Podcast appearances and mentions of Mitsuko Uchida

Music Director Emeritus for Life Riccardo Muti returns with Beethoven's Eroica Symphony, a work that shattered the symphonic conventions of its day, with themes of heroism, struggle and triumph. Beethoven's majestic Emperor Concerto features Mitsuko Uchida, who brings “the unaffected wisdom and clarity that comes with decades of interpretive rigor and commitment” (The New York Times). Learn more: cso.org/performances/24-25/cso-classical/muti-uchida-emperor-and-eroica

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.

durée : 01:28:42 - Mitsuko Uchida, profonde musicalité et technique sans faille - par : Aurélie Moreau - La pianiste Mitsuko Uchida a quatre piliers dans sa vie : « Bach, je le joue chez moi… Mozart, c'est un génie qui vient de l'au-delà… Beethoven pouvait sentir l'existence entière de l'univers… Schubert est le plus émouvant de tous… » (Le Temps).

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.

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.

H.C. Robbins Landon, the great musicologist, once wrote about Mozart that his music was “an excuse for mankind's existence and a small hope for our ultimate survival." I couldn't agree more, especially when it comes to a piece like the one we're going to talk about today, Mozart's Piano Concerto in D minor, NO. 20, or K. 466. These days, Mozart is still one of the most popular composers in the world, one of two composers almost anyone on the street could name off the top of their head. But it might surprise you to know that Mozart was not always so popular. During the 19th century, Mozart's music was seen as too light, graceful, and even superficial by the stormy Romantics who wanted to probe the deepest and darkest feelings of humanity and the natural world, by extreme means if necessary. Only a few of Mozart's works were played regularly during this time period, and this concerto was one of them. It's easy to say why - it is one of only two Mozart Piano Concertos in a minor key, and its stormy and dramatic character allowed the Romantics to create fantastical stories to go along with the piece, and to connect it to the one Mozart opera that remained popular throughout the 19th century, Don Giovanni. Strangely enough, I see a similar thing happening today, among young lovers of classical music. I often see Mozart's music being criticized on social media by younger musicians as being too light and superficial, and sometimes I even see this criticism from musicians who seem to gravitate to works that have more extroverted dramatic intentions. But to me, Mozart is just as, if not more dramatic that many of the Romantic era composers. It's all just done in a very different way. This concerto might be the perfect example of all of this! It has all the drama you could ever want for you thrill seekers, and it also has all of the masterful subtlety that for me makes Mozart's music so endlessly touching. This is a concerto of remarkable breadth of emotion, character, and feeling, and it'll be a joy to take you through it this week. Join us!    Performance is Mitsuko Uchida with Camerata Salzburg. Assorted first movement cadenzas are performed by Michael Rische.        

Join host Yannick Dondelinger for an intimate conversation with Dame Mitsuko Uchida. In this heartwarming discussion, Mitsuko shares her life story, from her musical upbringing to becoming one of the most revered pianists of our time. Discover the deep roots that music has in her life and how they have shaped her career. Mitsuko also shares her unique connection with the Mahler Chamber Orchestra, her appreciation for Mozart, and touches on her upcoming role as Music Director of the Ojai Music Festival.  Throughout the episode, Mitsuko's modesty and optimism shine through, painting a portrait of an artist deeply rooted in her love for music and life. Tune in for an inspiring episode that celebrates the life and career of Mitsuko Uchida, only on Between the Bars. For a full transcript of the episode, please visit our website.   

Ojai Music Festival Artistic Director Ara Guzelimian brings his customary wisdom, wit and insight into a preview for this year's festival (June 6-9) with renowned pianist and conductor Mitsuko Uchida returning for her third time. Ojai, known for its daring programming, promises to stretch boundaries this year with a mix of familiar music (Haydn, Mozart) and modernists Webern, John Adams and John Zorn. Guzelimian talks about the massive amount of behind-the-scenes work that goes into the festival; finding housing for the artists, coordinating the volunteers and interns, the years-long lead time to pull together the talent and the programming, and the audiences who have come to adore the Ojai Music Festival for being the best at what it does in the world. We did not talk about "Baby Reindeer," this year's NFL schedule or Fermat's Last Theorem. Check out the Ojai Music Festival at OjaiFestival.org.

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.

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.

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.

Marina Abramović is an artist renowned for performances and feats of endurance, in which her body is pushed to its limits. She has moved, scandalised and delighted audiences for half a century, and is now celebrated by world-leading galleries and institutions. Marina was born in Belgrade in 1946. Her parents were honoured as war heroes for their work for the Partisan resistance movement, and both took up senior roles in the post-war Yugoslav government. Marina became interested in painting during her childhood, and went on to study art. She first made her name as a performance artist in her 20s, creating events which often shocked viewers – and were equally traumatic for her. In 1974 she placed 72 objects, including sharp tools, a whip and a loaded pistol, on a table and invited gallery goers to use them on her, however they wished. She was attacked and left scarred, and part of her hair went white. For many years she led a nomadic existence, creating works with her partner, the German artist Ulay. In 1997, in response to the war in Bosnia, she created a prize-winning work for the Venice Biennale, in which for four days she attempted to scrub the blood from a vast pile of cow bones. In 2010 her exhibition at the Museum of Modern Art in New York attracted almost a million people, many queuing for hours for a chance to sit opposite her in silence as part of her marathon performance The Artist is Present. More recently her work has been celebrated in a major retrospective exhibition at the Royal Academy in London, along with performances at English National Opera, marking the centenary of Maria Callas. DISC ONE: Aria from The Goldberg Variations. Composed by Johann Sebastian Bach German composer and musician, performed by Igor Levit DISC TWO: Norma, Act 1: "Casta diva". Composed by Vincenzo Bellini, performed by Maria Callas (soprano) and Coro del Teatro alla Scala di Milano DISC THREE: 4 Degrees - Anohni DISC FOUR: Paloma Negra - Chavela Vargas DISC FIVE: Private Dancer - Tina Turner DISC SIX: Sherab Nyingpo Mantra (The Heart Sutra) - Tashi Lhumpo Monks DISC SEVEN: Piano Concerto No. 21 in C Major, K. 467 - 2. Andante. Composed by Mozart and performed by Mitsuko Uchida (piano), with the English Chamber Orchestra, conducted by Jeffrey Tate DISC EIGHT: Rum And Coca-Cola - The Andrews Sisters BOOK CHOICE: In Search of the Miraculous by Peter D Ouspensky LUXURY ITEM: A cashmere blanket CASTAWAY'S FAVOURITE: Sherab Nyingpo Mantra (The Heart Sutra) - Tashi Lhunpo MonksPresenter Lauren Laverne Producer Sarah Taylor

SynopsisOh, to have been in Vienna on today's date in 1785! Wolfgang Mozart had just finished a new piano concerto a week earlier and quite likely performed it himself for the first time as an intermission feature at a performance of the oratorio Ester, by Karl Ditters von Dittersdorf, conducted by Antonio Salieri.Now wouldn't that have made for a good scene in the movie Amadeus?Fast forward 11 years for another memorable concert at the Theater an der Wien, when on today's date in 1806, it was Beethoven's turn to premiere one of his new concertos in Emanuel Schikaneder's Viennese theater. Alongside works of Mozart, Méhul, Cherubini and Handel, Beethoven's Violin Concerto was introduced to the world, with Franz Clement as the soloist.Beethoven's friend Czerny recalled that Clement's performance was greeted with “noisy bravos.”But a contemporary Viennese music critic wrote: “While there are beautiful things in the concerto … the endless repetition of some commonplace passages could prove fatiguing.” The reviewer's final assessment? “If Beethoven pursues his present path, it will go ill with him and the public alike.”Music Played in Today's ProgramWolfgang Mozart (1756-1791) Piano Concerto No. 22; Mitsuko Uchida, piano; English Chamber Orchestra; Jeffrey Tate, cond. Philips 420 187Wolfgang Mozart (1756-1791) Magic Flute Overture; Zurich Opera House Orchestra; Nikolaus Harnoncourt, cond. Teldec 95523Ludwig van Beethoven (1770-1827) Violin Concerto; Anne-Sophie Mutter, violin; New York Philharmonic; Kurt Masur, cond. DG 471 349

