Podcast appearances and mentions of mario castelnuovo tedesco

Mario Castelnuovo-Tedesco, perhaps best known for his numerous film scores and works for guitar, also composed in a variety of other genres, from transcriptions for cello to violin concertos, piano works and orchestral music. Raymond Bisha turns our attention in this podcast to his three string quartets, written respectively in 1929, 1948 and 1964, and heard in authoritative performances on a new album by Italy's noted Quartetto Adorno.

Bill MarxWilliam Woollcott Marx (born January 8, 1937) is an American pianist, arranger, and composer. He is the adopted son of actors Harpo Marx and Susan Fleming.Marx was placed in the Children's Home Society in Los Angeles by his birth parents when he was eight months old, and four months later he was adopted by Harpo Marx and his wife, Susan Fleming. He attended the Juilliard School, where he studied composition and he studied with composer Mario Castelnuovo-Tedesco. He began working in entertainment when he was 12 years old, when he was put in charge of his father's props for shows, including his harp. At 16 he became arranger and musical conductor for his father. Marx's compositions include concertos for alto saxophone, flute, harp, piano, and violin.] He also composed symphonies and scores for films, including the score for the film Weekend Pass (1984). Marx transcribed music that his father composed, because the elder Marx did not read music. The two worked together on two albums that Harpo recorded in the early 1960s. He also composed and arranged for recording artists in both jazz and popular music. In 1961, Marx signed with Vee-Jay Records. His projects there included arranging cover versions of music for four albums by the Castaway Strings. In 1967, he began writing music for commercials. In the 1970s, he composed for several low-budget horror movies, including Scream Blacula Scream, Terror at Red Wolf Inn, and Count Yorga, Vampire. For these projects, he often collaborated with lyricist Marilyn Lovell. He continued his work on films outside the horror genre throughout the 1980s, such as arranging music for John Cassavetes' Big Trouble . As a performer, Marx has played in jazz clubs, lounges, and theaters In the late 1980s, Marx and harpist Carrol McLaughlin toured the United States, giving performances and promoting Harpo Speaks, his father's autobiography. In the early 1990s, Los Angeles magazine named Marx the most popular lounge pianist in that city. In 2002, he received a star at 265 S. Palm Canyon Drive on the Palm Springs Walk of Stars.                                                           (Adapted from wikipedia). Buy the books:Bill's book: https://www.amazon.com/Son-Harpo-Speaks-Bill-Marx-ebook/dp/B00INB1JLW/Harpo's book: https://www.amazon.com/Harpo-Speaks-Marx-ebook/dp/B06XWDPNB4/Susan's book : https://www.amazon.com/Speaking-Harpo-Susan-Fleming-Marx-ebook/dp/B09XTJ1KC6/Photo: Copyright Wilkinson/2023Opening and closing music courtesy the very talented Zakhar Valaha via Pixabay.To contact Wilkinson- email him at BecomingWilkinson@gmail.com

Un día como hoy, 3 de abril: Nace: 1783: Washington Irving, escritor estadounidense (f. 1859). 1871: José Juan Tablada, poeta mexicano (f. 1945). 1895: Mario Castelnuovo-Tedesco, compositor italiano (f. 1968). 1924: Marlon Brando, actor estadounidense (f. 2004). 1943: Mario Lavista, compositor mexicano. Fallece: 1897: Johannes Brahms, compositor alemán (n. 1833). 1950: Kurt Weill, compositor alemán (n. 1900). 1990: Sarah Vaughan, cantante estadounidense (n. 1924). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

La chronique musique de Frédéric Hutman

La chronique musique de Bruno Fraitag

Violinist Gwendolyn Masin is an intrepid explorer of neglected violin works throughout history. In this episode, she shares with me three short pieces that she believes really should enjoy more time in the spotlight of staple repertoire; by Vítězslava Kaprálová, Mario Castelnuovo-Tedesco and Lazare Saminsky. Interested in exploring these works? Here are links to the scores and Gwendolyn's recommended recordings: Pieces in order of mention: Vítězslava Kaprálová, Burlesque Score: http://www.kapralova.org/EDITION.htm   + Recording https://www.youtube.com/watch?v=BkHDYcaKeWw     Mario Castelnuovo-Tedesco, Ritmi Score: https://imslp.org/wiki/Ritmi,_Op.15_(Castelnuovo-Tedesco,_Mario) + https://mariocastelnuovotedesco.com/works_with_opus/ritmi/ + Recording: https://www.youtube.com/watch?v=b3ptU5zQ-X8&t=6s   Lazare Saminsky, Hebrew Rhapsody  Score: https://www.universaledition.com/lazare-saminsky-2717/werke/hebraeische-rhapsodie-9936   Recording (by Orsolya Korcsolán): https://www.youtube.com/watch?v=tPnIQCeT1Cw   Read Gwendolyn's online article 'Shining a light on Poldowski' here Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   Tango Irène Wieniawska (Poldowski) Gwendolyn Masin, violin / Vera Kooper, piano Legends Orchid Classics ORC100210 Photo courtesy Neda Navaee

