Podcast appearances and mentions of mikhail pletnev

SynopsisIn St. Petersburg on today's date in 1893, Peter Ilyich Tchaikovsky conducted the first performance of his latest symphony, his Sixth. From the beginning, this symphony has been commonly known by its French subtitle, the Pathétique, a designation suggested by the composer's brother, Modest.Now, by Pathetique, Modest meant something like “passionate” or “emotional,” with overtones of “pathos” and “suffering,” but in plain old English, “pathétique” translates as “pathetic,” a word with a slew of negative connotations. The French sounds much better, thank you. Tchaikovsky had originally wanted to call it A Program Symphony with, apparently, no intention of cluing anyone in on what that program might be.In any case, nine days after he conducted the premiere, Tchaikovsky was dead. Was his death the result of a fatal glass of unboiled water recklessly drunk during the height of a cholera epidemic? Or was it a deliberate suicide to avoid the scandal of a homosexual affair becoming public? Did his Pathétique Symphony encode the answer?Speculation has raged around Tchaikovsky's last symphony ever since, surrounding this last work with what one critic has called “voluptuous gloom.”Music Played in Today's ProgramPeter Tchaikovsky (1840 – 1893) Symphony No. 6 (Pathétique) - Russian National Orchestra; Mikhail Pletnev, cond. DG 449 967

Escuchamos Chopin, Scarlatti, Oscar Peterson, Mikhail Pletnev. Tambien encontramos grabaciones increíbles en medio de la segunda guerra mundial. en donde se escuchan bombardeos de fondo. Además, nos preguntamos si existe la perfección en la música.

Synopsis On today's date in 1909, “The Golden Cockerel,” the last opera of the Russian composer Nikolai Rimsky-Korsakov, had its premiere in Moscow. Rimsky-Korsakov had died the previous year, after a bitter battle with government censors who objected to the opera's thinly disguised satire against the bumbling administration of Czarist Russia. For the premiere, the censors won – the opera was performed with all the changes that Rimsky-Korsakov had so stubbornly resisted while alive. The original text was not restored until after the Russian revolution of 1917. Closer to our own time, in October of 1987, American composer John Adam's “Nixon in China,” debuted at Houston Grand Opera. Alice Goodman's libretto depicts the historic visit to Red China of President Nixon and then Secretary of State, Henry Kissinger. Adams says he was completely indifferent to what the real-life personages in his opera might have thought of it. No government censors objected, in any case, but Adams said that Richard Nixon's lawyer, Leonard Garment, did attend a performance of “Nixon in China,” and probably reported back to the former President. Nixon's reaction is not known – nor that of Henry Kissinger. We're happy to report, however, that according to John Adams, Leonard Garment did subsequently became something of a fan of his music. Music Played in Today's Program Nikolai Rimsky-Korsakov (1844-1908): The Golden Cockerel Suite –Russian National Orchestra; Mikhail Pletnev, cond. (DG 447 084) John Adams (b. 1947): The Chairman Dances –San Francisco Symphony; Edo de Waart, cond. (Nonesuch 79453)

