Podcasts about Marek Janowski

Bekannt ist er als Perfektionist und als strenger Probenmeister. Denn zu seinen Qualitäten zählt zweifellos, ein Orchester besser zu machen. Und vor allem: Er möchte „dem fundamentalen Sinn der kompositorischen Aussage eines Werkes gerecht“ werden, ohne selbst Recht zu haben. Am 18. Februar feierte der Dirigent Marek Janowski seinen 85. Geburtstag. In einem neuen Buch mit Gesprächen blickt er auf eine fast sechzigjährige Karriere zurück. Christoph Vratz bereitet es ein kurzweiliges Lesevergnügen.

durée : 00:06:14 - Classic & Co - par : Marina Chiche - Anton Bruckner au programme ce matin, avec l'adagio final de sa 9ème symphonie, qui sera donnée par l'orchestre philharmonique de Radio France ce vendredi 26 mai à 20h, sous la direction de son ancien directeur musical Marek Janowski. Marina Chiche nous en parle.

- Zacząłem studia na dwóch kierunkach. Na uniwersytecie poszedłem na matematykę, a do konserwatorium, by kontynuować naukę gry na skrzypcach i fortepianie. W związku z tym musiałem oczywiście grać w orkiestrze studenckiej. I za każdym razem, gdy obserwowałem pracujących tam z nami studentów dyrygentury, myślałem sobie: Mój Boże, potrafiłbym to robić zdecydowanie, zdecydowanie lepiej - mówił w Dwójce maestro Marek Janowski.

Met de bekende operazangeres Francis van Broekhuizen duiken we in de wereld van klassieke muziek en gaan daarin op zoek naar muziek die zo mooi is dat de hemel bijna het aardse raakt. En passant vertelt Francis over de context en de geschiedenis van de klassieke muziek die je hoort. Er komt van alles langs: Bach, Mozart, Verdi, Strauss en meer. De liefhebber van klassiek komt aan z'n trekken deze aflevering, maar ook als je niets weet van klassieke muziek is dit een ideale ontdekkingstocht. David Boogerd spreekt met Francis van Broekhuizen en vaste gast theoloog Stefan Paas over geloof, een goddelijke vonk, genialiteit en de kunst van het scheppen. De liederen die langskwamen in deze aflevering staan hieronder en zijn te beluisteren via deze Spotify-playlist (https://open.spotify.com/playlist/2tZuNoDXSpw0WC4xpXQCPF?si=90a2c5778a52454b). 5 Lieder, Op. 39, TrV 189: No. 4. Befreit (version for soprano and orchestra)  Uitgevoerd door: Berlin Rundfunkorchester, Marek Janowski, Soile Isokoski Geschreven door: Richard Strauss Ave Regina Uitgevoerd door: Netherlands Chamber Choir, Paul Van Nevel Geschreven door: Guillaume Dufay  Matthäus-Passion, BWV 244, Erster Teil: 27a. Aria a doi Cori (Sopran, Alt) "So ist mein Jesus nun gefangen" - 27b. Chorus I & II "Sind Blitze, sind Donner in Wolken verschwunden" Uitgevoerd door: Andreas Scholl, Collegium Vocale Gent, Philippe Herreweghe, Sibylla Rubens Geschreven door: Johann Sebastian Bach Requiem in D Minor, K.626: III. Sequentia: f. Lacrimosa Uitgevoerd door: Herbert von Karajan, Berliner Philharmoniker, Wiener Singverein Geschreven door: Wolfgang Amadeus Mozart Messa di Requiem, Dies irae: Dies irae Uitgevoerd door: Angela Gheorghiu, Berliner Philharmoniker, Claudio Abbado Geschreven door: Giuseppe Verdi Verdi: Messa da Requiem - Libera me: VIId. Libera me, Domine Uitgevoerd door: Angela Gheorghiu, Berliner Philharmoniker, Claudio Abbado Geschreven door: Giuseppe Verdi Fratres (Version for Strings & Percussion) Uitgevoerd door: Arvo Pärt, I Fiamminghi (The Orchestra of Flanders), Rudolf Werthen Geschreven door: Arvo Párt Suite No. 3 in D Major, BWV 1068: II. Air  Uitgevoerd door: Berliner Philharmoniker, David Bell, Herbert von Karajan  Geschreven door: Johann Sebastian Bach

