in the way he converses. And that's one of the things that really struck me about him.”That's what impressed Fuller when she first encountered pianist Marc-André Hamelin. He was on the other side of the microphone as she interviewed him for her classical radio program in Boston. That interview led to lunch, then long-distance phone calls and eventually marriage.  And now, for the first time, Fuller , who is also an accomplished pianist, performs with Hamelin on his new recording. It features the complete nocturnes and barcarolles by Gabriel Fauré, as well as the piece they perform together, the delightful Dolly Suite, for piano four-hands.Fuller: “I thought, ‘Playing with Marc-André Hamelin — oh, my God! I have to do scales with Marc. Forget it!' But I remember, when I was studying the music, how much I loved being next to somebody. I think he made me better just by being next to him. But I really had to work at this. And it was he who asked me. I would never have asked to do this. And I was so touched that he had the faith and confidence in me to do this. And I really tried to rise to the occasion, but it was a ton of fun.“This was the first time we really played together. And I have a really hard time with the idea of giving up the pedal. That was difficult. And so does he — don't you, Marc?”Hamelin: “Oh, yes, absolutely. I was taking the bottom part in the duet that we were playing, and it's more logical for the bottom player to take the pedal. So, it takes two players who are really in sympathy with each other, you know? And we really worked at it. And the result really speaks for itself.”Why did you want to record the barcarolles and nocturnes of Gabriel Fauré?Hamelin: “To have all the nocturnes and barcarolles in one place was an especially attractive idea, I thought. And the more I delved into it, the more wonderful I thought it was. And you just go from one wonder to the next.”Nocturnes are often a night piece and therefore something that's more subtle or subdued. However, these nocturnes by Fauré are not like that. Can you talk about the sense of drama that he creates in some of these pieces?Hamelin: “Fauré's publisher was mainly responsible for the titles given to his works upon publication, because he really didn't care much about what to call them. It's really what was expressed that was of prime importance to him.“So a nocturne is not necessarily nocturnal in his outlook, because some of them get quite dramatic. I'm thinking of the last nocturne, No. 13, which has a very stormy and anguished middle section that really rises to a big fever pitch.”If you were going to sit down and play one of those nocturnes right now, which one would you choose and why?Hamelin: “One of them, to my mind, stands out above almost all the others. And that's No. 6. The special atmosphere that he creates has always been very, very special to me, perhaps more than any other of his piano works.“Although if you put it on the CD with the nocturnes, the very beginning of the first nocturne is magical.”Do you feel that way about the barcarolles as well? Is there one that stands out to you?Hamelin: “The Third Barcarolle, which I learned when I was a teenager. I think I was maybe 16 or something like that, and I've always had a soft spot for it. And on a personal note, whenever I visited my mother, she asked me to play it because she just adored it.” Listen on YouTubeTo 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.ResourcesMarc-André Hamelin – Faure: Nocturnes and Barcarolles (Amazon)Marc-André Hamelin – Faure: Nocturnes and Barcarolles (Hyperion)Marc-André Hamelin (official site)

Ein neues Album von Marc-Andre Hamelin - vorgestellt auf NDR Kultur.