Ai microfoni di Unica Radio il direttore della Scuola Civica di Musica di Cagliari Carmine Dell'Orfano racconta progetti e obiettivi dell'istituzione deputata alla diffusione musicale per la formazione e crescita culturale della Città Metropolitana di Cagliari. Tre appuntamenti caratterizzeranno l'offerta culturale della Scuola Civica di Musica di Cagliari nel prossimo mese di dicembre: l'istituzione deputata alla diffusione musicale per la formazione e crescita culturale della Città Metropolitana di Cagliari diretta da Carmine Dell'Orfano, proporrà per tre settimane - a partire da sabato prossimo (3 dicembre) - altrettanti eventi che coinvolgeranno il pubblico dei bambini e degli adulti. Protagonisti del cartellone a ingresso gratuito, che si snoderà tra la sede della Scuola Civica in via Venezia e il Palazzo Siotto di Cagliari, saranno i burattini del Teatro Tages, il duo chitarristico composto dai giovani Raffaele Putzolu e Victor Valisena, e il concerto prenatalizio tenuto dal Maestro Luigi Attademo. "Quest'anno tra novembre e dicembre abbiamo deciso di proporre un cartellone di eventi mirato a soddisfare i diversi gusti del pubblico, a partire dal concerto jazz del pianista Luca Mannutza dello scorso 27 novembre presso l'Auditorium del Seminario Arcivescovile di Cagliari, preceduto da una masterclass a cui hanno partecipato oltre 20 studenti", spiega il direttore della Scuola Civica di Cagliari Carmine Dell'Orfano."Non potevamo non tener conto del pubblico dei più piccoli, e per questo offriremo un divertente spettacolo di marionette a cura del Teatro Tages sabato 3 dicembre nella nostra sede di via Venezia. Nella cornice del Palazzo Siotto, proporremo nelle domeniche successive un concerto chitarristico tenuto dal duo Raffaele Putzolu e Victor Valisena, e l'esibizione del noto e pluripremiato concertista Luigi Attademo." Sabato 3 dicembre alle 17.30 nella sede della scuola in via Venezia ad aprire gli appuntamenti del mese saranno, dunque, i burattini del Manovella Circus del Teatro Tages: una squadra di simpatiche scimmiette, accompagnate dalla musica dell'Organo di Barberia, vedranno esibirsi Max l'acrobata, Ginger la ballerina, Casimiro il giocoliere, il mago Gustavo, l'esordiente Cico Ciaco e il topolino Judy, per uno spettacolo dedicato al pubblico dei più piccoli. Domenica 11 dicembre gli eventi si sposteranno nella bella cornice del Palazzo Siotto di Cagliari (in via dei Genovesi 114): alle 20 a salire sul palcoscenico sarà il duo chitarristico composto da Raffaele Putzolu e Victor Valisena. La formazione nasce nel 2016 e in breve tempo ottiene importanti borse di studio grazie alla partecipazione a prestigiose masterclass con artisti di fama internazionale. Putzolu e Valisena propongono un repertorio di musica originale, condito da brani presenti nel disco 20th Century Classical Guitar Duo pubblicato nel 2021 dall'etichetta Stradivarius. Il lavoro spazia tra musiche dei compositori Bruno Bettinelli, Mario Castelnuovo-Tedesco e Astor Piazzolla. Sipario sulla rassegna domenica 18 dicembre (ore 20) ancora al Palazzo Siotto con il concerto del Maestro Luigi Attademo. Considerato uno dei più importanti chitarristi della sua generazione,Attademoinizia la sua parabola artistica partecipando con successo al “Concours International d'Exécution Musicale” di Ginevra del 1995. Nato nella scuola del chitarrista e compositore Angelo Gilardino, conta tra i suoi maestri Giovanni Guanti, Julius Kalmar, Alessandro Solbiati e Emilia Fadini. Ha registrato quindici dischi, tra cui monografie dedicate alle Sonate di Domenico Scarlatti, a J. S. Bach, alle opere inedite dell'Archivio Segovia e ai Quintetti di Luigi Boccherini. Segui gli aggiornamenti su Unica Radio

Cada mañana nuestro programa “Obras de Cámara” les invita a escuchar una selección del amplio repertorio de composiciones para conjuntos instrumentales escritas por destacados músicos a lo largo de la historia.  Producción y selección realizada por Carolina Valdés.  Lunes a viernes a las 9:30 hrs. en el 95.1 FM y www.radioudec.cl

Den judiska högtiden Pesach som pågår fram till lördag har många namn. Dagens titel anknyter till en av de viktiga ingredienserna som serveras under Sedermåltiden, brödet. Detta är till minnet av att innan folket israel flydde från Egypten hann inte deras bröd jäsa, och därför äter vi osyrat bröd, såsom våra förfäder har gjort.Bordet dukas med flera symbolladdade matbitar som ska väcka frågor och få igång berättelsen kring uttåget ur Egypten till friheten, det som är firandets kärna.Ariella Lindström är föreläsare, författare och medlem i föreningen Abrahams döttrar. TextHaggadaMusikViolin concerto no 2 av Mario Castelnuovo-Tedesco med Itzhak Perlman, Zubin Mehta och Israel Philharmonic Orchestra  Producent Neta Norrmo ljudmix Frida Claesson Johansson för Sveriges Radio Göteborg liv@sverigesradio.se

Un día como hoy, 3 de abril: Nace: 1783: Washington Irving, escritor estadounidense (f. 1859). 1871: José Juan Tablada, poeta mexicano (f. 1945). 1895: Mario Castelnuovo-Tedesco, compositor italiano (f. 1968). 1924: Marlon Brando, actor estadounidense (f. 2004). 1943: Mario Lavista, compositor mexicano. Fallece: 1897: Johannes Brahms, compositor alemán (n. 1833). 1950: Kurt Weill, compositor alemán (n. 1900). 1990: Sarah Vaughan, cantante estadounidense (n. 1924). Una producción de Sala Prisma Podcast. 2022

