Podcasts about Missa solemnis

Donald Macleod explores Beethoven's endeavours to become the guardian of his brother's son Karl - a relationship which from the start was built upon rocky foundations.Music Featured: Allegro and Minuet, WoO 26 (Excerpt) Symphony No 3 ‘Eroica' (Scherzo. Allegro vivace) Leonore Prohaska, WoO 96 (Funeral March) Piano Sonata No 28 in A, Op 101 Sehnsucht, WoO 146 Das Geheimnis, WoO 145 Der Mann von Wort, Op 99 Symphony No 7 in A, Op 92 (Allegretto) Music, Love and Wine, Op 108 No 1 Behold my love how green the groves, Op 108 No 9 Symphony No 8 in F, Op 93 (Allegro vivace) Piano Sonata No 29 in B flat, Op 106 ‘Hammerklavier' (Allegro) String Quintet in C minor, Op 104 (Allegro con brio) Missa Solemnis in D, Op 123 (Agnus Dei) Minuet, WoO17 (Mödlinger Tänze, No 2) Piano Sonata No 30 in E, Op 109 (Prestissimo) Symphony No 9 in D minor, Op 125 ‘Choral' (Excerpt) Resignation, WoO 149 Abendlied Unterm Gestirnten Himmel, WoO150 Piano Sonata No 31 in A flat, Op 110 Bagatelle No 2, Op 126 (Allegro) Der Kuss, Op 128 Missa Solemnis in D, Op 123 (Gloria) Symphony No 9 in D minor, Op 125 ‘Choral' (Scherzo) String Quartet No 12 in E flat, Op 127 (excerpt) Waltz in E flat, WoO 85 Tremate, empi, tremate, Op 116 String Quartet No 15 in A minor, Op 132 (Molto adagio) Elegischer Gesang ‘Sanft wie du lebtest‘, Op 118 Piano Sonata No 12 in A flat, Op 26 (Marche Funebre)Presented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Ludwig van Beethoven (1770-1827) https://www.bbc.co.uk/programmes/m002cbw3And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

durée : 00:29:41 - Jérémie Rohrer, chef d'orchestre - Vingt ans après la création de son ensemble, le chef d'orchestre célèbre l'anniversaire du Cercle de l'Harmonie, pionnier dans l'interprétation du répertoire classique et romantique sur instruments d'époque, et publie une version de la Missa Solemnis de Beethoven sur le label Alpha Classics.

durée : 02:04:25 - Musique matin du mardi 04 mars 2025 - par : Jean-Baptiste Urbain - Vingt ans après la création de son ensemble, le chef d'orchestre célèbre l'anniversaire du Cercle de l'Harmonie, pionnier dans l'interprétation du répertoire classique et romantique sur instruments d'époque, et publie une version de la Missa Solemnis de Beethoven sur le label Alpha Classics. - réalisé par : Yassine Bouzar

Warm, ausgewogen, aber immer durchsichtig ist der Klang, den Jérémie Rhorer von Beginn an in der "Missa solemnis" gestaltet.

durée : 00:04:45 - Classic & Co - par : Anna Sigalevitch - Ce matin, Anna Sigalevitch nous parle de "La Missa Solemnis" de Beethoven par Jeremie Rhorer avec le Cercle de l'Harmonie. C'est un disque qui vient de paraître sur le label Alpha Classics.

durée : 01:28:12 - En pistes ! du mardi 14 janvier 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Aujourd'hui dans En Pistes, Jérémie Rohrer dirige un chef d'œuvre de la musique sacrée, la Missa Solemnis de Beethoven ! Également à l'honneur, une spécialiste de Liszt, la pianiste Edith Farnadi, mais aussi du luth ou des sonates de Schubert

durée : 01:28:12 - En pistes ! du mardi 14 janvier 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Aujourd'hui dans En Pistes, Jérémie Rohrer dirige un chef d'œuvre de la musique sacrée, la Missa Solemnis de Beethoven ! Également à l'honneur, une spécialiste de Liszt, la pianiste Edith Farnadi, mais aussi du luth ou des sonates de Schubert

Wolfgang Amadeus Mozart (1756-1791)Exsultate, jubilate, K.165/158a (1773)Mottetto per soprano ed orchestra 1.       Allegro. Exsultate, jubilate [00:00]2.       Recitativo. Fulget amica dies [04:35]3.       Andante. Tu virginum corona [05:34]4.       Allegro. Alleluja [12:06] Cecilia Bartoli, mezzosopranoWiener KammerorchesterGyörgy Fischer, conductor *************[14:36]Wolfgang Amadeus Mozart (1756-1791)Missa Solemnis in do maggiore, K 337 "Missa aulica"1.       Kyrie 2.       Gloria [16:42]3.       Credo [20:16] (Et incarnatus est [21:50])4.       Sanctus [26:00]5.       Benedictus [27:39]6.       Agnus Dei [30:12] (Dona nobis paces [34:07])Concentus Musicus WienNikolaus Harnoncourt, conductor

En la setmana en qu

We'll focus on the Missa Solemnis, Op. 123, composed between 1819 and 1823.