Among great pianists, Mikhail Pletnev is regarded as a magician. The latest release on Verbier Festival Gold showcases his powerful artistry in the realms of concerti and encores. This release opens with Haydn's D major Concerto, Hob. XVIII (led by Iván Fischer) and Tsfasman's Suite No. 1 for Piano (led by Kent Nagano). These works are followed by a handful of tantalizing encores from recitals in 2018 and 2021.Purchase the music (without talk) at:http://www.classicalmusicdiscoveries.sMikhail Pletnev - Concerti and Encores (classicalmusicdiscoveries.store)toreYour 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!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Conocemos al primer poeta para piano, Frédéric Chopin, compositor polaco recordado por sus exquisitas piezas para este instrumento de teclas. Si te gusta el piano, éste compositor te va a gustar.  Lo que vas a escuchar en este episodio: 00:35  3 Waltzes, Op. 34: No. 1 in A-Flat Major (Vivace), interpretado por Stephen Kovacevich. 04:33  4 Mazurkas, Op. 30: No. 3 in D-Flat Major (Allegro non troppo), interpretado por Ronald Smith. 06:04  Waltz in A-Flat Major, Op. 42 (Vivace), interpretado por Stephen Kovacevich.  09:48  3 Nocturnes, Op. 9: No. 2 in E-Flat Major (Andante), interpretado por Samson François.  10:37  Piano Sonata No. 2 in B-Flat Minor, Op. 35, "Funeral March": III. Marche funèbre (Lento), interpretado por Mikhail Pletnev. 11:40  24 Preludes, Op. 28: No. 16 in B-Flat Minor (Presto con fuoco), interpretado por Garrick Ohlsson.  12:35  12 Etudes, Op. 10: No. 12 in C Minor, "Revolutionary" (Allegro con fuoco), interpretado por Andrei Gavrilov.  13:48  12 Etudes, Op. 25: No. 2 in F Minor (Presto), interpretado por Claudio Arrau.  14:08  12 Etudes, Op. 10: No. 1 in C Major (Allegro), interpretado por Andrei Gavrilov.  14:31  12 Etudes, Op. 25: No. 3 in F Major (Allegro), interpretado por Claudio Arrau.  16:16  3 Waltzes, Op. 64: No. 1 in D-Flat Major, "Valse Minute" (Molto vivace), interpretado por Ingrid Fliter. 15:32  12 Etudes, Op. 10: No. 3 in E Major, "Tristesse" (Lento ma non troppo), interpretado por Andrei Gavrilov. 16:13  24 Preludes, Op. 28: No. 14 in E-Flat Minor (Allegro), interpretado por Garrick Ohlsson.  16:39  24 Preludes, Op. 28: No. 19 in E-Flat Major (Vivace), interpretado por Garrick Ohlsson.    Si te gusta el episodio, califícalo en tu app favorita (Podcasts iTunes, iVoox, Spotify) o puedes dejar tu review. :)  No te pierdas ningún episodio. Súscríbete al newsletter en allegromagico.com/suscribirme.  Y si quieres aprender más sobre música clásica, aquí puedes comprar tu primera y fácil guía sobre este tipo de música: https://www.miguiademusicaclasica.com/  Síguenos en: Facebook, Twitter, Instagram y Pinterest.   

Synopsis When we think of Russian music in Paris, the name Sergei Diaghilev comes first to mind. In the early years of the 20th century, that famous Russian impresario saw to it that not only the new music of Stravinsky was performed in the French capital, but also a historical panorama of earlier Russian works, including Mussorgsky's opera, “Boris Godunov.” But even before Diaghilev, Russian music figured prominently at the famous Universal Expositions held in Paris in the latter 19th century. On today's date in 1878, for example, Tchaikovsky's Valse-Scherzo for violin and orchestra received its premiere at an Exposition concert conducted by the composer's compatriot Nicolai Rubinstein. In addition to this brand-new work, Tchaikovsky's First Piano Concerto and symphonic fantasia “The Tempest” were also performed. Tchaikovsky was back home in Russia, curious to know how his works fared in Paris. He wrote to a friend: “Have you been to any of the Russian concerts in Paris? According to some newspapers my compositions were a great success, to others a failure. I cannot get at the truth.”  Fortunately, when Rubinstein returned to Russia, he was able to report first-hand that Tchaikovsky's music had, indeed, been very well received. Music Played in Today's Program Igor Stravinsky (1882 – 1971) — The Firebird (1919 revision) (Minnesota Orchestra; Eiji Oue, cond.) Reference 70 Peter Tchaikovsky (1840 – 1893) — Valse-Scherzo (Gil Shaham, violin; Russian National Orchestra; Mikhail Pletnev, cond.) DG 457 064