Tenor Mark Padmore and Pianist Mitsuko Uchida have received glowing acclaim for their performances of Schubert and Beethoven song repertoire in 2022. “Two Schubert masters,” wrote the New York Times in a review of their Zankel Hall recital in March, “it's difficult to avoid superlatives when writing about Mitsuko Uchida and Mark Padmore”.TRACKLISTBeethoven: An die ferne Geliebte Op. 981. Auf dem Hügel sitz ich spähend2. Wo die Berge so blau3. Leichte Segler in den Höhen4. Diese Wolken in den Höhen5. Es kehret der Maien, es blühet die Au6. Nimm sie hin denn, diese Lieder Schubert: Schwanengesang D9577. Liebesbotschaft8. Kriegers Ahnung9. Frühlingssehnsucht10. Ständchen11. Aufenthalt12. In der Ferne13. Abschied14. Der Atlas15. Ihr Bild16. Das Fischermädchen17. Die Stadt18. Am Meer19. Der Doppelgänger14. Die TaubenpostHelp 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).

In the feature documentary, PIANOFORTE director Jakub Piątek takes a deep dive into what is considered to be one of the most prestigious competitions in classical music, the International Chopin Piano Competition in Warsaw, Poland. Held every five years since 1927, the event has been a career launchpad for such piano virtuosos as Krystian Zimerman, Mitsuko Uchida, Kevin Kenner, and Vladimir Ashkenazy. The competition itself is a real roller coaster of a classical ride, with extremely tough qualifying rules, multiple stages, legendary jurors (Arthur Rubinstein), and a whole lot of pressure. Jakub Piątek's fly-on-the-philharmonic-wall documentary takes us behind the scenes of this fascinating contest. We meet some of the most talented young professional piano players from all over the world and watch them navigate this fever dream of a competition, along with its intense practices, new friendships, lots of drama, and even more nerves. “Sometimes I can only groan, and suffer, and pour out my despair at the piano!” said Chopin. Pianoforte is a testament to the power of remarkable music. Nearly two centuries later, it still inspires, excites, and, yes, causes some despair and suffering, too. Director Jakub Piątek (Prime Time, 2021) stops by to talk about the intensity and commitment each of the pianist brings to their craft, how he landed on following the wide variety musicians in the film and capturing the euphoria of an artist and music transcending the notes on a page. For more go to: sundance.org/program/Pianoforte Nominated, Grand Jury Prize / World Cinema - 2023 Sundance Film Festival

durée : 01:58:15 - Relax ! du lundi 12 décembre 2022 - par : Lionel Esparza - Aujourd'hui dans Relax nous parcourons la carrière et la discographie de Mitsuko Uchida, qui sera ce soir à la Philharmonie de Paris, en compagnie de Simon Rattle et du LSO, avec notamment au programme le concerto pour piano de Schumann.

durée : 00:57:49 - Disques de légende du lundi 29 août 2022 - Une pianiste au service de la musique qui fait toujours passer sa personnalité au second plan.

durée : 01:58:31 - Relax ! du lundi 29 août 2022 - par : Lionel Esparza - 2 heures avec de la musique et des artistes que vous aimez et l'incontournable "Disque de légendes". Aujourd'hui : l'intégrale des sonates de Mozart par Mitsuko Uchida

Ignat Solzhenitsyn is recognized as one of today's most gifted artists, and enjoys an active career as both a conductor and pianist. His lyrical and poignant interpretations have won him critical acclaim throughout the world. Principal Guest Conductor of the Moscow Symphony Orchestra and Conductor Laureate of the Chamber Orchestra of Philadelphia, Ignat has recently led the symphonies of Baltimore, Cincinnati, Dallas, Indianapolis, Milwaukee, Seattle, and Toronto, the Nordwestdeutsche Philharmonie, the Czech National Symphony, as well as the Mariinsky Orchestra and the St. Petersburg Philharmonic. He has also partnered with such world-renowned soloists as Richard Goode, Gary Graffman, Gidon Kremer, Anne-Sophie Mutter, Garrick Ohlsson, Mstislav Rostropovich, and Mitsuko Uchida. His extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Los Angeles, Seattle, Baltimore, Montreal, Toronto, London, Paris, Israel, and Sydney, and collaborations with such distinguished conductors as Herbert Blomstedt, James Conlon, Charles Dutoit, Valery Gergiev, André Previn, Gerard Schwarz, Wolfgang Sawallisch, Yuri Temirkanov and David Zinman. A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn serves on the faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, including CBS Sunday Morning and ABC's Nightline. Follow Ignat on Twitter here:https://www.twitter.com/isolzhSUPPORT ME ON TWITTER: https://www.twitter.com/cliftonaduncan SUBSCRIBE TO MY SUBSTACK: https://cliftonduncan.substack.com Intro/Outro: https://www.epidemicsound.com/track/s...Support this podcast, as well as small business, by clicking the link below and enjoying some delicious Twin Engine Coffee, our first sponsor!

Eine CD von Mitsuko Uchida - vorgestellt auf NDR Kultur.

Mitsuko Uchida, after many years, returns to the recording studio with this truly revolutionary album of Beethoven's 33 Variations in C, or the Diabelli Variations.The 33 Variations on a waltz by Anton Diabelli, Op. 120, commonly known as the Diabelli Variations, is a set of variations for the piano written between 1819 and 1823 by Ludwig van Beethoven on a waltz composed by Anton Diabelli. It forms the first part of Diabelli's publication Vaterländischer Künstlerverein, the second part consists of 50 variations by 50 other composers. It is often considered to be one of the greatest sets of variations for the keyboard along with J. S. Bach's Goldberg Variations.Purchase the music (without talk) at:Beethoven: Diabelli Variations (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..

One of Beethoven's most reflective and serene creations, the Fourth Piano Concerto is an ideal vehicle for Mitsuko Uchida, who conveys “a sense of intimacy and directness in her playing, as well as a certain quiet grace” (San Francisco Chronicle). Riccardo Muti also conducts Glass' Symphony No. 11, a colorful, exuberant score that the composer wrote for his own 80th birthday celebration. Ticket holders are invited to a free preconcert conversation featuring Daniel Schlosberg in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Learn more: cso.org/performances/21-22/cso-classical/muti-uchida-philip-glass SCORED BY GLASS: These concerts are presented in collaboration with the Gene Siskel Film Center. Round out your Glass listening experience with the following film presentations, and celebrate the influence and impact of composer Philip Glass with some favorite Glass scores: Friday, February 11 and Saturday, February 12 at 9:30 p.m., CANDYMAN (1992) Wednesday, February 16 at 8 p.m., INQUIRING NUNS (1968) Saturday, February 19 at 3 p.m., KOYAANISQATSI: LIFE OUT OF BALANCE (1982) Sunday, February 20 at 3 p.m., GLASS: A PORTRAIT OF PHILIP IN 12 PARTS (2007) Details: https://www.siskelfilmcenter.org/glass

Siguiendo la sugerencia de un oyente que nos reclama música clásica con másfrecuencia, el programa se detendrá en la audición de música clásica popular, muy asequible, con cuatro de las consideradas mejores pianistas de los últimos tiempos: La portuguesa MA. JOAO PIRES, la japonesa MITSUKO UCHIDA, la argentina MARTHA ARGERICH y la china YUJA WANG.

