Podcasts about Mariss Jansons

durée : 01:28:35 - En pistes ! du lundi 14 octobre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Zubin Mehta dirige Brahms et Mariss Jansons dirige Chostakovitch. Chostakovitch ou Brahms, vous n'aurez pas à choisir, vous les retrouvez ce lundi dans En Pistes !

durée : 01:28:35 - En pistes ! du lundi 14 octobre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Zubin Mehta dirige Brahms et Mariss Jansons dirige Chostakovitch. Chostakovitch ou Brahms, vous n'aurez pas à choisir, vous les retrouvez ce lundi dans En Pistes !

durée : 01:28:52 - Zubin Mehta, chef d'orchestre légendaire - par : Aurélie Moreau - Mariss Jansons, musicien admirable tant par son art de la direction que par son humanité, a été le chef principal de l'Orchestre Symphonique de la Radio Bavaroise de 2003 à sa mort en 2019. Aujourd'hui : Tchaïkovski, Chostakovitch, Mozart, Verdi…

UPPLÄSNING: Peter Andersson Lyssna på alla avsnitt i Sveriges Radio Play. DIKT: ”Juninatten” av Harry MartinsonDIKTSAMLING: Cikada (Albert Bonniers förlag, 1953)MUSIK: Pietro Mascagni: Intermezzo ur Cavalleria RusticanaEXEKUTÖR: Oslo filharmoniska orkester och Mariss Jansons, dirigent

Die Namensliste der Chefdirigenten, die das BRSO über die Jahre lenkten und begleiteten, liest sich imposant: Eugen Jochum, Rafael Kubelík, Sir Colin Davis, Lorin Maazel, Mariss Jansons und heute Sir Simon Rattle. In der Aufzählung fehlt jedoch ein Mann, der das nicht wurde, was er werden sollte. Markus Vanhoefer erinnert an ein tragisches Kapitel der Orchestergeschichte.

SynopsisIn St. Petersburg on today's date in 1897, the First Symphony of Sergei Rachmaninoff had its disastrous premiere.Now, there are bad reviews and then there are really bad reviews. When Rachmaninoff opened up a newspaper the next day he read, “If there were conservatory in hell, and if one of its students were instructed to write a symphony based on the seven plagues of Egypt, and if he were to compose a symphony like Rachmaninoff's, he would have fulfilled his task brilliantly and delighted the inmates of hell.”Ouch!What must have really hurt was that the review was written by a fellow composer, Cesare Cui, and the premiere was conducted — poorly, it seems — by another composer colleague, Alexander Glazunov.The whole affair was so painful that Rachmaninoff needed therapy before he could compose again, and when he left Russia for good in 1917, he left the symphony's manuscript behind, and in the turmoil of the Bolshevik revolution it was lost. However, the original orchestral parts for the 1897 premiere survived. They were rediscovered in 1945, two years after Rachmaninoff's death, and a belated — and this time successful — second performance took place that same year.Music Played in Today's ProgramSergei Rachmaninoff (1873-1943): Symphony No. 1; St. Petersburg Philharmonic; Mariss Jansons, cond. EMI 56754

Šis ir maestro Marisa  Jansona 80. jubilejas gads. Pieminot izcilo diriģentu, Latvijas Nacionālajā bibliotēkā sarīkota izstāde „Virsotnes. Marisam Jansonam – 80”, tajā skatāmas norvēģu mākslinieka Hokona Gullvoga gleznas un skices: Marisa Jansona portretu sērija, arī norvēģu literatūras klasiķi un viņu darbu ilustrācijas. Izstādes veidotāji Gunda Vaivode un Jānis Dripe izcēluši Marisa Jansona Oslo periodu. Savukārt Latvijas Nacionālais simfoniskais orķestris šovakar, 7. decembrī, Lielajā ģildē godinās Marisu Jansonu ar īpašu viņam veltītu koncertu, un arī ģildes Baltajā zālē būs skatāma virkne Marisa Jansona portretu, ko gleznojis Hokons Gullvogs. Kopā ar izstādes veidotājiem - Latvijas Nacionālās bibliotēkas padomnieku arhitektūras un kultūrpolitikas jautājumos Jāni Dripi un Latvijas Radio 3 "Klasika" vadītāju Gundu Vaivodi - izejam izstādes ceļu, kurā eksponēti norvēģu mākslinieka Hokona Gullvoga [Hakon Gullvag] gleznotie Marisa Jansona portreti, arī norvēģu literatūras klasiķu un viņu darbu iedvesmotas ilustrācijas -  tā nonākam mazākajā telpā, tās iekārtojums vedina sarunu par virsotnēm. Arī izstādes nosaukums ir „Virsotnes”. Mariss Jansons Norvēģijā kopā ar Oslo filharmonisko orķestri pavadīja turpat 23 gadus, bet sākums bija 1979.gadā. Oslo periodā pazīstamais norvēģu mākslinieks Hokons Gullvogs radīja Marisa Jansona portretu sēriju. Izstādes iekārtošanas brīdī sastopu mākslinieku, te redzami arī divi video darbi, vienā redzama Gullvoga darbnīca, arī plaša izstāde Ķīnā 2016.gadā. Latvijas Nacionālais simfoniskais orķestris šovakar godinās Marisu Jansonu ar īpašu viņam veltītu koncertu, šajā notikumā kā orķestra vieskoncertmeistare aicināta Elīze Botnesa no Oslo. Latvijas Nacionālās bibliotēkas audiovizuālā centra lasītavā ir ap 250 ierakstu, disku, vinila plašu, DVD kolekcijas, kas saistītas ar Marisu Jansona vārdu, bibliotēkā ir Maijas Amoliņas grāmata „Es zinu, es nekad nebūšu iedomīgs. Mariss Jansons”. Un top Gundas Vaivodes grāmata par izcilo diriģentu. Mariss Jansons dzimis 1943.gada 14.janvārī Rīgā un šis gads pagājis viņa 80. dzimšanas dienas piemiņas zīmē, ko noslēgs gan izstāde Latvijas Nacionālajā bibliotēkā, gan koncerts Lielajā ģildē. Starp citu ģildes Baltajā zālē būs skatāmi arī Marisa Jansona portreti.

Ara Malikian, the virtuoso violinist born into an Armenian family in Beirut in 1968, is a maestro of international acclaim, seamlessly blending his Lebanese roots with a global musical palette. Educated in Germany and now a resident of Spain, Malikian's musical odyssey commenced under the tutelage of his violinist father, leading to a debut concert at the tender age of 12. At 14, he became the youngest-ever student at the Hochschule für Musik und Theater Hannover in Germany. Distinguished by a repertoire that spans Middle Eastern, Central European, Argentinean, and Spanish influences, Malikian has not only championed classical masterpieces but also premiered compositions by contemporary maestros. His laurels include triumphs in esteemed competitions, with a string of first prizes and accolades from Berlin to Pamplona, showcasing his prowess. As a soloist, Malikian has graced renowned stages worldwide, from Carnegie Hall to Salle Pleyel, leaving an indelible mark with orchestras conducted by luminaries such as Mariss Jansons and Vladimir Spivakov. Residing in Madrid, he held the esteemed position of concertmaster for the Orquesta Sinfónica de Madrid, enriching the city's musical tapestry. Beyond the classical realm, Malikian's collaborations span genres and artists, from flamenco guitarist José Luis Montón to iconic figures like Fairuz and Joaquín Cortés. His discography, an opulent array of solo and collaborative albums, attests to his dexterity in interpreting classical opuses and exploring diverse musical landscapes. Recognized not only for his musical virtuosity but also for his versatility, Malikian's nominations and awards underscore his enduring impact. His presence extends to the cinematic realm, contributing to iconic soundtracks in Pedro Almodóvar's "Hable Con Ella" and Carlos Saura's "J: Beyond Flamenco." In essence, Ara Malikian transcends the boundaries of classical virtuosity, weaving a captivating narrative of cultural fusion and artistic brilliance that resonates on the global stage.

