Podcast appearances and mentions of maria yudina

SynopsisWhat's your favorite recording of Mozart's Piano Concerto No. 23? It is said that Joseph Stalin's was one with Russian pianist Maria Yudina, and that recording was spinning on his turntable when the dictator was found dead on today's date in 1953. In 1944, Stalin had heard Yudina perform this concerto on the radio and called the Soviet broadcaster and asked for the recording. Now, no one dared say “no” to Stalin, so, even though the performance had been live and had not been recorded, the performers were hastily called back to the studio, and by morning a private recording was ready for delivery.Stalin was so pleased, that — again, according to the stories — he sent Yudina 20,000 rubles. In defiance of state-imposed Soviet atheism, the pianist was a devout Orthodox Christian who always wore a cross while performing and considered her music an expression of faith. Stalin really must have liked her playing, since he did nothing — so the story goes — when she sent him a thank-you note letting him know that she gave all the money to her church and that she would pray for him and ask God to forgive all his great sins against his own people.Music Played in Today's ProgramWolfgang Amadeus Mozart (1756-1791): 2nd Movement from Piano Concerto No. 23Marina Yudina, piano; USSR Radio Symphony; Alexander Gauk, cond. Melodiya MELCO0377

durée : 00:05:57 - Classic & Co - par : Anna Sigalevitch - Marina Chiche nous raconte une immense pianiste, une grande prêtresse de la musique qui suscita l'admiration par ses interprétations singulières. Une femme insoumise, qui affichait ses convictions religieuses et soutenait les persécutés de la période stalinienne — la grande Maria Yudina.

This week, the performer and author Elizabeth Wilson speaks to Artemis from the offices of Yale University Press in Bedford Square. Elizabeth tells us about the early life of a remarkable pianist, Maria Yudina, who rose to fame in Stalin's Russia. Maria Yudina was born in 1899 to a Jewish family in Nevel, a small town which now sits close to Russia's border with Belarus. Legend has it that Maria was Stalin's favourite pianist. Those who have seen Armando Iannucci's satirical film The Death of Stalin may remember the opening scene in which a pianist is forced to repeat her live performance so that a recording can be made of it and sent to Stalin. As Elizabeth explains in her new biography of the musician, Playing with Fire, the provenance of this story and whether it is about Maria is unclear. However, there is no shortage of fascinating and true stories about Maria, as Elizabeth shows us in this conversation. Maria came of age as the February revolution broke out in St Petersburg, where she was studying music. She took part briefly – even accidentally firing a rifle through a ceiling – before being questioned by a teacher from the conservatoire where she was studying. For most of her life though, Maria wasn't a revolutionary but an intellectual. Her social circle was made up of the leading figures of Russia's intelligentsia, including Boris Pasternak, Pavel Florensky, and Mikhail Bakhtin.  In this episode we visit Maria in 1921, the year she graduated from the conservatoire and was appointed as a member of staff aged just 21. It was also a year in which the relationship between Russia's new revolutionary state and the country's artists and intellectuals felt uneasy and, at times, destructive.    Show notes: Scene One: Maria's graduation ceremony. Scene Two: Maria's debut performance in Petrograd, which coincides with the poet Alexander Blok's death and funeral.  Scene Three: The end of the civil war and the introduction of NEP. Memento: A chess set which shows pieces representing 2 sides of the Russian Civil War.   People/Social Presenter: Artemis Irvine Guest: Elizabeth Wilson Production: Maria Nolan Podcast partner: Ace Cultural Tours Theme music: ‘Love Token' from the album ‘This Is Us' By Slava and Leonard Grigoryan Follow us on Twitter: @tttpodcast_ Or on Facebook See where 1921 fits on our Timeline

