Podcasts about moments musicaux

durée : 02:04:06 - Musique matin du mardi 16 janvier 2024 - par : Jean-Baptiste Urbain - Pour son nouvel album, Adam Laloum revient à l'un de ses plus fidèles compagnons, Franz Schubert. Un disque très attendu, qui parait quatre ans après le premier volume que le pianiste avait déjà dédié au compositeur, et qui réunit la célèbre avant-dernière sonate D. 959 et les Moments Musicaux. - réalisé par : Yassine Bouzar

Le best of musique du Grand Soir côté lives, version écourtée pour cause de Coupe du monde de football avec : Sanseverino - Sylvie Bourban - Mathias Malzieu - Noah Veraguth - Simon Gerber - Kisling - Milla - Hammond Grooves

durée : 00:12:14 - Moments musicaux - Josep Colom - Voici une captation sur le vif du concert donné par Josep Colom à la Fondation Juan March le 10 octobre 2018 à Madrid. On vous en parle et surtout, on écoute !

Summary - Interview with Shira Gilbert, Director of Artistic Development, Montreal International Musical Competition - Interview with the brilliant young soprano, Sarah Dufresne - Musical excerpts featuring Sarah Dufresne singing Mozart - Musical excerpts by De Lucia, de Falla and Haden and Metheny featuring the Montreal Guitar Trio (MG3) https://concertslachine.ca

SOMMAIRE DE l'ÉMISSION #3 (fr) -Introduction de Richard Turp - Casualties of war d'Ennio Morricone mettant en vedette le violoncelliste, Yo Yo Ma et la Sinfonietta di Roma sous la direction du compositeur. - Naggar-Tremblay interprète Brahms - Immer leise. La voici accompagnée du pianiste Julien - Entrevue avec la contralto Rose Naggar-Tremblay. - Rose Naggar-Tremblay interprète Dalila; Amour viens aider ma faiblesse, extrait tiré de l'opéra Samson et Dalila de Camille Saint-Säens. - Entrevue avec le chef d'orchestre et nouveau directeur général et artistique du Concours de musique du Canada, Marc David. - Deux pièces lyriques aussi belles qu'émouvantes. Gabriel's Oboe et Romanza d'Ennio Morricone. - Conclusion

SOMMAIRE DE l'ÉMISSION (fr) -Introduction de Richard Turp - David Jalbert interprète Clair de lune de Claude Debussy & Gymnopédies No.1 d'Erik Satie - Entrevue avec Jean-Marc Beauchamp. Maître technicien de piano, un fabuleux artisan d'un métier méconnu mais tant prisé et nécessaire. - . David Jalbert interprète la Nocturne en la-bémol opus 33 no.3 de Gabriel Fauré - Entrevue avec le célèbre luthier, Richard Benoît. Notre invité a une longue expérience de fabrication et d'entretien d'instruments à cordes et à un grand nombre de clients très connus du monde de la musique - Marie Nadeau-Tremblay interpréter Assaggio II du compositeur Johan Helmich Roman, un remarquable compositeur suédois né en 1694 et décédé en 1758. - Conclusion

Voici l'épisode 1 de la saison 2 de la baladodiffusion de Concerts Lachine. www.concertslachine.ca SOMMAIRE DE l'ÉMISSION: - Introduction de Richard Turp - Bruce Liu interprète Chopin : Ballade en Fa majeur. - Entrevue avec Pierre Vachon, le directeur de l'Action Sociale et de l'éducation à l'Opéra de Montréal. - Bruce Liu interprète Chopin, Valse, opus 42. - Bruce Liu interprète Chopin, Étude opus 25 numéro 4 - Entrevue avec Yves Garand, responsable de la programmation de la série St-Anges en musique de Concerts Lachine. -Le violoncelliste, Stéphane Tétreault et la harpiste, Valérie Milot interprète la célèbre Méditation tiré de l'opéra Thaïs de Jules Massenet. - Le thème de cette balado est interprété par la pianiste Élisabeth Pion. vimeo.com/486955885