Synopsis“Spaghetti western” is a nickname given to a genre of Italian films from the 1960s, most famously directed by Sergio Leone, and often starring Clint Eastwood as the taciturn, gun-toting anti-hero.Spaghetti Western also is the title of a Concerto for English horn written by American composer Michael Daugherty that received its premiere performance on today's date in 1998 at a Pittsburgh Symphony concert conducted by Mariss Jansons.“Just as Leone's films redefined the Western genre from an Italian perspective,” writes Michael Daugherty, “I redefine the European concerto … within an American context. In my ‘Spaghetti Western,' the English horn soloist is the ‘Man with no Name,' moving through a series of sun-drenched panoramas, barren deserts, and desolate towns of the Wild West, … [one of ] the gun-slinging characters who haunt the landscape.”Daugherty gave Italian titles to his three-movement concerto: “Strade Vuote” (“Empty Streets”), “Assalto all'Oro” (“Gold Rush”) and “Mezzogiorno di Fuoco” (“Noon of Fire”). And since Eastwood was unable to play the English horn for the Pittsburgh Symphony premiere, Harold Smoliar removed the cigar from his parched, suntanned lips, adjusted his poncho and took up his English horn for the performance.Music Played in Today's ProgramMichael Daugherty (b. 1954) Spaghetti Western Harold Smoliar; University of Michigan Symphony; Kenneth Kiesler, cond. Equilibrium 63

durée : 01:29:48 - En pistes ! du mercredi 14 juin 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme de ce mercredi : un disque tout Schubert par la soprano Carolyn Sampson et le pianiste Joseph Middleton mais aussi Haydn par René Jacobs ou encore L'oiseau de feu de Stravinsky sous la direction de Mariss Jansons.

Have you ever wondered what it is that us conductors are really doing up there? Are we just waving our arms in time to the music? What role does the conductor actually play in a concert? How about a rehearsal? Do we also learn to be train conductors as well? Well, today's episode is about answering those questions! We'll talk about conducting on 3 different levels, including the basic level where we'll talk all about beat patterns, studying, rehearsals, concert programming, and more. We'll also talk about what I like to call the 30,000 feet level, where all of those basic decisions can help translate into musical ideas that inspire the orchestra and move the audience. And finally, we'll head to what the late great conductor Mariss Jansons called the Cosmic level, where true inspiration takes place. This can happen as little as once or twice in a lifetime in a concert, but when it does, there is nothing like it! We'll talk about all this, and more today - join us!

Synopsis On today's date in 2002, Mariss Jansons led the Pittsburg Symphony in the premiere performance of the Second Symphony written by a then 32-year-old American composer named Michael Hersch. Hardly a child prodigy, Michael Hersch was introduced to classical music at age 18 by his brother Jamie, who showed him a videotape of Georg Solti conducting Beethoven's Fifth. That experience shook him. "It scrambled everything.” Hersch recalled. “That's when I knew that I was to be a composer... My whole life started over at that moment." Hersch certainly made up for lost time, exhibiting an uncanny ability to master both the piano and the intricacies of contemporary compositional techniques in less than a decade. His first success as a composer came when his Elegy for Strings won a major prize and was conducted by Marin Alsop at Lincoln Center in New York in 1997. Since then, his works have been commissioned and performed by many other leading orchestras and performers. Hersch's Symphony No. 2 has no stated program, but it was composed shortly after the events of September 11, 2001, and knowing that, it's hard to disassociate the score's violent opening and subsequent elegiac mood from that tragic moment in American history. Music Played in Today's Program Michael Hersch (b. 1971) Symphony No. 2 Bournemouth Symphony; Marin Alsop, conductor. Naxos 8.559281

A casual discussion about Shostakovich by two Bruckner enthusiasts (Jason and Sébastien). A graduate from the Royal Conservatory of Liège in Belgium (1st prize organ, 1st prize harmony, 1st prize history of music, 1st prize musical analysis); Sébastien Letocart is a self-taught composer, who has built his musical equally by studying ancient music (i.e. Josquin Desprez, William Byrd, Tomas Luis Vitoria, Roland de Lassus, Jan Pieterszoon Sweelinck, Claudio Monteverdi, Dietrich Buxtehude, Johann Sebastian Bach), practicing it (organ, harpsichord and singing) as well as analyzing the great scores of the Classical Symphony (Haydn, Mozart), the Romantic (Beethoven, Schumann, Brahms, Dvořák, Bruckner), the Post-romantic (Debussy, Roussel, R.Strauss, Mahler, Sibelius, Nielsen) and the symphonic repertoire of the first half of the 20th century (Bartók, Hindemith, Stravinsky, Shostakovich, Bax, Vaughan Williams, Holst, Walton, Honegger, Martinu, Varèse). He is also highly interested in the music of the last sixty years, his preferences are going from György Ligeti, Iannis Xenakis or Esa-Pekka Salonen to Einar Englund, Aulis Sallinen, Emil Tabakov, Kalevi Aho, Vagn Holmboe, John Adams, Sir Malcolm Arnold or Sir Andrzej Panufnik. He is also greatly attracted by chamber music, especially by the refined writing that the string quartet demands and by Béla Bartók's six String Quartets which are the nec plus ultra of the genre. More info about Letocart here: https://www.sites.google.com/site/letocartsebastien/Home-english Lecture/Rehearsal of Shostakovich 8 that Letocart brought up: https://www.youtube.com/watch?v=snpK0q47YgA First music excerpt is Shostakovich 4, last moments of the finale, conducted by Myung-Whun Chung with the Philadelphia Orchestra: https://www.youtube.com/watch?v=pXXiB0Lce5g Second music excerpt is the ending of the finale of Shostakovich 5, conducted by Mariss Jansons at the Wiener Philharmoniker: https://www.youtube.com/watch?v=dKeFOij6J7A&t=2641s Third music excerpt is the most popular movement of Shostakovich 8, conducted by Gergiev at the Mariinsky Orchestra and Chorus: https://www.youtube.com/watch?v=9jFesZ-jxRw Fourth music excerpt is the Scherzo from Shostakovich 10, conducted by Haitink at the London Philharmonic Orchestra: https://www.youtube.com/watch?v=5FRH22KRsU0 Final music at the end of the episode is Shostakovich's 5th string quartet performed by Dudok Kwartet in Zuiderkerk in Amsterdam: https://www.youtube.com/watch?v=zsWTDiPixcU

Vor 80 Jahren wurde Mariss Jansons geboren, einer der ganz großen Dirigenten seiner Zeit. Im Konzert verausgabte er sich emotional. Bernhard Neuhoff mit persönlichen Erinnerungen.

durée : 00:58:28 - Grands Chefs du Concert du Nouvel An à Vienne (2/5) : Mariss Jansons, un humaniste de premier ordre - par : Aurélie Moreau - Mariss Jansons a dirigé le Concert du Nouvel An à Vienne en 2006, 2012 et 2016. Son maître Hans Swarowsky lui avait enseigné la rigueur. Les musiciens et le public appréciaient sa nature profondément humaine et généreuse. - réalisé par : Françoise Cordey

Manchmal lohnt es sich, nicht aufzugeben und etwas, was einem wichtig ist, wieder und wieder zu versuchen, bis es endlich gelingt. Und wenn man 20 Jahre dafür braucht, wie Johannes Brahms für seine 1. Symphonie. Mariss Jansons spricht über dieses Starke Stück.

durée : 00:17:37 - Disques de légende du mardi 08 novembre 2022 - 2004 le chef letton Mariss Jansons était nommé directeur musical de l'un des 5 plus grands orchestre du monde le Royal Concergebouw d'Amsterdam.