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

Not every music student or even professional musician has explored classical music, much like not necessarily every classical musician will know something about jazz or any other genre.  However, each genre has certain pieces that one should know from each genre regardless of your preference.  These are 25 of many possible choices, not necessarily "the best", but some pieces you should recognize by title and composer upon hearing. Musical examples used in this episode: 06:53 P. Tchaikovsky: "Dance of the Sugar Plum Fairy" from The Nutcracker - (Montreal Symphony; Charles Dutoit) 12:49 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Hannes Kästner, organ) 13:15 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Czech Philharmonic; Leopold Stokowski) 17:26 S Barber: Adagio for Strings (New York Philharmonic; Thomas Schipps) 19:48 Beethoven: Symphony No. 5 (Vienna Philharmonic; Carlos Klieber) mvt 1 and 4 24:03 Beethoven: Symphony No. 9 (Berlin Philharmonic; Von Karajan) mvt. 4 and 2 28:33 Brahms: Hungarian Dances 4, 5, 6 (Vienna Philharmonic; Claudio Abbado) 30:56 A Copland: "Hoe-Down" from Rodeo (St. Louis Symphony; Leonard Slatkin) 32:33 F Chopin: Grand Valse Brillante op. 18 (Valentina Lisitsa) 34:22 Debussy: Prelude to the Afternoon of a Faun (Royal Concertgebouw; Bernard Haitink) 36:01 Dvorak: Symphony No. 9 "From the New World" mvt 2 (London Philharmonic; Charles MacKerras) 38:16 Grieg: Peer Gynt and Peer Gynt suite no.1 (San Francisco Symphony; Herbert Blomstedt) 40:13 Handel: The Messiah "Hallelujah" (London Symphony; Colin Davis) 40:43 Handel: Water Music selections (English Chamber Orchestra; Raymond Leppard) 41:30 Holst: The Planets "Mars" - (Montreal Symphony; Charles Dutoit) 42:13 Liszt: Hungarian Rhapsody No. 2 (Marc-Andre Hamelin) 43:22 Mendelssohn: Overture and Wedding March from A Midsummer Night's Dream (London Symphony, Andre Previn) 45:11 Mozart: Overture to The Marriage of Figaro (Academy of St Martin in the Fields; Neville Marriner) 46:16 Mussorgsky: Pictures at an Exhibition - Promenade and Great Gate of Kiev (Berlin Philharmonic; Claudio Abbado) 48:25 Rachmaninoff: Piano Concerto No. 2 (Vladimir Ashkenazy; Moscow Symphony; Kirill Kondrashin) 49:38 Ravel: Bolero (Boston Symphony; Seiji Ozawa) 51:42 Ravel: Daphnis & Chloe (Rotterdam Philharmonic; Yannick Nézet-Séguin) 52:46 Rimsky-Korsakov: Flight of the Bumblebee (Berlin Philharmonic; Zubin Mehta) 53:08 Rimsky-Korsakov: Scheherezade mvt IV and III (London Symphony; Charles MacKerras) 55:06 Schubert: Ave Maria (Barbara Booney) 55:31 R Strauss: Also Sprach Zarathustra (Chicago Symphony; Fritz Reiner) 57:15 Stravinsky: Rite of Spring (from Part 1) (New York Philharmonic; Leonard Bernstein) 58:21 Tchaikovsky: Russian Dance, Arabian Dance, Dance of the Reed Flutes from The Nutcracker (Montreal Symphony; Dutoit)   Do you have a different recording of these pieces that you'd recommend?  Let me know by telling me directly at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact  The blog post that goes with this episode can be found here: https://www.davidlanemusic.com/post/25-essential-classical-pieces-to-know You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can also now find the podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Je dagelijkse portie muzikale verwondering. Welkom in mijn wonderkamer, vol muziek, verhalen en voorwerpen. Een muzikale reis door eeuwen, windstreken en genres. ‘Het kan altijd… moeilijker' Ze zijn erg fraai en vingervlug, de Chopin-etudes. Maar het kan altijd…. Godowsky bewerkte de Chopin-etudes tot een nieuwe graad van virtuositeit. Waarom bijvoorbeeld met twee handen spelen, als het ook met 1 kan? Meer zien? Klik hier (https://www.nporadio4.nl/klassiek/podcasts/f1a4e5b8-ffdc-4cda-8c6c-d79b24010385/dit-hoor-je-deze-week-in-franks-klassieke-wonderkamer-week-11-13-t-m-17-maart) Frederic Chopin Etude Op.10 nr.1 Jan Lisiecki, piano (album: Chopin Etudes) Godowsky / Chopin Etudes naar de Etudes van Chopin op.10 nr.1 (versie voor linkerhand) Marc-Andre Hamelin, piano (album: The Complete Studies on Chopin's Etudes) Frederic Chopin Etude Op.25 nr.1 Jan Lisiecki, piano (album: Chopin Etudes) Godowsky / Chopin Etudes naar de Etudes van Chopin op.25 nr.1 Marc-Andre Hamelin, piano (album: The Complete Studies on Chopin's Etudes) Godowsky / Chopin Etudes naar de Etudes van Chopin, ‘Badinage'; (Op.10 nr.5 & op.25 nr.9 gecombineerd)  Marc-Andre Hamelin, piano (album: The Complete Studies on Chopin's Etudes) Franks Klassieke Wonderkamer is straks niet meer via de Bach van de Dag feed te beluisteren. Niks missen? Abonneer je dan op de podcast Franks Klassieke Wonderkamer.