Synopsis On today's date in 1968, a 72-year-old Italian-born American composer named Mario Castelnuovo-Tedesco died in Beverley Hills. As a young man, Castelnuovo-Tedesco was already known as a rising composer, concert pianist, music critic and essayist. In 1939 he left Mussolini's Italy and came to America, and like a lot of European musicians of the time, he found work writing film scores for major Hollywood studios. Castelnuovo-Tedesco became an American citizen, and eventually taught at the Los Angeles Conservatory, where his pupils included many famous names from the next generation of film composers, including Jerry Goldsmith, Henry Mancini, Andre Previn, Nelson Riddle and John Williams. In addition to film scores, Castelnuovo-Tedesco composed a signifigant body of concert music, including concertos for the likes of Heifetz and Segovia. A number of Castelnuovo-Tedesco's works are directly related to his Jewish faith, including a choral work from 1947, entitled “Naomi and Ruth.”  The composer's mother was named Naomi, and he claimed the faithful Ruth in the Biblical story reminded him of his own wife, Clara. “In a certain sense,” he wrote, “it was really my symbolic autobiography, existing before I decided to write – to open my heart – in these pages.” Music Played in Today's Program Mario Castelnuovo-Tedesco (1895 - 1968) — Naomi and Ruth (St.Martin's Academy and Chorus; Sir Neville Marriner, cond.) Naxos 8.559404 On This Day Births 1937 - American composer David Del Tredici, in Cloverdale, Calif.; Deaths 1736 - Italian composer Giovanni Battista Pergolesi, age 26 (of consumption), in Pozzuoli; 1881 - Russian composer Modest Mussorgsky (Gregorian date: Mar. 28) 1968 - Italian-born American composer Mario Castelnuovo-Tedesco, age 62, in Los Angeles; 1985 - American composer Roger Sessions, age 88, in Princeton, N.J.; Premieres 1735 - Handel: Organ Concertos Op. 4, nos. 2-3 (Julian date: March 5); 1750 - Handel: oratorio "Theodora," in London at the Covent Garden Theater; At the same event, the possible premiere of Handel's Organ Concerto Op. 7, no. 5, as well (Gregorian date: March 27); 1751 - Handel: oratorio "The Choice of Hercules" in London at the Covent Garden Theater; At the same event, Handel's Organ Concerto Op. 7, no. 3 premieres following Act II of a revival performance of Handel's cantata "Alexander's Feast" on the same program (Gregorian date: March 27); 1833 - Bellini: opera "Beatrice di Tenda" in Venice at the Teatro la Fenice; 1870 - Tchaikovsky: fantasy-overture "Romeo and Juliet," in Moscow, with Nicolas Rubinstien conducting (Julian date: Mar. 4); 1871 - Tchaikovsky: String Quartet in D, Op. 11, in Moscow, by members of the Russian Musical Society (Gregorian date: Mar. 28); 1879 - Dvorák: choral setting of Psalm No. 149, Op. 79, in Prague; 1888 - American premiere of the revised version of Bruckner: Symphony No. 4 ("Romantic"), with New York Philharmonic-Society conducted by Anton Seidl; In the preface to a book on Bruckner, the elderly conductor Walter Damrosch claimed he conducted the American premiere of this symphony (His memory played him false: Damrosch led the first American performance of Bruckner's THIRD Symphony; 1894 - Massenet: opera "Thaïs," at the Paris Opéra; 1938 - Martinu: opera "Julietta," in Prague at the National Theater; 1942 - Martinu: "Sinfonietta giocosa," for piano and chamber orchestra, in New York City; 2002 - Paul Schoenfield: "Nocturne" for solo cello, oboe and strings, by cellist Peter Howard, with oboist Kathryn Greenbank and the Saint Paul Chamber Orchestra, Gilbert Varga conducting. Links and Resources On Mario Castelnuovo-Tedesco

From a live double concerto by Mario Castelnuovo-Tedesco, performed with the National Irish Symphony Orchestra to the iconic guitars of George Harrison, Get Back and Beatlemania...

17th-20th CenturiesThis week we hear works by Johann Sebastian Bach, Luigi Boccherini, Franz Schubert, Auguste Franchomme, Frédéric Chopin, Franz Liszt, Cameron Carpenter, Igor Stravinsky, Mario Castelnuovo-Tedesco, and Jerry Goldsmith.135 Minutes – Weeks of October 25 and November 01, 2021

durée : 00:57:10 - "I Say a Little Prayer" (Burt Bacharach / Hal David) (1966) - par : Laurent Valero - "Compositeur formé auprès de Mario Castelnuovo-Tedesco et Darius Milhaud, Bacharach réussit à produire une musique populaire et accessible, sans renoncer à une certaine complexité dans la forme. Crée en 1966 "I Say a Little Prayer" en est un bon exemple avec sa rythmique particulière" Laurent Valero - réalisé par : Antoine Courtin

durée : 00:57:10 - "I Say a Little Prayer" (Burt Bacharach / Hal David) (1966) - par : Laurent Valero - "Compositeur formé auprès de Mario Castelnuovo-Tedesco et Darius Milhaud, Bacharach réussit à produire une musique populaire et accessible, sans renoncer à une certaine complexité dans la forme. Crée en 1966 "I Say a Little Prayer" en est un bon exemple avec sa rythmique particulière" Laurent Valero - réalisé par : Antoine Courtin