Perhaps the first of Mozart's extraordinary sequence of 'late' piano concertos, the D minor, K466, has attracted pianists as varied as Edwin Fischer and Mitsuko Uchida, many directing the orchestra from the keyboard. Tom Service guides us through a selection of the finest of these, with a recommendation for the essential recording to buy, download or stream.

Not only just a review of the 2021 Leeds International Piano Competition, but also a wider examination of the issues brought up by competition in music, the role of music in communities, interviews with some of my favourite competitors including the winner Alim Beisembayev, audio clips from the unofficially linked Leeds Pub Piano Competition event, discussion with the competitors about how they deal with the nerves and pressures of competitions, and much more! Notes: Thank you to the pianists who gave me their valuable time for interviews: Alim Beisembayev Ariel Lanyi Yuzhang Li Elizaveta Kliuchereva Priscilla Navarro Thanks to creative producers Dave Cartwright & Sam Berrill for giving me their valuable time for the interview after the competition, and thanks to Clare Teal for the interview in the interval of the Leeds Pub Piano Competition Thanks and apologies if I interviewed you and there wasn't room in this podcast episode to include it- and I will try to upload the full interviews with the pianists in the coming weeks Thank you to the competition organisers and staff for their generosity, time and help! Intro-outro music for this episode is Alim Beisembayev playing Beethoven Sonata  Op .111 in the second round Links: The website of the Leeds International Piano Competition: https://www.leedspiano.com/ Medici TV's webpage for their coverage of all the events from The Leeds where you can catch up with all the performances: https://leedspiano.medici.tv/en/ Medici's YouTube channel where you can also watch all the performances and coverage: https://www.youtube.com/user/medicitv Transcript: Here's the script I wrote myself to read from which I mostly managed to keep to, although I did go a bit 'off script' at times! Hello and welcome to the heart of the piano podcast where we are exploring the world of piano. In this episode, I'll be bringing you my experience of the 2021 Leeds International Piano Competition, known informally as ‘The Leeds', and exploring some of the wider issues that competition in music brings up. Some of my favourite pianists have been finalists of The Leeds in past years, and in fact the competition was one of the main factors in launching the careers of famous names such as: Murray Perahia, Radu Lupu, Andras Schiff, Mitsuko Uchida, Dmitri Alexeev, Ilya Itin, Artur Pizarro, Kathryn Stott, Noriko Ogawa, Louis Lortie, Boris Berezovsky, Vladimir Ovchinnikov, and many more household names in the world of classical pianists. It seems to come as a huge shock to most people in Leeds that there is a regular local event happening every 3 years that is regarded as one of the most important events in the international world of professional piano- but don't just take my word for it- during the competition I asked some of the competitors why they had entered The Leeds- this is what Alim Beisembayev said who went on to become the winner: Clip And Elizaveta Kliuchereva who was in the semifinals: Clip And Ariel Lanyi who was the 3rd prize winner: Clip And semifinalist Priscilla Navarro: Clip A topic that's bound to come up in a review of a major music competition is about the controversy of whether musicians should take part in competitions and about whether we should take them seriously. There are plenty of people who very rigidly think that competitions for musicians are a very bad thing to be avoided. I personally think they can be a useful challenge for musicians, as long as the challenge is how to be deeply musical under pressure rather than get caught up in being too serious about competition and ego- this is a skill all professional musicians need to learn at some point or another! Ultimately, we can't really say that one amazing musician is better than another one- and personal subjective taste is going to vary enormously. I enjoyed chatting to people sitting near to me at every stage of the competiti...

Elias and I talk about a few of the great performing pianists. Part 2 we discuss modern and currently performing pianists. https://www.eapettersson.com/ Here is a list of pianists we discuss and think you should listen to: Alfred Brendel (b. 1931) Vladimir Ashkenazy (b. 1937) Martha Argerich (b. 1941) Maurizio Pollini (b. 1942) Nelson Freire (b. 1944) Ursula Oppens (b. 1944) Maria João Pires (b. 1944) Radu Lupu (b. 1945) Murray Perahia (b. 1947) Mitsuko Uchida (b. 1948) *Håkon Austbø (b. 1948) Grigory Sokolov (b. 1950) Santiago Rodriguez (b. 1952) András Schiff (b. 1953) Krystian Zimerman (b. 1956) *Dang Thai Son (b. 1958) Yefim Bronfman (b. 1958) *Sara Davis Beuchner (b. 1959) *Stephen Prutsman (b. 1960) *Paul Stewart (b. 1960) *Sergei Babayan (b. 1961) Casadesus (1st), Hamamatsu (1st), Scottish (1st), Busoni (3rd), Honens (4th) Stephen Hough (b. 1961) Jean-Yves Thibaudet (b. 1961) *Frederic Chiu (b. 1964) *Pavel Nersessian (b. 1964) *Alexander Korsantia (b. 1965) Sydney (1st) Rubinstein (1st) Leif Ove Andsnes (b. 1970) *Stanislav Ioudenitch (b. 1971) Evgeny Kissin (b. 1971) Arcadi Volodos (b. 1972) Nikolai Lugansky (b. 1972) Simone Dinnerstein (b. 1972) Valentina Lisitsa (b. 1973) *Antonio Pompa-Baldi (b. 1974) Long-Thibaud (3rd), Cleveland (1st), Cliburn (2nd) Ning An (b. 1976) *Roberto Plano (b. 1978) American Prize, Cleveland (1st), Cliburn (finalist) *Andrius Žlabys (b. 1978) “There is no better time to do the best work of your life than right now” Spencer Myer (b. 1978/9) Sa Chen (b. 1979) Alexander Kobrin (b. 1980) Alexandre Moutouzkine (b. 1980) Yundi Li (b. 1982) Lang Lang (b. 1982) *Boris Giltburg (b. 1984) (Beethoven Sonatas) Santander (2nd=1st), Queen Elisabeth (1st), Rubinstein (2nd) Evgheny Bozhanov (b. 1984) Cliburn (finalist), Queen Elisabeth (2nd), Chopin (4th-refused) Ingolf Wunder (b. 1985) *Rafał Blechacz (b. 1985) Chopin (1st) *Yeol Eum Son (b. 1986) Tchaikovsky (2nd) Vadym Kholodenko (b. 1986) *Vitaly Pisarenko (b. 1987) Liszt (1st), Leeds (3rd) Adam Golka (b. 1987) Yuja Wang (b. 1987) *Sean Chen (b. 1988) American Prize, Cliburn (3rd) *Yekwon Sunwoo (b. 1989) Sendai (1st), Cliburn (1st) *Charles-Richard Hamelin (b. 1989) Seoul (3rd), Montréal (2nd), Chopin (2nd) *Haochen Zhang (b. 1990) China Piano Competition (1st) Avery Fisher Grant, Cliburn (1st) *Claire Huangci (b. 1990) ARD Munich (2nd), Geza Anda (1st) *Lukas Geniušas (b. 1990) Bachauer (1st), Scottish (2nd), Chopin (2nd), Tchaikovsky (2nd) *Daniil Trifonov (b. 1991) Chopin (3rd), Rubinstein (1st), Tchaikovsky (1st) (also composer) *Kenny Broberg (b. 1993) Cliburn (2nd), Tchaikovsky (3rd), American Prize *Beatrice Rana (b. 1993) Montréal (1st), Cliburn (2nd) *Seong-Jin Cho (b. 1994) Hamamatsu (1st), Tchaikovsky (3rd), Rubinstein (3rd), Chopin (1st), DAEWON Music Awards *Kate Liu (b. 1994) NY International (1st), Hilton Head (6th), Montréal (finalist), Chopin (3rd) *Do-Hyun Kim (b. 1994) Gilmore Fellow, Vendome (2nd), Young Concert Artist Auditions (1st) Drew Peterson (b. 1994) American Prize, Avery Fisher Grant,  *Syzmon Nehring (b. 1995) Rubinstein (1st) *Eric Lu (b. 1997) Minnesota E-Comp. (1st), Chopin (4th), German Piano Award (1st), Leeds (1st) Tony Yike Yang (b. 1998) Chopin (5th-age of 16!) *Alexander Malofeev (b. 2001) China (1st), winner of youth competitions…career exploded (a la Kissin)