Can music teach us how to live? In this interview Evan Rosa invites Daniel Chua—a musicologist, composer at heart, and Professor of Music at the University of Hong Kong—to discuss his latest book, Music & Joy: Lessons on the Good Life.Together they discuss the vastly different ancient and modern approaches to music; the problem with seeing music for consumption and entertainment; the ways different cultures conceive of music and wisdom: from Jewish to Greek to Christian; seeing the disciplined spontaneity of jazz improvisation fitting with both a Confucian perspective on virtue, and Christian newness of incarnation; and finally St. Augustine, the worshipful jubilance of singing in the midst of one's work to find rhythm and joy that is beyond suffering; and a final benediction and blessing for every music lover.Throughout the interview, we'll offer a few segments of the music Daniel discusses, including Beethoven's Opus 132 and the Ode to Joy from Beethoven's 9th symphony, and John Cage's controversial 4'33”—which Daniel recommends we listen to every single day, and which we're going to play during this episode toward the end.Show NotesMusic and Joy: Lessons on the Good Life by Daniel Chua (https://yalebooks.yale.edu/book/9780300264210/music-and-joy/)Can music teach us how to live?The emotional relationship we have with musicEveryone identifies with musicHow did you come to love music and write on it?MusicologistThe Sound of Music soundtrack (https://www.youtube.com/playlist?list=PLeSQLYs2U8X0nTi15MHjMAWim3PxIyEqI)Listening to music at a young ageLove of Beethoven as a childWhat about Beethoven in particular spoke to you? Do you have memories of what feeling or challenges or thoughts or kind of ambitions were there?Beethoven as harder to listen to and sit through as it is quite disruptive and intellectual in styleBeethoven and Freedom by Daniel Chua (https://www.barnesandnoble.com/w/beethoven-freedom-daniel-k-l-chua/1126575597)What pieces in particular, or what about Beethoven's composition was particularly moving to you?Beethoven's final string quartets (https://www.youtube.com/watch?v=7qaq881bwRI)“It's very strange. It's like the most complex and the most simple music. And somehow they speak very deeply to my soul and my heart. And you just want to listen to them all the time.”A Minor String Quartet, Opus 132 (https://www.youtube.com/watch?v=FUob2dcQTWA)A piece of thanksgiving to GodMessages sent by music as a young person about how things come togetherMusic interacts with usPlaying to understand how it is that a piece worksHow do we replicate what music communicates in our daily lives?Beethoven's Ode to Joy (https://www.youtube.com/watch?v=q0EjVVjJraA)Stephen Pinker - music is auditory cheesecake“If music is joy, then what is it? What kind of joy is it?”Consuming music is not the same as joy; music is not simply entertainmentThe fanfare of terror in Ode to Joy“Humans are strange. We are very sinful creatures so we tend to weaponize whatever we have to weaponize and we weaponize music too.”“Whatever we do with music as humans, there is something more in music that speaks beyond out puny human point of view of music.”Our view of music and joy today are too human; music is cosmicWe tune ourselves, our virtues, our wisdom to the rhythm of the universe.Joy as something we obey, we listen to.“Music isn't human. Music is actually creation.”Music, the Logos, and WisdomMusic as something that teaches us how to live.Wisdom taking delight, joy, in the universe.Music is deeply beautiful; there is profound goodness to itA lesson in flourishing found in music, in the tuning of ourselvesMusic is truthful; Christ as an instrument and salvation as being in tuneSheet music v performance as an analogy for incarnationMusic as an event that is happeningHarmony and coming together - finding one's place within the turn; Taoist and Confucian traditions“Jazz offers this fantastic expression of a different kind of wisdom born through suffering and grief.”Improvisation in jazz; an exuberance - the weird and the spontaneous alongside the orderedMusic as an opportunity for emotion and a way to communicate and understand; spirituals and slave hymns“The order of the cosmos is basically tragic. It's a bad, bad world. And music is a kind of consolation in that.”“Music can't help but be meaningful.”4'33" by John Cage (https://www.youtube.com/watch?v=AWVUp12XPpU)Whatever we are, music is there.Using music to make sense of things; really attend to the world and its music.Augustine's Book of Music “De Musica” (https://archive.org/details/augustine-on-music-de-musica/page/159/mode/2up)The spontaneous music of the worldDefiant joy in the music of slave hymns; a joy that will not be crushedA robust understanding of joyMusic tells us something about the world, the cosmos, of creation - Music reflects the heart of God.About Daniel ChuaDaniel K. L. Chua is the Chair Professor of Music at the University of Hong Kong. Before joining Hong Kong University to head the School of Humanities, he was a Fellow and the Director of Studies at St John's College, Cambridge, and later Professor of Music Theory and Analysis at King's College London. He is the recipient of the 2004 Royal Musical Association's Dent Medal, an Honorary Fellow of the American Musicological Society, and a Corresponding Fellow of the British Academy. He served as the President of the International Musicological Society 2017-2022. He has written widely on music, from Monteverdi to Stravinsky, but is particularly known for his work on Beethoven, the history of absolute music, and the intersection between music, philosophy and theology. His publications include The ‘Galitzin' Quartets of Beethoven (Princeton, 1994), Absolute Music and the Construction of Meaning (Cambridge, 1999), Beethoven and Freedom (Oxford, 2017), Alien Listening: Voyager's Golden Record and Music From Earth (Zone Books, 2021), Music and Joy: Lessons on the Good Life (Yale 2024), ‘Rioting With Stravinsky: A Particular Analysis of the Rite of Spring' (2007), and ‘Listening to the Self: The Shawshank Redemption and the Technology of Music' (2011).Image Credit: “Beethoven with the Manuscript of the Missa Solemnis”, Joseph Karl Stieler, 1820, oil on canvas, Beethoven-Haus, Bonn (Public Domain, Wikimedia Link)Ludwig van Beethoven, String Quartet No. 15 in A minor, Op. 132: iii. “Heilige Dankgesang eines Genesenden an die Gottheit” (”Holy song of thanks of a convalescent to the Divinity”), Amadeus Quartet, 1962 (via Internet Archive)Ludwig van Beethoven, The Symphony No 9 in D minor, Op 125 "Choral" (1824), Concertgebouw Orchestra conducted by Otto Klemperer, Live Performance, 17 May 1956 (via Internet Archive)Traditional Chinese Music, Instrument: Ehru, “Yearning for Love” Remembering of The Xiao on The Phoenix Platform (via Internet Archive)John Coltrane, “The Inch Worm”, Live in Paris, 1962 (via Internet Archive)4'33”, John Cage, 1960trThe McIntosh County Shouters perform “Gullah-Geechee Ring Shout” (Library of Congress)

Ludwig van Beethovens "Missa solemnis" gehört zu seinen bedeutendsten Kompositionswerken. Es ist eine feierliche Messe, die jeden kirchenliturgischen Rahmen sprengt. Vor 200 Jahren wurde sie in Sankt Petersburg erstmals aufgeführt. Schreiber, Wolfgang www.deutschlandfunk.de, Kalenderblatt

There were so many questions on our minds. We luckily got some answers. https://www.instagram.com/pandasdenpodcast/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiopandabear/message Support this podcast: https://podcasters.spotify.com/pod/show/radiopandabear/support