"Maestro jest niezwykle wymagającym dyrygentem. Mistrza chyba nie stać na to, żeby odpuszczać, żeby nie zwracać na pewne słabości uwagi. Jest bardzo szczery. To przynosi efekt, mobilizacja orkiestry jest absolutnie nadzwyczajna" - tak Janusz Marynowski zapraszał na nadzwyczajny koncert Sinfonii Varsovii w Studiu Koncertowym Polskiego Radia im. W. Lutosławskiego (11.01). Zespół wystąpił pod dyrekcją Marka Janowskiego, a koncert był transmitowany na antenie Dwójki.

A masterwork of unrestrained joy, Mozart's final symphony is one of the greatest in the repertoire. Marek Janowski conducts the Jupiter Symphony, along with Mendelssohn's The Hebrides Overture, a product of his trip to Scotland's rugged west coast. CSO Concertmaster Robert Chen is soloist in Bruch's beloved First Violin Concerto, noted for its rapturous melodies and crackling, dance-like finale. Learn more: https://cso.org/performances/21-22/cso-classical/mozart-jupiter-robert-chen-plays-bruch/

A masterwork of unrestrained joy, Mozart's final symphony is one of the greatest in the repertoire. Marek Janowski conducts the Jupiter Symphony, along with Mendelssohn's The Hebrides Overture, a product of his trip to Scotland's rugged west coast. CSO Concertmaster Robert Chen is soloist in Bruch's beloved First Violin Concerto, noted for its rapturous melodies and crackling, dance-like finale. Learn more: https://cso.org/performances/21-22/cso-classical/mozart-jupiter-robert-chen-plays-bruch/

Zum Beethoven-Jahr 2020 gab es eine spektakuläre Neueinspielung der "Leonore"-Urfassung von Beethovens einziger Oper (von René Jacobs), aber keine Neuaufnahme der revidierten, weltweit verbreiteten Version des "Fidelio". Jetzt kommt sie - von Marek Janowski.

durée : 00:28:08 - Marek Janowski, chef d'orchestre (5/5) - Né en Pologne en 1939, le chef d'orchestre Marek Janowski se situe dans la lignée de la grande tradition allemande. Ses interprétations de Strauss, Brukner et Wagner font aujourd'hui référence. Il est à l'honneur cette semaine dans En Pistes avec aujourd'hui l'orchestre de la Suisse romande.

durée : 00:26:47 - Marek Janowski, chef d'orchestre (4/5) - Né en Pologne en 1939, le chef d'orchestre Marek Janowski se situe dans la lignée de la grande tradition allemande. Ses interprétations de Strauss, Brukner et Wagner font aujourd'hui référence. Il est à l'honneur cette semaine dans En Pistes avec aujourd'hui l'Orchestre de la Radio de Berlin.

durée : 00:27:04 - Marek Janowski, chef d'orchestre (3/5) - Né en Pologne en 1939, le chef d'orchestre Marek Janowski se situe dans la lignée de la grande tradition allemande. Ses interprétations de Strauss, Brukner et Wagner font aujourd'hui référence. Il est à l'honneur cette semaine dans En Pistes avec aujourd'hui Monte Carlo et Dresde.

durée : 00:28:53 - Marek Janowski, chef d'orchestre (2/5) - Né en Pologne en 1939, le chef d'orchestre Marek Janowski se situe dans la lignée de la grande tradition allemande. Ses interprétations de Strauss, Brukner et Wagner font aujourd'hui référence. Il est à l'honneur cette semaine dans En Pistes avec aujourd'hui le Philharmonique de Radio France.

durée : 00:37:15 - Marek Janowski, chef d'orchestre (1/5) - Né en Pologne en 1939, le chef d'orchestre Marek Janowski se situe dans la lignée de la grande tradition allemande. Ses interprétations de Strauss, Brukner et Wagner font aujourd'hui référence. Il est à l'honneur cette semaine dans En Pistes avec aujourd'hui ses débuts, à Liverpool et Cologne.