Synopsis During his later years, the German composer Johannes Brahms was a frequent visitor to the town of Meiningen, where the Grand Duke had a fine orchestra that gave stellar performances of Brahms' music. Early in 1891, Brahms heard one member of that orchestra, the clarinetist Richard Mülhfeld, perform chamber works by Mozart and Weber. Brahms was so impressed that they became fast friends. Listening to Mülhfeld play, Brahms became so enthusiastic about the clarinet's possibilities that he began writing chamber works for his new friend. Brahms was always particularly fond of the female alto voice whose timbre is similar to that of the clarinet, so Brahms promptly nicknamed Mülhfeld “Fraeulein Clarinet” and the “new prima donna.” For Mülhfeld, Brahms wrote a clarinet trio, which was followed by a clarinet quintet, and finally, a pair of clarinet sonatas, both composed in the summer of 1894. These two sonatas were first played by Mülhfeld with Brahms at a private performance in the home of the sister of the Duke of Meiningen on today's date that year. In November, the pair also gave private performances in Frankfurt for Clara Schumann and at Castle Altenstein for the Duke of Meiningen.  The first public performances occurred in Vienna in January of 1895. Music Played in Today's Program Johannes Brahms (1833 – 1897) — Clarinet Sonata, Op. 120, no. 2 (Michael Collins, clarinet; Mikhail Pletnev, piano) Virgin 91076 On This Day Births 1829 - Music publisher Gustav Schirmer, in Königsee, Thuringia; He came to America in 1840 with his parents, and in 1861 founded in New York City the music publishing house that bears his name, G. Schirmer, Inc.; 1911 - Swedish composer Allan Pettersson, in Västra Ryd; Deaths 1949 - Greek composer Nikos Skalkottas, age 45, in Athens; 1972 - French composer and pianist Robert Casadesus, age 73, in Paris; Premieres 1894 - Brahms: two Clarinet Sonatas, Op. 120, at a private performance in the home of the sister of the Duke of Meiningen at Berchtesgaden, by clarinetist Richard Mühlfeld (of the Grand Ducal Orchestra of Meiningen) with the composer at the piano; Brahms and Mühlfeld also gave private performances of both sonatas on November 10-13, 1894, in Frankfurt (for Clara Schumann and others); on November 14, 1894, at Castle Altenstein (for the Duke of Meiningen); and on Jan. 7, 1895, in Vienna (for members of the Tonkünstler Society); The first public performances of the two sonatas took place in Vienna on January 8 (Sonata No. 2) and 11 (Sonata No. 2), 1895, with the same performers, as part of the Rosé Quartet's chamber music series; 1908 - Mahler: Symphony No. 7 ("Song of the Night"), in Prague, with the composer conducting; 1927 - Schoenberg: String Quartet No. 3, in Vienna, by the Kolisch Quartet; 1937 - Hanson: Symphony No. 3 (partial performance), on a CBS Radio Symphony concert conducted by the composer; The first complete performance occurred with the rival network's NBC Symphony, again with the composer conducting, on March 26, 1938; 1970 - Morton Feldman: "The Viola in My Life" No. 1 for viola and orchestra, in London; 1998 - André Previn: opera "A Streetcar Named Desire," with cast including Rene Fleming, by the San Francisco Opera, the composer conducting; 1998 - Michael Torke: "Jasper" for orchestra, by the Madison (Wisc.) Symphony, John DeMain conducting; 1999 - Elmer Bernstein: Guitar Concerto, with Honolulu Symphony conducted by Samuel Wong and soloist Christopher Parkening; 2002 - John Adams: "On the Transmigration of Souls" for vocal soloists, chorus and orchestra, by the New York Philharmonic, Lorin Maazel conducting; 2002 - John Adams: “On the Transmigration of Souls” for vocal soloists, chorus and orchestra, by the New York Philharmonic, Lorin Maazel conducting; Others 1725 - J.S. Bach gives organ recitals in the Sophienkirche, Dresden, on Sept. 19 and 20; 1738 - Oratorio librettist Charles Jennens writes to a young relative describing a visit to Handel the previous day, dismayed by Handel's ideas for their collaboration on the oratorio "Saul": "Mr. Handel's head is more full of maggots than ever . . ." (Gregorian date: Sept. 30). Links and Resources On Johannes Brahms More on Mülhfeld's clarinet

Synopsis On today's date in 1910, one week after his 28th birthday, the Russian composer Igor Stravinsky attended the premiere performance of his ballet, “The Firebird” at the Paris Opéra, staged by the famous Ballet Russe ensemble of Serge Diaghilev. Recalling the premiere, Stravinsky wrote: “The first-night audience glittered indeed, but the fact that it was heavily perfumed is more vivid in my memory . .  . I sat in Diaghilev's box, where, at intermission, a path of celebrities, artists, Dowagers, writers, and balletomanes appeared . . . I was called to the stage to bow at the conclusion … I was still on stage when the final curtain came down and saw coming toward me Diaghilev and a dark man with a double forehead whom he introduced as Claude Debussy.  The great composer spoke kindly about the music and invited me to dine with him. [Later,] I asked him what he had really thought of ‘The Firebird.”  He said: ‘Well, one has to start somewhere . . .'” Stravinsky himself had feared his ballet score would be thought a poor imitation of the music of Rimsky-Korsakov, his great teacher.  Nevertheless, “The Firebird” was Stravinsky's first big success, and remains one of his best-loved scores. Music Played in Today's Program Igor Stravinsky (1882-1971) — The Firebird Ballet (Russian National Orchestra; Mikhail Pletnev, cond.) DG 453 434