President Biden is set to make an announcement regarding immigration on Thursday. NPR White House correspondent Asma Khalid has been following the announcement and joins us. Then, when Gideon Baena was wrongfully convicted of a crime, he was deported to a country he barely knew: the Philippines. After fighting his way through the legal system and having his case declared unconstitutional, Baena is back in the U.S. and starting a new chapter of his life. He joins us with his attorney, Shan Potts. And, ragtime was popularized by African-American composer Scott Joplin, known as "the king of ragtime." Canadian pianist Marc-Andre Hamelin has taken inspiration from Joplin and other composers for his new album of ragtimes. Hamelin joins us.

You might be thinking, "Why on earth would anyone want to devote an entire podcast to etudes?" For most instrumentalists, etudes are the bane of our existence. They are studies, meant to develop technique on an instrument. Etudes are an essential part of any instrumentalists work, but they had never been known for their musical content. As a violinist, I had practiced dozens of etudes by Kreutzer, Rodé, Dancla, Sevcik, Schraideck, Kayser, Mazas, and more, lamenting the day I chose the violin as my instrument. But pianists have the same dreaded names, like Czerny for example. Chopin changed all of that. Chopin was the first composer to integrate musical content into his etudes, which meant that Chopin's etudes were both extremely difficult technical exercises, but they also were musically interesting enough to be performed live. LIke everything Chopin did on the piano, this was revolutionary, and Chopin's 27 etudes have been part of the piano repertoire ever since. We'll discuss some of these etudes today, along with the nature of virtuosity itself. We'll also spend a lot of time talking about Leopold Godowsky. Leopold Godowsky is not a name you've probably heard very often. But he was one of the great pianists of the end of the 19th century and the beginning of the 20th century, with legions of admirers including legendary pianists like Josef Hoffman, Arthur Rubinstein, Sergei Rachmaninoff, Claudio Arrau, and the composer Ferrucio Busoni. Godowsky's pianistic gifts were well known, but what about his compositional ones? Well, to speak of one is to speak of the other. During the 1890s, when Godowsky was in his late 20s, he began making arrangements of famous piano works of Chopin and other composers music. Over the next 20 years, he became engrossed with Chopin's legendary etudes, or studies, and began writing his own arrangements of them. Now Chopin's etudes are extremely difficult just on their own, but Godowsky's studies are on another level of difficulty.  In fact, Godowsky's transcriptions are so difficult that many pianists don't even dare to play them, though some, like the great Marc-Andre Hamelin, have made them an integral part of their repertoire. So today on the show, we'll take a look at some of the studies on Chopin's etudes, analyzing both the original Chopin etudes and then the changes that Godowsky makes to them. This will be a show as much about Chopin as it is about Godowsky, because you can't understand Godowsky's achievement without understanding the Chopin first. Join us!