As the worldwide pandemic renews its threat and creates general unrest, panic, anger, and depression, as well as illness and death for so many, we turn as always to music for solace. One of the central pieces that I have always turned to in times of personal turmoil has been Richard Strauss’s Vier letzte Lieder. Over the years I have listened to and derived comfort from dozens and dozens of recordings and live performances. In this episode, I feature eight different sopranos, (Elisabeth Söderström, Anna Tomowa-Sintow, Edda Moser, Soile Isokoski, Margaret Price, Teresa Żylis-Gara, Lucia Popp, and Sena Jurinac), each of whom makes her mark in a distinctive way on one of the four songs in the series. I also read each of the poems in my own English translation. These performances are supplemented by excerpts from Elektra, Daphne, and Die Ägyptische Helena performed by Rose Pauly, Hilde Güden, Christa Ludwig, and Walter Berry, as well as the world premiere 1985 performance of “Malven,” Strauss’s last completed work, sung by Kiri Te Kanawa; and the Oboe Concerto played by Léon Goossens in its first commercial recording from 1947.  Featured conductors in the episode include Claudio Abbado, Bernard Haitink, Zubin Mehta, Marek Janowski, Georg Solti, Karl Böhm, Heinrich Hollreiser, Fritz Busch, Alceo Galliera, and Milan Horvat. A bonus episode for my Patreon supporters will feature twelve more of my favorite sopranos, each one singing one of these autumnal Lieder. As we world citizens face the great unknown, these artists help lift our spirits and reorient our perspective. Links to my previous Music for a World in Crisis episodes: Episode 26: Calling You Episode 27: That Time of Evening Episode 29: A Social Isolation Schubertiade Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available, including a new extra episode further exploring today’s topic.

150 Jahre Dresdner Philharmonie werden in diesem Jahr gefeiert. Deren Chefdirigent, Marek Janowski, ist im Gespräch zu diesem besonderen Jubiläum und den Herausforderungen der aktuellen Corona-Situation.

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

The first Roxy Music album brings together a patchwork of inspirations and influences from across the decades. In the second episode of Ghost Echoes, we stroll spontaneously into the movie theatre of the mind and examine a few of them. Here's looking at you, kid. Music and Sound Notes: - All of the Roxy Music tracks heard here for illustrative purposes are from their debut album. They include: “Re-Make/Re-Model”, “Virginia Plain”, “Bitters End”, “Chance Meeting", and “2HB”. - The recording of Rachmaninov's second piano concerto near the start is by an anonymous soloist and symphony orchestra, from Musopen. The excerpt from Brief Encounter itself features a recording of the same concerto by Eileen Joyce with the National Symphony Orchestra, conducted by Muir Matheson. The Noël Coward song heard shortly after is “The Party's Over Now,” from the musical Words and Music. - The segment on pop art features excerpts from Buddy Holly's “Everyday” and David Bowie's “Andy Warhol.” The section about musicians who went to art school features tiny extracts from “All Your Love” by John Mayall and the Bluesbreakers; “Imagine” by John Lennon; “Brown Sugar”, “Some Girls”, and “Honky Tonk Women” all by the Rolling Stones; “Whole Lotta Love” by Led Zeppelin; “Pinball Wizard” by the Who; “Tubular Bells, Part 1” by Mike Oldfield; “Bike” by Pink Floyd; “Layla” by Derek and the Dominos; “The Village Green Preservation Society” by the Kinks; “Seaside Rendezvous” by Queen; “Your Love is King” by Sade; “Common People” by Pulp; “You're So Great” by Blur; “Man-Size” by PJ Harvey; “Paper Planes” by M.I.A.; “Kiss With A Fist” by Florence and the Machine; and “London Calling” by the Clash. - The recording of Wagner's “Ride of the Valkyries” used here is by the Slovak Radio Symphony Orchestra conducted by Uwe Mund. The brief excerpt from the start of Das Rheingold is the Staatskapelle Dresden conducted by Marek Janowski, and the horn call from Götterdämmerung is the Royal Concertgebouw Orchestra conducted by Riccardo Chailly. - The music that finishes the episode off is from the end of Max Steiner's score for Casablanca. Further reading, watching: - The two main sources for biographical information were Michael Bracewell's Re-Make/Re-Model and Simon Reynolds' Shock and Awe. The Brief Encounter section is loosely inspired by Roland Barthes' essay “Leaving the Movie Theatre” from The Rustle of Language. The list of art school alumni who went on to pop stardom comes from Pretentiousness: Why it Matters by Dan Fox. - The BBC documentary at the beginning of the pop art section is “Pop Goes the Easel,” an episode of Monitor, hosted by Huw Wheldon and directed by the great Ken Russell. The interview clips with Ferry are taken from a Channel Four documentary called This is Tomorrow. - The images in this blog post were the main source for my descriptions of the Roxy Theatre. - Other film and television clips come from Brief Encounter; What's Opera, Doc?; The Wizard of Oz; Casablanca and Now, Voyager.

