Podcast appearances and mentions of Matthias Goerne

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.

durée : 01:28:25 - Relax ! du vendredi 20 mars 2026 - par : Lionel Esparza - Le baryton Matthias Goerne et le pianiste Daniil Trifonov s'associent pour trois concerts exceptionnels autour de Franz Schubert à la Philharmonie de Paris la semaine prochaine. Portrait croisé de deux artistes au sommet de leur art, dont la complicité s'est forgée depuis plus de dix ans. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:25 - Relax ! du vendredi 20 mars 2026 - par : Lionel Esparza - Le baryton Matthias Goerne et le pianiste Daniil Trifonov s'associent pour trois concerts exceptionnels autour de Franz Schubert à la Philharmonie de Paris la semaine prochaine. Portrait croisé de deux artistes au sommet de leur art, dont la complicité s'est forgée depuis plus de dix ans. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Im Künstlerzimmer des Musikvereins hat Wilhelm Sinkovicz diesmal den Bariton Matthias Goerne interviewt. Dazwischen hören Sie Musikbeispiele.

C'est avec Thaïs de Jules Massenet que débutera la nouvelle saison de l'Opéra national du Capitole de Toulouse. Christophe Ghristi nous éclairera ce soir sur ce spectacle et sur les autres moments forts de la riche saison toulousaine. Parmi les plus attendus : un nouveau Don Giovanni de Mozart confié à Agnès Jaoui et dirigé par Tarmo Peltokiski, les débuts de metteur en scène de Matthias Goerne dans Salomé de Strauss ou encore la création française de La Passagère de Weinberg. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Regelmäßig künstlerische Spitzenleistungen im Konzertsaal, im Radio und im Internet abliefern zu müssen, das ist für die Mitglieder der NDR Radiophilharmonie Pflicht und Kür zugleich. Und dann wird die Arbeit auch von anderen Fragen flankiert: Wie positionieren wir uns auf dem Markt? Mit welchen Angeboten können wir das Publikum von morgen locken? Wie finden wir den besten Nachwuchs für unser Orchester? Nachdenkliche, bilanzierende Fragen, die gestellt werden müssen, wenn es ein rundes Jubiläum gibt: Die NDR Radiophilharmonie feiert in diesem Jahr 75-jähriges Bestehen. Die gesamte Saison 2025/26 steht deshalb unter einem festlichen Zeichen: mit drei eigens dafür komponierten Auftragswerken, dem ersten Artist in Residence des Orchesters, Bariton Matthias Goerne, und einem vom Chefdirigenten Stanislav Kochanovsky konzipierten Schumann-Tschaikowsky-Festival. Dazu äußern sich der Manager der NDR Radiophilharmonie Matthias Ilkenhans und Vertreter dreier Orchester-Gremien: Susanne Geuer spielt Klarinette, ist Mitglied des Medienvorstandes; Sebastian Maas, Cello, vertritt den künstlerischen Beirat und die Joseph Joachim Akademie zur Nachwuchsförderung; last but not least die Geigerin Catherine Myerscough, die sich um den Freundeskreis kümmert. Mit Christiane Irrgang sprechen sie bei NDR Kultur à la carte auch über das, was hinter den Kulissen passiert.

durée : 01:28:29 - Relax ! du vendredi 06 juin 2025 - par : Lionel Esparza - Le temps passe si vite que l'été approche, et que les livraisons de disques ont pris du retard. Pourtant, entre Eva Zaicik, Sophie Junker, François Lazarevitch et Matthias Goerne, les sorties ces trois derniers mois valent qu'on s'y attarde... - réalisé par : Antoine Courtin

durée : 01:28:29 - Relax ! du vendredi 06 juin 2025 - par : Lionel Esparza - Le temps passe si vite que l'été approche, et que les livraisons de disques ont pris du retard. Pourtant, entre Eva Zaicik, Sophie Junker, François Lazarevitch et Matthias Goerne, les sorties ces trois derniers mois valent qu'on s'y attarde... - réalisé par : Antoine Courtin

durée : 00:14:28 - Disques de légende du lundi 21 avril 2025 - Christian Gerhaher est de la même génération (à 2 années près) que Matthias Goerne. Moins célèbre que lui, il a en réalité sans doute plus essaimé chez les chanteurs des jeunes générations…

durée : 00:14:28 - Disques de légende du lundi 21 avril 2025 - Christian Gerhaher est de la même génération (à 2 années près) que Matthias Goerne. Moins célèbre que lui, il a en réalité sans doute plus essaimé chez les chanteurs des jeunes générations…

Rund ein Jahr vor seinem Tod schreibt Schostakowitsch eine Suite nach Gedichten von Michelangelo, deren Inhalt ständig von Trauer, Verlust und Tod erzählt. Ein zutiefst eindringliches Werk, das jetzt der Bariton Matthias Goerne an der Seite des Orchestre Philharmonique de Radio France aufgenommen hat.

durée : 00:06:35 - Le Bach du matin du vendredi 29 novembre 2024 - Notre Bach du matin est un Bach en duo. Un duo entre la voix d'un baryton et un hautbois : le deuxième air de la Cantate BWV 56, Ich will den Kreuztab gerne tragen.

durée : 00:06:35 - Le Bach du matin du vendredi 29 novembre 2024 - Notre Bach du matin est un Bach en duo. Un duo entre la voix d'un baryton et un hautbois : le deuxième air de la Cantate BWV 56, Ich will den Kreuztab gerne tragen.

La Sociedad de Conciertos de Alicante ha programado para la temporada 2024-2025 18 conciertos que empezarán el lunes 7 de octubre con el gran barítono Matthias Goerne y que cerrará el 26 de mayo de 2026 la actuación de la pianista Judith Jaúregui.Entre ambas fechas, una programación excepcional en la que destaca la presencia de conjuntos de cámara como el Trío Wanderer; el Cuarteto Casals; el Quinteto Virtuosos de la Filarmónica de Berlín, como violinista solista actuará Kirill Troussov; Los Solistas del Covent Garden; el Trío Haroutunian-Hakhnazaryan-Melikyan y el Cuarteto Hagen. Dos grupos vocales: Concerto Italiano y el concierto extraordinario de Navidad con música sacra y villancicos populares con la Orquesta y Coro de la Comunidad de Madrid (ORCAM).Como pianistas, además de Jaúregui, visitarán Alicante: Enrico Pace, Yulianna Avdeeva, Grigory Sokolov, Yefim Bronfman, Martín García García y Francesco Piemontesi. También actuará el violinista Renaud Capuçon acompañado por el pianista Guillaume Bellom. Como recitales de canto se sumará a Matthias Goerne el tenor Christoph Prégardien, acompañado al piano por Michael Gees.El presidente de la Sociedad, Alfonso Ramón Borja, ha charlado con Carlos Arcaya en Hoy por Hoy Alicante.