Synopsis On today's date in 1910, one week after his 28th birthday, the Russian composer Igor Stravinsky attended the premiere performance of his ballet, “The Firebird” at the Paris Opéra, staged by the famous Ballet Russe ensemble of Serge Diaghilev. Recalling the premiere, Stravinsky wrote: “The first-night audience glittered indeed, but the fact that it was heavily perfumed is more vivid in my memory . .  . I sat in Diaghilev's box, where, at intermission, a path of celebrities, artists, Dowagers, writers, and balletomanes appeared . . . I was called to the stage to bow at the conclusion … I was still on stage when the final curtain came down and saw coming toward me Diaghilev and a dark man with a double forehead whom he introduced as Claude Debussy.  The great composer spoke kindly about the music and invited me to dine with him. [Later,] I asked him what he had really thought of ‘The Firebird.”  He said: ‘Well, one has to start somewhere . . .'” Stravinsky himself had feared his ballet score would be thought a poor imitation of the music of Rimsky-Korsakov, his great teacher.  Nevertheless, “The Firebird” was Stravinsky's first big success, and remains one of his best-loved scores. Music Played in Today's Program Igor Stravinsky (1882-1971) — The Firebird Ballet (Russian National Orchestra; Mikhail Pletnev, cond.) DG 453 434

To support Craig's campaign to raise money for the Campaign Against Living Miserably click the following link...https://www.gofundme.com/f/craiggouldmusicproject?utm_source=whatsapp-visit&utm_medium=chat&utm_campaign=p_cp+share-sheetFollow Mixtapes With Mike on Instagram here... https://www.instagram.com/mixtapeswithmikepodcast/  Listen to Craig's mixtape on Apple Music here...  https://music.apple.com/gb/playlist/mixtapes-with-mike-craig-gould/pl.u-pMylNMbf11yKqListen to Craig's mixtape on Spotify here...  https://open.spotify.com/playlist/7k2Wx7T51M7ZLQUY10kB6t?si=kWZebMnOQmuIV_9Lci1A3AAs always the music discussed is played below the conversation as I believe that all musicians should be paid for what they do. This is why I purposely point the listener towards the mixtape on streaming platforms and implore you to support your local record shop by seeking out the physical releases of anything you discover through this podcast. I'd recommend Black Circle records check them out here... https://blackcirclerecords.co.uk  The Day We Caught the Train  3:06 Ocean Colour Scene Hurricane  8:33 Bob Dylan War Dogs (Refugees)  4:37 Joe Purdy The Man Comes Around  4:27 Johnny CashThunder Road  4:49 Bruce SpringsteenWish You Were Here  5:35 Pink FloydI Live for You  3:38 George HarrisonTell Me Why  2:59 Neil YoungTurandot, Act 3: Nessun dorma  3:16 Andrea Bocelli, Mikhail Pletnev, Moscow Radio Symphony OrchestraCrocodile Shoes  4:18 Jimmy Nail Music during mental health conversation was by the The Cinematic Orchestra. Special mention to Skint & Demoralised.

Good Morning, This is Louise. Episode 90 - Song of the Indian Guest featuring sound and dialogue from Marguerite Dura's India Song with music by Carlos D'Alessio & Nikolai Rimsky-Korsakov realized by David Carbonara, London Symphony Orchestra, Paul Whiteman & His Orchestra, Fritz Kreisler, Milana Chernyavska & Nicolas Koeckert, Nicolas Koeckert, MarimbaMix, Vienna Les Orpheistes, Felix Carasco & Mario Hossen, Sergey Lemeshev, Ekaterina Donchenko, Chorus of the Bolshoi Theatre, The Great Symphonic Orchestra of the All-Union Radio and Television & Mikhail Pletnev, Roglit Ishay & Tatjana Masurenko, Wolf Harden & Takako Nishizaki, Marcela Roggeri & James Strauss, Lorina Gore, Tasmanian Symphony Orchestra & Marko Letonja, Willem Moolenbeek, Don Cossack Choir of Serge Jaroff & Serge Jaroff, Lev Kuznetsov, Bolshoi Theatre Choir, Yuri Simonov & Orchestra of the Bolshoi Theatre, Yorkshire Building Society Band, Nicholas J. Childs & Manfred Obrecht, Masayuki Kino & Hikaru Yoshiyama, Xenia Belmas, Boris Mersson & Mark Drobinsky, Rosa Ponselle, Pavel Chekin, Vassily Nebolsin & Orchestra of the Bolshoi Theatre, Dmitri Smirnoff, Olesya Rostovskaya, Alexey Kruglov & Yulia Ikonnikova, Daniel Gaede & Phillip Moll with ambient field recordings by Rambalac Namo Guan Shi Yin Pusa Thank you for listening