Liszt Hungarian Rhapsody no. 2, S. Franz Liszt wrote his Hungarian Rhapsody no. 2, catalogued as S. 244/2, in 1847, and it quickly became the most famous of his rhapsodies. Besides its clear nationalistic influences, it was a piece that offered pianists the chance to reveal their skills while providing the listener with an immediate musical appeal. Its inmediate succes led to the creation of orchestral and duet piano versions. By the late 19th century, the technical challenges of the piano solo version led to its unofficial acceptance as a standard by which every notable pianist could demonstrate his level. It had become an expected staple of virtually every performance of the greatest pianists. Most unusual is the composer's explicit invitation for the performer to improvise an original cadenza, an invitation most performers chose to decline. Marc-Andre Hamelin, Rachmaninoff and Horowitz have written notable cadenzas. This composition has enjoyed widespread use in animated cartoons, and its themes have served as the basis of several popular songs.

Franz Liszt - Superstar des Klaviers. Für seine Tourneen schrieb sich der gebürtige Ungar virtuose Bearbeitungen bekannter Melodien. Oder er verarbeitete die Klänge seiner Kindheit in seinen "ungarischen Rhapsodien". Die Zweite in cis-Moll verdankt ihren Weltruhm nicht zuletzt Walt Disney. (Autor: Michael Lohse)

Je moet er even voor gaan zitten, maar dan krijg je ook wat… Zo’n rijk en fraai werk: deze variaties van Max Reger, die op 12 augustus 1904 in wereldpremiere gingen. Reger. Alcoholist en liefhebber van droge humor, wat op zich al humor is, maar bovenal een van de grootste contrapuntisten na Bach. Max Reger Variaties en Fuga, op.81 (over een thema van Bach) Marc-Andre Hamelin, piano Hyperion CDA66996 31’43’’

Franz Liszt - Superstar des Klaviers. Für seine Tourneen schrieb sich der gebürtige Ungar virtuose Bearbeitungen bekannter Melodien. Oder er verarbeitete die Klänge seiner Kindheit in seinen "ungarischen Rhapsodien". Die Zweite in cis-Moll verdankt ihren Weltruhm nicht zuletzt Walt Disney. (Autor: Michael Lohse)

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 under Guenter Herbig, 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. Of all the instruments, the piano is perhaps the most able to be whatever it is asked to be… 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."

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 under Guenter Herbig, 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. Of all the instruments, the piano is perhaps the most able to be whatever it is asked to be… 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."

Recipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is considered to be one of the most distinctive artists of his generation. The Washington Post proclaimed Mr. Huang as "an artist with the goods for a significant career" following his recital debut at the Kennedy Center.This summer, Mr. Huang made highly acclaimed debut at Bravo!Vail Music Festival stepping in for violinist Anne-Sophie Mutter in the Mozart’s Violin Concerto No.4 with Chamber Orchestra Vienna-Berlin. Recent and forthcoming engagements include his recital debut at the Lucerne Festival in Switzerland, Aspen Music Festival, as well as appearances with the Mariinsky Orchestra with Valery Gergiev (St. Petersburg's White Nights Festival), Berliner Symphoniker with Lior Shambadal (Philharmonie Berlin debut), Detroit Symphony with Leonard Slatkin, Houston Symphony with Andres Orozco-Estrada, Orchestra of St. Luke's with Carlos Miguel Prieto, Seoul Philharmonic, Baltimore Symphony and Grant Park Festival Orchestra with Markus Stenz, North Carolina Symphony and Charlotte Symphony with Gemma New, Buffalo Philharmonic with JoAnn Falletta, Pacific Symphony with Carl St. Clair, National Symphony Orchestra of Taiwan with ShaoChia Lu and the Taipei Symphony with Jahja Ling (both in Taipei and on a U.S. tour). 2019-20 season will also see Mr. Huang giving the German premiere of Tan Dun’s Violin Concerto “Fire Ritual” with the Nuremberg Symphony with Kahchun Wong and appearances in the U.S. with the Tucson Symphony, New Mexico Philharmonic, Long Beach Symphony, Brevard Symphony, and Mobile Symphony.Recital and chamber music performances this season will include Mr. Huang’s recital debut for People’s Symphony Concerts in New York, a recital tour across North America and Taiwan with pianist Helen Huang, as well as his debut at the Wolf Trap in Washington D.C. He will also return to Camerata Pacifica in Santa Barbara and the Chamber Music Society of Lincoln Center for three separate tours in the U.S., Europe, and the Far East.Mr. Huang's recent recital engagements included Lincoln Center's "Great Performers" series and return engagement at the Kennedy Center where he premiered Conrad Tao's "Threads of Contact" for Violin and Piano during his recital evening with pianist Orion Weiss. He also stepped in for Midori with Leonard Slatkin and the Detroit Symphony to critical acclaim. Mr. Huang has also made debuts at the Wigmore Hall, Seoul Arts Center, and the Louvre in Paris.His first solo CD, Intimate Inspiration, is a collection of favorite virtuoso and romantic encore pieces released on the CHIMEI label. In association with Camerata Pacifica, he recorded "Four Songs of Solitude" for solo violin on their album of John Harbison works. The album was released on the Harmonia Mundi label in fall 2014.A frequent guest artist at music festivals worldwide, he has performed at the Seattle, Music@Menlo, Caramoor, Bridgehampton, La Jolla, Santa Fe, Moritzburg, Kissinger Sommer, Sion, Orford Musique, and the PyeongChang Music Festival in Korea. His chamber music collaborators have included Gil Shaham, Cho-Liang Lin, Nobuko Imai, Mischa Maisky, Jian Wang, Frans Helmerson, Lynn Harrell, Yefim Bronfman, and Marc-Andre Hamelin.Support the show (https://thatsnotspit.com/support/)