Vai zini, ka Rīgas Doma ērģelēm ir divi spēles galdi, kurus ļoti radoši mācējis izmantot Rīgas Doma ērģelnieks Vilhelms Bergners (1837–1907)? Jāpiebilst, ka mūsdienās būvētajām lielformāta ērģelēm divi atsevišķi novietoti spēles galdi ir samērā ierasta parādība. Tas ievērojami atvieglo ērģelnieka sadarbību ar orķestri vai kori, īpaši jau lielformas skaņdarbu izpildījumā. Pateicoties moderno tehnoloģiju izmantošanai ērģeļbūvē, tas ir kļuvis diezgan vienkārši realizējams. Bet Rīgas Doma ērģeles taču ir mehānisks instruments! Kādēļ gan veidot tik komplicētu mehānisku sistēmu, lai kādu daļu no milzīgā instrumenta pārceltu uz atsevišķa spēles galda? Pie tam tāda, kurš atrodas stāvu zemāk, uz zemākā balkona? Viens no apsvērumiem bijis tīri praktisks. Mazo spēles galdu, kas bija aprīkots ar vienu manuāli un pedāļa klaviatūru, varēja izmantot, piemēram, kristībās. Ar gaisa piegādi tad viegli tika galā viens plēšu minējs. Tikmēr Doma ērģelnieks Vilhelms Bergners (juniors) šajā otrajā spēles galdā saskatīja arī nozīmīgākas muzikālās iespējas. Būdams izcils aranžētājs, viņš saprata, ka, uzticot orķestra instrumentu partijas ērģelēm, tās pilnvērtīgāk sadalāmas starp diviem ērģelniekiem. Tā, piemēram, 1902. gadā kopā ar savu skolnieku un pēcteci ērģelnieku Haraldu Kreicburgu un Baha biedrības mūziķiem, Bergners atskaņoja paša aranžēto J. S. Baha kantāti pirmajai svētdienai pēc Lieldienām („Halt im Gedächtnis Jesum Christ“). Šajā pašā koncertā aranžijā dubultērģelēm izskanējusi arī Bēthovena „Missa Solemnis”, kā arī Hendeļa un Haidna oratoriju fragmenti. 1900. gadā Baha kantāte „Ein' feste Burg” (BWV 80) bija Bergnera aranžējums solistiem, jauktajam korim, dubultērģelēm un pūšaminstrumentiem. Ar Bergnera vadītās Baha biedrības mūziķiem un dažiem pieaicinātiem solistiem 1886. gadā Rīgas Domā izskanējusi arī Baha „Mateja pasija”, bet 1901. gadā noticis Baha biedrības nu jau 100. koncerts. (Viens no Baha biedrības dibinātājiem 1864. gadā bija Vilhelms Bergners pats. Līdz 1904. gadam viņš bija arī Baha biedrības kora un orķestra diriģents). Protams, daudzos koncertos neiztrūka arī abu Vilhelmu Bergneru – seniora un juniora – pašu sacerētie opusi. Vilhelma Bergnera juniora iedvesmas pilnie centieni nepalika bez Doma Administrācijas ievērības un novērtējuma. Viņam bija ierādīts dienesta dzīvoklis, kura īri apmaksāja Doma draudze. Tāpat viņš saņēma vienu trešdaļu no paša organizēto koncertu ieņēmumiem. Saasinoties veselības problēmām, tika apmaksāti Bergnera braucieni uz Karlsbādes kūrortu. Arī sirmā vecumā Bergners centās būt tuvu ne tikai Rīgas, bet arī Eiropas mūzikas dzīves epicentriem. Tā viņš lūdzis piešķirt viņam atvaļinājumu, lai dotos uz Baireitas Mūzikas festivālu. Bergnera mūžs noslēdzās 1907. gadā. Lai arī viņa kapa vieta Rīgas Lielajos kapos ir zināma, diemžēl kapa piemineklis, kuram ziedojumus vāca visi ar Bergneru saistītie mūziķi, ir gājis zudībā. Toties Rīgas Vēstures un kuģniecības muzeja krātuvē glabājas viņa diriģenta zizlis. Vilhelma Bergnera lolojums un piepildītais sapnis par Rīgas Doma ērģelēm ar diviem spēles galdiem nu jau 140 gadus ir mūsu acu priekšā. Stāstīja ērģeļu meistars, Rīgas Doma ērģeļu pārraugs Viesturs Ilsums.

Directors com Wilhelm Furtw

Der Dirigent Jordi Savall hat mit seinem Barock-Ensemble "Le Concert des Nations" die neun Symphonien Beethovens aufgenommen - und am Ende dieser Reihe steht die "Missa solemnis". Laszlo Molnar hat sich die Neueinspielung angehört.

The Missa solemnis in D major, Op. 123, is a Solemn Mass composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in Saint Petersburg, Russia, under the auspices of Beethoven's patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer.  It is generally considered one of the composer's supreme achievements and, along with Bach's Mass in B minor, one of the most significant Mass settings of the common practice period. Written around the same time as his Ninth Symphony, it is Beethoven's second setting of the Mass, after his Mass in C major, Op. 86. The work was dedicated to Archduke Rudolf of Austria, archbishop of Olmütz, Beethoven's foremost patron as well as pupil and friend. The copy presented to Rudolf was inscribed "Von Herzen—Möge es wieder—Zu Herzen gehn!" ("From the heart – may it return to the heart!") Conducted by Joana Filipe MartinezPerformed by the CMD Grand Opera Company of Barcelona Purchase this recording at: Beethoven: Missa solemnis in D major, Op. 123 (classicalmusicdiscoveries.store)

An episode from 1/1/24: Tonight, a cold has forced me to hand over the episode almost entirely to some of the greatest music ever written. Here are excerpts of my favorite pieces from Ludwig van Beethoven (1750-1827). It's hard to think of music that is more passionate, introspective, uplifting, brooding, mournful, and joyous. The sources for the music I use are: Excerpts from the Ninth Symphony/Op. 125 is conducted by Eugen Duvier. Excerpts from the Piano Sonatas (#1 and #2/Op. 2, #8/Op. 13, #13 and #14/Op. 27 #15/Op. 28, #17/Op. 31, #21/Op. 53, #22/Op. 54, #27/Op. 90), and the Fifth Piano Concerto/Op. 73 come from the complete recordings by Claudio Arrau. The excerpt from the Op. 70 “Ghost” Trio, from the Trio Bell'Arte. Excerpts from String Quartet 13/Op. 130 and String Quartet 15/Op. 132 come from the recordings by the Quartteto Italiano.  Excerpts from Missa Solemnis, Op. 123, is conducted by John Eliot Gardiner. The excerpt from Robert Greenberg lecture comes from his Great Courses set on the Piano Sonatas.  You can support Human Voices Wake Us here, or by ordering any of my books: Notes from the Grid, To the House of the Sun, The Lonely Young & the Lonely Old, and Bone Antler Stone. Email me at humanvoiceswakeus1@gmail.com. --- Send in a voice message: https://podcasters.spotify.com/pod/show/humanvoiceswakeus/message Support this podcast: https://podcasters.spotify.com/pod/show/humanvoiceswakeus/support

Georg Friedrich Händel (1685-1759) - Zadok the Priest HWV 258 Choir of Westminster AbbeyMartin Baker, direttore*****Leopold Mozart (1719 - 1787) - Missa Solemnis in Do MaggioreI. KyrieII. GloriaIII. CredoIV. SanctusV. BenedictusVI. Agnus DeiArleen Augér, sopranoGabriele Schrecknbach, altoHorst Laubenthal, tenorBarry McDaniel, baritoneChor der St.Hedwigs - Kathedrale BerlinDomKapelle - BerlinRoland Bader, direttore