Here is episode 9 (en) of Moments Musicaux, the podcast of Concerts Lachine. http://www.concertslachine.ca Podcast Show Notes: Tchaikovsky : Serenade for strings : Finale performed by Orchestre de l'Agora, conducted by Nicolas Ellis Intermezzo : Goyescas by Enrique Granados, performed by Cameron Crozman and Philip Chiu Interview with Cameron Crozman Asturias: Issac Albeniz's Suite espanola performed by Cameron Crozman and Philip Chiu Elinor Frey performing the first Capriccio by Giuseppe Clemente Dall'abaco Interview with Elinor Frey Rondeau from the Cello Sonata in C- minor performed by Elinor Frey and Federica Bianchi The theme of this podcast is performed by pianist Élisabeth Pion. https://vimeo.com/486955885 FRANCAIS Voici l'épisode 9 (en) de Moments Musicaux, la balado de Concerts Lachine http://www.concertslachine.ca Sommaire (épisode présentée en anglais): Tchaikovsky : finale de la sérénade pour cordes, interprétée par l'orchestre de l'Agora avec Nicolas Ellis, chef Intermezzo : Goyescas de Enrique Granados, interprété par Cameron Crozman et Philip Chiu Entrevue avec Cameron Crozman Asturias : suite espanola d'Issac Albeniz, interprétée par Cameron Crozman et Philip Chiu Elinor Frey interprète le premier Capriccio par Giuseppe Clemente Dall'abaco Entrevue avec Elinor Frey Rondeau tiré de la sonate pour violoncelle en do mineur interprétée par Elinor Frey et Federica Bianchi

Voici l'épisode 8 (Fr) de Moment Musicaux, la baladodiffusion de Concerts Lachine http://www.concertslachine.ca SOMMAIRE DE l'ÉMISSION: - Eric Whitacre Singers : Sleep - interprété par les Eric Whitacre Singers - Entrevue avec Marie-Élène Lamoureux - directrice générale de l'Alliance Chorale du Québec - Le Chamber Choir of Europe interprète O magnum Mysterium de Morten Lauridsen - L'ensemble vocal britannique VOCES8 interprète Ubi caritas du compositeur norvégien, Ola Gjeilo. - Entrevue avec Yves Garand responsable de la programmation de Saints-Anges en musique - L'organiste chinoise, Yuan Shen interprète Saint François de Paule marchand sur les flots de Franz Liszt - Yves Garand à l'orgue Casavant de l'église St-Anges interprète la pièce de Felix Mendelssohn, Allegro moderato - Le thème de cette balado est interprété par la pianiste Élisabeth Pion. https://vimeo.com/486955885

Voici l'épisode 7 (Fr) de Moment Musicaux, la baladodiffusion de Concerts Lachine http://www.concertslachine.ca SOMMAIRE DE l'ÉMISSION: - Premier mouvement: Allegro du troisième concerto brandebourgeois de Bach interprété par l'Ensemble Caprice dirigé par Matthias Maute. - Entrevue avec Matthias Maute, fondateur et codirecteur artistique de l'ensemble Caprice. - L'Ensemble Caprice dirigé par Matthias Maute interprète une courte et délicieuse pièce, Xàcara, tirée de la collection Flores de Mùsica, des pièces principalement espagnoles composées entre 1706 et 1709. Suivra le mythique Adagio attribué à Tomaso Albinoni. - Stéphane Tétreault au violoncelle et Marie-Ève Scarfone au piano dans un extrait tiré du Divertimento en ré majeur de Joseph Haydn. - Entrevue avec Stéphane Tétreault, violoncelliste. - Stéphane Tétreault joue l'arrangement de Ewen Tsai pour trois violoncelles de la deuxième Valse de la suite jazz de Dmitri Shostakovich. Suivi du Cygne de Camille Saint-Saëns avec la superbe harpiste québécoise, Valérie Milot. - Le thème de cette balado est interprété par la pianiste Élisabeth Pion. https://vimeo.com/486955885

Voici l'épisode 6 de Moment Musicaux, la baladodiffusion de Concerts Lachine. http://www.concertslachine.ca SOMMAIRE DE l'ÉMISSION: - Olivier Bergeron, baryton et Olivier Godin, piano. Ils interprètent les cinq mélodies sur des textes de Paul Verlaine : d'abord Mandoline et En sourdine (du volume: Fêtes galantes) puis Green, À Clymène et C'est l'extase (du volume: Romances sans paroles) - Entrevue avec Marc Boucher, fondateur, directeur général et artistique du Festival Classica - Entrevue avec Yves Garand, responsable de la programmation des Saints-Anges en musique - Pierre Pincemaille, organiste, interprète Stravinsky : L'Oiseau de feu, enregistré à l'orgue Casavant de l'église St-Anges en 2008 - Le thème de cette balado est interprété par la pianiste Élisabeth Pion. https://vimeo.com/486955885