Joris en Guido gaan het hebben over liedjes. Pardon, het Lied, met hoofdletter en al. Want zo plechtig gaat het toe in de liedkunst, de edele versmelting van muziek en poëzij. Startpunt: 1814, Schubert natuurlijk. Waarna de heren via Frankrijk, Engeland en Nederland uitkomen op een Tiroler alpenwei. En daar gebeuren me toch een rare dingen! Speellijst * Franz Schubert, Gretchen am Spinnrade, Benjamin Appl (bariton), James Baillieu (piano) * Johannes Brahms, Geistliches Wiegenlied, uit: Zwei Gesänge, Matthias Goerne (bariton), Antoine Tamestit (altviool), Cédric Tiberghien (piano) * Richard Strauss, Frühling, uit: Vier letzte Lieder, Elisabeth Schwarzkopf (sopraan), Radio-Symphonie-Orchester Berlin o.l.v. George Szell * Reynaldo Hahn, À Chloris, Véronique Gens (sopraan), Susan Manoff (piano) * Benjamin Britten, Elegy, uit: Serenade, Andrew Staples (tenor), Christopher Parkes (hoorn), Zweeds Radiosymfonieorkest o.l.v. Daniel Harding * Theo Loevendie, Six Turkish Folk Poems, no. IV, Rosemary Hardy (sopraan), Nieuw Ensemble o.l.v. Ed Spanjaard * Franz Schubert, Heidenröslein, Florian Boesch (bariton), Franui

durée : 01:00:10 - René Martin, directeur artistique de festivals de musique classique - par : Priscille Lafitte - Les quatuors de Bartók représentent le "big bang" de l'univers musical de René Martin, qui découvre son métier aux côtés du pianiste Sviatoslav Richter. Le créateur du Festival de La Roque d'Anthéron et de la Folle Journée raconte ses amitiés avec Michel Corboz, Radu Lupu ou encore Matthias Goerne. - réalisé par : Claire Lagarde

Espacio dedicado a los mejores intérpretes del arte vocal lírico con la producción de Carolina Valdés y locución de Sergio Morales.  Lunes a partir de las 12:00 hrs. en 95.1 FM y www.radioudec.cl

Auf der Opernbühne ist die Sopranistin Asmik Grigorian ein Star. Jetzt ist sie neben Matthias Goerne als hochexpressive Protagonistin in Schostakowitschs beklemmendes 14. Symphonie zu erleben. Chefdirigent Mikko Franck holt aus seinem kleinbesetzten Orchestre Philharmonique de Radio France ein Maximum an Klangfarben heraus.

Muhabbir ekibinden Andaç Üzel, 51. İstanbul Müzik Festivalini yakından takip ederek festivalin haritasını çıkarmayı sürdürüyor. 7 Haziran tarihinde Fransız Sarayında gerçekleşen Les Vents Français & Eric Le Sage konseriyle başlayan bu yeni bölümde, 9 Haziran tarihinde gerçekleşen Hollanda Kraliyet Concertgebow Oda Orkestrası & Matthias Goerne konserine de odaklanıyoruz.

"Schuberti empaatiavõime teeb temast ühe olulisema helilooja kogu inimkonna ajaloos," arvab Matthias Goerne. Tema 6. jaanuaril ilmunud album pakub uut lähenemisnurka tuttavaks saanud Lied´i kuninga lauludele.

Matthias Goerne, among the all-time great interpreters of Schubert's Lieder, marks a notable first with his latest album for Deutsche Grammophon. The German baritone departs from the familiar territory of the composer's songs with piano accompaniment to perform a program of pieces freshly arranged for voice and orchestra by his long-standing recital partner Alexander Schmalcz. Exploring this new terrain with Goerne are the musicians of The Deutsche Kammerphilharmonie Bremen.Track Listing:1 An Sylvia, D. 891 (Arr. Schmalcz for Baritone and Chamber Orchestra)2:572 Schäfers Klagelied, D. 121 (Arr. Schmalcz for Baritone and Chamber Orchestra)3:443 Ganymed, D. 544 (Arr. Schmalcz for Baritone and Chamber Orchestra)3:584 Fahrt zum Hades, D. 526 (Arr. Schmalcz for Baritone and Chamber Orchestra)4:205 Schatzgräbers Begehr, D. 761 (Arr. Schmalcz for Baritone and Chamber Orchestra)3:136 Der Tod und das Mädchen, D. 531 (Arr. Schmalcz for Baritone and Chamber Orchestra)1:497 Erlkönig, D. 328 (Arr. Schmalcz for Baritone and Chamber Orchestra)3:488 Wandrers Nachtlied, D. 224 (Arr. Schmalcz for Baritone and Chamber Orchestra)1:189 Grenzen der Menschheit, D. 716 (Arr. Schmalcz for Baritone and Chamber Orchestra)7:1410 Gesänge des Harfners, D. 478 No. 1, Wer sich der Einsamkeit ergibt 4:0111 Gesänge des Harfners, D. 478 No. 2, Wer nie sein Brot mit Tränen aß 4:45`12 Gesänge des Harfners, D. 478 No. 3, An die Türen will ich schleichen 2:1913 Das Heimweh, D. 851 (Arr. Schmalcz for Baritone and Chamber Orchestra)6:4714 Pilgerweise, D. 789 (Arr. Schmalcz for Baritone and Chamber Orchestra)5:3215 Abendstern, D. 806 (Arr. Schmalcz for Baritone and Chamber Orchestra)3:2716 Alinde, D. 904 (Arr. Schmalcz for Baritone and Chamber Orchestra)4:1517 Stimme der Liebe, D. 412 (Arr. Schmalcz for Baritone and Chamber Orchestra)1:3218 Des Fischers Liebesglück, D. 933 (Arr. Schmalcz for Baritone and Chamber Orchestra)7:3919 An die Entfernte, D. 765 (Arr. Schmalcz for Baritone and Chamber Orchestra)2:29Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Diese Aufnahme "Schubert revisited - Schubert erneut besucht" ist eine der schönsten Gaben für das heurige Schubert-Jahr. Franz Schubert, der vor 225 Jahren in Wien geboren, am Himmelpfortgrund. Mit seiner Musik pochte er schon zu Lebzeiten an die Ewigkeit. Freilich, es dauerte bis das alle begriffen haben. Matthias Goerne und Alexander Schmalcz vollbringen großes Schubert-Kino.