Documentos RNE se acerca a una figura carismática de la guitarra en el siglo XX, Andrés Segovia. Un músico que dejó una importante huella en la historia del instrumento, elevó su prestigio y tuvo una dilatada carrera artística, que le llevó a tocar en los principales auditorios de todo el mundo. Perteneciente al espacio de la Generación del 27, se relacionó con todas las grandes figuras intelectuales del momento, desde Benito Pérez Galdós a Salvador de Madariaga o Federico García Lorca. Impulsó decididamente la composición para guitarra, con obras escritas especialmente para él, por importantes autores como Joaquín Turina o Federico Moreno Torroba; y en especial el repertorio de conciertos para guitarra y orquesta, donde estrenó obras de Manuel Ponce, Mario Castelnuovo-Tedesco y Heitor Villalobos, así como la Fantasía para un gentilhombre que le dedicó Joaquín Rodrigo. Andrés Segovia destacó, también, por sus transcripciones a guitarra de importantes obras del repertorio clásico, entre las que destaca la que realizó de la conocida Chacona de Bach; piezas que contribuyeron a elevar el prestigio de la guitarra. Tras su figura dejó una estela de grandes guitarristas, como John Williams, Alirio Díaz o José Tomás, que fueron discípulos suyos. El programa de Ana Vega Toscano, Andrés Segovia, el arte de la guitarra, realiza un recorrido por la biografía del músico a través de su propia voz, gracias a los numerosos testimonios que de él guarda el Archivo de RTVE; cuenta igualmente con la participación del guitarrista Miguel Ángel Jiménez, catedrático de guitarra del Real Conservatorio Superior de Música de Madrid, que asistió a cursos impartidos por el propio Segovia. Asimismo, se recuperan numerosos registros históricos protagonizados por el guitarrista Narciso Yepes, el músico y crítico Enrique Franco, y el también guitarrista y alumno de Andrés Segovia José Luis Rodrigo, quien fue catedrático de guitarra del Real Conservatorio Superior de Música de Madrid. Un retrato que se completa con distintos testimonios de prensa nacional e internacional, y con los escritos que le dedicó su amigo Salvador de Madariaga. En 1952 Andrés Segovia retornaba a España para realizar una gira de conciertos tras años de alejamiento de nuestro país: con ocasión de esta visita, Enrique Franco, nombrado recientemente Director de Programas Musicales de RNE, invitaba a la emisora al guitarrista, quien realizó una serie de grabaciones históricas que se cuentan en la actualidad entre las más antiguas del Archivo Sonoro de RNE, de las cuales se reproducen algunos fragmentos en el documental. De esta forma se realiza una panorámica de algunas de las principales líneas en la biografía de un músico que unió intensamente su destino artístico al de la guitarra. Escuchar audio

On today’s date in 1933, the New York Philharmonic presented the premiere performance of the Second Violin Concerto written by the Italian composer, Mario Castelnuovo-Tedesco. He was born in Florence in 1895, and enjoyed early success in Europe, but, because he was Jewish, the increasingly harsh racial policies of Mussolini forced Castelnuovo-Tedesco and his family to immigrate to the U.S. His passage was assisted by the Italian conductor Arturo Toscanini and the violin virtuoso Jasha Heifetz, who were also the conductor and soloist for the Carnegie Hall premiere of the new concerto. Just two weeks earlier, Toscanini and other prominent American musicians had signed a public cable to Hitler protesting the persecution of Jewish artists. For his part, Castelnuovo Tedesco gave his new concerto a title: “The Prophets.” “The title,” he wrote, “does not represent a precise and detailed program, but is intended only as an indication of the ethical environment . . . the choice of a solo violin might suggest the flaming and fanciful eloquence of the ancient prophets.” Castelnuovo-Tedesco settled in California, where he taught and found work in Hollywood. He composed 100 film scores, became an American citizen in 1946, and died in Beverly Hills in 1968.

durée : 00:31:31 - Jascha Heifetz joue "I Profeti" de Castenuovo-Tedesco - « I profeti » de Mario Castelnuovo-Tedesco, créé en 1933 par Jascha Heifetz à New York, fait penser à des musiques de films écrites plus tard, par exemple de Miklós Rózsa pour Ben Hur de William Wyler (1959), ou d’Elmer Berstein pour Les Dix Commandements de Cecil B. DeMille (1956).

Un día como hoy, 3 de abril: Nace: 1783: Washington Irving, escritor estadounidense (f. 1859). 1871: José Juan Tablada, poeta mexicano (f. 1945). 1895: Mario Castelnuovo-Tedesco, compositor italiano (f. 1968). 1924: Marlon Brando, actor estadounidense (f. 2004). 1943: Mario Lavista, compositor mexicano. Fallece: 1897: Johannes Brahms, compositor alemán (n. 1833). 1950: Kurt Weill, compositor alemán (n. 1900). 1990: Sarah Vaughan, cantante estadounidense (n. 1924). Una producción de Sala Prisma Podcast. 2021

Romancero Gitano é uma peça para Violão e Coro de Mario Castelnuovo Tedesco usando o texto do espanhol Garcia Lorca. O violonista Doutorando Atilio Rocha veio nos contar como começou a pesquisar a peça, de sua relação com a performance dela e do contexto em que a poesia e a música foram escritas, bem como o de seus autores. Ouça a peça: https://www.youtube.com/watch?v=XoT10SfYCdg&list=PL60D54C932FF946F9  O Atilio está no instagram como @rochasatilio e um canal no youtube, o Atilio Rocha Guitar! Eu sou Willian Pedrozo e você pode me encontrar no instagram como @will.pedrozo ou @contrapontoprofano  Dúvidas, sugestões e tudo mais: contrapontoprofano@gmail.com