Synopsis A fiery horse with the speed of light, a cloud of dust, and a hearty “Hi-yo, Silver!” Generations of American baby boomers first heard Rossini's “William Tell” Overture as the opening credits of the old Lone Ranger TV western, but we suspect only a few of them ever realized the overture by an Italian composer was written for a French opera about a Swiss archer, which was adapted from a German play by Friedrich Schiller. Like a Facebook relationship, “It's complicated.” Anyway, Rossini's “William Tell” was first heard in Paris on today's date in 1829. Rossini hoped “William Tell” would be considered his masterpiece. Ironically, the complete opera is only rarely staged these days, but the “William Tell” overture became a familiar concert hall showpiece – SO familiar, in fact, as to become something of a musical cliché. The Russian composer Dimitri Shostakovich gave a dark 20th-century spin to Rossini's overly familiar theme, when he quoted the “William Tell” overture in the opening movement of his Symphony No. 15. In the context of Shostakovich's enigmatic final symphony, Rossini's jaunty little theme comes off like a forced smile, and audiences are free to read whatever political subtext they wish into its rather sinister context. Music Played in Today's Program Gioacchino Rossini (1792-1868) –William Tell Overture (Philharmonia Orchestra; Carlo Maria Giulini, cond.) EMI 69042 Dimitri Shostakovich (1906-1975) –Symphony No. 15 in A, Op. 141 (London Philharmonic; Mariss Jansons, cond.) EMI 56591 On This Day Births 1884 - Russian-born American composer Louis Gruenberg, near Brest-Litovsk (Julian date: July 22); 1896 - Russian inventor Lev Sergeivitch Termen (anglicized to Leon Theremin) in St. Petersburg (Gregorian date: August 15) Deaths 1784 - Italian composer and teacher Giovanni Battista Martini, age 78, in Bologna; His students included Gluck, Mozart, Grétry, and Jommelli; Premieres 1829 - Rossini: opera, "Guillaume Tell" (William Tell), at the Paris Opéra; 1941 - Robert Russell Bennett: Symphony in D ("For the Dodgers"), in New York; 1961 - John Cage: "Atlas Eclipticalis," at the "International Week of Today's Music," in Montréal; 1967 - Lalo Schifrin: cantata, "The Rise and Fall of the Third Reich" (adapted from the composer's filmscore) by the Los Angeles Philharmonic at the Hollywood Bowl, with Lawrence Foster conducting; Others 1668 - German composer Dietrich Buxtehude marries the daughter of Franz Tunder, retiring organist at St. Mary's Church in Lübeck, as a condition to succeed Tunder in his position at St. Mary's; It is thought that both Handel and J.S. Bach were both interested in the position - but not in Tunder's daughter; 1778 - Milan's famous Teatro alla Scala (La Scala) opens with a performance of “L'Europa riconosciuta” by Italian opera composer Antonio Salieri, a work written specially for the occasion; The theater took its name from the site previously occupied by the church of Santa Maria della Scala (named after Bernabo Visconti's wife, Beatrice della Scala); This same opera, conducted by Riccardo Muti, was performed on Dec. 7, 2004 at the Gala reopening of La Scala after three years of major renovation; 1779 - Mozart finishes in Salzburg his "Posthorn" Serenade; 1795 - The Paris Conservatory of Music is founded by the National Revolutionary Convention. Links and Resources On Rossini On other famous radio themes

durée : 01:58:40 - Au coeur de l'orchestre - par : Christian Merlin - Ils s'appellent Erich et Carlos Kleiber, Arvid et Mariss Jansons, Armin et Philippe Jordan, sans parler des Järvi : pour beaucoup, l'apprentissage de la direction d'orchestre est affaire de famille ! - réalisé par : Marie Grout

durée : 00:59:58 - En pistes, contemporains ! du dimanche 26 juin 2022 - par : Emilie Munera - Ce dimanche, au programme chez les contemporains : les carnets de voyage de Jean-Luc Fafchamps interprétés par le Quatuor MP4 mais également la musique d'Arvo Pärt par l'Orchestre de la radio bavaroise dirigé par Mariss Jansons. - réalisé par : Céline Parfenoff

Översättning: Magnus William Ohlsson och Vasilis Papageorgiou Uppläsning: Stina Ekblad Lyssna på alla avsnitt i Sveriges Radio Play. Diktsamling: Sapfo. Dikterna och fragmenten, Ordfront, 2022MUSIK Pietro Mascagni: Intermezzo ur Cavalleria rusticanaEXEKUTÖR Oslos filharmoniska orkester, Mariss Jansons, dirigent

Översättning: Magnus William Ohlsson och Vasilis Papageorgiou Uppläsning: Stina Ekblad Diktsamling: Sapfo. Dikterna och fragmenten, Ordfront, 2022MUSIK Pietro Mascagni: Intermezzo ur Cavalleria rusticanaEXEKUTÖR Oslos filharmoniska orkester, Mariss Jansons, dirigent

Long time Boston Symphony librarian John Perkel tells Jim Cunningham about his presentation in concert of a new piece of music for strings written by Leonard Bernstein as a student at Harvard at age 18. It was recorded for broadcast on Boston's WCRB in April of 2022 and will be heard in streaming audio on May 22. John Perkel retired in 2017 after more than two decades with the orchestra. John has many ties to Pittsburgh including the Pittsburgh Symphony's former CEO Gideon Toeplitz and Michael Bielski COO and Senior Vice President who he has known since childhood. Michael now serves as chair of the Community Advisory Board for WQED. John remembers visits by Mariss Jansons and Lorin Maazel to Tanglewood and Symphony Hall with great pleasure. He also recalls the work of  Pittsburgh Symphony Music Director William Steinberg in Boston and the contribution of former Pittsburgh cellist Owen Young.

Marisa Jansona personība mūziķu un laikabiedru atmiņās atklāta Maijas Amoliņas sastādītajā grāmatā "Es zinu, es nekad nebūšu iedomīgs. Mariss Jansons". Kultūras rondo tiekamies ar Latvijas Televīzijas mūzikas žurnālisti Maiju Amoliņu, kura Maestro daiļradei sekojusi līdzi gandrīz trīsdesmit gadu garumā un intervijas ar viņu tagad lasāmas arī grāmatā. Viņa ir arī videofilmas par Marisu Jansonu, kura saņēma arī ‘Lielo Kristapu”, autore. Grāmatā laikabiedru atmiņas, filigrāni interviju atšifrējumi un Maijas Amoliņas pašas emocionālie līdzpārdzīvojumi mūzikas notikumos daudzviet pasaulē. 

Eine CD von Mariss Jansons - vorgestellt auf NDR Kultur.

durée : 00:59:17 - Mariss Jansons, un chef modeste et généreux - par : Aurélie Moreau - De Chostakovitch à Waldteufel, Mariss Jansons à la tête de trois orchestres dont il a été directeur musical : le Philharmonique d'Oslo, l'Orchestre Symphonique de la Radio Bavaroise et l'Orchestre Royal du Concertgebouw d'Amsterdam.