Marek Janowski kommt zum zweiten Mal als Chefdirigent der Dresdner Philharmonie in die sächsische Hauptstadt, die jetzt endlich einen passenden Konzertsaal zu bieten hat. Am 31.8. gibt er sein Antrittskonzert.

durée : 02:59:02 - Été Classique Matin du lundi 08 juillet 2019 - par : Benjamin François - Première balade de mise en jambes avec un petit tour d’horizon Renaissance, baroque, classique et romantique. Quelques beaux ensembles baroques, mais aussi deux chefs qui ont marqué leur époque – Alain Lombard et Marek Janowski. En fil rouge cette semaine, le sublime coffret « Bach » de Scott Ross. - réalisé par : Céline Parfenoff

Berliini Raadio Sümfooniaorkester mängib Marek Janowski juhatusel Hans Werner Henze sümfooniad nr 2 ja 10.

Berliini Raadio Sümfooniaorkester mängib Marek Janowski juhatusel Hans Werner Henze sümfooniad nr 2 ja 10.

Das erste Mal lief es nicht ganz so glücklich wie gedacht. Jetzt gibt's aber eine neue Chance für Marek Janowski und die Dresdner Philharmonie. Im Sommer wird er deren neuer alter Chef. Und heute 80 Jahre alt.

Eine typische Starkarriere hatte Marek Janowski nicht. Erst vor kurzem debütierte er mit großem Erfolg bei den Berliner Philharmonikern, auch bei den Bayreuther Festspielen dirigierte er spät. Marek Janowski gehört eher zu den unauffälligen unter den Altmeistern. Und obwohl seine Interpretationen zunächst häufig unspektakulär wirken, ist die musikalische Architektur bei ihm perfekt strukturiert. Jetzt wird Marek Janowski 80 Jahre alt.

durée : 00:06:29 - Marek Janowski - Extrait de la "Symphonie n°8 en sol majeur op. 88 (Allegreto grazioso - Molto Vivace)" d'Antonín Dvořak avec l'Orchestre Philharmonique de Radio France et sous la direction de Marek Janowski, lors du concert donné le 10 mars 1983 au Deutsches Museum de Munich en Allemagne.