Sie ist ein Sonderfall der Musikgeschichte. Die "Genesis Suite" entstand ab 1944 auf Anregung des Film-Komponisten Nathaniel Shilkret. Er hatte die Idee, dass verschiedene Komponisten die ersten Kapitel des Buches Mose vertonen könnten, und gewann dafür berühmte Namen: Arnold Schönberg und Igor Strawinsky, Darius Milhaud und Mario Castelnuovo-Tedesco, Ernst Toch, Alexandre Tansman. Autor: Christian Kosfeld

Halloween Flashback This week we hear works by Johann Sebastian Bach, Giuseppe Tartini, Franz Liszt, Franz Schubert, Hector Berlioz, Camille Saint-Saëns, Charles Loeffler, Sergei Rachmaninoff, André Caplet, Mario Castelnuovo-Tedesco, Bernard Herrmann, and William Bolcom. 146 Minutes – Week of October 26, 2020

durée : 00:28:49 - Concertos pour guitare dédiés au Gentilhomme Segovia - Deux œuvres concertantes dédiées à Andrés Segovia et interprétées en solistes par Pepe Romero et John Williams : La Fantaisie pour un gentilhomme de Rodrigo, et le 1er Concerto pour guitare et orchestre de Mario Castelnuovo-Tedesco.

MOZART, BEETHOVEN & MAS presents the music of Italian born MARIO CASTELNUOVO-TEDESCO

MOZART, BEETHOVEN & MAS presents the music of Italian born MARIO CASTELNUOVO-TEDESCO

De Italiaanse componist Mario Castelnuovo-Tedesco ontwikkelde zich tot een zeer geinspireerde veelschrijver voor gitaar. Onbegrijpelijk onbekend is zijn Les Guitares bien tempérées, op.199. Oftewel 24 Preludes en Fugas voor 2 gitaren. Mario Castelnuovo-Tedesco Les guitares bien temperees, op.199; nr.4 & 6 Duo Favori Tacet 141 9’49’’

Guitarist Sharon Isbin has recorded nearly everything in her instrument's repertoire. Still, it's refreshing to hear that, when an artist such as Ms. Isbin revisits a work (such as the Vivaldi D Major concerto), she gives us an interpretation with subtle differences from what came before. On "Souvenirs of Spain and Italy", Isbin partners with Pacifica Quartet, so the Vivaldi has an especially intimate feel to it. The disc also sheds light on works that have stayed in the shadows somewhat. The Quintet by Mario Castelnuovo-Tedesco is such a work. Turina's "Bullfighter's Prayer" and Boccherini's Quintet with the Fandango finale (complete with castanets and tambourine) give us a well-rounded tour of the Iberian and Italian peninsulas.

Il 3 aprile 1895 nasce a Firenze Mario Castelnuovo-Tedesco

Klassieke late night show met o.a. nieuwe releases, concerttips, en de Filmmuziek Van De Week. Met het onlangs verschenen boek ‘De klank van de stad - Een cultuurgeschiedenis van Venetië' van Eric Min en Gerrit Valckenaers in de hand kiest Aad van Nieuwkerk muziek van componisten uit die stad. Vanavond de Duitsers Heinrich Schütz (die in 1609 in Venetië arriveerde) en Johann Adolf Hasse (kwam er in 1727). Met muziek van Daniel Speer, Mario Castelnuovo-Tedesco, Johann Adolf Hasse, Heinrich Schütz, Erik Satie en Dobrinka Tabakova.

The three newly published pieces on this recording were written in the decade following Mario Castelnuovo-Tedesco’s flight to the United States in 1939 in the wake of the proclamation of anti-Jewish laws by Italy’s fascist regime. The programme includes his Concerto No. 3 for Violin and Piano (1939–40), written for no less a figure than Jascha Heifetz; the String Trio for violin, viola and cello (1950); and the Sonata for Violin and Cello (1950) with its “diabolically difficult” finale, considered by the composer to be his best piece of chamber music. Raymond Bisha presents.

Mona went splat and broke her wrist, but still shows up. She and Jay talk trade, Amazon and its critics, election fraud, Deep Fake fraud, Jim Acosta, entitlements, and the passing of three notable men. Music from this week’s episode: “Sea Murmurs,” by Mario Castelnuovo-Tedesco, played by Brinton Averil Smith (cello) and (his wife) Evelyn Chen […]Sponsored by Casper Join the conversation and comment on this podcast episode: https://ricochet.com/podcast/need-to-know/playing-hurt/.Now become a Ricochet member for only $5.00 a month! Join and see what you’ve been missing: https://ricochet.com/membership/.Subscribe to Need to Know in Apple Podcasts (and leave a 5-star review, please!), or by RSS feed. For all our podcasts in one place, subscribe to the Ricochet Audio Network Superfeed in Apple Podcasts or by RSS feed.

..Intervista a Massimiliano Caldi su "Mario Castelnuovo-Tedesco, Gian Francesco Malipiero, Riccardo Malipiero: Cello concertos" (CD Sony Classical), focus su Ennio Morricone e "Fierrabras"/Daniel Harding. "Debussy lettera a Godet" e appuntamenti della settimana: Notti trasfigurate della Civica Scuola Di Musica Claudio Abbado e chiusura della stagione della la Verdi.