The inaugural episode of Bent Notes: a Queer Musicology Podcast! In this episode, Brian Inglis takes us through the witty, erudite, and at times heartbreaking corpus of letters which Kaikhosru Sorabji wrote to Philip Heseltine (a.k.a. Peter Warlock) between 1913 and 1922. Listen in for an intimate portrait of this remarkable composer, critic, and personality in the years that he was coming to terms with his sexuality, racial identity, and place in the musical world. Bent Notes is produced by the LGBTQ+ Music Study Groupand presented by George Haggett. The study group is supported by the British Forum for Ethnomusicology, Royal Musical Association, Society for Music Analysis, and Society for Musicology in Ireland. Thanks to Altarus Records for generously giving us permission to play the musical extracts, and to Alistair Hinton at the Sorabji archive for all of his help. Visit our website: https://lgbtqmusicsg.wordpress.com/ Follow us on Twitter: https://twitter.com/LGBTQMusicSG Like us on Facebook: https://www.facebook.com/lgbtqmusicsg/ Read about Kaikhosru Sorabji's Letters to Philip Heseltine edited by Brian Inglis and Barry Smith here: https://www.taylorfrancis.com/books/e/9781351068802 See Brian's academic profile here: https://www.mdx.ac.uk/about-us/our-people/staff-directory/profile/inglis-brian and his website here: https://www.impulse-music.co.uk/brianinglis/?fbclid=IwAR1KavdJihjCoeilJrcQzj_SoRvnQf8KOTPnXiheHvCWZRWhAT0UKMBJ9bg Read about the Sorabji Archive here: http://www.sorabji-archive.co.uk/ Yonty Solomon, Le Jardin Parfumé, 1993 Altarus Records AIR-CD9037. Marc-Andre Hamelin, Sonata No. 1, 1990 Altarus Records AIR-CD9050.

Pianist Marc-Andre Hamelin talks with WCRB's Cathy Fuller about his May 2017 Celebrity Series of Boston concert, with music by Haydn, Feinberg, Beethoven, Scriabin, and much more.