Stāsta ērģelnieks Aivars Kalējs Runa ir (nevis iet, protams, no krievu речь идёт) par vārdu projekts. Ja okupācijas laikā mēs ar to sapratām projektēšanu un darbību arhitektūras birojā, gatavojot mājām plānus, tad tagad, ja ir runa par kādu koncertu vai izrādi, dienu dienā tiek runāts par projektu nevis uzvedumu. Tas, protams, ir arī pateicoties Kultūrkapitāla fondam, taču viņiem tā ir forma un nepieciešamība, lai nebūtu dažādi apzīmējumi. Mūzikā un arī mākslā taču var pateikt iecere vai radoša iecere, radošs nodoms, kompozīcija, skaņdarbs, glezna - ir ļoti daudz iespēju. Bet nē! Visur ir projekts, jo tas skan nozīmīgāk, svarīgāk - ir taču vesels projekts, tur kaut kas būs! Otrs vārds kolektīvs. Mēs joprojām, it īpaši kultūras cilvēki, neesam beiguši mūsu apziņā 1946. gada novembrī Dobeles kolhozā "Nākotne" uzsākto kolektivizāciju. Kolektivizācija mūsu apziņā turpinās. Man tas griež ausīs kā ar zāģi, bet mēs ātri pie visa kā pierodam. Nu var taču pateikt koris, grupa, ansamblis, vienība. Un ir pat tā: es klausos "Klasiku", mūziķi sākumā ļoti jauki pasaka orķestris, ja runa ir par orķestri, taču nē!- pēc tam jau seko kolektīvs. Un bez šī kolektīva neiztiek, viņš nāk iekšā ar joni… Tas īsti nav arī krievu valodas vārds, lai gan, protams, visur uzsverot kopību un sociālistisko celtniecību, lietoja koļekķiv. Nu padomāsim, vai tas mums ir vajadzīgs! Tālāk. Valoda ir piebārstīta ar vārdiem godīgi sakot, īstenībā (nu tas vēl varētu būt), patiesībā jeb patiesību sakot. Kā tas jāsaprot? Vai tas pārējais viss nav godīgi? Vai tas pārējais nav patiesībā? Vai tas neatbilst īstenībai? Arī padomāsim, vai tas ir vajadzīgs! Tālāk. Atvadoties telefonsarunā vai vienkārši uz ielas satiekoties, saka: Nu tad, davai! Par to, starp citu, ļoti pārdzīvo mūsu jaukais tenors Ingus Pētersons, ka inteliģenti vai šķietami inteliģenti cilvēki lieto to savā valodā, kas ir tipiski tieši šķiroties. Tad vēl ir vārds baudījums - baudīt koncertu, baudīt izrādi… Es domāju - vai mēs tagad esam kļuvuši, tā kā savā laikā romieši, par hedonisku sabiedrību, nepārtrauktu dzīves un mūzikas baudītāju? Mariss Jansons teica pārdzīvot, bet, ja nu mums ne līdz Marisa Jansona līmenim mūziku klausoties, tad teiksim klausīties. Var arī teikt - tas varbūt atkal skan vecmodīgi, veclaicīgi - patikšana. Bet baudīt - tas attiecas uz cilvēka fizioloģiju; baudīt ēdienu, gurmāniem sevišķi tas raksturīgi, gardēžiem. Padomāsim, vai tas mums ir vajadzīgs! Protams, varētu vēl daudz ko runāt par kā, kad un ka lietošanu un jaukšanu, par to jau ir runājuši valodnieki – tas ir tik dziļi iesēdies, ka, liekas, viņu neizsēdināt laukā. Un arī par galotnēm. Saka liekās, bet ir taču liekas. Tajā pašā laikā –ināt, -īties ir ar garo izskaņu. Bet cilvēkiem, kad viņiem jākoncentrējas uz saturu, ir grūti reizē domāt par pareizu runu. Bet tomēr piedomāsim vismaz ikdienā pie tā!

Tussen de paukenisten was de beste plek om te zitten toen hij op vijfjarige leeftijd naar de repetities van zijn vader kwam kijken. Het leidde ertoe dat Marc, toen hij zelf een instrument mocht kiezen, slagwerk ging studeren. In deze aflevering vertelt hij hoe een dvd met Ein Heldenleben van Richard Strauss onder leiding van Mariss Jansons ervoor zorgde dat hij het zonnige Spanje verruilde voor Amsterdam en hoe ‘mindblowing' het was om jaren later zelf onder leiding van de vooraanstaande dirigent te mogen spelen.

Gruodžio pirmą dieną 2019 metais į kitą laiką iškeliavo vienas geriausių ir garsiausių XX amžiaus pabaigos XXI amžiaus batutos meistrų latvis Mariss Jansons. Ta proga BR Klassik (Bavarijos radijo simfoninio orkestro leidybos padalinys) išleido milžinišką 57 CD Jansono diriguotų kūrinių antologiją. O į ją pateko ir lietuvės Ramintos Šerkšnytės kūrinys! Muzikinėse leidybinėse naujienose taip pat laukia sopranas Anna Netrebko, džiazo pianisto Billo Charlapo Trio, soprano Sabine Devieilhe Baroko muzikos kantatos ir arijos, Londono džiazo trimitininkas Markas Kavuma ir originalus styginių kvartetas „Attacca Quartet“.Ved. Domantas Razauskas

durée : 01:58:09 - La fabrique des chefs 3/8 : chef de père en fils - par : Christian Merlin - Ils s'appellent Erich et Carlos Kleiber, Arvid et Mariss Jansons, Armin et Philippe Jordan, sans parler des Järvi : pour beaucoup, l'apprentissage de la direction d'orchestre est affaire de famille ! - réalisé par : Jean-Claude Mullet

Sie standen sich sehr nahe: der Bariton Thomas Hampson und der Dirigent Mariss Jansons. Bis zu Jansons' Tod vor zwei Jahren arbeiteten die beiden Weltklassemusiker regelmäßig zusammen und tauschten sich auch freundschaftlich aus. Im Gespräch mit BR-KLASSIK-Moderatorin Antonia Goldhammer erinnert sich Thomas Hampson an seinen Freund und sein großes Vorbild, Maestro Jansons.

French born pianist Jean Yves Thibaudet has performed in Pittsburgh in at least three visits with Mariss Jansons, Charles Dutoit and Marek Janowsky.   He was scheduled for a return when the pandemic hit but promises to back soon. Fom his home in LA, he spoke with Jim Cunningham about his new cd Carte Blanche with 24 tracks of very personal favorites, arrangements, encores, music from the film score for Pride and Prejudice, Pierre Sancan, Morton Gould, Chopin, Couperin.  He's done 50 cds for Decca, so the company said you've got Carte Blanche to record what you like and he went to work just this past May at the Colburn School in Los Angeles. Renee Fleming interviewed Jean Yves for the notes and he discusses their work together on a PBS special broadcast just this past New Year's Eve 2020.  Jean Yves has a special memory of playing an encore for Mariss Jansons and he had to include something for his Mom on the play list.

Composer Jerod Tate and conductor Devin Patrick Hughes discuss Chickasaw musical culture, Jerod's influences and how composers are plugged into ethnicity and national identity, along with growing up with Stravinsky, Bartok, Barber, and Liszt. They also chat about Jerod's compositional process for some of his most performed works, American Indian hymns and much more.    Jerod Impichchaachaaha' Tate is a classical composer, citizen of the Chickasaw Nation in Oklahoma and is dedicated to the development of American Indian classical composition. He has recently worked as Guest Artist for the San Francisco Symphony Currents program Thunder Song: American Indian Musical Cultures and was recently Guest Composer for the Metropolitan Museum of Art's Balcony Bar program Home with ETHEL and Friends, featuring his commissioned work Pisashi (Reveal) for String Quartet. His commissioned works has been performed all over North American, including the National Symphony, Dallas and Detroit Symphonies, the Minnesota Orchestra, Buffalo Philharmonic, Winnipeg Symphony, South Dakota Symphony and many more! Jerod Tate has held the Composer-in-Residency for Music Alive, a national residency program of the League of American Orchestras and New Music USA, and brings music instruction and inspiration to the next generation through his work with the Chickasaw Summer Arts Academy, and has taught composition to American Indian high school students in Minneapolis, the Hopi, Navajo, and Lummi reservations, and to Native students in Toronto. Jerod has some amazing recordings available on the Grammy Award winning label, Azica Records, including Iholba' (The Vision) for solo Flute, Orchestra and Chorus, and Tracing Mississippi, a Concerto for Fute and Orchestra. He earned his music and composition degrees from Northwestern University and the Cleveland Institute of Music, and also performed on keyboard for the Broadway tours of Les Misérables and Miss Saigon.  Thank you for joining us on One Symphony and thanks to Jerod Impichchaachaaha' Tate for sharing his music and insights. Thank you to all the incredible performers and record labels that made this episode possible! Lowak Shoppala' (Fire and Light) was played by the Nashville String Machine and conducted by the composer, with the Chickasaw Nation Children's Chorus and Dance Troupe. Vocal Soloists are Stephen Clark, Chelsea Owen, Meghan Vera Starling, and Narrators are Lynne Moroney, Wes Studi, and Richard Ray Whitman. It's available on Azica Records. Tchaikovsky's Second Symphony was played by the Oslo Philharmonic and conducted by Mariss Jansons on the Chandos label. Pisachi was performed on Documerica, by ETHEL String Quartet with Ralph Farris (viola), Dorothy Lawson (cello), Kip Jones (violin) and Corin Lee (violin) on the Innova label. Heloha Okchamali was played by Elizabeth Hill, Piano and Anastasia Christofakis, Clarinet. Tracing Mississippi was recorded by the San Francisco Symphony and San Francisco Symphony Chorus conducted by Edwin Outwater and is available on Azica Records. You can check out Jerod's music online at https://jerodtate.com. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to lend your support. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