With this record, we dive into the mysterious and spooky world of legends and fairy tales reimagined by Russian composers on the verge of the 19th and 20th centuries.   https://open.spotify.com/album/6PYS8cm6cjtVm9XHOkOJzD?si=EKPDTl5uRMKzYqdCxSinXA

In this episode, international soloist Stefan Jackiw talks to us about his journey overcoming a serious injury.  He tells us how he got injured, the steps he took to heal, the mental impact it had on him, and how he stays injury free. He also elaborates on: What his musicology studies brought to his playing What collaborating with other musicians mean to him Establishing strong fundamentals on the instrument How he maximizes his practice time His injury story: How it happened Facing the stigma attached to being an injured musician The mental impact it had on him and the new mindsets he developed as a result The reflection he did, the changes he implemented and how he overcame it How he modified his setup and technique as a result How he remains injury free The very important concept of surrendering in practicing How our level of stress and the amount of pressure we tolerate affects our playing How to plan practice     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use every day!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we're currently discussing The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT STEFAN JACKIW: Website: https://stefanjackiw.com/ YouTube: https://www.youtube.com/results?search_query=stefan+jackiw Instagram: https://www.instagram.com/stefanjackiwviolin/ Facebook: https://www.facebook.com/StefanJackiw/   Stefan Jackiw is one of America's foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of "uncommon musical substance" that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. This season, he will re-unite with Juraj Valcuha to make his debut with the Konzerthaus Orchestra Berlin performing Korngold's Violin Concerto. He also returns performing Stravinsky to the Bournemouth Symphony with Kirill Karabits, the Helsinki Philharmonic with Hans Graf, and the RTÉ National Symphony in Dublin with Leonard Slatkin.  Other highlights include performances with the San Diego Symphony and Rafael Payare, the Indianapolis and Baltimore Symphonies with David Danzmayr, and the Omaha Symphony. In recital, Stefan continues touring the complete Ives Sonatas with Jeremy Denk, with whom he has recorded the sonatas for future release on Nonesuch Records. He also appears on tour with harpsichordist Mahan Esfahani, exploring works for violin and harpsichord and featuring a new commission by Lester St. Louis, and continues to perform alongside pianist Conrad Tao and cellist Jay Campbell as part of the Junction Trio, with stops this season in Massachusetts, Washington D.C., Ohio, California, Texas, New Mexico, Florida, and more. Highlights of recent seasons include his debut with the Cleveland Orchestra and Juraj Valcuha, with whom he also re-united for performances in Dallas, Detroit, and Luxembourg; performances of Prokofiev's Second Violin Concerto at Carnegie Hall with Mikhail Pletnev, as part of a multi-city tour with the Russian National Orchestra; as well as performances with the St. Louis Symphony under Nicholas McGegan, the Minnesota Orchestra under Ilyich Rivas, the Rotterdam Philharmonic under Yannick Nézet-Séguin, the Indianapolis Symphony under Krzysztof Urbanski, and the Pittsburgh Symphony under Valčuha. Other highlights in Europe included his performances with the Netherlands Radio Symphony and Ludovic Morlot at the Concertgebouw. In Asia, Stefan has appeared with the Tokyo Symphony at Suntory Hall under the direction of Krzysztof Urbanski, and the Seoul Philharmonic under Venzago. He has also toured Korea, playing chamber music with Gidon Kremer and Kremerata Baltica. In Australia, Stefan toured with the Australian Chamber Orchestra play-directing Mendelssohn. He also gave the world premiere of American composer David Fulmer's Violin Concerto No 2 “Jubilant Arcs”, written for him and commissioned by the Heidelberg Festival with the Deutsche Kammerphilharmonie under Matthias Pintscher. Recital highlights have included his performances of the complete Ives violin Sonatas with Jeremy Denk at Tanglewood and Boston's Jordan Hall, and performance of the complete Brahms violin sonatas, which he has recorded for Sony. He also recently recorded the Beethoven Triple with Inon Barnatan, Alisa Weilerstein, Alan Gilbert and Academy St. Martin in the Fields. Jackiw has performed in numerous important festivals and concert series, including the Aspen Music Festival, Ravinia Festival, Caramoor International Music Festival, Schleswig-Holstein Music Festival, New York's Mostly Mozart Festival, the Philharmonie de Paris, Amsterdam's Concertgebouw, the Celebrity Series of Boston, and the Washington Performing Arts Society. As a chamber musician, he has collaborated with such artists as Jeremy Denk, Steven Isserlis, Yo-Yo Ma, and Gil Shaham, and forms a trio with Jay Campbell and Conrad Tao. At the opening night of Carnegie Hall's Zankel Hall in New York, Jackiw was the only young artist invited to perform, playing alongside such artists as Emanuel Ax, Renée Fleming, Evgeny Kissin, and James Levine. Born to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. He lives in New York City.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Omaggio a Rossini; recensioni dei concerti di Mikhail Pletnev, Filarmonica della Scala (L.Chierici) e Chick Corea (M.Coralli). Intervista a Ginevra Costantini Negri. Ospite in studio Ruben Jais, direttore artistico de la Verdi per i 25 anni dalla sua fondazione.