- Bardzo często zdarzają się rozpaczliwe próby, żeby któreś dzieło za wszelką cenę uwspółcześnić, efekty nieraz są żenujące. Mimo to uważam, że jeszcze gorsze jest wstawianie takiej muzyki w ramy przestarzałych konwencji teatru muzycznego - mówił niemiecki baryton Matthias Goerne, który przyjechał do Polski na koncert w Filharmonii Narodowej.

durée : 01:28:39 - Aurélien Bory, metteur en scène et scénographe - par : Priscille Lafitte - Le scénographe Aurélien Bory aime explorer les possibilités physiques de la scène, jouer avec la matière et la gravitation. Guitariste à ses heures, amoureux des voix de Matthias Goerne et Marianne Crebassa, ses maîtres à penser s'appellent JS Bach, Steve Reich, Bob Wilson et Romeo Castellucci… - réalisé par : Claire Lagarde

durée : 01:29:57 - En pistes ! du mardi 30 août 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme de ce mardi : du chant lyrique avec le dernier enregistrement de Matthias Goerne accompagné de Daniil Trifonov au piano mais aussi Bach par Reinhard Goebel ou encore Vierne interprété par Laurent Wagschal. En Pistes !

durée : 00:25:04 - Le Disque classique du jour du mardi 30 août 2022 - Cet album, paru le en juin dernier, retrouve deux artistes au sommet de leur art dans des œuvres qui exposent le cœur de la condition humaine.

Seine letzten beiden Lied-Aufnahmen bei der Deutschen Grammophon hat der Bariton Matthias Goerne mit dem kanadischen Pianisten Jan Lisiecki und dem Koreaner Seong-Jin Cho bestritten – auf seinem neuen Album „Lieder“ arbeitet Goerne zum ersten Mal mit dem russischen Klaviervirtuosen Daniil Trifonov zusammen.

durée : 01:57:39 - Relax ! du mardi 14 juin 2022 - par : Lionel Esparza - Aujourd'hui dans Relax, portrait du baryton Matthias Goerne à l'occasion de son concert demain soir à la Philharmonie de Paris. Et en disque de légende, nous écouterons les Concertos brandebourgeois de Bach par le chef Rinaldo Alessandrini. - réalisé par : Antoine Courtin

After his critically-acclaimed and award-winning lieder albums with pianists Jan Lisiecki and Seong-Jin Cho, baritone Matthias Goerne concludes his DG lieder trilogy with DG exclusive artist Daniil Trifonov. With this album, Goerne explores the art song from a metaphysical perspective, and in these visionary meditations by Brahms, Wolf, Berg, Schumann, and Shostakovich, Goerne and Trifonov's intense, intuitive partnership opens our ears to the awe-inspiring, yet consoling voice of the prophets. Purchase the music (without talk) at:Lieder (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Opera is een complexe muziekvorm. De emoties lopen vaak hoog op en een beetje voorstelling duurt algauw drie uur. Wil je het verhaal goed kunnen volgen, dan moet je je ook nog inlezen... Afhaken? Niet doen! Want goed uitgevoerd is het een betoverend genre. In deze aflevering hink-stap-springen Guido en Joris van het jaar 1600 naar nu, van Claudio Monteverdi naar George Benjamin. Onderweg geven ze handvatten om meer grip te krijgen op het fascinerende fenomeen opera. Muziekfragmenten: - Claudio Monteverdi, ‘Dormo ancora', uit Il ritorno d'Ulisse in patria. Christoph Prégardien, Concerto Vocale o.l.v. René Jacobs. - Jean-Philippe Rameau, ‘Forêts paisibles', uit Les Indes galantes. Sabine Devieilhe, Les Ambassadeurs o.l.v. Alexis Kossenko. - Wolfgang Amadeus Mozart, ‘Se di lauri il crine adorno', uit Mitridate, re di Ponto. Michael Spyres, Les Musiciens du Louvre o.l.v. Marc Minkowski. - Richard Wagner, ‘Des Augen leuchtendes Paar', uit Die Walküre. Matthias Goerne, Hong Kong Philharmonic Orchestra o.l.v. Jaap van Zweden. - Giacomo Puccini, ‘Un bel di vedremo, uit Madama Butterfly. Renata Tebaldi, Orchestra dell'Accademia di Santa Cecilia o.l.v. Tullio Serafin. - George Benjamin, ‘Agnes and the Boy', uit Written on Skin. Barbara Hannigan, Mahler Chamber Orchestra o.l.v. George Benjamin.

Continuamos explorando el universo schubertiano conectado con la poética de Schiller. Escuchamos hoy lieder bastante más breves que el que abría nuestro primer programa de noviembre, Der Taucher. Emitimos en esta ocasión los siguientes: Gruppe aus de Tartarus (que no dio tiempo a radiar en aquella oportunidad) en las voces tan distintas de Hermann Prey y Hans Hotter; Der Jüngling am Bache, interpretado por Matthias Goerne; Die Götter Griechenlands, cantado por la gentil Elly Ameling, y, de nuevo en la voz de Prey: An der Frühling, Der Alpenjäger y Der Pilgrim. Escuchar audio

Der renommierte Bariton gastiert drei Tage lang mit Werken von Hanns Eisler in der Elbphilharmonie.

durée : 02:58:45 - Eté Classique Matin - Ce matin, retrouvez ces artistes immenses dans leurs répertoires fétiches : Bach, Brahms, Beethoven et Bartók. Mais aussi Yakov Kasman dans Schnittke ou Matthias Goerne dans Schubert.