Synopsis When asked to name some important musical works associated with World War II, music lovers are apt to think of the sonatas and symphonies Prokofiev and Shostakovich wrote during those years. But three symphonies by the Swiss composer Arthur Honegger form another very compelling war triptych. Honegger spent the war years in occupied France, and his Symphony No. 2, which premiered in 1942, might be considered a symphony of the grim wartime resistance. It is scored for strings alone, but at the very end includes an optional trumpet solo, a dramatic gesture that seems an emotional call to action. Honegger's Symphony No. 3, which premiered on August 17, 1946, is titled “A Liturgical Symphony,” with the titles of each of its movements taken from the Latin Mass for the Dead. Considering the great loss of life on all sides of the conflict just ended, this work, too, packs an emotional wallop. And to round out the triptych, Honegger's Symphony No. 4, from 1947, is subtitled “The Delights of Basel.” This music captures the elusive and bittersweet mood of a Europe tentatively groping its way back to normal life, closing with a decidedly wistful evocation of carnival time in the Swiss city of Basel. Music Played in Today's Program Arthur Honegger (1892 - 1955) — Symphonies Nos. 2 and 3 (Oslo Philharmonic; Mariss Jansons, cond.) EMI 55122 Arthur Honegger (1892 - 1955) — Symphony No. 4 (Deliciae basiliensis) (Lausanne Chamber Orchestra; Jesus Lopez-Cobos, cond.) Virgin 91486

The Principal Flute of the New York Philharmonic, Robert Langevin, served as Principal in Pittsburgh for eight years until he was asked to join New York by Kurt Mazur. He discusses his new cd on the Bridge label "La Belle Epoque" with the Prelude to the Afternoon of a Faun and Syrinx, Faure Fantaisie and Morceau, Enesco Cantabile and presto, Mouquet Flute de Pan, Widor Suite and Gaubert Nocturne, Fantaisie and Madrigal with pianist Margaret Kampmeier. Robert remembers his years with Lorin Maazel and Mariss Jansons in Pittsburgh and New York, talks about his love of summers at Chautauqua, New York, recordings of Mozart and Nielsen and whether he has bribed the director of Live From Lincoln Center to feature his solos on the PBS New Year's Eve broadcasts. The tradition of French flute playing is explored in detail in this conversation with Jim Cunningham.

durée : 01:58:22 - En pistes ! du lundi 28 juin 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Les concertos pour violoncelle de Carl Philipp Emanuel Bach par Nicolas Altstaedt; un coffret consacré à Michael Haydn; un programme Szymanowski pour la pianiste Patricia Arauzo; une troisième symphonie de Bruckner sous la baguette de Mariss Jansons... - réalisé par : Emmanuel Benito

Stāsta pavārmākslas burvis Mārtiņš Rītiņš 1994. gadā slavenais blūza maestro - BB Kings bija restorāna "Vincents" atklāšanā. Mēs viņam  uzdāvinājam Suitu sievu priekšnesumus, kurus viņš baudīja Cutty Sark viskija pavadījumā. Toreiz tādu viskiju sameklēt Latvijā arī bija māksla... "Vincentā" ēdināju slaveno čellistu Mstislavu Rostropoviču. Daudzi viņu uzskata par 20. gadsimta visizcilāko čellistu. Es nekad neaizmirsīšu to neatkārtojamo  auru, kas  toreiz valdīja "Vincentā". Pusdienu nagla bija fazāns no Latvijas laukiem. Monserata Kavaljē, kuru dēvē par La Superba, "Vincentā" ir ēdusi 5 reizes. Toreiz viņa koncertēja Latvijas Nacionālajā operā un Doma baznīcā. Kad Monserata Kavaljē dziedādama gāja pa Doma baznīcas galveno eju, ieraudzīja mani un piemiedza ar aci. Mums bija kaut kas kopīgs, abi esam veģetārieši. Speciālisti apgalvo, ka pateicoties veģetāram ēdienam, viņai bija tik izcila balss. Hosē Karerass bija pirmais viesis Rīgā, kuru cienājām ar suši. Tajā laikā "Vincents" bija vienīgais, kas gatavoja šo japāņu delikatesi, kā arī Japānas vagjū gaļu.  Elīnai Garančai man bija tas gods gatavot maltīti ne tikai Rīgā, bet arī Karaliskajā Concertgebouw Amsterdamā, kur 2004. gadā Mariss Jansons kļuva par orķestra virsdiriģentu. Mariss Jansons arī man bija tuvs draugs un vairākkārt bijis viesis pie manis klātajiem galdiem. Sena draudzība mūs saista ar Inesi  Galanti. Man bija tas gods dziedāt uz tās pašas skatuves Kanādas  Dziesmu svētkos 90. gadu sākumā, uz kuras dziedājusi arī Inese Galante. Viņa ir regulārs viesis "Vincentā". Inese sagādāja man lielu pārsteigumu, uzstājoties manā 70. dzimšanas dienas ballītē "Hanzas Peronā". Vēl vienai manai draudzenei - Kristīnei Opolais - labi garšo manis gatavotais Fēru salu lasis. Pēdējo reizi pēc uzstāšanās Latvijas Nacionālajā operā "Vincentā" rīkoju svinīgās vakariņas viņai un Andrejam Žagaram. Kādu laiku esmu sekojis Andrim Nelsonam viņa koncerturnejās. Neaizmirstams koncerts bija Essenē 2016. gadā, kur Andris diriģēja Bostonas simfonisko orķestri ar Kristīni Opolais kā solisti. Pēc koncerta viņu ģērbtuvē baudījām steiku un šokolādes kūku.  Eltonu Džonu atceros kā melnā kaviāra baudītāju pie galda, kas bagātīgi rotāts ar baltiem ziediem.  Depeche Mode Rīgā uzstājās trīs reizes. Viņu prasība bija - "Mārtiņš un kaviārs ar olām un bliņām". Un  noteikti kartupeļi cepti zoss taukos... Džo Kokers "Vincentā" bijis divas reizes, un abās obligāts bija steiks, tomāti un šokolāde. Pārsteidzu viņu ar Amedei šokolādes Nemesi. Pie mums "Vincentā" to vēl joprojām var baudīt katru dienu. Savu pirmo disku "Vincentā" prezentēja "Prāta vētra". Problēma bija sarūmēt 150 meitenes... Puiši ar savām  ģimenēm un es ar savu komandu vienu gadu "Vincentā" svinējām Ziemassvētkus. Atceros Renāra dzimšanas dienu 1. septembrī Skonto stadionā. Uznesu uz skatuves izcilu torti... Pēc tam visi dziedājām un dejojām. Pēc tam intervījā Renārs stāstīja, ka Vairas Vīķes-Freibergas un mans apsveikums bijis kā ķirsītis dzimšanas dienas svinībām...      

durée : 00:29:17 - Vilde Frang, violoniste (5/5) - Née le 19 août 1986 en Norvège, Vilde Frang est remarquée à l'âge de douze ans par le chef d'orchestre Mariss Jansons et fait ses débuts avec l'Orchestre philharmonique d'Oslo. Plébiscitée par les grandes scènes internationales, la violoniste nous accompagne toute cette semaine dans En Pistes.

durée : 00:29:09 - Vilde Frang, violoniste (4/5) - Née le 19 août 1986 en Norvège, Vilde Frang est remarquée à l'âge de douze ans par le chef d'orchestre Mariss Jansons et fait ses débuts avec l'Orchestre philharmonique d'Oslo. Plébiscitée par les grandes scènes internationales, la violoniste nous accompagne toute cette semaine dans En Pistes.

durée : 00:26:57 - Vilde Frang, violoniste (3/5) - Née le 19 août 1986 en Norvège, Vilde Frang est remarquée à l'âge de douze ans par le chef d'orchestre Mariss Jansons et fait ses débuts avec l'Orchestre philharmonique d'Oslo. Plébiscitée par les grandes scènes internationales, la violoniste nous accompagne toute cette semaine dans En Pistes.

durée : 00:29:26 - Vilde Frang, violoniste (2/5) - Née le 19 août 1986 en Norvège, Vilde Frang est remarquée à l'âge de douze ans par le chef d'orchestre Mariss Jansons et fait ses débuts avec l'Orchestre philharmonique d'Oslo. Plébiscitée par les grandes scènes internationales, la violoniste nous accompagne toute cette semaine dans En Pistes.

durée : 00:26:28 - Vilde Frang, violoniste (1/5) - Née le 19 août 1986 en Norvège, Vilde Frang est remarquée à l'âge de douze ans par le chef d'orchestre Mariss Jansons et fait ses débuts avec l'Orchestre philharmonique d'Oslo. Plébiscitée par les grandes scènes internationales, la violoniste nous accompagne toute cette semaine dans En Pistes.