Wolfgang Amadeus Mozart (1756-1791)Exsultate, jubilate, K.165/158a (1773)Mottetto per soprano ed orchestra 1.       Allegro. Exsultate, jubilate [00:00]2.       Recitativo. Fulget amica dies [04:35]3.       Andante. Tu virginum corona [05:34]4.       Allegro. Alleluja [12:06]Cecilia Bartoli, mezzosopranoWiener KammerorchesterGyörgy Fischer, conductor*************[14:36]Wolfgang Amadeus Mozart (1756-1791)Missa Solemnis in C major, K 337 "Missa aulica" 1.       Kyrie 2.       Gloria [16:42]3.       Credo [20:16] (Et incarnatus est [21:50])4.       Sanctus [26:00]5.       Benedictus [27:39]6.       Agnus Dei [30:12] (Dona nobis paces [34:07])Concentus Musicus WienNikolaus Harnoncourt, conductor

Few mass settings pose more questions of listeners than Beethoven's Missa solemnis. A fervent meditation on faith and doubt, the piece spans moments of ecstasy and angst, soaring beauty and near-operatic theatricality. Riccardo Muti leads this rarely performed score with a thrilling quartet of international singers and the Chicago Symphony Orchestra and Chorus. Learn more: cso.org/performances/22-23/cso-classical/muti-conducts-beethoven-missa-solemnis

Militärfanfaren in einer Messe? Beethoven schert sich nicht um Konventionen der Kirchenmusik in diesem Werk, das er selbst für sein bestes hielt: eine überwältigende Mischung aus Oratorium und Sinfonie - nur für den Gottesdienst wenig geeignet. Von Michael Lohse.

Georg Friedrich Händel (1685-1759) - Zadok the Priest HWV 258Choir of Westminster AbbeyMartin Baker, direttore*****Leopold Mozart (1719 - 1787) - Missa Solemnis in Do MaggioreI. KyrieII. GloriaIII. CredoIV. SanctusV. BenedictusVI. Agnus DeiArleen Augér, sopranoGabriele Schrecknbach, altoHorst Laubenthal, tenorBarry McDaniel, baritoneChor der St.Hedwigs - Kathedrale BerlinDomKapelle - BerlinRoland Bader, direttore

Leopold Mozart (1719 - 1787) - Missa Solemnis in Do maggiore00:05   I. Kyrie04:35  II. Gloria21:45 III. Credo38:27 IV. Sanctus40:23  V. Benedictus45:38 VI. Agnus DeiArleen Augér, sopranoGabriele Schrecknbach, altoHorst Laubenthal, tenorBarry McDaniel, baritoneChor der St.Hedwigs - Kathedrale BerlinDomKapelle - BerlinRoland Bader, conductor

En prat med Grete Pedersen om Beethovens Missa Solemnis - hans største og beste verk etter hans egen mening - som Det Norske Solistkor fremfører med solister og orkester i Oslo og Moss 10 og 11. mars.

Diesmal macht Matussek einen auf „Diversity“: Musik von Bob Dylan über Reinhard Mey bis Mozarts Credo aus der „Missa Solemnis“. Die Themen: von kriegerischem Geheul der Baerbock und Strack-Zimmermann, Broder und Fleischhauer, über Olaf Scholzes Rücktritt bis zur Energiewende und deren Verheerungen der Landschaft. Alles angeregt durch überaus witzige Post von Hörern. Ebenso thematisiert wird der rührende Versuch des CDU-Pappkameraden Merz, Maaßen loszuwerden, sowie die Spitzfindigkeit, zwischen Islam und Islamismus zu unterscheiden. Matussek bekennt, dass er mit beiden nichts anfangen kann, er interessiert sich mehr für deren 300 000 christliche Opfer jährlich. Anlässlich seiner Frank-Zappa-Sendung ein Rückblick auf dessen Konzert im Berliner Sportpalast, das von linken Chaoten gestürmt wurde und Zappas Verdikt, dass die Kinder der Nazis eben immer noch Nazis seien, auch wenn sie behaupten, die neue Linke zu sein.

Wolfgang Amadeus Mozart (1756-1791)Exsultate, jubilate, K.165/158a (1773)Mottetto per soprano ed orchestra 1.       Allegro. Exsultate, jubilate [00:00]2.       Recitativo. Fulget amica dies [04:35]3.       Andante. Tu virginum corona [05:34]4.       Allegro. Alleluja [12:06] Cecilia Bartoli, mezzosopranoWiener KammerorchesterGyörgy Fischer, conductor*************[14:36]Wolfgang Amadeus Mozart (1756-1791)Missa Solemnis in C major, K 337 "Missa aulica" 1.       Kyrie 2.       Gloria [16:42]3.       Credo [20:16] (Et incarnatus est [21:50])4.       Sanctus [26:00]5.       Benedictus [27:39]6.       Agnus Dei [30:12] (Dona nobis paces [34:07])Concentus Musicus WienNikolaus Harnoncourt, conductor

Georg Friedrich Händel (1685-1759) - Zadok the Priest HWV 258Choir of Westminster AbbeyMartin Baker, direttore*****Leopold Mozart (1719 - 1787) - Missa Solemnis in Do MaggioreI. KyrieII. GloriaIII. CredoIV. SanctusV. BenedictusVI. Agnus DeiArleen Augér, sopranoGabriele Schrecknbach, altoHorst Laubenthal, tenorBarry McDaniel, baritoneChor der St.Hedwigs - Kathedrale BerlinDomKapelle - BerlinRoland Bader, direttore

Synopsis If you had arrived early for the gala reopening celebration of Vienna's Josephstadt Theater on today's date in 1822, you might have heard the theater orchestra frantically rehearing a new overture by Beethoven. They had just received the score, and so at the last minute were getting their first look at the new piece they would perform that evening. Beethoven's “Consecration of the House” Overture was a last-minute commission and interrupted Beethoven's work on two bigger projects: his “Missa Solemnis” and the Ninth Symphony. This overture begins with a series of solemn chords, continues with a stately march, and closes with a fugue – a tribute to Handel, whose music was much on Beethoven's mind at the time. One hundred forty-six years later to the day, another festive occasion was observed with new music, when, on October 3rd, 1968, the New York Philharmonic, as part of its 125th anniversary celebrations, premiered a new orchestral work by the American composer William Schuman. Leonard Bernstein conducted. Schuman's piece was entitled “To Thee Old Cause,” and was scored for solo oboe and orchestra. Originally, Schumann planned an upbeat, celebratory work, but the 1968 assassinations of Dr. Martin Luther King Jr. and Robert Kennedy changed all that and more somber music, dedicated to their memory, was the result. Music Played in Today's Program Ludwig van Beethoven (1770-1827): Consecration of the House Overture –Berlin Philharmonic; Bernhard Klee, cond. (DG 453 713) Willliam Schuman (1910-1992): To Thee Old Cause –New York Philharmonic; Leonard Bernstein, cond. (Sony 63088)

durée : 01:29:29 - Musique matin été du jeudi 14 juillet 2022 - par : Clément Rochefort - Le directeur artistique du festival des Chorégies d'Orange, Jean-Louis Grinda présente sa programmation ainsi que sa nouvelle mise en scène de La Gioconda. John Nelson dirigera Missa Solemnis de Beethoven le 14 juillet. - réalisé par : Fanny Constans

Elin Manahan Thomas compares recordings of Beethoven's Missa solemnis and chooses her favourite. Beethoven's setting of the Solemn Mass is one of the monuments of choral music. Written between 1819 and 1823, it is widely thought of as one of Beethoven's towering achievements. It was dedicated to Archduke Rudolf of Austria, one of Beethoven's most generous patrons as well as pupil and friend. The copy given to Rudolf was inscribed with the phrase: "From the heart – may it return to the heart!"