Clarinetist James Campbell and pianist Marc-Andre Hamelin got together in our WCRB studio to celebrate Brahms: Johannes Brahms: Sonata for Clarinet and Piano in F minor, Op. 120 James Campbell, clarinet; Marc-Andre Hamelin, piano Recorded at WCRB’s Fraser Performance Studio (October 20, 2010)

In the second of two programmes this month pianist James Rhodes presents music that's changed his life: including recordings by iconic twentieth century pianists Glenn Gould and Vladimir Ashkenazy, and performances by some of today's leading virtuosi including Marc-Andre Hamelin, Joseph Moog, and Evgeny Kissin. Plus extracts from The Marriage of Figaro conducted by Teodor Currentzis. Until the age of 14, James had no formal academic musical education or dedicated mentoring. Aged 18 he stopped playing the piano entirely for a decade. Since returning to the piano, he has released five albums, all of which have topped the iTunes classical charts. His bestselling memoir, Instrumental, is a moving and compelling story that was almost banned until the Supreme Court unanimously overthrew an injunction in May 2015. He has performed in venues around the world from the Barbican, Roundhouse, Royal Albert Hall, Latitude Festival, Queen Elizabeth Hall and Soho Theatre in the UK to halls in Paris, Australia, Hong Kong, Chicago, Vienna and more. Plus news of how you can take part in a special edition of Saturday Classics with James later this summer if you're an amateur pianist as part of the BBC Get Playing campaign.

Georgy Catoire - Chants du crépuscule (4 stukken voor piano), op.24 - compleet Marc-André Hamelin op piano

(Published on May 8, 2012) Virtuoso pianist Marc-Andre Hamelin shares his thoughts as a performer and composer at (le) poisson rouge. 

VIDEO: The Pacifica Quartet & Anthony McGill Play Mozart When a long-established string quartet brings in a fifth collaborator, questions inevitably arise: how will the four players interact with the newcomer? Who will call the shots in rehearsals, and how does the group dynamic change? When the Pacifica Quartet gave a performance of the Mozart Clarinet Quintet in the WQXR Café, that fifth member was Anthony McGill, the principal clarinetist of the Metropolitan Opera Orchestra. He recently recorded the clarinet quintets of Brahms and Mozart with the Pacifica, for an album due out next spring. "It's great to have that influx of new energy and new thoughts," Pacifica violist Masumi Per Rostad told host Jeff Spurgeon. "It changes our rehearsal process. It changes the way we interact with each other when it's just the four of us." McGill joked that the group puts on its polite company face when he enters the room. "What's kind of funny about that, especially with a string quartet, is that most of the time, you’re really welcome, because they spend a lot of time with each other,” said McGill. "Every group has its own specific dynamic and it’s really fascinating to be able to feel that." Along with his job at the Met, McGill is active as a chamber musician and soloist. He encounters a lot of Mozart, be it his chamber music or operas like Cosi fan tutte. "The way he captures the overtones and the sweetest part of the instrument is better than any other composer," McGill said of his clarinet writing. "The part of the instrument that sounds like the human voice – that’s the part that he zeroes in on and uses to the best of his abilities." The Pacifica's Cafe Concert came one day after the quartet appeared at Carnegie’s Zankel Hall to perform with another notable artist, pianist Marc-Andre Hamelin, in the rarely-heard Leo Ornstein Piano Quintet. Next year, the ensemble will mark its 20th anniversary with the premieres of commissioned works by Shulamit Ran and Julia Wolfe, the latter of which will be a string quintet with cellist Johannes Moser. The Pacifica has seen other changes lately too. Last year, the group left the University of Illinois after nearly a decade as the resident quartet to join the Indiana University Jacobs School of Music. It is the first quartet-in-residence at a school with a long string pedagogy tradition but much less of a chamber music bent. The quartet now teaches some 35 ensembles. Does the name “Pacifica” – a holdover from the group’s founding in Los Angeles – ever seem strange given their Midwestern orientation now? “It’s a nice name and we’ve been happy with it," said Rostad. "Our students like to joke that they could call us the Cornfield-ica.” Video: Amy Pearl; Sound: Noriko Okabe; Text & Production: Brian Wise