Synopsis On today’s date in 1825, the Italian composer Antonio Salieri breathed his last in Vienna. Gossip circulated that in his final dementia, Salieri blabbed something about poisoning Mozart. Whether he meant it figuratively or literally, or even said anything of the sort, didn’t seem to matter and the gossip became a Romantic legend. Modern food detectives suggested that if Mozart WAS poisoned, an undercooked pork chop might be to blame… In one of his last letters to his wife, Mozart mentions his anticipation of feasting on a fat chop his cook had secured for his dinner! Twenty-five years after Salieri’s death, on today’s date in 1850, the Austro-Hungarian conductor Anton Seidl was born in Budapest. Seidl became a famous conductor of both the Metropolitan Opera and New York Philharmonic. It was Seidl who conducted the premiere of Dvorak’s “New World” Symphony. In 1898, at the age of just 47, Seidl died suddenly, apparently from ptomaine poisoning. Perhaps it was the shad roe he ate at home, or that sausage from Fleischmann’s restaurant? An autopsy revealed serious gallstone and liver ailments, so maybe Seidl’s last meal, whatever it might have been, was as innocent of blame as poor old Salieri. Music Played in Today's Program Wolfgang Mozart (1756 – 1791) Symphony No. 25 St. Martin's Academy; Sir Neville Marriner, cond. Fantasy 104/105 Antonin Dvořák (1841 – 1904) Symphony No. 9 (From the New World) Vienna Philharmonic; Rafael Kubelik, cond. Decca 466 994 Antonio Salieri (1750 – 1825) "La Folia" Variations London Mozart Players; Matthias Bamert, cond. Chandos 9877 On This Day Births 1833 - German composer Johannes Brahms, in Hamburg; 1840 - Russian composer Pyotr Ilyitch Tchaikovsky, in Votkinsk, district of Viatka (Julian date: April 25); 1850 - Hungarian conductor Anton Seidl, in Budapest; He was Wagner assistant at the first Bayreuth Festival performances of the "Ring" operas in 1876-79, was engaged to conduct the German repertory at the Metropolitan Opera in 1885, and in 1891 as the permanent conductor of the New York Philharmonic; He conducted the American premieres of Wagner's "Tristan und Isolde" in 1886 and the world premiere of Dvorák's "New World" Symphony in 1893; He died of ptomaine poisoning in 1898; Deaths 1793 - Italian composer and violinist Pietro Nardini, age 71, in Florence; 1818 - Bohemian composer Leopold (Jan Antonín, Ioannes Antonius)Kozeluch (Kotzeluch, Koželuh), age 70, in Vienna; 1825 - Italian composer Antonio Salieri, age 74, in Vienna; Premieres 1824 - Beethoven: Symphony No. 9 ("Choral") at the Kärntnertor Theater in Vienna, with the deaf composer on stage beating time, but with the performers instructed to follow the cues of Beethoven's assistant conductor, Michael Umlauf; 1888 - Lalo: "Le Roi d'Ys" (The King of Ys) at the Opéra Comique, in Paris; 1926 - Milhaud: opera "Les malheurs d'Orphée" (The Sorrows of Orpheus), in Brussels at the Théatre de la Monnaie; 1944 - Copland: "Our Town" Film Music Suite (revised version), by the Boston Pops conducted by Leonard Bernstein; An earlier version of this suite aired on CBS Radio on June 9, 1940, with the Columbia Broadcasting Symphony conducted by Howard Barlow; 1947 - Virgil Thomson: opera "The Mother of Us All," at Columbia University in New York City; 1985 - David Ward-Steinman: "Chroma" Concerto for multiple keyboards, percussion, and chamber orchestra, in Scottsdale, Ariz., by the Noveau West Chamber Orchestra conducted by Terry Williams, with the composer and Amy-Smith-Davie as keyboard soloists; 1988 - Stockhausen: opera "Montag von Licht" (Monday from Light), in Milan at the Teatro alla Scala; 1988 - Michael Torke: ballet "Black and White," at the New York State Theater, with the NY City Ballet Orchestra, David Alan Miller conducting; 1993 - Harrison Birtwistle: "Five Distances for Five Instruments," in London at the Purcell Room, by the Ensemble InterContemporain; 1998 - Joan Tower: "Tambor," by the Pittsburgh Symphony, Mariss Jansons conducting; 1999 - Robert X. Rodriguez: "Bachanale: Concertino for Orchestra," by the San Antonio Symphony, Wilkins conducting; Others 1747 - J.S. Bach (age 62) visits King Frederick II of Prussia at his court in Potsdam on May 7-8; Bach improvises on a theme submitted by the King, performing on the King's forte-piano; In September of 1747 Bach publishes a chamber work based on the royal theme entitled "Musical Offering." 1937 - The RKO film "Shall We Dance?" is released, with a filmscore by George Gershwin; This film includes the classic Gershwin songs "Beginner's Luck," "Let's Call the Whole Thing Off," "They Can't Take That Away from Me" and an instrumental interlude "Walking the Dog" (released as a solo piano piece under the title "Promenade"). Links and Resources A BBC story on "Rehabilitating Salieri" On Anton Seidl On the Seidl papers at Columbia University