Omaggio a Rossini; recensioni dei concerti di Mikhail Pletnev, Filarmonica della Scala (L.Chierici) e Chick Corea (M.Coralli). Intervista a Ginevra Costantini Negri. Ospite in studio Ruben Jais, direttore artistico de la Verdi per i 25 anni dalla sua fondazione.

Omaggio a Rossini; recensioni dei concerti di Mikhail Pletnev, Filarmonica della Scala (L.Chierici) e Chick Corea (M.Coralli). Intervista a Ginevra Costantini Negri. Ospite in studio Ruben Jais, direttore artistico de la Verdi per i 25 anni dalla sua fondazione.

Pianist James Rhodes is back with the first of three consecutive Saturday Classics, choosing the music, recordings and musicians he's most passionate about. Today's show includes the iconic pianists Martha Argerich, Vladimir Horowitz, and Mikhail Pletnev, plus violinist James Ehnes in Bach and Mendelssohn, and Mariss Jansons conducting Wagner.

  More about Nocturnes Leon Bosch, Sung-Suk Kang "Nocturne" (mp3) from "Virtuoso Double Bass" (Meridian Records) Buy at iTunes Music Store More On This Album   The working relationship between Sung-Suk Kang and the distinguished double bass player Leon Bosch goes back to 1982, when both were students at the Royal Northern College of Music in Manchester, UK. Sung-Suk accompanied Leon during lessons and at scholarship auditions. 'At the end of our courses of study,' Leon remembers, 'the RNCM principal, Sir John Manduell, invited us to play two pieces together in one of the so-called principal's concerts. These were showcase events in which his ‘prize students’ were afforded a platform to perform in front of an audience of many distinguished invited guests, as well as the public. Sung-Suk and I performed two pieces by the great double bass player Bottesini, the Capriccio di Bravura and Fantasy Sonnambula. 'I'll remember that 1984 concert forever, for Sung-Suk’s magical playing throughout. There was one extended piano tutti in Sonnambula which was particular memorable for its unique delicacy and scintillating effervescence.' Sung-Suk picks up the story. 'After we left the RNCM, Leon and I lost contact with each other for twenty years. Then in the autumn of 2006, all of a sudden I received an SMS message from Leon on my mobile.....out of the blue. I called him back and discovered that at short notice he wanted me to play for him on a CD of pieces by Bottesini. After exchanging a few emails, I agreed.’ So what had inspired Leon to make the move? 'After Sung-Suk and I parted company back in 1984 I always thought of her whenever I played Sonnambula. I often wondered what had happened to her. I have a tape recording of that principal's concert and played it often over the years to reassure myself that it was indeed real and not just a grossly exaggerated and romanticised memory! 'Then when I was scheduled to record my first Bottesini disc, my pianist had to withdraw. After much thought, I resolved to try and find Sung-Suk, since she was the only person I felt I'd really be happy to work with. I put her name into Google and found her referred to on the website of the conductor, Nayden Todorov. With that lead, I traced her to Vienna.’ 'We began to rehearse as soon as I arrived in London!' Sung-Suk recalls. 'There wasn`t enough time to work on each piece in detail.... and we only had one and a half days to record all the repertoire for the CD. 'Playing with Leon wasn`t easy at first - he has a unique way of phrasing and his rubato is never predictable. And of course my ears had to concentrate so much on picking up the thick, deep lower register of the double bass sound. But during the recording sessions everything clicked and became completely natural. 'We tried to create a new atmosphere for each piece and then find the inspiration for a special interpretation at the end of the process. This was always different from what we'd prepared....music-making with Leon is always spontaneous! I love the full sound he makes, all the different colours he creates to express varied emotions in depth.’ As for Nocturne, it allows the piano to anticipate the main theme in the opening section but then gives it no share of the melodic line so expressively introduced and sustained by the double bass. It is, however, the piano which towards the end initiates the change from minor to major harmonies, just before double-bass harmonics magically project the melody into the soprano register. If Bottesini expected to be remembered by future generations he no doubt felt that it would be through his operas and sacred music. In fact, while they are forgotten, his posthumous reputation derives from an instrumental artistry which, though it died with him, survives in the hands of those few bassists who can do his compositions full justice.   Nikolai Lugansky "Nocturne, Op. 55 No. 1" (mp3) from "Chopin: Piano Sonata No. 3, Fantasie-impromptu, Prélude, Nocturne, et al." (Onyx Classics) Buy at iTunes Music Store More On This Album   Nikolai Lugansky's first recording for ONYX. The Daily Telegraph commenting on Lugansky, said 'He can thrill in taxing pianism through his iron will and fingers of steel, but there is an assuaging velvet quality to his tone, a natural feel for lyrical line' Gramophone praised his 'pianism of immense skill, fluency and innate musical quality' Nikolai Lugansky was born in Moscow in 1972. He studied at Moscow Central Music School (under Tatiana Kestner) and then at the Moscow Conservatory, where he was a pupil of Tatiana Nikolayeva, who described him as ‘the next one’ in a line of great Russian pianists. Following Nikolayeva’s untimely death in 1993, Lugansky continued his studies under Sergei Dorensky. A laureate of the International Bach Competition in Leipzig, the Rachmaninov Competition in Moscow and the International Tchaikovsky Competition in Moscow, Lugansky has a repertoire of over 50 concertos with orchestra as well as a wide range of solo and chamber works. He has worked with many distinguished orchestras and conductors including Christoph Eschenbach, Vladimir Fedoseyev, Valery Gergiev, Neeme Järvi, Raymond Leppard, Yoel Levi, Mikhail Pletnev, Gennady Rozhdestvensky, Vladimir Spivakov, Evgeny Svetlanov, Yuri Temirkanov, Kurt Masur, Riccardo Chailly and others. His chamber music partners have included Vadim Repin, Alexander Kniazev, Joshua Bell, Yuri Bashmet, Mischa Maisky, Leonidas Kavakos and Anna Netrebko among others. Lugansky has recorded 23 CDs. His solo recordings on Warner Classics — Chopin Études, Rachmaninov Préludes and Moments musicaux and Chopin Préludes — were each awarded a Diapason d’Or. His PentaTone Classics SACD of Tchaikovsky’s Piano Concerto no.1, with the Russian National Orchestra under Kent Nagano, was cited as ‘Editor’s Choice’ in Gramophone. His Prokofiev CD was one of the ‘CDs of the Year’ (2004) featured in The Daily Telegraph. Lugansky’s recordings of the complete piano concertos of Rachmaninov, with the City of Birmingham Symphony Orchestra under Sakari Oramo, received Choc du Monde de la Musique, Preis der deutschen Schallplattenkritik and the 2005 ECHO Klassik Award. His last recording (Chopin’s and Rachmaninov’s cello sonatas) with the cellist Alexander Kniazev won the 2007 ECHO Klassik Award. As well as performing and recording, Lugansky teaches at the Moscow Conservatory as an assistant of Prof. Sergei Dorensky.   Anthony Goldstone "Nocturne in D-Flat Major, Op. 8" (mp3) from "Russian Piano Music, Vol. 4: Sergei Lyapunov" (Divine Art) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album Now almost forgotten in the West, Lyapunov was one of the truly great composers of the Romantic era in the late 19th and early 20th centuries. His Sonata is a phenomenal work and his mastery of pianistic composition is also finely demonstrated by the other works on this album masterfully interpreted by Anthony Goldstone. Anyone who loves Chopin or Liszt should get to know this music.   