..Intervista a Massimiliano Caldi su "Mario Castelnuovo-Tedesco, Gian Francesco Malipiero, Riccardo Malipiero: Cello concertos" (CD Sony Classical), focus su Ennio Morricone e "Fierrabras"/Daniel Harding. "Debussy lettera a Godet" e appuntamenti della settimana: Notti trasfigurate della Civica Scuola Di Musica Claudio Abbado e chiusura della stagione della la Verdi.

..Intervista a Massimiliano Caldi su "Mario Castelnuovo-Tedesco, Gian Francesco Malipiero, Riccardo Malipiero: Cello concertos" (CD Sony Classical), focus su Ennio Morricone e "Fierrabras"/Daniel Harding. "Debussy lettera a Godet" e appuntamenti della settimana: Notti trasfigurate della Civica Scuola Di Musica Claudio Abbado e chiusura della stagione della la Verdi.

The composer Mario Castelnuovo-Tedesco moved from Italy to the US during the turmoil of the Second World War. That he should have been immediately befriended by such musical giants as violinist Jascha Heifetz and cellist Gregor Piatigorsky speaks reams about the respect the Italian engendered. His Cello Concerto was commissioned by Piatigorsky, who premiered the work in 1935. This recording captures the first ever performance since that occasion. The programme is completed by transcriptions that Castelnuovo-Tedesco made especially for Heifetz and Piatigorsky, including the work that gained the distinction of being the last piece that Heifetz performed in public. Raymond Bisha introduces soloist Brinton Averil Smith in this long overdue affirmation of Castelnuovo-Tedesco’s legacy for the cello.

Diana Castelnuovo-Tedesco is the granddaughter of composer Mario Castelnuovo-Tedesco. For several years now she has committed herself to making her grandfather's music more available especially to performers of the maestro's music. Along with Edizioni Curci she has organized to publish many of Castelnuovo-Tedesco's unpublished works and continues to champion his music and his legacy.   […] The post CGC 050 : Diana Castelnuovo-Tedesco first appeared on Classical Guitar Corner.

[Kabbalat Shabbat, Friday evening service] L’kha dodi likrat kallah, p’nei shabbat n’kab’lah. *Shamor v’zakhor b’dibur ehad, hishmi·anu eil ham’yuhad. Adonai ehad ush’mo ehad, l’shem ul’tiferet v’lit’hilah. L’kha . . . Likrat Shabbat l’khu v’nelkhah, ki hi m’kor ha-b’rakhah. Mei-rosh mi-kedem n’sukhah, sof ma·aseh b’mahashavah t’hilah. L’kha . . . Mikdash melekh ir m’lukhah, kumi tz’i mi-tokh hahafeikhah. Rav lakh shevet b’emek ha-bakhah, v’hu yahamol alayikh hemlah. L’kha . . . Hitna·ari mei-afar kumi, livshi bigdei tifartekh ami. Al yad ben yishai beit ha-lahmi, korvah el nafshi ge·ala. L’kha . . . *Hitoreri hitoreri, ki va orekh kumi ori. Uri uri shir dabeiri, k’vod Adonai alayikh niglah. L’kha . . . Lo teivoshi v’lo tikalmi, ma tishtohahi u-mah tehemi, Bakh yehesu aniyei ami v’nivn’ta ir al tila. L’kha . . . V’hayu limshisah shosayikh, v’rahaku kol m’valayikh. Yasis alayikh elohayikh, kimsos hatan al kallah. L’kha . . . Yamin u-smol tifrotzi, v’et Adonai ta·aritzi. Al yad ish ben partzi, v’nism’hah v’nagilah. L’kha . . . *Bo·i v’shalom ateret ba·alah, gam b’simhah uv’tzoholah. Tokh emunei am s’gulah, bo’i khalah, bo·i khallah. L’kha . . . Come my beloved, to greet the bride; let us welcome Shabbat. *“Observe” and “remember”were uttered as one; so we heard it from the singular One. God is one and God’s name is one, reflected in fame, in splendor, and in praise. Come . . . Shrine of our sovereign, royal city, rise up from destruction and fear no more. End your dwelling in the tear-filled valley, for with God’s compassion you will be upraised. Come . . . Awake! Rise up from the dust! Dress yourself in this people’s pride. By the hand of Jesse’s son, of Bethlehem’s tribe bring my redemption without further delays. Come . . . *Rouse yourself, rouse yourself, for your lamp is lit; let the flame rise up and glow. Awake awake, utter songs of praise, for God’s glory is revealed to your gaze. Come . . . Do not be embarrassed, do not be ashamed. Why are you downcast? Why do you moan? The poorest of your people, trust in this: the city will be rebuilt as in ancient days. Come . . . Your despoilers shall be despoiled, your tormentors removed far away. God and you will celebrate together, a bride and groom in joyful embrace. Come . . . You will spread out to the left and the right, acclaiming Adonai our God with delight. Redeemed by the scion of Peretz’s line, we shall joyously chant songs of praise. Come . . . *Come in peace, crown your spouse, surrounded by gladness and joyous shouts. Come to the faithful, the people You treasure with pride, come, my bride; come my bride. Come . . . from L'dor Vador, releases October 10, 2016 Mario Castelnuovo-Tedesco (1895–1968) Born in Florence, Mario Castelnuovo-Tedesco was descended from a prominent Jewish banking family that had lived in the city since the expulsion of Jews from Spain in 1492. He was one of the foremost guitar composers of the twentieth century, with almost one hundred compositions for that instrument. After immigrating to the US in 1939, he worked for MGM Studios for fifteen years, composing scores for some 200 Hollywood movies as well as becoming a significant influence on other major film composers, including Henry Mancini, André Previn, and John Williams. He also wrote concertos for Jascha Heifetz and Gregor Piatigorsky as well as several operas. His work was inspired by great literature and also by his Jewish heritage, most notably the Bible and Jewish liturgy.