Siwoo Kim, violinist and Devin Patrick Hughes, conductor speak about the violin virtuoso's early life, his mindset instilled from his mother, Siwoo's approach to phrasing, singing, and repertoire, as well as VIVO Music Festival, composers that excite us, and the music that make's us cry. Other topics include teachers and collaborating with composers and musicians.   Violinist SIWOO KIM has been described as “incisive” and “compelling” by The New York Times and playing with “stylistic sensitivity and generous tonal nuance” by the Chicago Tribune. Siwoo performs as soloist and chamber musician, and as a multifaceted entrepreneur, co-founded the VIVO Music Festival in his hometown of Columbus, Ohio. Siwoo made his Carnegie Hall debut with the Juilliard Orchestra, and has performed with orchestras around the world including the Staatsorchester Brandenburgisches Frankfurt, Houston Symphony, Kwazulu-Natal Philharmonic, in venues like Walt Disney Concert Hall, and many more! And I should say that very soon he'll be returning to the Salina Symphony! He has collaborated with world-renown artists such as Itzhak Perlman, Jeremy Denk, Joyce DiDonato, Mitsuko Uchida, and string quartets such as Guarneri, Julliard, and Takács. He has been featured as a guest artist at international festivals including those at Tivoli, Bergen, and Ensemble Ditto in South Korea and has taken top prizes in many competitions including Crescendo, Juilliard, and youngArts. Siwoo welcome to One Symphony, I'm so excited to be speaking with you today!   Thank you for joining us on One Symphony and thanks to Siwoo Kim for sharing his performances and insights. Thank you to all the incredible performers and record labels that made this episode possible including Sony and Linn records.   Bach's Second Violin concerto was performed by Siwoo Kim and the New York Classical Players conducted by Dongmin Kim. Mozart's 5th Violin Concerto was performed by Siwoo Kim and the Orchestra Royal de Chambre de Wallonie, with Jean-Jacques Kantorow conducting. Bruch's Scottish Fantasy was performed by Jascha Heifetz and the Boston Symphony conducted by Charles Munch Samuel Adler's Violin Concerto was performed by Siwoo Kim and Brandenburgisches Staatsorchester Frankfurt, conducted by Emily Freeman Brown.   You can check out Siwoo's website and schedule online at http://www.siwookim.com and his upcoming music festival at https://www.vivofestival.org. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to lend your support. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

The pianist Mitsuko Uchida returns to the Wigmore Hall in London next week where she’ll be marking five decades since she first performed there. She discusses her love for the Schubert Impromptus that she’ll be playing, and how she’s enjoyed exploring new compositions during lockdown. Earlier this week Bolton found itself at the epicentre of the pandemic in England. Bolton is among the areas hardest hit by the Indian variant of the virus - although today the numbers appear to be levelling out and vaccination efforts have been ramped up. At the same time The Bolton Octagon is welcoming back audiences, opening with a new play called See You At the Octagon based on the stories of people in the town during the lockdown. We talk to Artistic Director Lotte Wakeham. Our Friday review this week is the new Channel 5 drama, Anne Boleyn. Tanya Motie and Anna Whitelock discuss its diverse casting, as well as whether it is an accurate portrayal of Anne herself. Form in poetry, like clogs on feet, is fashionable again. A new Radio 4 series, On Form is investigating the way poets now are writing modern work using venerable poetic structures - the sonnet, the villanelle and the ghazal. The poet Aviva Dautch and Syima Aslam, director of the Bradford Literature Festival, explain what the ghazal is, why it is so attractive and how it can be a vehicle for the discussion of philosophical, political and religious ideas. Presenter: Kirsty Lang Producer: Sarah Johnson

durée : 01:58:33 - Relax ! du vendredi 28 mai 2021 - par : Lionel Esparza - On commence avec un concerto de Mozart joué par la pianiste Mitsuko Uchida, on poursuit avec des mélodies de Fauré, un Milhaud brésilien par Bernstein, un "Tombeau de Couperin" de Ravel par Bertrand Chamayou... Et on referme l'émission avec "Eugène Onéguine" de Tchaïkovsky chanté par Renée Fleming ! - réalisé par : Antoine Courtin

durée : 00:58:41 - Musicienne exigeante et sensible, la pianiste Mitsuko Uchida - par : Aurélie Moreau - "A mes yeux, Uchida est une véritable révélation. Rien ne semble échapper à sa sensibilité intuitive. En outre, sa technique est absolument sans faille, et sa musicalité profonde y puise un soutien total", confiait le chef d'orchestre Jeffrey Tate dans une interview au magazine "Luister". - réalisé par : Louise Loubrieu

Das Jahr 2021 hat begonnen, aber es macht da weiter wo das alte aufgehört hat: mit geschlossenen Konzertsälen. Am 17. Januar hätten Sir Simon Rattle, das London Symphony Orchestra und Mitsuko Uchida das Klavierkonzert von Robert Schumann aufführen sollen. Und als Ersatzangebot dienen diese Hörhinweise. Foto: Mitsuko Uchida ©Decca/Justin Pumfrey

Revered pianist Mitsuko Uchida reminisces with fondness on the familial nature of her decades-long relationship with The Cleveland Orchestra.Featured Music:MOZART – Piano Concerto No. 24 (K. 491)The Cleveland OrchestraMitsuko Uchida, conductor and pianoRecorded live at Severance Hall in November 2005The connection we share through music is more important than ever — and so is your support. To support The Cleveland Orchestra, please visit clevelandorchestra.com/donate.

durée : 00:26:53 - Mistuko Uchida (5/5) - Pianiste exigeante et rare, Mitsuko Uchida est encensée aux Etats-Unis comme en Allemagne. Son perfectionnisme légendaire s'illustre au gré d’une carrière internationale et d’une discographie consacrée aux grands noms de la musique, de Mozart à Schoenberg en passant par Schumann ou Schubert.

durée : 00:27:35 - Mistuko Uchida (4/5) - Pianiste exigeante et rare, Mitsuko Uchida est encensée aux Etats-Unis comme en Allemagne. Son perfectionnisme légendaire s'illustre au gré d’une carrière internationale et d’une discographie consacrée aux grands noms de la musique, de Mozart à Schoenberg en passant par Schumann ou Schubert.

durée : 00:28:58 - Mistuko Uchida (3/5) - Pianiste exigeante et rare, Mitsuko Uchida est encensée aux Etats-Unis comme en Allemagne. Son perfectionnisme légendaire s'illustre au gré d’une carrière internationale et d’une discographie consacrée aux grands noms de la musique, de Mozart à Schoenberg en passant par Schumann ou Schubert.

durée : 00:28:05 - Les grands interprètes de la musique classique du mardi 25 août 2020 - Pianiste exigeante et rare, Mitsuko Uchida est encensée aux Etats-Unis comme en Allemagne. Son perfectionnisme légendaire s'illustre au gré d’une carrière internationale et d’une discographie consacrée aux grands noms de la musique, de Mozart à Schoenberg en passant par Schumann ou Schubert.

durée : 00:25:07 - Les grands interprètes de la musique classique du lundi 24 août 2020 - Pianiste exigeante et rare, Mitsuko Uchida est encensée aux Etats-Unis comme en Allemagne. Son perfectionnisme légendaire s'illustre au gré d’une carrière internationale et d’une discographie consacrée aux grands noms de la musique, de Mozart à Schoenberg en passant par Schumann ou Schubert. - réalisé par : Gilles Blanchard