Synopsis On today’s date in 1825, the Italian composer Antonio Salieri breathed his last in Vienna. Gossip circulated that in his final dementia, Salieri blabbed something about poisoning Mozart. Whether he meant it figuratively or literally, or even said anything of the sort, didn’t seem to matter and the gossip became a Romantic legend. Modern food detectives suggested that if Mozart WAS poisoned, an undercooked pork chop might be to blame… In one of his last letters to his wife, Mozart mentions his anticipation of feasting on a fat chop his cook had secured for his dinner! Twenty-five years after Salieri’s death, on today’s date in 1850, the Austro-Hungarian conductor Anton Seidl was born in Budapest. Seidl became a famous conductor of both the Metropolitan Opera and New York Philharmonic. It was Seidl who conducted the premiere of Dvorak’s “New World” Symphony. In 1898, at the age of just 47, Seidl died suddenly, apparently from ptomaine poisoning. Perhaps it was the shad roe he ate at home, or that sausage from Fleischmann’s restaurant? An autopsy revealed serious gallstone and liver ailments, so maybe Seidl’s last meal, whatever it might have been, was as innocent of blame as poor old Salieri. Music Played in Today's Program Wolfgang Mozart (1756 – 1791) Symphony No. 25 St. Martin's Academy; Sir Neville Marriner, cond. Fantasy 104/105 Antonin Dvořák (1841 – 1904) Symphony No. 9 (From the New World) Vienna Philharmonic; Rafael Kubelik, cond. Decca 466 994 Antonio Salieri (1750 – 1825) "La Folia" Variations London Mozart Players; Matthias Bamert, cond. Chandos 9877 On This Day Births 1833 - German composer Johannes Brahms, in Hamburg; 1840 - Russian composer Pyotr Ilyitch Tchaikovsky, in Votkinsk, district of Viatka (Julian date: April 25); 1850 - Hungarian conductor Anton Seidl, in Budapest; He was Wagner assistant at the first Bayreuth Festival performances of the "Ring" operas in 1876-79, was engaged to conduct the German repertory at the Metropolitan Opera in 1885, and in 1891 as the permanent conductor of the New York Philharmonic; He conducted the American premieres of Wagner's "Tristan und Isolde" in 1886 and the world premiere of Dvorák's "New World" Symphony in 1893; He died of ptomaine poisoning in 1898; Deaths 1793 - Italian composer and violinist Pietro Nardini, age 71, in Florence; 1818 - Bohemian composer Leopold (Jan Antonín, Ioannes Antonius)Kozeluch (Kotzeluch, Koželuh), age 70, in Vienna; 1825 - Italian composer Antonio Salieri, age 74, in Vienna; Premieres 1824 - Beethoven: Symphony No. 9 ("Choral") at the Kärntnertor Theater in Vienna, with the deaf composer on stage beating time, but with the performers instructed to follow the cues of Beethoven's assistant conductor, Michael Umlauf; 1888 - Lalo: "Le Roi d'Ys" (The King of Ys) at the Opéra Comique, in Paris; 1926 - Milhaud: opera "Les malheurs d'Orphée" (The Sorrows of Orpheus), in Brussels at the Théatre de la Monnaie; 1944 - Copland: "Our Town" Film Music Suite (revised version), by the Boston Pops conducted by Leonard Bernstein; An earlier version of this suite aired on CBS Radio on June 9, 1940, with the Columbia Broadcasting Symphony conducted by Howard Barlow; 1947 - Virgil Thomson: opera "The Mother of Us All," at Columbia University in New York City; 1985 - David Ward-Steinman: "Chroma" Concerto for multiple keyboards, percussion, and chamber orchestra, in Scottsdale, Ariz., by the Noveau West Chamber Orchestra conducted by Terry Williams, with the composer and Amy-Smith-Davie as keyboard soloists; 1988 - Stockhausen: opera "Montag von Licht" (Monday from Light), in Milan at the Teatro alla Scala; 1988 - Michael Torke: ballet "Black and White," at the New York State Theater, with the NY City Ballet Orchestra, David Alan Miller conducting; 1993 - Harrison Birtwistle: "Five Distances for Five Instruments," in London at the Purcell Room, by the Ensemble InterContemporain; 1998 - Joan Tower: "Tambor," by the Pittsburgh Symphony, Mariss Jansons conducting; 1999 - Robert X. Rodriguez: "Bachanale: Concertino for Orchestra," by the San Antonio Symphony, Wilkins conducting; Others 1747 - J.S. Bach (age 62) visits King Frederick II of Prussia at his court in Potsdam on May 7-8; Bach improvises on a theme submitted by the King, performing on the King's forte-piano; In September of 1747 Bach publishes a chamber work based on the royal theme entitled "Musical Offering." 1937 - The RKO film "Shall We Dance?" is released, with a filmscore by George Gershwin; This film includes the classic Gershwin songs "Beginner's Luck," "Let's Call the Whole Thing Off," "They Can't Take That Away from Me" and an instrumental interlude "Walking the Dog" (released as a solo piano piece under the title "Promenade"). Links and Resources A BBC story on "Rehabilitating Salieri" On Anton Seidl On the Seidl papers at Columbia University

Synopsis “How do you get to Carnegie Hall?” Well, the usual reply is, “By practicing!” But back in 1891, Peter Tchaikovsky would have probably answered, “by ship”–since he had, in fact, sailed from Europe to conduct several of his pieces at the hall’s gala opening concerts. The first concert in Carnegie Hall, or as they called it back then, “The Music Hall,” occurred on today’s date in 1891, and included a performance of Tchaikovsky’s “Coronation March,” conducted by the composer. The review in the New York Herald offered these comments: “Tchaikovsky’s March... is simple, strong and sober, but not surprisingly original. The leading theme recalls the Hallelujah chorus, and the treatment of the first part is Handelian… Of the deep passion, the complexity and poetry which mark other works of Tchaikovsky, there is no sign in this march.” Oh well, in the days that followed, Tchaikovsky would conduct other works of “complexity and poetry,” including his First Piano Concerto. Tchaikovsky kept a travel diary and recorded these impressions of New York: "It is a huge city, not beautiful, but very original. In Chicago, I’m told, they have gone even further–one of the houses there has 21 floors!" Music Played in Today's Program Peter Tchaikovsky (1840 – 1893) Coronation March Boston Pops; John Williams, cond. Philips 420 804 Orchestral Suite No. 3, Op. 55 New Philharmonia; Antal Dorati, cond. Philips 464 747 On This Day Births 1819 - Polish composer Stanislaw Moniuszko, in Ubiel, province of Minsk, Russia; 1869 - German composer and conductor Hans Pfitzner, in Moscow, of German parents (Julian date: April 23); Premieres 1726 - Handel: opera "Alessandro," in London at King's Theater in the Haymarket, with the Italian soprano Faustina Bordini marking her London debut in a work by Handel (Gregorian date: May 16); 1917 - Debussy: Violin Sonata, in Paris, by violinist Gaston Poulet with the composer at the piano (his last public appearance); 1926 - Copland: Two Pieces ("Nocturne" and "Ukelele Serenade"), in Paris by violinist Samuel Dushkin with the composer at the piano; 1930 - Milhaud: opera "Christophe Colomb" (Christopher Columbus),at the Berlin State Opera; 1941 - Britten: "Paul Bunyan" (text by W.H. Auden) at Columbia University in New York City; 1945 - Barber: "I Hear an Army," "Monks and Raisins," "Nocturne,""Sure On This Shining Night," during a CBS radio broadcast, with mezzo Jennie Tourel and the CBS Symphony, composer conducting; 1946 - Douglas Moore: Symphony in A, in Paris; 1977 - George Crumb: oratorio "Star Child," by the New York Philharmonic, Pierre Boulez conducting; 1982 - Ellen Taaffe Zwilich: Symphony No. 1, at Alice Tully Hall in New York, by the American Composers Orchestra, Gunther Schuller conducting; This work won the Pulitzer Prize in 1983; 1987 - John Williams: "A Hymn to New England," by the Boston Pops conducted by the composer (recorded by the Pops and Keith Lockhardt ); 1991 - Joan Tower: "Fanfare for the Uncommon Woman" No. 3(dedicated to Frances Richard of ASCAP), at Carnegie Hall, by members of the Empire Brass and the New York Philharmonic, Zubin Mehta conducting; 2000 - Christopher Rouse: "Rapture" for orchestra, by the Pittsburgh Symphony, Mariss Jansons conducting; 2001 - Christopher Rouse: "Rapturedux" cello ensemble, by the Royal Northern College of Music Cellists in Manchester (U.K.); Others 1891 - Carnegie Hall opens in New York City with a concert that included Beethoven's "Leonore" Overture No. 3 conducted by Walter Damrosch, and Tchaikovsky's "Marche Solennelle" (Coronation March) conducted by its composer. Links and Resources On Carnegie Hall On Tchaikovsky