La 29a edici

L'immense baryton allemand enregistre un disque consacré à Wagner, Pfitzner et Strauss avec le pianiste Seong-Jin Cho. Copyright Photo : Marie Staggat

L'immense baryton allemand enregistre un disque consacré à Wagner, Pfitzner et Strauss avec le pianiste Seong-Jin Cho. Copyright Photo : Marie Staggat

Le jeudi à 11h30, retrouvez désormais Camille De Rijck pour une Touche consacrée à l'opéra.

Le jeudi à 11h30, retrouvez désormais Camille De Rijck pour une Touche consacrée à l'opéra.

The NHL beclowns itself again and Dartmouth cracks down on cheaters while baritone Matthias Goerne sues an orchestra over a COVID-related cancellation. Former county prosecutor Jordan Rickards joins Dabi and Costello to discuss all this and more! 

durée : 01:58:12 - PAD 22 AVRIL - A retrouver ce matin : les quatuors avec piano de Mozart et Żeleński édités par l'Institut Frédéric Chopin, le nouvel album de lieder du baryton star Matthias Goerne enregistré aux côtés du pianiste Seong-Jin Cho, un extrait du Clavier Bien Tempéré par le consort de violes Phantasm...

durée : 00:18:48 - Disques de légende du mercredi 17 mars 2021 - Mise en lumière du deuxième enregistrement de la "Passion selon Saint-Matthieu" de J.S. Bach par Nikolaus Harnoncourt, réalisé en 2000 à la Jesuitenkirche de Vienne. Les voix de Matthias Goerne, Christoph Prégardien et Dietrich Henschel donnent naissance à une Passion fougueuse et théâtrale.

durée : 01:59:05 - Musique matin du mardi 23 février 2021 - par : Jean-Baptiste Urbain - Comme une invocation à la voix, l’altiste Antoine Tamestit dédie son nouveau disque à la Sonate Op120 de Brahms. Il est accompagné du pianiste Cédric Tiberghien mais aussi du baryton Matthias Goerne qui confie sa voix à la célèbre "Berceuse" ainsi qu'à deux Lieder en trio avec alto et piano, Op91. - réalisé par : Yassine Bouzar

durée : 01:58:38 - Relax ! du jeudi 14 janvier 2021 - par : Lionel Esparza - On dresse le portrait du grand Matthias Goerne, à l'occasion de son concert demain avec l'Orchestre philharmonique de Radio France et Mikko Franck. Et à 16h, notre disque de légende est la version du ballet "Le Tricorne" de Manuel de Falla, par son créateur, le chef d'orchestre Ernest Ansermet. - réalisé par : Antoine Courtin

durée : 01:58:46 - Portrait du chef d'orchestre George Szell - par : Lionel Esparza - Grâce à ses qualités musicales exceptionnelles et une intransigeance de tous les instants, George Szell parvient à hisser le nom de Cleveland dans le monde entier. Au programme également, Le Voyage d'hiver de Schubert dirigé par Matthias Goerne, et la Symphonie n°7 de Sibelius par Karajan. - réalisé par : Antoine Courtin

durée : 00:19:42 - La Discothèque idéale de France Musique : Le Voyage d'Hiver de Franz Schubert, par Matthias Goerne - Apothéose de la brève carrière de Franz Schubert, Le Voyage d'hiver, cycle de 24 lieder pour voix et piano, est traversé par les thèmes du voyage et de la solitude. Nelson Goerner et Christoph Eschenbach donnent vie à ce récit sombre et intime, ultime témoignage du compositeur autrichien.

Matthias Goerne hat mit seinen Interpretationen der Lieder von Schubert und Schumann Maßstäbe gesetzt. Jetzt hat er sich Beethovens Liedern gewidmet.

Uno de los bastiones, junto con Bayreuth y el Met, de la carrera de Lauritz Melchior fue el Covent Garden de Londres. Rebuscamos en el túnel del tiempo y nos acercamos a sendos momentos históricos vividos en dicho coliseo. El primero en 1938, durante una representación de El crepúsculo de los dioses dirigida nada menos que por Furtwängler, Escuchamos la cuarta escena del acto II. Junto al tenor danés, aparecen Frida Leider, Herbert Jansen, Wilhelm Shirp y Anny von Stosch. La tremenda escena del juramento. El segundo, de un año antes, 1937, se refiere a la parte final del dúo de amor de Tristán e Isolda. Al lado de Melchior, Kirsten Flagstad y Margarete Klose. En el foso, la flamígera batuta de sir Thomas Beecham. Dos hitos, reconocibles pese a la mala calidad sonora. Cerramos el programa con tres interpretaciones del lied de Schubert Der Doppelgänger: las de los barítonos Matthias Goerne y Gérard Souzay y el tenor Christoph Prégardien. Histórico de emisiones: 02/02/2014 Escuchar audio

durée : 01:58:46 - Relax ! du mercredi 20 mai 2020 - par : Lionel Esparza - Suite de notre série consacrée aux grands mensuels musicaux : on parcourt les pages du dernier numéro d'Opéra Magazine, qui fait sa couverture avec l'une des plus grandes basses du monde, René Pape. On écoute aussi la soprano Eileen Farrell, et le très beau disque Beethoven de Matthias Goerne. - réalisé par : Max James

durée : 01:57:40 - En pistes ! du mardi 19 mai 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu également : Toujours Beethoven avec la 7ème symphonie par le West-Eastern Divan Orchestra sous la baguette de Daniel Barenboim, nouvel opus d'Alexis Kossenko et Anna Reinhold autour de la musique française du début du XXe siècle, Haendel par le contreténor Christophe Dumaux... - réalisé par : Olivier Guérin

Eine CD von Matthias Goerne und Jan Lisiecki - vorgestellt auf NDR Kultur.

durée : 00:16:22 - Disques de légende du mardi 10 mars 2020 - Le baryton allemand Matthias Goerne enregistre entre 2007 et 2014 une anthologie dédiée à Franz Schubert, qui réunit en 9 albums un grand nombre de Lieder, dont les deux grands cycles du compositeur autrichien. Une série d'enregistrements incroyablement dramatiques, souples et profonds.