Vladimir Stoupel est un musicien pourvu d'un éventail sonore et émotionnel d'une richesse extraordinaire. Il s'aventure jusqu'aux limites extrêmes de l'expression avec une intensité qui emporte inéluctablement ses auditeurs. Sa pensée symphonique confère une dimension orchestrale à son jeu pianistique. Son enregistrement intégral des Sonates de Scriabine a reçu, parmi d'autres récompenses, le prix luxembourgeois « Excellentia ». La presse internationale a qualifié ses concerts comme étant des « feux d'artifice pianistiques » (Washington Post) et une « interprétation hors du commun » (Der Tagesspiegel Berlin). Vladimir Stoupel est souvent reconnu pour être l'instigateur et l'organisateur de programmes qui rompent avec les programmations conventionnelles, où il s'agit pour lui de réattribuer aux chefs-d'œuvre injustement tombés dans l'oubli leur place méritée, ainsi que de remettre en valeur leurs hautes qualités musicales en interaction avec les œuvres connues du répertoire. Il est constamment invité à offrir sa contribution exclusive dans les plus grands festivals internationaux, comme le Schleswig-Holstein Musikfestival, le Festival Piano en Valois (France), les Brandenburgischen Sommerkonzerten, le Printemps des Arts à Monte-Carlo, le Festival d'Helsinki, le Festival La Grange de Meslay à Tours (France) et le Bargemusic Festival à New York. En tant que directeur artistique, il dirige en collaboration avec Judith Ingolfsson son propre festival "Aigues-Vives En Musiques" dans le sud de la France. En tant que concertiste soliste, Vladimir Stoupel est invité par les orchestres de référence, tels l'Orchestre philharmonique de Berlin, l'Orchestre du Konzerthaus de Berlin, l'Orchestre du Gewandhaus de Leipzig, l'Orchestre symphonique de la Radiodiffusion bavaroise, l'Orchestre symphonique allemand de Berlin, l'Orchestre symphonique de la Radiodiffusion berlinoise, l'Orchestre national russe, l'Orchestre national de Weimar, l'Orchestre national de Mayence, l'Orchestre philharmonique national de Cassel et l'Orchestre symphonique de Lancaster. Il travaille régulièrement avec les chefs d'orchestre Christian Thielemann, Michail Jurowski, Leopold Hager, Marek Janowski, Steven Sloane, Stefan Malzew, Patrik Ringborg et Günther Neuhold. Vladimir Stoupel s'est produit dans les salles les plus célèbres, telles la Philharmonie et le Konzerthaus de Berlin, l'Avery Fisher Hall à New York, la National Gallery à Washington DC, la Grosse Musikhalle à Hambourg et le Konzerthaus de Dortmund, pour n'en citer que quelques-unes. Sa vaste discographie dévoile différents styles et époques, tels que, par exemple, des œuvres pour piano de Chostakovitch (RPC, 1988), les œuvres complètes pour piano d'Arnold Schönberg (chez auris subtilis, 2001), de la musique de chambre de Schumann et de Brahms (chez auris subtilis, 2002), l'intégralité des sonates d'Alexandre Scriabine (chez Audite, 2008) et une sélection de musique pour piano du 20ème siècle (EDA 2007). L'enregistrement de l'œuvre complète pour alto et piano d'Henri Vieuxtemps avec l'altiste Thomas Selditz a reçu le fameux « Preis der deutschen Schallplattenkritik » (prix convoité de la critique allemande de l'industrie du disque). Ses trois CD «Concert-Centenaire», enregistrés avec la violoniste Judith Ingolfsson, avec des œuvres de Albéric Magnard, Rudi Stephan, Louis Vierne et Gabriel Fauré sont parus sur le label Accentus Music en 2016. Ils ont été acclamés par la critique internationale et le CD Fauré fut nominé pour les International Classical Music Awards 2017. Citoyen français depuis 1985, Vladimir Stoupel vit actuellement à Berlin.

Marek Janowski kommt als Chefdirigent der Dresdner Philharmonie zurück in die sächsische Hauptstadt, die jetzt endlich einen passenden Konzertsaal zu bieten hat. Am Sonntag ist er aber erstmal in Leipzig zu erleben.

Auf den Bayreuther Festspielen 2017 dirigiert Marek Janowski den "Ring des Nibelungen". Im Interview spricht er über die einmalige Akustik des Bayreuther Festspielhauses, die Herausforderungen der Wagner-Interpretation - und warum es für ihn die vielbeschworene "Krise des Wagner-Gesangs" nicht gibt.