Listen to Dr. Allie in conversation with Ryan Roberts, an oboist and one of the youngest members of the NY Philharmonic, as they speak on coping as a musician during the COVID-19 pandemic. This episode was recorded on April 28, 2020. Noted for his “beautiful”, “eloquent” and “exquisite” playing by the New York Times, RYAN ROBERTS is the newly appointed English horn/Oboe of the New York Philharmonic. Ryan has performed with many of the country's leading orchestras, including the Chicago Symphony, the Philadelphia Orchestra, the San Francisco Symphony, the Metropolitan Opera Orchestra, and the Ft. Worth Symphony. An award-winning oboist, Ryan received first prize at the International Double Reed Society's 2018 Young Artist Competition and the National Society of Arts and Letters' 2018 Woodwind Competition. Before joining the Philharmonic, Ryan spent one season as a member of the New World Symphony under the direction of Michael Tilson-Thomas. Ryan recently premiered Michael Torke's Oboe Concertino with the Albany Symphony and recorded the work for Albany Records. An avid chamber musician, Ryan performs at the Marlboro Music Festival during the summer under artistic directors Mitsuko Uchida and Jonathan Biss; he has also collaborated in recitals with the Pacifica Quartet and Emanuel Ax. As a Kovner Fellow graduate of The Juilliard school, Ryan studied with Elaine Douvas and appeared frequently as principal oboist of the Juilliard Orchestra. Ryan has been a member of the New York String Orchestra Seminar and spent three summers as the oboe fellow at the Aspen Music Festival. In 2016, Ryan was featured as a recital soloist aboard the Crystal “Symphony" cruise line touring Portugal, Spain, France and England. Ryan has studied piano since age 5 and made his concerto debut at age 11. When he isn't busy making reeds, Ryan enjoys practicing piano and running with his retired racing Whippet named Malley. You can follow Ryan on Instagram at @ryanjroberts and his website is www.ryanrobertsoboe.com. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

It was the night before Brexit, and the MCO was in the heart of London performing Mozart with Mitsuko Uchida to a sold-out Royal Festival Hall. What would this well-travelled and wordly composer have made of Britain's departure from the European Union? Join us as we revisit his travels as a young artist, talk British life in Europe with trumpeter Christopher Dicken and MCO staff member Mark Parker, and venture out into the city streets to take in the historic final moments on the very edge of Brexit.

Meistaraverk Mozarts eru tíu systurþættir þáttaraðarinnar Mozart: Misskilinn snillingur sem er í umsjón Árna Heimis Ingólfssonar og má finna í þessari hlaðvarpsröð. Átundi þáttur: Leiknir kaflar úr píanókonsertum Mozarts, sem hann samdi á árunum 1785 og 1786 og þykja meðal merkustu verka hans í þessari grein: 1. þáttur úr píanókonsert nr. 20 í d-moll (Jan Lisiecki, Bæverska útvarpshljómsveitin, Christian Zacharias, stj.); 2. og 3. þáttur úr píanókonsert nr. 23 í A-dúr og nr. 24 í c-moll (Mitsuko Uchida, Enska kammerhljómsveitin, Jeffrey Tate, stj.).

Meistaraverk Mozarts eru tíu systurþættir þáttaraðarinnar Mozart: Misskilinn snillingur sem er í umsjón Árna Heimis Ingólfssonar og má finna í þessari hlaðvarpsröð. Sjöundi þáttur: Leiknir kaflar úr píanókonsertum Mozarts, sem hann samdi á árunum 1785 og 1786 og þykja meðal merkustu verka hans í þessari grein: 1. þáttur úr píanókonsert nr. 20 í d-moll (Jan Lisiecki, Bæverska útvarpshljómsveitin, Christian Zacharias, stj.); 2. og 3. þáttur úr píanókonsert nr. 23 í A-dúr og nr. 24 í c-moll (Mitsuko Uchida, Enska kammerhljómsveitin, Jeffrey Tate, stj.).

Meistaraverk Mozarts eru tíu systurþættir þáttaraðarinnar Mozart: Misskilinn snillingur sem er í umsjón Árna Heimis Ingólfssonar og má finna í þessari hlaðvarpsröð. Þriðji þáttur: Fiðlukonsert nr. 5 í A-dúr K. 219, 2. kafli (Andrew Manze, The English Concert); Píanókonsert nr. 9 í Es-dúr K. 271, 1. og 2. kafli (Mitsuko Uchida, Enska kammersveitin, Jeffrey Tate, stj.)

Meistaraverk Mozarts eru tíu systurþættir þáttaraðarinnar Mozart: Misskilinn snillingur sem er í umsjón Árna Heimis Ingólfssonar og má finna í þessari hlaðvarpsröð. Þriðji þáttur: Fiðlukonsert nr. 5 í A-dúr K. 219, 2. kafli (Andrew Manze, The English Concert); Píanókonsert nr. 9 í Es-dúr K. 271, 1. og 2. kafli (Mitsuko Uchida, Enska kammersveitin, Jeffrey Tate, stj.)

Meistaraverk Mozarts eru tíu systurþættir þáttaraðarinnar Mozart: Misskilinn snillingur sem er í umsjón Árna Heimis Ingólfssonar og má finna í þessari hlaðvarpsröð. Átundi þáttur: Leiknir kaflar úr píanókonsertum Mozarts, sem hann samdi á árunum 1785 og 1786 og þykja meðal merkustu verka hans í þessari grein: 1. þáttur úr píanókonsert nr. 20 í d-moll (Jan Lisiecki, Bæverska útvarpshljómsveitin, Christian Zacharias, stj.); 2. og 3. þáttur úr píanókonsert nr. 23 í A-dúr og nr. 24 í c-moll (Mitsuko Uchida, Enska kammerhljómsveitin, Jeffrey Tate, stj.).

Meistaraverk Mozarts eru tíu systurþættir þáttaraðarinnar Mozart: Misskilinn snillingur sem er í umsjón Árna Heimis Ingólfssonar og má finna í þessari hlaðvarpsröð. Sjöundi þáttur: Leiknir kaflar úr píanókonsertum Mozarts, sem hann samdi á árunum 1785 og 1786 og þykja meðal merkustu verka hans í þessari grein: 1. þáttur úr píanókonsert nr. 20 í d-moll (Jan Lisiecki, Bæverska útvarpshljómsveitin, Christian Zacharias, stj.); 2. og 3. þáttur úr píanókonsert nr. 23 í A-dúr og nr. 24 í c-moll (Mitsuko Uchida, Enska kammerhljómsveitin, Jeffrey Tate, stj.).