durée : 01:58:48 - Relax ! du mardi 10 mars 2020 - par : Lionel Esparza - On parle du chef d'orchestre italien Giovanni Antonini, qui a fondé l'ensemble baroque Il Giardino Armonico dans les années 1980. Et notre disque de légende est le premier volume de l'anthologie discographique que le baryton Matthias Goerne a consacrée aux Lieder de Schubert entre 2007 et 2014. - réalisé par : Louise Loubrieu

durée : 01:58:50 - Relax ! du mercredi 13 novembre 2019 - par : Lionel Esparza - On parle du baryton Matthias Goerne qui entame une résidence à la Maison de la radio ce vendredi. Notre légende du jour est le mythique 'Voyage d'Hiver' de Hans Hotter et Gerald Moore. On écoute aussi le dernier disque de Katherine Watson et d'Alexis Kossenko, et un exceptionnel 'Ma mère l'Oye'... - réalisé par : Antoine Courtin

durée : 01:58:40 - Musique matin du mardi 12 novembre 2019 - par : Jean-Baptiste Urbain - Voilà plus d'une dizaine d'années que Christina Pluhar et son ensemble l'Arpeggiata défrichent les chemins de la musique ancienne en conjuguant rigueur historique à une grande liberté d'improvisation. Pour ce nouveau disque, ils s'attachent donc à Luigi Rossi, compositeur romain. - réalisé par : Yassine Bouzar

durée : 00:05:26 - Classique info du mardi 12 novembre 2019 - par : Sofia Anastasio - Une nomination surprise à la tête de l’Orchestre National de France ; Matthias Goerne, artiste en résidence pour la saison 19 /20 ; 4e édition de Hip Hop symphonique à la Maison de la Radio ; palmarès de l’édition 2019 du Concours International de Belcanto Vincenzo Bellini ; le retour de Starmania.

The members of the Pittsburgh Symphony Orchestra arrived safe and sound in Brussels, after their 5 hour bus ride from Paris.  Thursday night, the orchestra performs their next to last concert of this tour at the Bozar Centre for the Fine Arts with music of MacMillan, Shostakovich and Rachmaninoff.  In this tour report Jim Cunningham spoke with violinists Alison Fujito and Ken Johnston about last night's concert in Paris; the hall; and what makes Matthias Goerne, who sang Lieder of Schubert and Strauss, such a special artist.        

Tonight, the Pittsburgh Symphony Orchestra made their debut at the Philharmonie de Paris, performing Resurrexit by Mason Bates and the Shostakovich Symphony No. 5.  Also, Matthias Goerne sang Lieder by Strauss and Schubert.   On his way to a post-concert reception, WQED-FM's Jim Cunningham called in from an elevator and chatted with musicians Michael Lipman and Marylene Gingras-Roy to get their thoughts on the concert.  He also spoke with long time WQED-FM helper Atoninette Tuma about the concert, who admitted her brother waved a Terrible Towel at the conclusion of tonight's concert!!    

durée : 01:58:32 - Musique matin du jeudi 17 octobre 2019 - par : Jean-Baptiste Urbain - Ivre d'anniversaires, Jean-Philippe Viret sort "Ivresse", son 10e album, ici avec son trio (Edouard Ferlet et Fabrice Moreau) : 2019, c'est le soixantième anniversaire du contrebassiste, ses 40 ans de carrière, et les 20 ans du Trio Viret. - réalisé par : Yassine Bouzar

Der Bariton Matthias Goerne zählt zu Deutschlands führenden Sängern auf internationalen Konzertpodien und in der Oper. Auch als Lehrer tritt er hin und wieder in Erscheinung. Gespräch mit Kornelia Bittmann.

durée : 00:04:05 - Classique info du jeudi 08 août 2019 - par : Florian Royer - Nous apprenons que le baryton Matthias Goerne souhaite prendre sa retraite d'ici 5 ans. Egalement, le chef d'orchestre James Levine, accusé de harcèlement sexuel sur une période de 25 ans a trouvé un arrangement avec le Metropolitan Opera.

With Music by: Antonio Vivaldi, anonym, Wolfgang Amadeus Mozart, Robert Schumann, Anton Bruckner, Kurt Weill

Mit Musik von: Antonio Vivaldi, anonym, Wolfgang Amadeus Mozart, Robert Schumann, Anton Bruckner, Kurt Weill

Panelen tjusas av den engelska symfonikern Ruth Gipps välklingande musik och sågar idén att spela Prokofjevs orkestermusik på två pianon. Och så lär vi känna underbarnet Maria Theresia von Paradis. Veckans skivor: RUTH GIPPS SYMPHONIES NO:S 2 AND 4, ETC. Orkestermusik av Ruth Gipps BBC National Orchestra i Wales Rumon Gamba, dirigent Lesley Hatfield, orkesterledare Chandos CHAN 20078 Betyg: 5. Veckans toppnotering och en totalfemma. PROKOFIEV FOR TWO Musik ur bl.a. Romeo och Julia, Eugene Onegin och Hamlet Martha Argerich, piano Sergej Babayan, piano Deutsche Grammophon 479 9854 Betyg: 3 OBRECHT MISSA GRECORUM & MOTETS Vokalmusik av Jacob Obrecht Brabantensemblen Stephen Rice, dirigent Hyperion CDA68216 Betyg: 3 ALBAN BERG WOZZECK (DVD) Sångare: Matthias Goerne, Asmik Grigorian m.fl. William Kentridge, regissör Wienfilharmonikerna Vladimir Jurowski, dirigent HMD 9809053.54 Betyg: 5 Veckans val: Underbarnet Maria Theresia von Paradis Musik möter film i veckans val när Lars Erik Andrenius berättar om pianisten och tonsättaren Maria Theresia von Paradis. Hon var samtida med Mozart och ett musikaliskt underbarn som förlorade synen vid tre års ålder. I höst har en film om hennes liv med titeln "Mademoiselle Paradis" visats på bio och detta kostymdrama av regissören Barbara Albert har väckt ett nytt intresse för Maria Theresia von Paradis musik. Johans bästa: Sånger om krigets erfarenhet Musikrevyns programledare Johan Korssell väljer sina favoriter i den aktuella skivutgivningen. Den här veckan rekommenderar han albumet "Requiem the pity of war" (Warner), där pianisten Antonio Pappano och tenoren Ian Bostridge framför sånger av bland andra Kurt Weill, Mahler, Rudi Stephan och George Butterworth. Skivans titel markerar att det gått hundra år sedan första världskrigets slut och albumet är uppbyggt kring sånger som speglar krigets erfarenhet.    