I programmet diskuteras bl. a. Roths tolkning av Strauss Sinfonia Domestica, Nevermind spelar 1700-talsmusik och Gerald Finley sjunger Sibelius. Sofia har träffat Barbara Hannigan för ett samtal. I panelen Camilla Lundberg, Edward Klingspor och Ella Petersson som tillsammans med programledaren Johan Korssell betygsätter följande skivor: IN THE STREAM OF LIFE Sånger av Sibelius Gerald Finley, baryton Bergens filharmoniker Edward Gardner, dirigent Chandos CHSA 5178 Referensen Johan jämför med och refererar till en annan inspelning av Sibelius sånger och Demanten på marssnön, nämligen den med Katarina Karnéus ackompanjerad av Julius Drake på skivmärke Hyperion. CONVERSATIONS Musik av J-B Quentin o L-G Guillemain Nevermind Alpha Classics ALPHA 235 RICHARD STRAUSS Metamorfoser, Sinfonia Domestica Sydvästtyska radions symfoniorkester, Baden-Baden o Freiburg Francois-Xavier Roth, dirigent SWR Music SWR 19021CD MOZART RACHMANINOV Pianokonsert nr 23 A-dur Pianokonsert nr 3 d-moll Grigory Sokolov, piano Mahler Chamber Orchestra Trevor Pinnock, dirigent (Mozart) BBC filharmoniker Yan Pascal Tortelier, dirigent (Rachmaninov) DG 479 7015 CD/DVD Sofia möter Sofia Nyblom har träffat den kanadensiska koloratursopranen och dirigenten Barbara Hannigan för ett samtal då hon i mars gästade Berwaldhallen.  Hannigan sjöng och dirigerade Sveriges Radios symfoniorkester i musik av Sibelius, Bartók, Ligeti och Alban Berg.  Andra i programmet nämnda eller rekommenderade inspelningar: Rachmaninovs tredje pianokonsert med pianisten Martha Argerich tillsammans med Berlin-radions symfoniorkester ledda av Riccardo Chailly på skivmärket Philips; Mozarts tjugotredje pianokonsert med Ingrid Haebler och Pro Musica, Wien ledda av Paul Walter inspelad på Vox. Strauss Metamorfoser med Berlins filharmoniker ledd av Herbert von Karajan på DG. Strauss Sinfonia Domestica med Berlin-radions symfoniorkester ledd av Marek Janowski på Pentatone. Sibelius sånger med Anne Sofie von Otter ackompanjerad av Bengt Forsberg på Bis.  Inget svep denna vecka

Am 27. Juli debütierte der 1939 in Warschau geborene Dirigent und Wagner-Experte Marek Janowski auf dem Grünen Hügel beim Auftakt zu Richard Wagners Operntetralogie "Der Ring des Nibelungen". Im Interview mit BR-KLASSIK erzählt der Maestro unter anderem, warum er nun dem Ruf nach Bayreuth gefolgt ist.

„Es ist nicht ein Graben, sondern es ist dieser Graben.“ Wagner in Bayreuth spielen. Warum Marek Janowski nicht widerstehen konnte. Der Beitrag Das klingt so herrlich – Der neue „Ring“ Dirigent Marek Janowski erschien zuerst auf BF Medien.

Die Aufregung um Frank Castorfs grelle und videoverliebte Parabel rund ums Erdöl aus dem Jahr 2013 ist merklich abgeflaut, vielmehr richtet sich der Fokus heuer auf musikalischen Besetzungen: viele neue Namen in Reihen der Sänger, aber vor allem Marek Janowski am Pult, der den gefeierten Kirill Petrenko beerbt und damit sein Hügel-Debüt gibt.

Strauss's Symphonia Domestica isn't heard that often in concert but Die Tageszeiten is even more of a rarity. Yet it's a wonderful piece of music, as this recording by the Berlin Radio Symphony Orchestra and Marek Janowski proves. Find out more about in this podcast with editor Oliver Condy and reviews editor Rebecca Franks. See acast.com/privacy for privacy and opt-out information.