Here is episode 5 of Moments Musicaux, the podcast of Concerts Lachine. http://www.concertslachine.ca Podcast Show Notes (this episode is presented in English); Francis Poulenc : Cavatine from the cello sonata: cellist Cameron Crozman and pianist Philip Chiu Interview with Patrick Kearney - Classical guitarist Patrick Kearney plays Lamento and Scherzo by Denis Gougeon. Patrick Kearney on Spotify: https://open.spotify.com/album/6x9JjIEpzErwCLgPUxSEns?si=TVHDPZl0TSmykJeUdsJRIQ Interview with Joanne Blondin, Lakeside Academy high school music teacher Cameron Crozman plays the song Hallelujah by Leonard Cohen in a stunning arrangement for two cellos by Cameron and his colleague Dean Marshall The theme of this podcast is performed by pianist Élisabeth Pion. https://vimeo.com/486955885

Moments Musicaux Episode 4 (fr) - La baladodiffusion de Concerts Lachine. http://www.concertslachine.ca SOMMAIRE DE l'ÉMISSION: -Introduction de Richard Turp. -Trio de l'île : extrait des Quatre Saisons d'Astor Piazzola, Otono Porteno (Automne de Buenos Aires). Interprété par le Trio de l'île qui lui est composé de la pianiste Patil Harboyan, la violoniste, Uliana Drugova et le violoncelliste Dominique Beauséjour-Ostiguy. -Entrevue avec Dominique Beauséjour-Ostiguy - violoncelliste. -Extraits de Dominique Beauséjour-Ostiguy et Quatuor Andara. -Dans un premier temps, le voici avec le pianiste Jimmy Brière dans une pièce lyrique et nostalgique intitulé Mon lac du compositeur québécois, Auguste Descarries. -Dans un deuxième temps, écoutons Dominique Beauséjour-Ostiguy à titre d'interprète et compositeur. Voici le 2e mouvement intitulé Affirmation du Quatuor à cordes no.1 en ré mineur qui fait suite à Introspection (un mouvement beaucoup plus intérieur et rêveur). Entrevue avec Francis Colpron. Directeur artistique et fondateur. Les Boréades de Montréal -Les Boréades de Montréal dirigé par leur directeur artistique Francis Colpron interprète la Sinfonia de l'opéra pastoral de Handel, Acis and Galatea. -Le thème de cette balado est interprété par la pianiste Élisabeth Pion. https://vimeo.com/486955885

Voici l'épisode 3 de la baladodiffusion de Concerts Lachine. http://www.concertslachine.ca SOMMAIRE DE l'ÉMISSION: - La première entrée du Ballet-comique de la reine du compositeur Lambert de Beaulieu, arrangée par Francis Colpron et interprétée par les Boréades de Montréal. - Entrevue avec Marie-Ève Scarfone, chef de chant à l'Opéra de Zurich en Suisse depuis août 2020. - Francis Colpron interprète comme soliste et dans son arrangement le célèbre Caprice no.24 de l'opus 1 de Niccolò Paganini originalement composé pour violon seul. - Les Boréades de Montréal vous offrent la Chaconne tirée de l'opéra Nicandro e Fileno du compositeur baroque italien, Paolo Lorenzani. - Entrevue avec Isabelle Demers, organiste. Cette lachinoise, diplômée du célèbre Juilliard School à New York, est reconnue aujourd'hui comme l'une des grandes organistes de sa génération. - Isabelle Demers interprète deux pièces de la compositrice québécoise Rachel Laurin. D'abord nous allons entendre Cantilène, une de douze Short pieces opus 43, et ensuite l'incroyable Étude héroïque, opus 38. - Le thème de cette balado est interprété par la pianiste Élisabeth Pion. https://vimeo.com/486955885

Hommage à Dave BRUBECK qui vient de nous quitter, passage de 2010 à 2021 avec Luc FERRARI et anniversaires: PIAZZOLA, BARTOK, STRAVINSKY.......et les 40 ans de Radio Cultures Bourges 103