Ryan's website - www.ryanrobertsoboe.comRyan's Instagram - www.instagram.com/ryanjrobertsNoted for his “beautiful”, “eloquent” and “exquisite” playing by the New York Times, Ryan Roberts is the newly appointed English horn/Oboe of the New York Philharmonic. Ryan has performed with many of the country's leading orchestras, including the Chicago Symphony, the Philadelphia Orchestra, the San Francisco Symphony, the Metropolitan Opera Orchestra, and the Ft. Worth Symphony. An award-winning oboist, Ryan received first prize at the International Double Reed Society's 2018 Young Artist Competition and the National Society of Arts and Letters' 2018 Woodwind Competition. Before joining the Philharmonic, Ryan spent one season as a member of the New World Symphony under the direction of Michael Tilson-Thomas. Ryan recently premiered Michael Torke’s Oboe Concertino with the Albany Symphony and recorded the work for Albany Records. An avid chamber musician, Ryan performs at the Marlboro Music Festival during the summer under artistic directors Mitsuko Uchida and Jonathan Biss; he has also collaborated in recitals with the Pacifica Quartet and Emanuel Ax.As a Kovner Fellow graduate of The Juilliard school, Ryan studied with Elaine Douvas and appeared frequently as principal oboist of the Juilliard Orchestra. Ryan has been a member of the New York String Orchestra Seminar and spent three summers as the oboe fellow at the Aspen Music Festival. In 2016, Ryan was featured as a recital soloist aboard the Crystal “Symphony" cruise line touring Portugal, Spain, France and England.Ryan has studied piano since age 5 and made his concerto debut at age 11. When he isn’t busy making reeds, Ryan enjoys practicing piano and running with his retired racing Whippet named Malley.Support the show (https://thatsnotspit.com/support/)

Arturo y Patricio comentan la influencia de la música clásica en Japón. Con música de Mitsuko Uchida, Masaaki Suzuki, Bach Collegium Japan, Seiji Ozawa y Tōru Takemitsu.

Dikt: (till min vän) Uppläsning: Claes Andersson (från 2017) Diktsamling: "En morgon vid havet", Heidrun förlag, 2015 Musik Robert Schumann: Einsame Blumen Exekutör Mitsuko Uchida piano

The Leeds International Piano Competition is one of the top 3 most important and prestigious piano competitions in the world, with previous finalists such as Murray Perahia, Mitsuko Uchida, András Schiff... and dozens more names that anybody familiar with classical pianists will recognise instantly as being in the top row of the best, most important, [...]

Si parla di Teatro alla Scala e possibili cda futuri. Recensioni di Mitsuko Uchida (Schubert) alla Società del Quartetto di Milano + Chailly/Filarmonica della Scala (V di Mahler). Interviste a Rocco Quaglia e Stefano Sbarbaro su Sylvano Bussotti - Memorie e frammenti di vita (privata). Ospite in studio Alessandro Marangoni per il suo "Cello and Piano Works" di Castelnuovo-Tedesco assieme a Enrico Dindo (Naxos).

Si parla di Teatro alla Scala e possibili cda futuri. Recensioni di Mitsuko Uchida (Schubert) alla Società del Quartetto di Milano + Chailly/Filarmonica della Scala (V di Mahler). Interviste a Rocco Quaglia e Stefano Sbarbaro su Sylvano Bussotti - Memorie e frammenti di vita (privata). Ospite in studio Alessandro Marangoni per il suo "Cello and Piano Works" di Castelnuovo-Tedesco assieme a Enrico Dindo (Naxos).

In this episode, I chat with with Anthony McGill, principal clarinetist with the NY Philharmonic.  We have a great conversation about attention and presence, in both practice and performance. Among other things, we discuss his journey to the NY Phil, the importance of absolutely loving music in choosing it as a career, how to nurture focus and make practice more efficient, and how to work towards having more flow in performance. Anthony elaborates on: His musical path, from the Southside of Chicago to the NY Phil The various institutions he attended – the Merit School, the Interlochen Academy, and the Curtis Institute How important the community that surrounds us is as we develop as musicians/artists/people How to nurture focus: The importance of how loving what you do is in fostering focus The quote that really articulated that concept for him How focus starts from figuring out if you truly love what you do Cultivating quality presence, awareness, and curiosity in the practice room are the keys to solid focus How to make practice efficient How he primes and prepares for a practice session How wanting to practice, having a plan, being aware, and being methodical are at the core of a good practice session How he “tricks” himself to practice (which is similar to the trick I talk about in this blog entry: https://www.mindoverfinger.com/blog/commit-to-ten) How listening to music is important Focus in performance: How to work towards flow and overcome mistakes How important it is to develop our public speaking and self-marketing skills Why we should develop an interest in a hobby outside of music   MORE ABOUT ANTHONY: Website: http://www.anthonymcgill.com/ Find some YouTube videos about Anthony HERE Instagram: https://www.instagram.com/mcgillclarinet/ Facebook: https://www.facebook.com/Mcgillab/   Biography Clarinetist Anthony McGill is one of classical music's most recognizable and brilliantly multifaceted figures. He serves as the principal clarinet of the New York Philharmonic — that orchestra's first African-American principal player — and maintains a dynamic international solo and chamber music career. Hailed for his “trademark brilliance, penetrating sound and rich character” (The New York Times), as well as for his “exquisite combination of technical refinement and expressive radiance” (The Baltimore Sun), McGill also serves as an ardent advocate for helping music education reach underserved communities and for addressing issues of diversity, equity, and inclusion in classical music. McGill was honored to take part in the inauguration of President Barack Obama, premiering a piece written for the occasion by John Williams and performing alongside violinist Itzhak Perlman, cellist Yo-Yo Ma, and pianist Gabriela Montero.   McGill's 2018-19 season includes performances of concertos by Bolcom, Copland, Mozart, and Strauss with the New York Philharmonic, Los Angeles Chamber Orchestra, Tallahassee Symphony, Vermont Symphony, and Austin Symphonic Band. He will also collaborate together with soprano Miah Persson in a performance of Schubert's “The Shepherd on the Rock” together with Iván Fischer and the New York Philharmonic. Additional performances include a collaboration with the Dover Quartet for the Philadelphia Chamber Music Society and a recital with soprano Julia Bullock for the Metropolitan Museum of Art, along with collaborations with the Brentano Quartet for Princeton University and a tour of Asia with the Chamber Music Society of Lincoln Center.   McGill appears regularly as a soloist with top orchestras around North America including the New York Philharmonic, Metropolitan Opera, Baltimore Symphony, San Diego Symphony, and Kansas City Symphony. As a chamber musician, McGill is a favorite collaborator of the Brentano, Daedalus, Guarneri, JACK, Miró, Pacifica, Shanghai, Takacs, and Tokyo Quartets, as well as Emanuel Ax, Inon Barnatan, Gloria Chien, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang Lang. He has led tours with Musicians from Marlboro and regularly performs for the Chamber Music Society of Lincoln Center and the Philadelphia Chamber Music Society. Festival appearances include Tanglewood, Marlboro, Mainly Mozart, Music@Menlo, and the Santa Fe, Seattle, and Skaneateles Chamber Music Festivals.   In January 2015, McGill recorded the Nielsen Clarinet Concerto together with Alan Gilbert and the New York Philharmonic, which was released on DaCapo Records. He also recorded an album together with his brother Demarre McGill, principal flute of the Seattle Symphony, and pianist Michael McHale; and one featuring the Mozart and Brahms Clarinet Quintet with the Pacifica Quartet that were both released by Cedille Records.   A dedicated champion of new music, in 2014, McGill premiered a new piece written for him by Richard Danielpour entitled “From the Mountaintop” that was commissioned by the New Jersey Symphony, Kansas City Symphony, and Orchestra 2001. McGill served as the 2015-16 Artist-in-Residence for WQXR and has appeared on Performance Today, MPR's St. Paul Sunday Morning, and Mr. Roger's Neighborhood. In 2013, McGill appeared on the NBC Nightly News and on MSNBC, in stories highlighting the McGill brothers' inspirational story.   A graduate of the Curtis Institute of Music, McGill previously served as the principal clarinet of the Metropolitan Opera and associate principal clarinet of the Cincinnati Symphony Orchestra. In-demand as a teacher, he serves on the faculty of the Juilliard School, the Curtis Institute of Music, Bard College's Conservatory of Music, and the Manhattan School of Music. He also serves as the Artistic Advisor for the Music Advancement Program at the Juilliard School, on the Board of Directors for both the League of American Orchestra and the Harmony Program, and the advisory council for the InterSchool Orchestras of New York.   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. 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 producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/   Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/

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Seit Jahrzehnten steht sie an der Spitze der Mozart- und Beethoven-Interpreten. Und immer wieder wird sie - wie derzeit - international für ihre Schubert-Abende umjubelt. Am 20. Dezember 2018 feiert die japanisch-britische Pianistin Mitsuko Uchida ihren 70. Geburtstag. Ein Porträt.