I am so excited today to be speaking with the globetrotting mezzo-soprano Michelle DeYoung. One of the most exciting artists of her generation, Michelle appears frequently with the world’s top orchestras, including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, San Francisco Symphony, Los Angeles Philharmonic, Vienna Philharmonic, BBC Symphony Orchestra, Royal Philharmonic Orchestra, Sao Paulo Symphony, and the Concertgebouw orchestra.  She has also appeared in the top music festivals around the world including Ravinia, Tanglewood, Aspen, Salzburg, and Lucerne. She’s worked with the most legendary conductors in classical music including Daniel Barenboim, Pierre Boulez, Sir Colin Davis, Gustavo Dudamel, Bernard Haitink, Seiji Ozawa, Esa-Pekka Salonen, Mariss Jansons, and many more. Michelle has performed in the worlds great houses in works across the operatic spectrum from Wagner and Strauss to Bartok and Berlioz, and also regularly presents recitals across the world. Her recordings of Mahler’s 3rd symphony and Kindertotenlieder with the San Francisco Symphony and Berlioz’s Trojans with the London Symphony both received the Grammy for Best Classical Album and Best Opera Recordings. While not touring the globe and during the pandemic, Michelle can be found in Broomfield, CO, and I’m very honored to have her on the show today! Thank you for joining us on One Symphony and thanks to Michelle DeYoung for sharing her amazing musical gifts and insights. Thank you to all the incredible performers and labels that made this episode possible. All vocal performances you heard feature Michelle DeYoung.  Gustav Mahler’s Symphony no. 2, the Resurrection, was performed by the Vienna Philharmonic conducted by Pierre Boulez on Deutsche Grammophon. Esa-Pekka Salonen led the Philharmonia Orchestra in Bela Bartok’s Duke Bluebeard’s Castle on Signum Records. Der Abschied from Mahler’s Das Lied von der Erde was played by the Minnesota Orchestra conducted by Eiji Oue on Reference Recordings. You can experience Michelle’s work and upcoming concerts online at MichelleDeYoung.com. You can always find more info at OneSymphony.org including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

Synopsis “How do you get to Carnegie Hall?” Well, the usual reply is, “By practicing!” But back in 1891, Peter Tchaikovsky would have probably answered, “by ship”–since he had, in fact, sailed from Europe to conduct several of his pieces at the hall’s gala opening concerts. The first concert in Carnegie Hall, or as they called it back then, “The Music Hall,” occurred on today’s date in 1891, and included a performance of Tchaikovsky’s “Coronation March,” conducted by the composer. The review in the New York Herald offered these comments: “Tchaikovsky’s March... is simple, strong and sober, but not surprisingly original. The leading theme recalls the Hallelujah chorus, and the treatment of the first part is Handelian… Of the deep passion, the complexity and poetry which mark other works of Tchaikovsky, there is no sign in this march.” Oh well, in the days that followed, Tchaikovsky would conduct other works of “complexity and poetry,” including his First Piano Concerto. Tchaikovsky kept a travel diary and recorded these impressions of New York: "It is a huge city, not beautiful, but very original. In Chicago, I’m told, they have gone even further–one of the houses there has 21 floors!" Music Played in Today's Program Peter Tchaikovsky (1840 – 1893) Coronation March Boston Pops; John Williams, cond. Philips 420 804 Orchestral Suite No. 3, Op. 55 New Philharmonia; Antal Dorati, cond. Philips 464 747 On This Day Births 1819 - Polish composer Stanislaw Moniuszko, in Ubiel, province of Minsk, Russia; 1869 - German composer and conductor Hans Pfitzner, in Moscow, of German parents (Julian date: April 23); Premieres 1726 - Handel: opera "Alessandro," in London at King's Theater in the Haymarket, with the Italian soprano Faustina Bordini marking her London debut in a work by Handel (Gregorian date: May 16); 1917 - Debussy: Violin Sonata, in Paris, by violinist Gaston Poulet with the composer at the piano (his last public appearance); 1926 - Copland: Two Pieces ("Nocturne" and "Ukelele Serenade"), in Paris by violinist Samuel Dushkin with the composer at the piano; 1930 - Milhaud: opera "Christophe Colomb" (Christopher Columbus),at the Berlin State Opera; 1941 - Britten: "Paul Bunyan" (text by W.H. Auden) at Columbia University in New York City; 1945 - Barber: "I Hear an Army," "Monks and Raisins," "Nocturne,""Sure On This Shining Night," during a CBS radio broadcast, with mezzo Jennie Tourel and the CBS Symphony, composer conducting; 1946 - Douglas Moore: Symphony in A, in Paris; 1977 - George Crumb: oratorio "Star Child," by the New York Philharmonic, Pierre Boulez conducting; 1982 - Ellen Taaffe Zwilich: Symphony No. 1, at Alice Tully Hall in New York, by the American Composers Orchestra, Gunther Schuller conducting; This work won the Pulitzer Prize in 1983; 1987 - John Williams: "A Hymn to New England," by the Boston Pops conducted by the composer (recorded by the Pops and Keith Lockhardt ); 1991 - Joan Tower: "Fanfare for the Uncommon Woman" No. 3(dedicated to Frances Richard of ASCAP), at Carnegie Hall, by members of the Empire Brass and the New York Philharmonic, Zubin Mehta conducting; 2000 - Christopher Rouse: "Rapture" for orchestra, by the Pittsburgh Symphony, Mariss Jansons conducting; 2001 - Christopher Rouse: "Rapturedux" cello ensemble, by the Royal Northern College of Music Cellists in Manchester (U.K.); Others 1891 - Carnegie Hall opens in New York City with a concert that included Beethoven's "Leonore" Overture No. 3 conducted by Walter Damrosch, and Tchaikovsky's "Marche Solennelle" (Coronation March) conducted by its composer. Links and Resources On Carnegie Hall On Tchaikovsky

Översättning: Vasilis Papageorgiou, Peter Luthersson Uppläsning: Peter Andersson DIKTSAMLING: Dagbok från en osynlig april (Ellerströms 1990) MUSIK Dmitrij Sjostakovitj: Vals ur Svit nr 1 för jazzorkester EXEKUTÖR Philadelphiaorkestern, Mariss Jansons, dirigent

Synopsis Few of us today really know–or care–very much about the War of Austrian Succession, a conflict that troubled Europe in the 18th century. For music lovers, it’s enough to know that to celebrate the end of that war, George Frideric Handel was commissioned to compose music for a fireworks concert in London’s Green Park, an event that took place on today’s date in the year 1749. Back then there were no such things as microphones and loudspeakers, so Handel’s score called for a huge military band of 24 oboes, 9 horns, 9 trumpets, 3 sets of timpani, 12 bassoons, 2 contrabassoons—and strings. When King George II was told about it, he balked a little at the expense: “Well, at least I hope there won’t be any fiddles,” he commented, and so Handel was informed the strings were definitely off. A public rehearsal was held at the Vauxhall Gardens and a London newspaper reported that 100 musicians performed for an audience of more than 12,000, causing a 3-hour traffic jam of carriages and pedestrians on London Bridge. The official event with fireworks went off with a bang–as well as a few fires breaking out. Music Played in Today's Program George Frederic Handel (1685 - 1759) — Music for the Royal Fireworks (Academy of St Martin in the Fields; Neville Marriner, cond.) Argo 414596 On This Day Deaths 1951 - American composer John Alden Carpenter, age 75, in Chicago; 1991 - French-born American composer and arranger Leo (Noël) Arnaud, age 86, in Los Angeles; His tune "Bugler's Dream" (written for a Felix Slatkin LP) became used as a familiar theme for the Olympic Games; Premieres 1738 - Handel: opera "Serse," (Julian date: April 15); 1899 - first version of Sibelius: Symphony No. 1, by the Helsinki Philharmonic, with the composer conducting; A revised, final version of this symphony was performed by the same orchestra on tour in Stockholm on July 4, 1900, conducted by Robert Kajanus; 1915 - Hindemith: String Quartet No. 1 in C, Op. 2, at Dr. Hoch's Conservatory in Frankfurt; 1959 - John Cage: "Fontana Mix," in New York City; 1965 - Ives: Symphony No. 4, at Carnegie Hall by the American Symphony Orchestra, with Leopold Stokowski (assisted by David Katz and José Serebrier); 1970 - Broadway premiere of Sondheim: musical 'Company"; A trial-run in Boston preceded the Broadway premiere; 1990 - John Harbison: Concerto for Double Brass Choir and Orchestra, in Los Angeles, with the Los Angeles Philharmonic, André Previn conducting; 2002 - Michael Hersch: Symphony No. 2, by the Pittsburgh Symphony, Mariss Jansons conducting; Others 1891 - Tchaikovsky arrives in New York to take part in the May 5, 1891, opening concert at New York's newly-constructed "Music Hall"(later known as "Carnegie Hall”). 1926 - American premiere of Monteverdi's 1642 opera "L'Incoronazione di Poppea" (The Coronation of Poppea), at Smith College in Northampton, Mass.

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