Wolfgang Amadeus Mozart (1756-1791)Exsultate, jubilate, K.165/158a (1773)Mottetto per soprano ed orchestra 1.       Allegro. Exsultate, jubilate [00:00]2.       Recitativo. Fulget amica dies [04:35]3.       Andante. Tu virginum corona [05:34]4.       Allegro. Alleluja [12:06]Cecilia Bartoli, mezzosopranoWiener KammerorchesterGyörgy Fischer, conductor *************[14:36]Wolfgang Amadeus Mozart (1756-1791)Missa Solemnis in C major, K 337 "Missa aulica" 1.       Kyrie 2.       Gloria [16:42]3.       Credo [20:16] (Et incarnatus est [21:50])4.       Sanctus [26:00]5.       Benedictus [27:39]6.       Agnus Dei [30:12] (Dona nobis paces [34:07])Concentus Musicus WienNikolaus Harnoncourt, conductor

Sarah Fritz is a writer, singer, and public musicologist. Her passionate advocacy on social media seeks to change the dialogue around marginalized musicians and composers in classical music. An expert on the history of Clara Schumann, her popular Twitter account is dedicated to telling truths and debunking myths around the infamous composer/pianist. She's an in-demand speaker and lecturer, most recently at Northeastern University and at the launch of the Cambridge University Press book, Clara Schumann Studies. Her writing on Clara Schumann re-examines with a modern lens one of the most powerful musicians in classical music history. Fritz places Schumann's music and life in relevant context using overlooked research that includes fresh perspectives on Schumann's personal and professional relationships with her husband, Robert, and her close professional friend, Johannes Brahms. Fritz's work has appeared in numerous publications including VAN Magazine, The Schubertian, and American Guild of Organists Magazine. She maintains an in-depth research blog and a monthly newsletter on Clara Schumann with a novel forthcoming. Under her singer hat as mezzo-soprano Sarah Sensenig, she is a member of the voice faculty of the Westminster Conservatory at Rider University. She sings in the Philadelphia Orchestra's Symphonic Choir, this season's highlights including Beethoven's Missa Solemnis at Carnegie Hall and the world premiere of Puts's The Hours. She holds an M.M. from Eastman School of Music and B.M. from Westminster Choir College. Sarah debuted with the New York Lyric Opera Theatre in the title role of Handel's Alcina, and her other operatic roles include Fiordiligi in Mozart's Cosí fan tutte, Valencienne in The Merry Widow, Cherubino in Le Nozze di Figaro, Nancy in Albert Herring, Hansel in Hansel and Gretel, and Dido in Dido and Aeneas. She enjoys giving recitals with her pianist husband, especially in singing the Lieder of her favorite composer, Clara Schumann.  

Georg Friedrich Händel (1685-1759) - Zadok the Priest HWV 258Choir of Westminster AbbeyMartin Baker, direttore *****Leopold Mozart (1719 - 1787) - Missa Solemnis in Do MaggioreI. KyrieII. GloriaIII. CredoIV. SanctusV. BenedictusVI. Agnus DeiArleen Augér, sopranoGabriele Schrecknbach, altoHorst Laubenthal, tenorBarry McDaniel, baritone Chor der St.Hedwigs - Kathedrale BerlinDomKapelle - BerlinRoland Bader, direttore

Leopold Mozart (1719 - 1787) - Missa Solemnis in Do maggiore00:05   I. Kyrie04:35  II. Gloria21:45 III. Credo38:27 IV. Sanctus40:23  V. Benedictus45:38 VI. Agnus DeiArleen Augér, sopranoGabriele Schrecknbach, altoHorst Laubenthal, tenorBarry McDaniel, baritoneChor der St.Hedwigs - Kathedrale BerlinDomKapelle - BerlinRoland Bader, conductor

Auch wenn er kein eifriger Kirchgänger ist, lässt Beethoven immer einen aufrichtigen Glauben erkennen. Als er fühlt, dass sein Körper ihm nicht mehr gehorcht, verinnerlicht er sein ganzes Leben (seine vollständige Taubheit setzt etwa gegen 1820 ein) und wendet sich zugleich dem Himmel zu. Im Jahre 1818 veranlasst ihn die bevorstehende Inthronisation des ihm besonders nahestehenden Erzherzogs Rudolph von Österreich als Erzbischof von Olmütz, die Komposition einer Messe von gewaltigen Ausmassen in Angriff zu nehmen, wie sie ihm schon lange vorgeschwebt hat. Sein schlechter Gesundheitszustand, aber auch sein hoher künstlerischer Anspruch hindern ihn daran, diese Missa solemnis rechtzeitig zu vollenden. Erst 1823 kann er das Werk Erzherzog Rudolph übergeben. Doch es gleicht einer musikalischen Kathedrale. Denn Beethoven war vor allem bemüht, das Erbe von Bach und mehr noch von Händel anzutreten, den er als den grössten Komponisten aller Zeiten ansah.

Wolfgang Amadeus Mozart (1756-1791)Exsultate, jubilate, K.165/158a (1773)Mottetto per soprano ed orchestra1.Allegro. Exsultate, jubilate [00:00]2.Recitativo. Fulget amica dies [04:35]3.Andante. Tu virginum corona [05:34]4.Allegro. Alleluja [12:06]Cecilia Bartoli, mezzosopranoWiener KammerorchesterGyörgy Fischer, conductor*************[14:36]Wolfgang Amadeus Mozart (1756-1791)Missa Solemnis in C major, K 337 "Missa aulica" 1.Kyrie 2.Gloria [16:42]3.Credo [20:16] (Et incarnatus est [21:50])4.Sanctus [26:00]5.Benedictus [27:39]6.Agnus Dei [30:12] (Dona nobis paces [34:07])Concentus Musicus WienNikolaus Harnoncourt, conductor