Im MDR KLASSIK-Gespräch kritisiert der Bariton Matthias Goerne die Kommerzialisierung der klassischen Gesangsausbildung. Darin stehe das Etablieren großer Namen im Vordergrund. Die Musik sei zweitrangig.

Dirigent Paavo Järvi on salvestanud koos Pariisi Orkestri koori ja Pariisi Orkestriga kaunimad teosed Gabriel Faure loomingust koorile ja orkestrile, sealhulgas Reekviemi, kus solistid on Philippe Jaroussky ja Matthias Goerne. (Virgin classics 2011)

Dirigent Paavo Järvi on salvestanud koos Pariisi Orkestri koori ja Pariisi Orkestriga kaunimad teosed Gabriel Faure loomingust koorile ja orkestrile, sealhulgas Reekviemi, kus solistid on Philippe Jaroussky ja Matthias Goerne. (Virgin classics 2011)

Am 7. Januar singt Matthias Goerne erstmals szenisch den Wotan - in einer Inszenierung der "Walküre" an der Staatsoper Hamburg. Leicht ist dem Bariton, der vor allem als Liedsänger bekannt ist, die Entwicklung zum Wagner-Sänger nicht gefallen. Aber er ist froh, dass er den Schritt gemacht hat.

Esbjerg Ensemble- direkte fra Musikkonservatoriesalen i Esbjerg.Poulenc: Blæsersekstet.Anna Thorvaldsdottir: Ró. Missy Mazzoli: Still Life with Avalanche.Schumann: Klaverkvintet.Heini Kärkkäinen, klaver. Esbjerg Ensemble. Ca. 21.30Bach: Ich will den Kreuzstab gerne tragen.Matthias Goerne, bas. Freiburger Barokorkester. Dirigent: Gottfried von der Goltz.Vært: Jakob Wivel. www.dr.dk/p2koncerten

Den Wozzeck hat Matthias Goerne bereits einige Male gesungen, in Zürich, New York und Wien. Der Wozzeck bei den Salzburger Festspielen jedoch werde ganz anders. Regie führt der Künstler William Kentridge, der sich seit einigen Jahre auch der Oper widmet. Am 8. August feiert die Inszenierung Premiere.

I programmet diskuteras Xavier de Maistres harpospel, Nelson Freire som spelar Bach på piano samt Wagners Valkyrian i Jaap van Zwedens tolkning. Måns Tengnér väljer ur tung renässansbox I panelen Bodil Asketorp, Boel Adler och Per Lindqvist som tillsammans med programledaren Johan Korssell betygsätter följande skivor: JOHANN SEBASTIAN BACH Klavermusik Nelson Freire, piano Decca 478 8449 RICHARD WAGNER Valkyrian Stuart Skelton, Heidi Melton, Matthias Goerne, Petra Lang m.fl. Hong Kongs filharmoniska orkester Jaap van Zweden, dirigent Naxos 8.660394-97 Referensen Johan refererar och jämför med en favoritinspelning av Valkyrian, nämligen den där Erich Leinsdorf leder Londons symfoniorkester. En ung Birgit Nilsson sjunger Brünnhildes parti och Jon Vickers, Siegmund. Inspelningen gjordes 1961 på Decca.   LA HARPE REINE Musik av J-B Krumpholtz, Joseph Haydn, J D Hermann samt Chr. W Gluck Xavier de Maistre, harpa Les Arts Florissants William Christie, dirigent Harmonia Mundi HAF 8902276 Måns val Måns Tengnér spelar valda delar ur en box (50 CD) med medeltids- och renässansmusik utgivet i Florilegium-serien med Deccas återutgivningar på märket Oiseau-Lyre. Andra i programmet nämnda eller rekommenderade inspelningar: Nicolai Gedda har gått ur tiden 91 år gammal och Musikrevyn minns honom med ett framförande av Werthers aria ur tredje akten av Massenets opera Werther, där han ackompanjeras av Paris-orkestern med dirigent Georges Pretre. Inspelningen gjordes 1969 på skivmärke EMI. J S Bachs klavermusik med Glenn Gould på Sony Classical. Wagners Valkyrian med bl.a. Gundula Janowitz och Jon Vickers tillsammans med Berlins filharmoniker och Herbert von Karajan, inspelad 1967 på DG samt Georg Soltis inspelning med Wiens filharmoniker och med Régine Crespin och James King som Sieglinde resp. Siegmund på Decca. Svepet Johan sveper över och spelar ur ett album utgivet på Bis, innehållande Sibelius Kullervo och Olli Kortekangas Migrations (2014). Helsingfors-universitetets manskör, Minnesota-orkestern samt solisterna Lilli Paasikivi, mezzo-sopran och Tommi Hakala, baryton. Dirigent: Osmo Vänskä samt över en CD utgiven på Signum med violinkonserter av Roy Harris respektive John Adams. Solisten heter Tamsin Waley Cohen och det är BBCs symfoniorkester som bistår, allt under Andrew Littons ledning.