Photo credit: Marco Borggreve Sara Mohr-Pietsch talks to viola virtuoso Tabea Zimmermann about her dazzling career on the concert platform. She first picked up a viola at the age of three, and in the decades since she's performed with the world's greatest orchestras and has become a hugely respected chamber musician and teacher. She discusses the music that means the most to her, the curiosity that comes from working with young performers, and the future of classical music. Theatre artist Femi Elufowoju jr is making his debut as an opera director with a new production of Verdi's gruesome tragic opera, Rigoletto at Opera North. He's drawn on his own life as a British Nigerian to update the drama and the staging, dealing with issues of identity and discrimination, as a way to open up and illuminate the story. He joins Sara along with baritone Eric Greene (Rigoletto) and soprano Jasmine Habersham (Gilda) as they discuss the new staging and their relationship to Verdi's music. We explore the extraordinary story of the 20th century Russian pianist Maria Yudina, brought to life in a new biography ‘Playing with Fire' by Elizabeth Wilson. Maria Yudina became one of the most respected and famous, but also controversial Soviet pianists and was a friend and champion to the great composers of her day such as Shostakovich, Prokofiev, Stravinsky and Boulez. She was also an active revolutionary, an advocate for the oppressed, and a carer for the sick. Sara talks to Elizabeth Wilson and composer Gerard McBurney about the musician, her recordings, and the urban myths which surround her life. Plus, Sara is joined by composer Nitin Sawhney and Coventry's Poet Laureate Emilie Lauren Jones to discuss 'Ghosts in the Ruins' - a new site-specific work to mark the 60th anniversary of Coventry Cathedral. The project was commissioned as part of Coventry UK City of Culture and takes Britten's War Requiem, written for the consecration of the new cathedral, as the starting point. We find out about how the new piece brings together local musicians, choirs, poets and projections.

This week we ask what is truth, Covid and masks, what really happened in Wuhan?; Omicron; the Technoi Greek Alphabet; Antibiotics; Iran; Indonesia; China; Hong Kong and Disney; Olaf Scholz; Eric Zemmour;  Gulpilil;  Aboriginal Identity; Children choose new Church of England bishop; Rick Fulton; Stephen Sondheim; Diversity Officers in the NHS; Maria Yudina and the Saviour of the World    

durée : 00:59:04 - Toute une vie - par : Laetitia Le Guay - Pianiste à la carrière fulgurante dans les années 1920-30, musicienne au jeu puissant et très original mais soliste méconnue en Europe pour n'avoir quasi jamais pu sortir d'URSS, Maria Yudina, aujourd'hui encore, reste un mythe en Russie. - réalisation : Marie-Ange Garrandeau - invités : Frédéric d'Oria-Nicolas pianiste; Andrei Vieru pianiste; Catherine Depretto Professeur de littérature russe à l'Université Paris IV, auteur de "L'Héritage de Bakhtine"aux PUB 1997 et de "Le Formalisme en Russie" éd. CES/IES 2009; Bruno Monsaingeon musicien, réalisateur, essayiste, ami de Yehudi Menuhin.; Pascal Huyn commissaire de l'exposition

durée : 00:05:11 - Abécédaire : Y comme Yudina (Maria) - La pianiste russe Maria Yudina est née en 1899 et disparue en 1970. Elle commence à jouer du piano dès l'âge de 7 ans, et entre au Conservatoire de Saint-Pétersbourg, alors Pétrograd, en 1912, à l'âge de 14 ans ...

We talk about a live recording of a concert of the great Russian pianist Maria Yudina (1899-1970) at the Philharmonic Hall in Kiev in 1954. We also tell some biographical anecdotes and stories of the times https://spoti.fi/3aLaMX8

durée : 00:06:04 - Classic & Co - par : Anna Sigalevitch - Au programme ce matin : un livre paru chez Contrechamps Editions, la correspondance entre la pianiste russe Maria Yudina et l'écrivain et mécène Pierre Souvtchinsky. Une correspondance traduite pour la première fois en français par le pianiste Jean-Pierre Collot.

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Welcome to Tales in the Groove, a NITG spinoff exploring my favourite stories, legends and myths from the history of sound recording and recorded music. We start the series with a story about the death of Joseph Stalin, the life of the amazing Maria Yudina, and a midnight Mozart recording session. The episode ends with the adagio+ Read More