Edoardo Catemario nace en Nápoles, Italia. Inicia sus estudios de guitarra a la edad de 5 años. Es considerado un guitarrista versátil que pasa con facilidad de piezas del periodo romántico a obras del barroco, para finalmente abordar, sin dificultad, la música del siglo XX, contemporánea y de vanguardia. Su repertorio incluye piezas solistas, música de cámara, así como 44 conciertos para guitarra y orquesta. En su haber tiene numerosos premios de concursos nacionales e internacionales. En el marco del XV Encuentro Internacional de Guitarra, interpreta obras de Gaspar Sanz, Domenico Scarlatti, Johann Sebastian Bach, Niccolò Paganini y Mario Castelnuovo Tedesco. Concierto grabado el 27 de noviembre de 2013 en la Capilla Gótica del Centro Cultural Helénico. México, D.F.

  PART 1: LATE TO THE PARTY Andres Segovia. Even the mention of his name elicits tones of hushed reverence in certain circles. But in the 70’s, there was a backlash against the style of playing that Segovia popularized. I began my guitar studies at a time when the guitar world was reassessing Segovia’s legacy. As a result, I was a latecomer to recognizing the genius of Andres Segovia.   Recordings: David Russell, Capriccio Arabe by Fransisco Tárrega from Reflections of Spain “Ding Dong the Witch is Dead” from The Wizard of Oz Oscar Ghiglia, “Allegro Moderato” from Sonata III by Manuel Ponce from Ponce Guitar Collection Volume 3 Theme Music: Matthew Cochran, “Cicadas at the Equinox” from Vapor Trail from a Paper Plane   Commercial Break: Season Sponsor, Strings By Mail Music Bed: Pat Metheny, “Fast” from Electric Counterpoint by Steve Reich   PART 2: SEGOVIA ON RECORD Approaching Segovia’s recordings requires that you set aside a few modern expectations. We’re used to hearing music that’s been created in pristine conditions—soundproof booths, advanced microphone technology, digital editing software, etc. Segovia came along at a time when recorded music was just getting started. On his 1920’s recordings, you’re hearing the guy through a ribbon microphone with no processing, no reverb, very few edits, if any at all. What you’re hearing is just him. It’s basically a live performance captured on the best sound equipment available at the time.   Recordings: Andrés Segovia, Recuerdos de la Alhambra by Francisco Tàrrega from The Art of Segovia Andrés Segovia, “Allegro Con Spirito” from Guitar Sonata Op 77, “Omaggio a Boccherini” by Mario Castelnuovo-Tedesco from The Art of Andres Segovia Vol. 5 Andrés Segovia, “Canción” from Suite Compostelana by Frederic Mompou, from The Segovia Collection Andrés Segovia, Sevillana by Joaquín Turina from The Art of Segovia Lionel Loueke, “Ami-O” from Mwaliko   PART 3: A GUITARIST WITH A MISSION STATEMENT…THAT’S RIGHT, A MISSION STATEMENT Nicholas Goluses talks about Segovia’s vision for the guitar. Nick is Professor of Guitar at the Eastman School of Music. He’s been there for over 20 years now and in that time has racked up enough awards and honors to fill up his own garage and maybe yours and mine as well. Oh, and he’s a total badass guitar player.   Recordings: Nicholas Goluses, Variations and Fugue on La Folia d’España by Manuel Ponce from From Afar John Williams, “Allegro Preciso” from Concerto for Guitar & Small Orchestra by Heitor Villa-Lobos. English Chamber Orchestra conducted by Daniel Barenboim.   Commercial Break: Peghead Nation Music bed: Punch Brothers, “Flippen” from Who’s Feeling Young Now?   PART 4: GRAN TORINO, OR GET YOUR FILTHY HANDS OFF MY FINGERINGS Segovia had a hands-on approach when it came to commissioning pieces from composers. We talk about Segovia’s fruitful and affectionate relationship with the Mexican composer Manuel Ponce, and the collaboration between the two.   For die-hard enthusiasts and aspiring professional classical guitarists, THE way to learn Segovia’s approach was to play for him in a masterclass. But that could get a bit dicey. The old guy could be cantankerous, especially if you didn’t cotton to his ideas. There’s a certain poignancy to all of this that, a lot of times, gets missed in the conversation. Yeah, Segovia was a bully. And, yeah, he had a tendency to be snobbish and dictatorial about his approach to the guitar. But you know, through his efforts to popularize the guitar as a respected concert instrument, he created a necessary reaction against his own vision of beauty. We hear from David Foster Wallace’s 2005 commencement address titled “This is Water”, and ask some fundamental questions about the responsibility inherent in artistic life to think independently.    But thankfully, some of those people who cultivated their own vision of beauty continue to draw from Segovia’s enormous well. Nicholas Goluses has the last word about how his approach to the guitar has changed over the years, and how that approach is at least partially influenced by Segovia.   Recordings: Andrés Segovia, “Allegro Moderato” from Sonata Romantica by Manuel Ponce, from Andrés Segovia, Dedication Andrés Segovia, “Gavotte en Rondeau” from Violin Partita in E Major, BWV 1006 by Johann Sebastian Bach, from The Art of Andrés Segovia David Foster Wallace, “This is Water” Andrés Segovia, “Asturias” from Suite Española No 1, Op 47 from The American Decca Recordings   Videos referenced: https://www.youtube.com/watch?v=DJrEl4Nsmsg https://www.youtube.com/watch?v=PWA0HEOFHpo https://www.youtube.com/watch?v=x2xh0YW1R4o https://www.youtube.com/watch?v=CNjNXuGQaAE https://www.youtube.com/watch?v=fVV10Higj9E https://www.youtube.com/watch?v=wiAbqfaYGwk https://www.youtube.com/watch?v=7aINpJzg5Bs https://www.youtube.com/watch?v=1GY3i8EqYPA https://www.youtube.com/watch?v=3OFXIG_3P40 https://www.youtube.com/watch?v=1nXJ744velc https://www.youtube.com/watch?v=s-69wdduiOE https://www.youtube.com/watch?v=4_neeq6ObEM&spfreload=1 https://www.youtube.com/watch?v=XZDA1crTi9A https://www.youtube.com/watch?v=QxWCYLLZRNw  