International viola soloist Matthew Lipman can be heard on the best stages around the world!  In this episode he discusses his road to success, how to practice and get ready for a competition, and the importance of mental preparation before a performance. He elaborates on: The importance of music education in the schools and the important of funding for music an arts programs in our public schools Studying with Roland Vamos and how he directed his attention got directed in the right way early on in his training Studying with Heidi Castelman and how she got him to focus on tone production Studying with Tabea Zimmermann and how she got him to listen ever more to himself How learning to listen to ourselves is so important and why feeling like we sound bad can be good: “when you are experiencing growth, you think that you sound horrible, and it helps you reach a new level” How being consistent is key in progressing How listening to the sound and tone can completely lead the way to huge progress How you have to take a step back and understand how our body works and how the instrument responds instead of trying to push the sound How preparing for competition can be hard, but focusing on the process and adopting the right mindset can really lead you to new heights The process of preparing for an international competition o   Choosing repertoire that “lets you shine” o   Practice performing your repertoire a lot before the competition o   Be organized – using chart and planning properly o   Have clear and specific goals How to efficiently work with metronome: how you can reach freedom through working with one How preparing mentally for a performance is a long but important process How you have to be able to zoom in on the details, and also zoom out and see the big picture   ABOUT MATTHEW: Website: http://www.matthew-lipman.com/index.php Chamber Music Society of Lincoln Center: https://www.chambermusicsociety.org/ Instagram: https://www.instagram.com/melodiousmatt1/ Facebook: https://www.facebook.com/melodiousmatt/ His recording of Mozart's Sinfonia Concertante with Rachel Barton Pine and the Academy of St-Martin in the Fields conducted by Sir Neville Marriner Carl Fischer Foundation Studies for the Viola - Book 2 (from Opp. 45 and 74) performed by Matthew Playing the Viola: Conversations with William Primrose, by David Dalton Mozart's Sinfonia Concertante for Violin, Viola and Orchestra - featuring Erin Keefe and Matthew Lipman with the Minnesota Orchestra.   The recipient of a prestigious 2015 Avery Fisher Career Grant, 25-year-old American violist Matthew Lipman has been hailed by the New York Times for his "rich tone and elegant phrasing" and by the Chicago Tribune for his "splendid technique and musical sensitivity.” In demand as a soloist, he has recently performed concertos with the Minnesota, Illinois Philharmonic, Grand Rapids Symphony, Wisconsin Chamber, Juilliard, Ars Viva Symphony, Montgomery Symphony, Innsbrook and Eggenfelden Festival orchestras and recitals at the WQXR Greene Space in New York City and the Phillips Collection in Washington, DC. Highlights this season include a debut solo album on Cedille Records, which will include his own transcription of Waxman's Carmen Fantasy and a world premiere by Brazilian composer Clarice Assad, and several performances of the Telemann Viola Concerto in Alice Tully Hall. The Telegraph praised Mr. Lipman as “gifted with poise and a warmth of timbre” on his Avie recording of Mozart's Sinfonia Concertante with violinist Rachel Barton Pine and the Academy of St Martin in the Fields with Sir Neville Marriner, which reached No. 2 on the Billboard classical charts. He was the only violist featured on WFMT Chicago's list of "30 Under 30" top classical musicians and has been profiled by The Strad and BBC Music magazines. Mr. Lipman performs internationally as a chamber musician with the Chamber Music Society of Lincoln Center as a member of CMS Two, at the Music@Menlo, Marlboro, Bad Kissingen, Malaga, and Ravinia Festivals, and regularly with distinguished artists like Itzhak Perlman, Mitsuko Uchida, and Pinchas Zukerman. A top prizewinner of the Primrose, Tertis, Washington, Johansen, and Stulberg International Viola Competitions, he received his bachelor's and master's degrees as an inaugural Kovner fellow from The Juilliard School, where he continues to serve as teaching assistant to Heidi Castleman, and is currently mentored by Tabea Zimmermann in Kronberg, Germany. A native of Chicago, Mr. Lipman performs on a fine 1700 Matteo Goffriller viola loaned through the generous efforts of the RBP Foundation and an 1845 Dominque Peccatte viola bow.   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.   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 producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/   (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

Esa-Pekka Salonen leads a program that pairs Brahms' captivating Variations on a Theme by Haydn with Schoenberg's hauntingly beautiful Transfigured Night and Bartók's serene and expressive Third Piano Concerto, featuring Mitsuko Uchida. “It was in the otherworldly slow movement that Uchida's profound poetic sensibility rose to the fore, building to an eloquent emotional climax from the simple, hushed chords of the opening bars—atmospheric yet as clear as ice water” (Chicago Tribune).

Picks from across the week on In Tune including pianist Mitsuko Uchida, organists William Whitehead and Robert Quinney and jazz singer Jacqui Dankworth with pianist Charlie Wood.

Mozart compuso su concierto para piano nº 20 con 29 años, recién llegado a Viena y tan solo 6 años antes de morir. Esta obra anuncia la madurez de su estilo, su música roza (si no alcanza) la perfección y demuestra además una musicalidad llena de novedades y con una atmósfera que se adelanta a Don Giovanni o el Réquiem. Lo escuchamos en versión de Mitsuko Uchida y acompañado del cuarteto “Las Disonancias” y la gran sinfonía “Linz”. Solo en Fila01, con Ana Laura Iglesias.

Mozart compuso su concierto para piano nº 20 con 29 años, recién llegado a Viena y tan solo 6 años antes de morir. Esta obra anuncia la madurez de su estilo, su música roza (si no alcanza) la perfección y demuestra además una musicalidad llena de novedades y con una atmósfera que se adelanta a Don Giovanni o el Réquiem. Lo escuchamos en versión de Mitsuko Uchida y acompañado del cuarteto “Las Disonancias” y la gran sinfonía “Linz”. Solo en Fila01, con Ana Laura Iglesias.

Sean Rafferty talks to violinist Anne-Sophie Mutter, conductor Marin Alsop and pianists Mitsuko Uchida, the Labèque sisters and Tamara Stefanovich with Pierre-Laurent Aimard.

In the second of two programmes, broadcaster Sue MacGregor describes her professional encounters with great musicians including Jessye Norman, Sir Thomas Allen and Mitsuko Uchida, with extracts from archive interviews she recorded with them. With music by Beethoven, Berlioz, Schubert, Mahler and Britten.

Scan through the websites and social media feeds of many orchestras, music festivals and concert halls and you'll notice a common theme: youth and sex appeal, especially when it comes to soloists. But it's more specific than that: Alluring young female violinists are everywhere – and brooding male conductors (or guitarists) with artfully-groomed stubble aren't far behind. These musicians may well be talented and accomplished but their prominence also raises some questions: Is there room for less attractive soloists? And, as with Hollywood, do older women get shut out of opportunities? Jessica Duchen, a classical music & dance journalist for The Independent newspaper and other publications, tells host Naomi Lewin: "I've heard some fantastic female pianists who might be overweight or they don't happen to look like supermodels, and they don't have the careers that they could. They literally do not." Duchen recently interviewed a cellist who said that colleges and conservatories are favoring attractive performers in the admissions process. "I find this quite a disturbing thought," Duchen said. Andrew Ousley, the head of the classical marketing and promotion company Unison Media (and formerly of Warner Classics), doesn't believe there's an epidemic of style trumping substance. While he admits that "sex appeal certainly can allow success to be amplified to a greater scale, it might be an oversimplification to say it's one of the main marketing tools that promoters use." But Jessica Hadler, director of artist programs at Concert Artists Guild, which manages and promotes rising classical performers, says that if an orchestra is presented with two equally accomplished soloists, it will likely hire the more attractive of the two. She frequently coaches artists on matters of wardrobe and styling – and fields occasional complaints from venues about artists' choice of attire. Whether attractive soloists' presence in concert halls is by design or happenstance – and whether it's a good or bad thing for the future of classical music – is an ongoing debate. But a question emerges: How many of them will have the sticking power of Martha Argerich and Mitsuko Uchida? Duchen notes that "what somebody does at 50 or 60 is probably going to be a lot more interesting and mature and insightful than what somebody does at 22. It does seem to me that weeds out the sheep and the goats, if you like." Listen to the segment above, look at the slideshow below, and tell us what you think in the comments: are standards of style changing on concert stages?