“Maria, Lena and Me” on PRX About “Maria, Lena and Me” Lena in Russia So here’s the very roundabout way I ended up making my first radio documentary. I’ve worked in television for the last 15 years producing news documentaries mostly for PBS. Before that, I was a graphic designer. Before that, I studied Religion and Computer Science at Oberlin College. And before that, I was a classical pianist at the High School for Performing and Visual Arts in Houston, Texas. Back then, piano was a huge defining part of my life. Yet, even though I practiced six hours almost everyday, I always knew I wasn’t going to be a concert pianist. After the birth of my first son in 2009, I started thinking about the role music would play in his life. And I started to wonder about what role music played in my life. How did it shape who I am today? Was all the money and the hours spent in a practice room a waste? I don’t actually answer any of those questions in this radio documentary. But those questions led me to interviewing my friend Lena about why she is a classical pianist. And that question led me to Maria Yudina. So why radio? Why not make it a video documentary? First of all, I wanted people to really listen to Yudina’s music. And I didn’t want to spend my time digging around for archival photos and footage to use as wallpaper. It was hard enough just finding audio recordings of Yudina. Maria Yudina I also wanted a different experience from working in television, where there’s usually little time and money for exploring the unknown. That brings me to gear. I’m used to lugging around heavy lights, cameras and tripods, and taking an hour to set up for one interview. But with radio, I can do a tape sync, and record in my pajamas with the baby napping in the next room?!! Wha?! It was totally liberating. Still, it’s taken me years to make this. I worked on Yudina between freelance gigs and around my kids’ nap times. It was a labor of love, literally. (I went into labor with my second son during a follow-up interview with Lena. Stupidly, I jumped on the subway home instead of going straight to the hospital. He was born three hours after that interview.) It probably took me longer to finish because I edited in Final Cut Pro. That’s what I know. Plus, working with just sound was a whole new world to me. The editing possibilities were daunting. But during this whole process, I think I may have answered some of my original questions — about what role music has played in my life. Although I’m very much a novice,, I love working with sound. I love editing and scoring. There’s a section with the Mozart concerto that might have taken me longer to cut if I didn’t have some musical training. I’ve also fallen in love with the piano again. The last piece Maria Yudina plays, the Bach Fugue in A minor, gives me chills ever time I hear it.

“Maria, Lena and Me” on PRX About “Maria, Lena and Me” Lena in Russia So here’s the very roundabout way I ended up making my first radio documentary. I’ve worked in television for the last 15 years producing news documentaries mostly for PBS. Before that, I was a graphic designer. Before that, I studied Religion and Computer Science at Oberlin College. And before that, I was a classical pianist at the High School for Performing and Visual Arts in Houston, Texas. Back then, piano was a huge defining part of my life. Yet, even though I practiced six hours almost everyday, I always knew I wasn’t going to be a concert pianist. After the birth of my first son in 2009, I started thinking about the role music would play in his life. And I started to wonder about what role music played in my life. How did it shape who I am today? Was all the money and the hours spent in a practice room a waste? I don’t actually answer any of those questions in this radio documentary. But those questions led me to interviewing my friend Lena about why she is a classical pianist. And that question led me to Maria Yudina. So why radio? Why not make it a video documentary? First of all, I wanted people to really listen to Yudina’s music. And I didn’t want to spend my time digging around for archival photos and footage to use as wallpaper. It was hard enough just finding audio recordings of Yudina. Maria Yudina I also wanted a different experience from working in television, where there’s usually little time and money for exploring the unknown. That brings me to gear. I’m used to lugging around heavy lights, cameras and tripods, and taking an hour to set up for one interview. But with radio, I can do a tape sync, and record in my pajamas with the baby napping in the next room?!! Wha?! It was totally liberating. Still, it’s taken me years to make this. I worked on Yudina between freelance gigs and around my kids’ nap times. It was a labor of love, literally. (I went into labor with my second son during a follow-up interview with Lena. Stupidly, I jumped on the subway home instead of going straight to the hospital. He was born three hours after that interview.) It probably took me longer to finish because I edited in Final Cut Pro. That’s what I know. Plus, working with just sound was a whole new world to me. The editing possibilities were daunting. But during this whole process, I think I may have answered some of my original questions — about what role music has played in my life. Although I’m very much a novice,, I love working with sound. I love editing and scoring. There’s a section with the Mozart concerto that might have taken me longer to cut if I didn’t have some musical training. I’ve also fallen in love with the piano again. The last piece Maria Yudina plays, the Bach Fugue in A minor, gives me chills ever time I hear it.