Happy All Souls Day - the last day of Allhallowtide, the triduum of All Hallow's Eve, All Saint's Day, and All Soul's Day. Today on the podcast Katie plays us some stunning sacred music (courtesy of the Brompton Oratory and The Baltimore Basilica) and discusses the importance of sacred music in the liturgy (is it just a matter of taste? what's the difference between contemporary music and chant? etc.)  visit: www.bornofwonder.com  How Agatha Christie Saved the Latin Mass https://www.bornofwonder.com/home/how-agatha-christie-saved-the-latin-mass    Pope Benedict's Writings on Music http://www.stjohncc.com/popeben.htm    Christianity Gets Weird - New York Times https://www.nytimes.com/2020/05/08/opinion/sunday/weird-christians.html  Beethoven - GLORIA from the Missa Solemnis  https://www.youtube.com/watch?v=MOjOCVzABZs               

Georg Friedrich Händel (1685-1759) - Zadok the Priest HWV 258Choir of Westminster AbbeyMartin Baker, direttore*****Leopold Mozart (1719 - 1787) - Missa Solemnis in Do MaggioreI. KyrieII. GloriaIII. CredoIV. SanctusV. BenedictusVI. Agnus DeiArleen Augér, sopranoGabriele Schrecknbach, altoHorst Laubenthal, tenorBarry McDaniel, baritoneChor der St.Hedwigs - Kathedrale BerlinDomKapelle - BerlinRoland Bader, direttore

John Eliot Gardiner dirigiert am 24./25. September in München Chor und Symphonieorchester des Bayerischen Rundfunks. Gespielt wird Beethovens "Missa solemnis", das größte Werk Beethovens, wie Gardiner sagt.

Synopsis Today's date marks the birthday in 1885 of María Joaquina de la Portilla Torres, in the Mexican state of Guanajuato. Under her married name of Maria Grever, she became the first female Mexican composer to achieve international fame. She composed her first song at age four, studied in France with Claude Debussy among others, and at 18, one of her songs sold 3 million copies. At age 22, she married Leo A. Grever, an American oil company executive, moved to New York City, and by the 1930s was composing for Paramount and 20th Century Fox films. Her best-known song is probably "What A Difference A Day Makes" (originally "Cuando vuelva a tu lado"), written in 1934. Her songs have been recorded by singers ranging from the Andrews Sisters and Frank Sinatra to Dinah Washington and Aretha Franklin to Plácido Domingo and Juan Diego Flórez. “I am interested in Jazz and Modern Rhythms,” said Grever, “but above all, in Mexican Music … There is such a cultural richness in Mexican Music, its Hispanic and indigenous origins ... It is my wish and yearning to present these native rhythms and tunes from a real perspective, but with the necessary flexibility to appeal to a universal audience." Music Played in Today's Program María Grever (1885 – 1951) – Júrame (Juan Diego Flórez, tenor; Fort Worth Symphony; Miguel Harth-Bedoya, cond.) Decca 4757576 On This Day Births 1737 - Austrian composer Johann Michael Haydn, in Rohrau; He was the younger brother of Franz Joseph Haydn (b. 1732); 1760 - Italian composer Luigi Cherubini, in Florence (although August 14 is occasionally cited as his birthdate); 1910 - American composer and eminent theatrical conductor Lehman Engel, in Jackson, Miss.; 1910 - Swiss composer Rolf Liebermann, in Zurich; Premieres 1854 - Bruckner: Mass in Bb ("Missa Solemnis") in St. Florian, Austria; 1952 - Frank Martin: Concerto for Harpsichord, in Venice; 1954 - Britten: opera "The Turn of the Screw," in Venice at the Teatro La Fenice; 1968 - Shostakovich: String Quartet No. 12, in Moscow, by the Beethoven Quartet; 1978 - Barber: Third Essay for Orchestra, by the New York Philharmonic conducted by Zubin Mehta; 1994 - Richard Danielpour: Cello Concerto, commissioned and performed by San Francisco Symphony conducted by Herbert Blomstedt, with soloist Yo-Yo Ma; 1996 - Stockhausen: "Freitag aus Licht" (Friday from Light), at the Leipzig Opera; 1997 - Saariaho: "Graal Théâtre" (chamber version), in Helsinki, by the Avanti Ensemble and violinist John Storgards. 2002 - David Amram: Flute Concerto ("Giants of the Night"), in New Orleans by the Louisiana Philharmonic conducted by Klauspeter Seibel, with James Galway the soloist; 2002 - Colin Matthews, Judith Weir, Poul Ruders, David Sower, Michael Torke, Anthony Payne, and Magnus Linberg: "Bright Cecilia: Variations on a Theme by Purcell," at Royal Albert Hall in London, with the BBC Symphony, Leonard Slatkin conducting; This set of orchestral variations on a Purcell theme was commissioned by BBC Music magazine to celebrate its 10th anniversary; Others 1731 - J.S. Bach performs organ recitals in Dresden on Sept. 14-21; 1741 - Handel finishes scoring his famous oratorio, "Messiah," begun on August 22 (The entire work was composed in a period of 24 days); These dates are according to the Julian "Old Style" calendar (Gregorian dates: Sept 2 to Sept. 25); 1914 - W. C. Handy copyrights his most famous song, "The St. Louis Blues"; 1973 - The Philadelphia Orchestra gives a concert in Beijing, the first American orchestra to perform in Red China; Eugene Ormandy conducts symphonies by Mozart (No. 35), Brahms (No. 1) and the American composer Roy Harris (No. 3).

Eine "zu große Ehrfurcht" habe Riccardo Muti bislang von einer Aufführung abgehalten. Erst jetzt in der pandemiebedingten Zwangspause habe er sein Vorhaben angehen und mit seinem Lieblingsorchester, den Wiener Philharmonikern, verwirklichen können. Am 13. August bei den Salzburger Festspielen war es nun so weit.