Hear the unlikely story behind Beethoven's variations on a Waltz by Diabelli, which will be performed by Mitsuko Uchida in Recital at the Usher Hall on Monday 24 August.

This week Rob is joined by the historian and crime novelist, Lady Antonia Fraser. She tells him about her conversion to Catholicism, what it was like to have her work read by her late husband, Harold Pinter, and her experience of playing Bridge with Mitsuko Uchida, including music by Byrd, Beethoven and Adams.

Pianist Mitsuko Uchida and Robin Ticciati talk to Suzy Klein ahead of their concert at Usher Hall in Edinburgh with the Scottish Chamber Orchestra, which sees Uchida performing Ravel's Piano Concerto in G. The pair talk about working together for 10 years, the joys of Ravel and the challenges of the concert's other pieces which includes works by Faure, Boulez and Haydn.

Libby Purves meets audio describer Roz Chalmers; Merlin Holland, grandson of Oscar Wilde; writer and yoga teacher David Charles Manners and David Waterman of the Endellion String Quartet. Roz Chalmers is an audio describer. She provides live or recorded and captioned performances for blind or partially sighted and deaf audiences. She also leads backstage touch tours which allow audiences to meet actors and touch costumes and props. She has worked on a range of productions including the Old Vic's Noises Off and Matthew Bourne's Swan Lake. She is currently working on The Silver Tassie at the National Theatre. Merlin Holland is a writer and editor and the only grandson of Oscar Wilde. Merlin co-wrote The Trials of Oscar Wilde which brings alive his grandfather's courtroom appearances in his libel and criminal trials using the actual words spoken in court. The play features court transcripts and letters discovered in 2000. The Trials of Oscar Wilde is on a UK tour. David Charles Manners is a physiotherapist and yoga teacher who works with musicians, singers and conductors. Some 25 years ago he travelled to the Himalayas where a chance encounter with a Nepalese shaman changed his life. He took part in initiation ceremonies involving the ancient mountain tradition of Shaiva Tantra Yoga and writes about his experiences in his book, Limitless Sky - Life Lessons from the Himalayas, published by Rider Books. David Waterman is a cellist with the Endellion String Quartet which celebrates its 35th anniversary this year. The quartet has worked with a range of guest artists including Joshua Bell, Steven Isserlis and Mitsuko Uchida. The Endellions tour extensively and are performing around the country including the Proms at St Jude's festival in London. Producer: Paula McGinley.

Rachel Cooke reviews Tate Britain's exhibition Lowry and the Painting of Modern Life; Writer Jonathan Dee discusses his latest work, A Thousand Pardons; Disco legend Giorgio Moroder in a rare interview, in which he reflects on his rise to fame and his recent comeback with Daft Punk; the pianist Mitsuko Uchida selects Piero della Francesca's Resurrection for Cultural Exchange; Peter Bowker and Patrick Spence reflect on the best and the worst notes screenwriters receive; as George Osborne announced a 7% cut in the Department of Culture, Media and Sport's budget, Janet Street-Porter, Norman Lebrecht and Richard Mantle suggest cost-saving solutions; Actress Marianne Jean-Baptiste nominates Miles Davis's album Kind of Blue for Cultural Exchange.

The pianist Mitsuko Uchida chooses The Resurrection by Piero della Francesca. Plus archive interviews with Martin Kemp, Lang Lang and a report into how The Resurrection was saved from destruction.

With Mark Lawson, For the first time, three Vermeer paintings of female musicians are on show together at the National Gallery, London. They form the centrepiece of a new exhibition examining music as a motif in Dutch painting of the 17th Century. Composer Michael Berkeley considers the various roles played by musical instruments in the art of that period. For many writers working in TV drama, the trickiest things they have to deal with are the notes from the producers. At their worst, such notes can confuse and undermine a writer's vision. At their best, they can help a writer to see a better way of telling the story. Peter Bowker, writer of Blackpool, Desperate Romantics and Monroe, and Patrick Spence, the executive producer on Murphy's Law, Lilies, and Hancock and Joan, reflect on the best and the worst notes writers receive. As Wimbledon gets under way, Ed Smith reviews two tennis documentary films. Venus and Serena shows the lives of the champion sisters as children, in their shared home and battling illness in 2011. The Battle of the Sexes, which takes its title from the famous 1973 match between Billie Jean King and Bobby Riggs, explores the relationship between women's professional tennis and the Women's Liberation movement. For Cultural Exchange, the pianist Mitsuko Uchida selects Piero della Francesca's Resurrection. She explains how she was inspired by Piero della Francesca's fresco and why great art, whether music or painting, does not have to be technically perfect. Producer Claire Bartleet.

Hilary Mantel on her new novel Bringing Up the Bodies; director Tim Burton; pianist Mitsuko Uchida; Damon Albarn in his studio; actress Maxine Peake; Trainspotting screenwriter and playwright John Hodge & comedian and actress Isy Suttie.

With Mark Lawson. Mel Gibson returns to the screen this week in How I Spent Last Summer, in which he plays a career criminal arrested by the authorities in Mexico and sent to a tough prison where he learns to survive with the help of a 9-year-old boy. Larushka Ivan-Zadeh reviews the film (called Get the Gringo for its US release) which Gibson co-wrote. Today, Japanese born classical pianist, Dame Mitsuko Uchida is awarded the Royal Philharmonic Society Gold Medal - one of the highest honours in classical music. Created to commemorate the centenary of Beethoven's birth in 1870, it counts Brahms, Delius, Elgar, Stravinsky, Britten, Bernstein, Alfred Brendel; Simon Rattle; Plácido Domingo and Daniel Barenboim among previous recipients. Maxine Peake discusses returning to the role of Martha, an ambitious barrister, in a second series of Silk, the advantages of working in both TV and theatre and why Kate Bush's music helps her approach Strindberg. We pay tribute to Maurice Sendak, the US author of the best-selling children's book Where the Wild Things Are, who has died aged 83 Producer Claire Bartleet.

This week, Sue Lawley's desert island castaway is the pianist Mitsuko Uchida. She was born in Japan, but, when she was 12, her family moved to Vienna, where she fully immersed herself in the music that she has now become famous for playing - Bach, Beethoven, Schubert and in particular, Mozart. Her aim is to be always faithful to the composer whose work she is trying to interpret.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Cello Suite No 1 in G Major by Johann Sebastian Bach Book: A title, in Russian and English, by Leo Tolstoy Luxury: Piano

This week, Sue Lawley's desert island castaway is the pianist Mitsuko Uchida. She was born in Japan, but, when she was 12, her family moved to Vienna, where she fully immersed herself in the music that she has now become famous for playing - Bach, Beethoven, Schubert and in particular, Mozart. Her aim is to be always faithful to the composer whose work she is trying to interpret. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Cello Suite No 1 in G Major by Johann Sebastian Bach Book: A title, in Russian and English, by Leo Tolstoy Luxury: Piano