Today's guest Marcin Dylla is the perfect performer to hear from just a few shorts days before one of the biggest guitar competitions in the United States, not only did he win the Guitar Foundation of America's International Concert Artist Competition in 2007, but has won virtually every other major guitar competition in the world; nineteen first prizes. So not only is he an authority on competitions, but he also has an incredibly positive and original outlook on why competitions are so important, and it's certainly not prizes or fame. Many of today's modern classical musicians have a new look, we have all seen the new breed of classical player with a rock'n'roll/pop-star makeover. To a certain degree this is great, as classical music is in dire need of a youthful and engaged audience. But sometimes on stage this rock-star type presence often means something close to head-banging to Bach. While we all love to see a musician that is engaged in the music they are playing, Marcin discusses when musicians cross the line between being emotionally connected and actually wasting the energy needed to make truly expressive music. Finally you'll hear a live recording of Marcin playing Granados's Valses Poeticos, an All Strings Considered exclusive, along with his exquisite interpretations of sonatas by Antonio José and Mario Castelnuovo-Tedesco. Enjoy!

Rosanna Carteri is, for me, an example of a "lost art" in opera. She possesses the emotion, the attention to word and phrase, the beauty of voice, and all the elements that I honestly feel are so rare in these days. I am not intending to denigrate anyone, but you "cognoscenti" by now (with slight prejudice from me)  might understand what I mean. I hope you enjoy this soprano as I do  (71 min.) Rosanna Carteri (born 14 December 1930) was an Italian soprano primarily active in the 1950s through the mid-1960s. Rosanna Carteri was born in Verona but was raised in Padua. She studied with Cusinati and started singing in concert at the age of twelve. She won a RAI singing contest in 1948 which led to her operatic debut at the Baths of Caracalla in Rome as Elsa in Lohengrin in 1949, aged only 19. She made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La Bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Arena di Verona as Mimi in 1958, Covent Garden as Tosca in 1960, Opéra de Paris in 1961 as Violetta in La Traviata. Carteri made a few recordings for Cetra early in her career, in such operas as Guglielmo Tell, La Bohème and Suor Angelica. She recorded La Traviata for RCA Victor with Cesare Valletti and Leonard Warren under the direction of Pierre Monteux. She participated in several television productions for RAI such as Le nozze di Figaro, La Traviata, Otello, and Falstaff. Carteri also participated in the creation of some contemporary works such as Ifegenia by Ildebrando Pizzetti in 1950, Proserpine e le straniero by Juan José Castro in 1952, Calzare d'argento again by Pizzetti in 1961 and Il mercante di Venizia by Mario Castelnuovo-Tedesco also in 1961. Retirement Carteri decided to retire from singing in the mid-1960s while still only in her thirties to devote herself to her family.

Rosanna Carteri, one of the most emotional divas in my experience, is heard in material from Adriana, Lodoletta,Turandot, Mme.Butterfly (w.Carlo Bergonzi), Suor Angelica, La Traviata, La Boheme (w.Giuseppe Taddei). Bio to follow   (69 min.) Rosanna Carteri (born December 14, 1930) was an Italian soprano primarily active in the 1950s through the mid-1960s. Rosanna Carteri was born in Verona and studied with Cusinati and started singing in concert at the age of twelve. She won a RAI singing contest in 1948 which led to her operatic debut at the Baths of Caracalla in Rome as Elsa in Lohengrin in 1949, aged only 19. She made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La Bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Arena di Verona as Mimi in 1958, Covent Garden as Tosca in 1960, Opéra de Paris in 1961 as Violetta in La Traviata. Carteri made a few recordings for Cetra early in her career, such as Matilde in Guglielmo Tell, opposite Giuseppe Taddei, La Bohème with Ferruccio Tagliavini and Suor Angelica. She also recorded La Traviata for RCA Victor with Cesare Valletti and Leonard Warren under the direction of Pierre Monteux. She participated in several television productions for RAI such as Le nozze di Figaro, La Traviata, Otello and Falstaff. Carteri also participated in the creation of some contemporary works such as Ifegenia by Ildebrando Pizzetti in 1950, Proserpine e le straniero by Juan Jose Castro in 1952, Calzare d'argento again by Pizzetti in 1961 and Il mercante di Venizia by Mario Castelnuovo-Tedesco also in 1961. Rosanna Carteri decided to retire from singing in the mid-1960s while still only in her thirties to devote herself to her family.