Nyårspanelen utvärderade skivåret som gått och lyfte också fram några av sina personliga favoriter. Programledaren Johan Korssell presenterade även resultatet av omröstningen av 2016 års skiva. På 1:a plats med 23 poäng: SJOSTAKOVITJ OCH GLAZUNOV Violinkonserter Nicola Benedetti, violin Bournemouth symfoniorkester Kirill Karabits, dirigent Decca 4788758ÅRETS SKIVA 2016 SE RESULTATET OCH RÖSTA SJÄLV! (Länk till totalfemmorna)  Följande favoritskivor spelades ur i programmet, i tur och ordning: ALBAN BERG LUDWIG VAN BEETHOVEN (Årtiondets skiva)Violinkonserter Isabelle Faust, violin Orchestra Mozart, Bologna Harmonia Mundi HMC 902105 AMANDA MAIER (Johannas första val) Violinkonsert, Pianokvartett, Svenska melodier och danser Gregory Maytan, violin, Ann-Sofi Klingberg, piano, m.fl. Helsingborgs symfoniorkester Andreas Stoehr, dirigent dB Productions dBCD 174 MARIE JAËLL (Evabritts första val) Portraits volym 3 Chantal Santon-Jeffery m.fl Belgiska radions filharmoniker Hervé Niquet, dirigent Edizione Singulares ES 1022DMITRI SJOSTAKOVITJ (Alexanders första val) Symfoni nr 5 d-moll Berlins symfoniorkester Kurt Sanderling, dirigent Eterna 0300750BC DOMENICO SCARLATTI (Johannas andra val) Klaversonater Jevgenij Sudbin, piano Bis BIS 2138 GERALD FINZI (gick bort för 60 år sedan) Kammarmusik Kölns kammarsolister MDG 903 1894-6 ANTON BRUCKNER (Evabritts andra val) Symfoni nr 8 c-moll Hamburgs filharmoniker Simone Young, dirigent Oehms OC 026-11ANTON BRUCKNER - JOHANNES BRAHMS (en av årets totalfemmor)Motetter Tenebrae-ensemblen Nigel Short, dirigent Signum SIGCD 430HARTMANN WEINBERG SJOSTAKOVITJ (Alexanders andra val) Wartime consolations Linus Roth, violin Württembergs kammarorkester, Heilbrunn Ruben Gazarian, dirigent Challenge CC 72680 EDWARD ELGAR (Johans val) Gerontius dröm Janet Baker m.fl Londons filharmoniska kör Londons filharmoniker Adrian Boult, dirigent Ica Classics ICAD 5140 (DVD) EINOJUHANI RAUTAVAARA (en av årets totalfemmor) Rubáiyát, Balada, Canto V, 4 Rasputin-sånger Gerald Finley, baryton, m.fl. Helsingfors filharmoniker John Storgårds, dirigent Ondine ODE 1274-2 NEGLECTED WORKS FOR PIANO (Johanna och Evabritts gemensamma favorit samt Evabritts tredje val) Musik av Amy Beach, Ruth Almén, Germaine Tailleferre m.fl Bengt Forsberg, piano dB dBCD 170 FRANZ SCHUBERT (Johannas tredje val) Stråkkvartett nr 14 d-moll (arr) Patricia Kopachinskaja, violin Saint Pauls kammarorkester Alpha Classics ALPHA 265 Här börjar 3 i topp mot Årets skiva:  FRANZ SCHUBERT (En av årets totalfemmor) Stråkkvintett, Sånger Ebène-kvartetten Gautier Capucon, cello Matthias Goerne, baryton, m.fl Erato 0825646487615PETER TJAJKOVSKIJ SERGEJ PROKOFJEV (en av årets totalfemmor)Pianokonserter Beatrice Rana, piano Cecilia-akademins orkester, Rom Antonio Pappano, dirigent Warner Classics 08225646009091 HANS ABRAHAMSEN (en av årets totalfemmor) Let me tell you Barbara Hannigan, sopran Bayerska radions symfoniorkester Andris Nelsons, dirigent Winter & Winter 910 232-2 DMITRI SJOSTAKOVITJ ALEXANDER GLAZUNOV (en av årets totalfemmor) Violinkonserter Nicola Benedetti, violin Bournemouths symfoniorkester Kirill Karabits, dirigent Decca 4788758 ÅRETS SKIVA 2016 RESULTATET! CD-revyns panel har lagt sina röster, 3 poäng till den bästa, 2 respektive 1 poäng till de skivor som hamnar på andra och tredje plats av dessa fyra  äkta toppnoteringar från året som gått: Första plats med 23 poäng: SJOSTAKOVITJ OCH GLAZUNOV Violinkonserter Nicola Benedetti, violin Bournemouth symfoniorkester Kirill Karabits, dirigent Decca 4788758Andra plats med 13 poäng: HANS ABRAHAMSEN Let me tell you Barbara Hannigan, sopran Bayerska radions symfoniorkester Andris Nelsons, dirigent Winter & Winter 910 232-2 På delad tredje plats med vardera 12 poäng:FRANZ SCHUBERT Stråkkvintett C-dur samt sånger Ebène-kvartetten m.fl. Matthias Goerne, baryton Erato 0825646487615PROKOFJEV TJAJKOVSKIJ Pianokonsert nr 2 Pianokonsert nr 1 Beatrice Rana, piano Santa Cecilia-akademins orkester Antonio Pappano, dirigent Warner Classics 0825646009091 CD-revyn önskar GOTT NYTT ÅR!Nu byter vi namn till MUSIKREVYN I P2 Programmet tar ett kortare jullov och är åter på plats under nytt namnMUSIKREVYN I P2 söndag 22 januari kl 12.03.

I programmet diskuteras bl.a. Gli Incogniti som spelar Pachelbel, Ensemble Musikfabriks samtida tolkningar samt Schuberts Stråkkvintett med Ebène-kvartetten m.fl. Dessutom Sjostakovitj i mindre skala. FRANZ SCHUBERT Stråkkvintett C-dur samt sånger Ebène-kvartetten m.fl. Matthias Goerne, baryton Erato 0825646487615SCHERBEN Musik av Jonathan Harvey, Enno Poppe, Kaija Saariaho och Emmanuel Nunes Ensemble Musikfabrik m.fl. Wergo WER 6862 2JOHANN PACHELBEL Un orage davril, sviter och arior m.m. Hans Jörg Mammel, tenor Gli Incogniti Amandine Beyer, dirigent Harmonia Mundi HMC 902238DANCE MACABRE Musik av bl. a. Saint-Saëns, Dukas och Balakirev Montréals symfoniorkester Kent Nagano, dirigent Decca 483 0396I mindre skala Alexander Freudenthal och Johanna Paulsson serverar Sjostakovitj i större och mindre format.Andra i programmet nämnda eller rekommenderade inspelningar: Dukas Trollkarlens lärling med Berlins filharmoniker under James Levines ledarskap inspelad på DG; Lamoureux-orkestern under Jean Martinons ledning på BnF Collection samt med Londons symfoniorkester dirigerad av Pierre Monteux på Youtube. Gli Incogniti framför musik av Corelli, Vivaldi och Couperin Schuberts Stråkkvintett med Alban Berg-kvartetten och cellisten Heinrich Schiff på EMI. Svepet Johan sveper över en CD med Bernd Alois Zimmermanns Sinfonie in einem Satz framförd av Västtyska radions symfoniorkester, Köln allt under ledning av Peter Hirsch. Inspelad på Wergo.