Another one of those mind bending sessions.  Having spent the past five years chatting with Jennifer on a weekly basis, only starting to film about a year ago, we have 65 podcasts of us chatting with people on the flipside. We have three books of interviews "Backstage Pass to the Flipside" where we discuss how we met, the process we use, and the many verifications that have occurred on camera in her office, in restaurants.  In this case, one can search through these podcasts to hear other verificiations. Each week we "enter our classroom" where people are standing by waiting to chat with us. The books were named because Tom Petty described the process of "getting onto the clipboard of Luana the way someone might try to get a VIP pass to backstage at a concert."  My friend of 20 years, who passed in 1996, starting showing up to me and to family members over the years. Then when I met Jennifer Luana started showing up weekly - that is helping us to access people on the flipside, and vice versa. On the flipside they describe her participation as "showing how it's done."  In the six years of doing this, I've often "asked for people to come forward" - and most of the time Jennifer tells me who it is that I've asked for - said their name aloud prior to a session - in one to three tries.   Sometimes it takes longer - because again, they're putting images in her head that lead her to say something. So for example, if someone shows up named "Fred" - she might see her husband Fred. And then from there I ask questions about the identify of whomever shows up. This was one of those examples.  She said "somewhere is here that wants to speak to us, but neither of us would know him."  So it took me the time it took me to figure out who that might be. Carl Laemmle was a prolific film producer in the 1920s and 30's. He dies at the age of 72 in 1939, making such hit films as "The Hunchback of Notre Dame," "Phantom of the Opera" "Dracula" and "Frankenstein."  I was not aware of the films he made - but doing this research after the podcast, I realize last night while watching "Singing in the Rain" with their parody of the first sound films, I noted to my wife that if one watches "Dracula" (1931) carefully, the actors move over to where a microphone is hidden in a plant or a lamp or somewhere in the room to pick up the sound.  In the film "Singing in the Rain" they had a character with a German accent playing the role of the film director beside himself with fury about planting the microphones on set - and I realize as I write this sentence it was likely a parody of Germans like Carl who emigrated in the 1880's. Everything I report is accurate - in that it was Carl who suggested that Amelia Earhart star in a film about herself, and how she and Mary Pickford wrote a screenplay together, excerpted in George Putnam's posthumous biography of his missing wife. Fans of "Hacking the Afterlife" know that we interviewed Amelia extensively and that I've spent 30 years gathering eyewitness reports that claim she was captured, and died in Saipan. (EarhartOnSaipan.com is a webpage filled with details of that sage).  But in this instance, it was Amelia who brought Carl in - and he wanted to "give it a shot" and be interviewed by us. After my incredulousness wore off (not about the fact he was there, but why he showed up) I asked him to describe what he's up to, and his reply is unlike any we've heard before.  We have heard people can "learn to cook" but his specificity of Indian ovens (ie. tandoor ovens) for specific dishes is accurate but not something Jennifer is aware of.  His description of various salts (Moroccan!) is also accurate, having traveled around the world I know there's more than Morton Salt to be tasted.  That was quite specific. But then Prince showed up - and as fans of our work know, he's been showing up since he crossed over, interviews are in "Hacking the Afterlife" and a number of times in "Backstage Pass to the Flipside." I'm aware that the vast majority of listeners would turn off the podcast around this moment, but they'd miss him bringing Ludwig and Vincent forward to talk about art and how those frequencies affect their continued work. We tend to think in human centric terms (how could we not?) about time, about fame, about all of those things that don't mean much on the flipside. The idea that Carl could come forward 80 some years after his passing, and carry on a conversation as if he was aware of everything that's been said since is mind bending.  The idea that Ludwig might be considered 250 years old - but what she had to say about his digestive issues is accurate - and at one point mentions his "blindness" ... because she's not aware that he was going to come to class today, or not really up on his story. I literally did finish reading a biography about him this morning, and am in awe of his talent and output as an artist - but I wanted to dig into something that bothered me, his behavior towards his sister and law and her son is considered beyond the pale - while working on Missa Solemnis and the 7th, 8th and 9th symphonies.  Like the sand in an oyster that turns into great pearls, it was the sacrifice his sister and law Johanna and nephew Frank put up with so that he could create the kind of art that he did. Vincent mentions a "savage animal" attacking his ear - that could be a metaphor for the "man in the mirror," "some bar fight gone wrong," or literally an animal attacking him - I don't know. It doesn't really matter, because as he put it "I won. I'm the most valued artist of us all."  Funny way to put it - but accurate. This podcast may offend a few, may startle a few, but Jennifer and I show up unprepared, except for the body of work that's preceded when I turn on the camera and record our podcast. Enjoy.

LINDA S. NELSON is an Actor, Director, Dramaturge and Producer.  As an actor, Ms. Nelson has predominately been seen on stage, including Off Broadway, Off-Off Broadway, Regional Theatre, and with companies such as Whitehorse Theatre, Oberon Theatre Ensemble, Boomerang Theatre and NJ Rep. Her Film and TV credits include “Imaginary Heroes” with Sigorney Weaver, "Orange Is The New Black", “Seven Deadly Sins” and the award winning short film “Lipstick Ladies”.  In addition to directing dozens of readings, short plays and 24-Hour Festivals for companies such as Boomerang, TRU, Oberon, and New Light Theatre, her New York directing credits include Toast, Boast or Roast – A Tribute to Austin Pendleton featuring Olympia Dukakis, Louis Zorich, F. Murray Abraham, Dylan Baker and Becky Ann Baker at the Players Club, produced by Oberon Theatre Ensemble;  Tongue of a Bird by Ellen McLaughlin; The Necessary Disposal by Bob Ost; and the Backstage Bistro Award winning Three Tenors in Search of an Act. She also directed and produced the World Premiere and Tour of Missa Solemnis or The Play About Henry by Roman Feeser; the North American Premiere of The Choice by Claire Luckham; and two interactive murder mysteries The Art of Murder and Delicious Death, both of which she co-wrote.   As a dramaturge Ms. Nelson has worked with dozens of writers including playwright/novelist, Cailin Heffernan; Screenwriter, Michael Lee Stever; and playwrights, Cyndy Marion at Whitehorse Theater Company, Stu Richel, Roman Feeser, Bob Ost, and Phil Olson on his popular musical series, Don’t Hug Me.  Founder of Shotgun Productions, she served as its Producing Director for 19 years and produced theatre, dance, opera and classical concerts throughout the New York area and in Europe. Since leaving Shotgun she has independently produced plays in NYC and on tour throughout the US. She was an Associate Producer on the Off Broadway production of “Silence” the musical parody of “Silence of the Lambs”. Currently she represents the multi-award winning “Sweet Texas Reckoning” by Traci Godfrey and the solo performance “Vietnam…through my lens” written and performed by Stu Richel. With “Vietnam…” she started as its dramaturge, then produced and directed the NYC Premiere in 2014 and has continued as its producer/director of the tour, which has been running since then. “Vietnam…” was also made into a film last summer by Two Seas TV, on which she worked as the AD to the Emmy Award winning director, Tony Ceglio.

Welcome, listeners, to our first episode of a new series: Behind the Portraits! In this series, we will be exploring portraits of composers - Who created them? What significance do they have? What was the composer composing around that time? - so many good questions, and so many good portraits. This first episode presents likely one of the most famous composer portraits ever of potentially the most famous composer ever, Ludwig van Beethoven. Don't worry - you'll recognize the portrait when you see it. The painter captured several aspects of Beethoven and, in a single portrait, immortalized an image of this remarkable composer.   Art:  Joseph Karl Stieler (1781-1858): Beethoven with the Manuscript of Missa Solemnis (1820)  https://artsandculture.google.com/asset/beethoven-with-the-manuscript-of-the-missa-solemnis-joseph-karl-stieler/rAFyeYgdYQP_QA    Music: Ludwig van Beethoven (1770-1827): Missa Solemnis (1819-23)  https://open.spotify.com/album/1kV9sTz56Crk8hsNb5QuOE?si=ytoFL1VeQjivujiO0Wcb6w    No playlist this week, but you can listen to the entirety of Beethoven's Missa Solemnis at the link in the Music section!   Visit our Patreon page to see how you can support us!  Patreon: https://www.patreon.com/notesandstrokes   Follow us on Instagram and Facebook!  Instagram: https://www.instagram.com/notes_and_strokes/  Facebook: https://www.facebook.com/notesandstrokes/    Email us any time! notesandstrokespodcast@gmail.com 