Fuzjko Hemming "Nocturne No. 20 In C-Sharp Minor" (mp3) from "Fuzjko Hemming - Collector's Edition" (Fuzjko Label) Buy at iTunes Music Store Stream from Rhapsody Buy at Amazon MP3 More On This Album Having wowed much of the Eastern Hemisphere for years, classical pianist Fuzjko Hemming is preparing for her introduction to the United States. Having been born into humble circumstances, child of a Japanese mother and Swedish father, she has felt rootless, too Asian in appearance for Sweden, and in Japan constricted by the society's stratified and class-oriented way of life. Then, as she was starting to gain traction as a professional musician, her promising career was cut short. - Fuzjko lost all hearing in her left ear after battling a serious cold. At 16, she already lost her hearing in her right ear due to illness. Completely deaf for 2 years, she eventually had 40% of her hearing restored in her left ear. After living in poverty in Europe for many years before returning to Japan and gaining acclaim for her music - critics hailed her as being "born to play Chopin and Liszt " In 1999, Japan's NHK Television aired a documentary of her life and she released her debut album, La Campanella, which sold more than two million copies, a rare accomplishment for any classical artist She also has won an unprecedented four Classical Album of the Year Awards at the Japan Gold Disc Awards, another extraordinary achievement for any artist, let alone a classical artist She remains the only four-time Gold Disc Award winner. Since that time she has recorded numerous successful albums - invigorating collections of classical interpretations, five of which are being released for the first time in the U.S. on her label Domo Records: Echoes of Eternity, La Campanella, Liszt: Piano Concerto No. 1, Nocturnes of Melancholy, Live at Carnegie Hall. On the new album, Fuzjko, the artist performs largely romantic repertoire ranging from Beethoven's "The Tempest" sonata to works by Chopin, Liszt, Scarlatti and Debussy. In each piece, whether performing Chopin's Nocturnes or Liszt's bravura pieces "La Campanella" and "Grand Etudes D'Apres Paganini No. 6", Fuzjko infuses poetry to these timeless compositions, and always in her own eminently attractive style. The warmth of Fuzjko's sound can also be heard in Scarlatti's Sonata K.162 and Debussy's "Claire De Lune". Although much of the repertoire is familiar, Fuzjko also dips into lesser known works like Liszt's transcription of Schumann's "Fruhlinghsnacht", and Chopin's "Trois Nouvelles Etudes No.3, and always played with her celebrated musicality much in evidence. The celebrated virtuoso blends the classicality of her influences such as Franz Liszt, Frédéric Chopin with the sophisticated approach of her mentors (Leonard Bernstein, Herbert von Karajan) to create an emotional delivery of exquisite craftsmanship. She's been known to bring some fans to tears with her moving immersion in her music. With her strikingly unorthodox playing style and intricate ethnic roots, it's evident that Fuzjko's true home is at the piano, where she reveals herself as a true artist of the world.   Carly Comando "Bear" (mp3) from "One Take" (Deep Elm) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album   Chilling. Stirring. Powerful. Contemplative. These are some of the words most frequently used to describe the achingly beautiful piano instrumentals of Carly Comando. Her debut album "One Take" features ten delicately woven songs (including her single "Everday") that are the direct emotional output of her innermost thoughts. "The album means the world to me. It's complete, in-the-moment sincerity translated into moody solo piano music. I used an improv technique, recording in just one take, so I could capture the essence of pure emotion" says Carly. From the rises and falls to the shrinks and swells, these songs will leave an indellible impression on your mind. It's music that stays with you forever. "One Take" was recorded in Carly's home studio in Brooklyn, NY. Mastered by Phil Douglas (Latterman, Small Arms Dealer, Iron Chic). The album includes the "Everyday" which was originally released in December 2006. Deep Elm Records is simultaneously releasing an EP titled "Cordelia" featuring four additional piano instrumentals. Carly also plays keyboards / sings in the band Slingshot Dakota and composes custom works upon request. And yes, that was the name given to her at birth. "This is music that changes lives, opens minds, broadens horizons. Carly is an amazing pianist." - ANA "Beautiful and soothing, she will evoke emotion and ease any scattered mind. A talented composer." - SweetieJo "Emotional and inspiring, it grabs your soul and moves you. Highly recommended." - The Rez