Dominique Phinot's giljotinering 1556, Orfeusmyten med bögförtecken, Saint-Saëns i svandun, lesbiska symaskinsprinsessan de Polignac, Polarpristagaren Pierre Boulez och tonsättaren Thomas Adès. Tonsättaren R. Timothy Brady's opera Edalat Square hade premiär i Atlanta, USA, och handlar om två tonårskillar som 2005 avrättas i Iran för att de älskade män. Sedan den iranska revolutionen 1979 har ca 4 000 människor avrättats I Iran p g a lavaat, sex mellan män.I  Tjajkovskijs Ryssland är homosexualitet kriminellt ända till 1993, i Schuberts Österrike är homosexualitet olagligt ända till 1971. I Händels, Brittens och Pears England fram till 1967. I dagens Sverige, där samkönat sex varit tillåtet sedan 1944, vågar inte en homosexuell musikprofessor och en lesbisk sopran komma ut ur garderoben 2006. Medan Stockholms Gaykör firar 25 år i konfetti och tårar.Om programserien: "Det osynligas piano" - konstmusik komponerad på homoerotik och lesbiska passioner. Phinot I giljotinen. Corelli & Händel som Orfeus. Landowska och Boulanger i svatsjukedrama. Tjajkovskij och Saint-Saëns i svandun. Ravel i garderoben och Poulenc kommer ut. Ethel Smyth älskar symaskinsprinsessan. Horowitz' piller hjälper inte. Blitzstein och Vivier mördas. Oliveros rädd, lyssnar djupt. Meredith Monk ropar. Musikprofessor kränkt. Sopran tystnar. Musiklexikon censurerar. Thomas Adès gift. Schubert, Janne & Sverker Åström. Tiina, Stella, Ira och Gardeman. Tonårsbögar hängs I Iran Timothy skriver opera. Låtlista: När jag för mig själv i mörka skogen går Wilhelm Peterson-Berger (1867-1942) Stella Scott, sopran. The Hermiatge Orchestra. dir. Mats Liljefors   Live i S:t Petersburg Ur operan Edalat Square R Timothy Brady Liveinspelning I Atlanta 2007. Geschwinde, ihr wirbelnden Winde, BWV 201 Aria: Mit Verlangen druck ich deine zarten Wangen (Bass) BACH, J.S. Stuttgart Gachinger Kantorei  Stuttgart Bach Collegium  Helmuth Rilling, Conductor. Sibylla Rubens, soprano / Ingeborg Danz, alto / Lothar Odinius, tenor / James Taylor, tenor / Matthias Goerne, baritone / Dietrich Henschel, bass BACH, J.S.: Contest Between Phoebus and Pan (The), BWV 201 (Secular Cantata) Hännsler CLASSIC CD92.061 (NAXOS) VIVONS MAMYE ET LAMOUR POURSUYVONS Motett PHINOT, DOMINIQUE. CATULLUS, GAJUS VALERIUS HUELGAS ENSEMBLE. Van, dirigent Inspelad: BELGIEN  2000 Lent Barraqué, Jean Herbert Henck, piano Barraque, Jean - Sonate Pour Piano ECM NEW SERIES 1621 453 914-2 Varjele, Jumala, soaste Veljo Tormis Stockholms Gaykör Kärlek förändrar allt Inspelat maj 2006 Nybrokajen 11 Sonata XII Movement 2 Allegro Arcangelo Corelli (1653-1713) Hugo Reyne, blockflöjt m fl Corelli : Christmas Concerto Opus 111 Concerto XI Con Quattro Violini Obligati In A Op 7 Presto Guiseppe Valentini Adrian Chandler, Violin And Conductor Mhairi Lawson Soprano The Rise Of The North Italian Violin Concerto: 1690-1740 AVIE AV2106 Oboe Sonata In G Minor, HWV 404 - 1. Andante Emma Kirkby, Charles Medlam; London  Baroque Händel, Georg Friedrich Handel: Sacred Cantatas BIS-CD-1065 Mut! Schubert, Franz Benjamin Britten; Peter Pears Schubert Winterreise (D. 911) Benjamin Britten 1963 Decca 466 382-2 DECCA 417 473-2 Quintet - Third Movement Adés, Thomas Adés, Thomas, piano; Arditti Quartet Adés Schubert Piano Quintets EMI Classics 7243 5 57664 2 Valse Scherzo, Op. 34 Piotr Ilich Tchaikovsky (1840-93) Itzhak Perlman, violin, Yuri Temirkanov; Leningrad Philharmonic Orchestra Tchaikovsky Gala In Leningrad RCAVictor Red Seal RD60739 Chansons Francaises, Op. 65 - 6. Rondel Piotr Ilich Tchaikovsky (1840-93) Jessye Norman. Evgeni Shenderovich Tchaikovsky Gala In Leningrad RCAVictor Red Seal RD60739 Da, Chas Nastal! - Prostite VI The Maid Of Orleans Tchaikovsky, Peter Ilych (1840-1893) Olga Borodina Olga Borodina - Arias - Orchestra Of The Welsh National Opera - Carlo Rizzi PHILIPS 446 663-2 The Swan Camille Saint-Saëns Clara Rockmore And Nadia Reisenberg Gravikords, Whirlies & Pyrophones ellipsis arts CD3530 Pavane pour une infante defunte Ravel, Maurice (1875-1937) Pierre Boulez, dir. The Cleveland Orchestra Ravel, Debussy - Voice & Orchestra Works DG 471 614-2

1. Primeiro movimento da/ First movement from "Sinfonia em Ré maior/Symhpny in D major" (C.P.E. Bach). Münchener Bach-Orchester. Karl Richter, regente/ conductor. 2. Summertime (Gershwin). Oscar Peterson, piano. 3. Canto do rouxinol/ Nightingale birdcall. 4. An mein Herz (Schubert). Matthias Goerne, barítono/baritone. Helmut Deutsch, piano. 5. Canto da tradição Yanomami/ Yanomami indian chant 6. The Firebird Suite (Stravinsly). New York Philharmonic. Igor Stravinsky, regente/ conductor. Fancy my sets? So please click LIKE and also FOLLOW. You can subscribe with iTunes. :: Gostou? Então clique em LIKE e também em FOLLOW. Ou se inscreva pelo iTunes para receber atualizações. www.facebook.com/heloisafischer helofischer@gmail.com