Sveriges Radios romanpris gick i år till Hanna Nordenhök för hennes roman Caesaria en historisk roman som skrevs under och färgades av #metoo. Helene Alm har pratat med Hanna Nordenhök. KULTURGÄRNING NÄR 101 ÅR GAMMALT VERK GES UT PÅ SKIVA Tonsättaren Andreas Halléns körverk Missa Solemnis uruppfördes 1920 men först nu, dryga 100 år senare, har den spelats in för att ges ut på skiva, med Erik Westbergs vokalensemble. Samtal med P2:s Sara Norling om en kulturgärning. RECENSION: UNDERGÅNGEN AV MALTE PERSSON Malte Persson debuterade med romanen Livet på den här planeten 2002. Han är en litterär mångsysslare som översätter, skriver romaner, barnböcker, kulturartiklar men kanske är det som poet och översättare av poesi han är mest verksam. I dagarna utkommer hans femte diktsamling, Undergången, som Lars Hermansson har läst. ESSÄ: NIHILISTISK GANGSTERRAP SOM ARBETARLITTERATUR?  Vilka erfarenheter räknas och krävs det en särskild moral för att inkluderas i genren arbetarlitteratur? Frågan om gränsdragningar inom arbetarlitteraturen är inte ny, utan tvärt om nästan lika gammal som arbetarlitteraturen själv. Litteraturvetaren Jimmy Vulovic reflekterar över en debatt som ständigt dyker upp i nya skepnader Programledare: Lisa Wall Producent: Eskil Krogh Larsson

Andy Bush finds out who kept a roof over Ludwig's head by commissioning him to write music. Turns out there were quite a few princes, but only one of them was called a donkey… The guests in this episode are conductor Carlo Rizzi, leader of the Royal Scottish National Orchestra Maya Iwabuchi, Anna Phoebe from AVAWAVES, cellist Matthew Barley, conductor Jonathon Heyward and Music Director of the Hallé Orchestra Sir Mark Elder. This podcast features clips of Beethoven's Missa Solemnis, performed by the London Philharmonic Orchestra conducted by Christoph Eschenbach, and Beethoven's Symphony No.3, performed by the LPO conducted by Kurt Masur. The extracts of Beethoven's Symphonies 5 & 9 in the podcast introduction are also performed by the LPO; LPO Label releases are available on all major streaming platforms and at lpo.org.uk/recordings. The recordings of Beethoven's Piano Concertos 3 & 4 are performed by Elizabeth Sombart and the Royal Philharmonic Orchestra, and the Piano Concerto No.5 is performed by Alessio Bax and the Southbank Sinfonia - all are available at https://signumrecords.com

Camilla Nylund, Iris Vermillion, Jonas Kaufmann and Franz-Josef Selig.

Ep. 18b The Grand Finale! The Life of Ludwig van Beethoven pt. 10, "The Candle in the Wind" we see our great composer to the end of his life. The last years were not easy ones for Beethoven. He proved himself to be cruel and kind, hateful and loving, violent and sweet. But in the end, he was able to transcend the shortcomings of human existence, gain in his own way forgiveness of his many sins, and echo down the years a heroic tale of redemption. ---------------- For all things GCP Please rate, review, and subscribe on iTunes! The App!  https://apps.apple.com/us/app/the-great-composers-the-gcp/id1465809545?fbclid=IwAR0tQTElluT8I3jn6SYFcQst70IY0Ym52LjEz1Z3DR11oq5ZGDLV_URNyHk&ls=1 Like our Facebook page! https://www.facebook.com/thegreatcomposerspodcast/ A complete bibliography for all episodes can be found on my website: www.kevinnordstrom.com Music in this episode in order of appearance: All quartets played by the Pascal String Quartet unless otherwise noted 1. Symphony no. 9 in D minor, mvt. 4 (complete...eventually) 2. String Quartet no. 13 in B-flat major, op. 130, mvt. 6 "Little Finale" (Budapest Quartet) 3. String Quartet no. 12 in E-flat major, op. 127, mvt. 1 4. String Quartet no. 13 in B-flat major, op. 130, mvt. 3 5. Missa Solemnis, Sanctus 6. String Quartet no. 16 in F major, op. 135, mvt. 4 7. String Quartet no. 13 in B-flat major, op. 130 - mvt. 5, Cavatina - mvt. 6, Grosse Fugue All material in this episode is meant for educational purposes only. The Great Composers Podcast is a classical music podcast 

In Ep. 18a, Beethoven pt. 10 "The Candle in the Wind", first part of our massive grand finale(!) we start Beethoven on the last leg of his life. As a new father, and aging man with ill health, life would become more and more difficult for our great composer. His compositional life would prove more cumbersome as well, as massive new works that took a considerable amount of time to complete were now at the forefront of his mind: the "Hammerklavier" Sonata, the Missa Solemnis, the Diabelli Variations, and of course the Ninth Symphony in D minor. ---------------- For all things GCP Please rate, review, and subscribe on iTunes! The App!  https://apps.apple.com/us/app/the-great-composers-the-gcp/id1465809545?fbclid=IwAR0tQTElluT8I3jn6SYFcQst70IY0Ym52LjEz1Z3DR11oq5ZGDLV_URNyHk&ls=1 Like our Facebook page! https://www.facebook.com/thegreatcomposerspodcast/ A complete bibliography for all episodes can be found on my website: www.kevinnordstrom.com Introductory poem: "The Consolation of Philosophy" Boethius bk. 1, pg. 18-19, trans. Victor Watts (Penguin Books 1999, London.) Music heard in this episode in order of appearance: 1. String Quartet in A minor mvt. 5 op. 132 - Pascal Quartet 2. String Quartet in A minor mvt. 3 (selection) op. 132 - Pascal Quartet 3. Sonata for Piano in B-flat major op. 106, "Hammerklavier"  4. Thirty-three Variations on a Waltz by Anton Diabelli op. 120, "theme" - Neal O'Doan, piano 5. Sonata for Piano in C minor op. 111, mvt. 1 (selection) - Neal O'Doan 6-9. Symphony in D minor op. 125, mvt. 1-4 (selections) https://archive.org/details/BeethovenQuartetNo.15InAMinorOp.132 https://musopen.org/music/33466-diabelli-variations-op-120/ https://musopen.org/music/57-piano-sonata-no-32-in-cm-op-111/ All productions of The Great Composers Podcast are intended for educational purposes only. The Great Composers Podcast is a classical music podcast