Hommage à Dave BRUBECK qui vient de nous quitter, passage de 2010 à 2021 avec Luc FERRARI et anniversaires: PIAZZOLA, BARTOK, STRAVINSKY.......et les 40 ans de Radio Cultures Bourges 103

Here is episode 2 of Moments Musicaux. The podcast of Concerts Lachine. Podcast Show Notes (this episode is presented in English); - Performance by Eve Egoyan (piano). Thoughts and Desire : Nocturne III - Linda C. Smith. - Interview with Barbara Scales. Barbara Scales is not only one of the most enterprising of our agents but, as you could hear, an agent's tasks and responsibilities are extremely wide-ranging. - Tommy Dupuis classical guitar; Tommy himself recorded two pieces for us; first the Allemande from the Partita for violin, BWV 1004 by Johann Sebastian Bach in a wonderful transcription by Tommy himself (https://vimeo.com/496476785). After the Bach we will hear him perform a superb modern piece, Hika, by the Cuban guitarist, conductor and composer Leo Brouwer. - Interview with Liz Upchurch head of the Canadian Opera Company's young artists' program called, the Ensemble. - The fabulous Choral Scholars of University College Dublin under the direction of Desmond Earley with a traditional Scottish New Year' song with words by Robbie Burns. www.concertslachine.ca

Voici l'épisode 1 de la baladodiffusion de Concerts Lachine. http://www.concertslachine.ca SOMMAIRE DE l'ÉMISSION: - Moments Musicaux de Stéphane Tétreault (violoncelle) et Olivier Hébert-Bouchard (piano) - Debussy - Entrevue avec Chantal Lambert, directrice de l'Atelier lyrique de l'Opéra de Montréal - Moments Musicaux du soprano, Vanessa Croome, du basse-baryton, Jean-Philippe McClish et du soprano, Kirsten LeBlanc. Membres de l'Atelier lyrique de l'Opéra de Montréal - Entretiens avec Yves Garand, responsable de la programmation des Saints-Anges en musique - Moments Musicaux Sonate pour trompette et orgue - performance de l'organiste Denis Gagné et le trompettiste Trent Sanheim - Moments Musicaux cantique de Noël de Michael Praetorius, Es ist ein Ros entsprungen interprété par l'ensemble vocal monde VOCES8 - Le thème de la baladodiffusion est interprété par la pianiste Élisabeth Pion https://vimeo.com/486955885 - Joyeuses Fêtes

Voici l'épisode 0 de la baladodiffusion de Concerts Lachine. SOMMAIRE DE l'ÉMISSION: - Charles Richard- Hamelin Bach Largo du Concerto en Fa mineur, BWV 1056 (arrangement Alfred Cortot) - Entrevue Patrick Corrigan , directeur général, L'Opéra de Montréal. Les défis des diffuseurs en temps de pandémie https://vimeo.com/486948926 - Deux interprétations de la pianiste Élisabeth Pion (1996) étudie présentement au Artist Diploma avec Ronan O'Hora à la Guildhall School of Music & Drama de Londres, où elle est récipiendaire d'une bourse d'études complète. À Montréal, elle a précédemment travaillé avec Francine Lacroix, Suzanne Goyette et André Laplante. Vidéo1 - https://vimeo.com/486939969 Vidéo 2 - https://vimeo.com/486955885 - Pour notre volet pédagogique aujourd'hui, une conversation avec Olivier Godin, qui enseigne au Conservatoire de musique de Montréal et à la faculté de musique de l'Université McGill - Mot de la fin

Isabelle Bourdieu et Estelle Fageon présentent les actions de médiation menées par les Moments Musicaux de Touraine, et nous en disent plus sur la programmation de cet édition “covid proof”. L’article La Méridienne – Les Moments Musicaux de Touraine est apparu en premier sur Radio Campus Tours - 99.5 FM.

Moments musicaux Ouman (03-07-20) by Rav Avraham IFRAH

In seinem letzten Lebensjahr gab Franz Schubert sechs wunderbare "musikalische Augenblicke" an die Öffentlichkeit. Für die Geschichte der Klavierliteratur sind diese "Moments musicaux" von besonderer Bedeutung. Der Pianist Nikolai Tokarev stellt diese Starken Stücke vor.

Hello folks, on today's program, I look to do two artists. Elizabeth Wolff has an album entitled Moments Musicaux which we took from in an earlier broadcast. It is requested that we play this artist again but talk about her and play the album in full. It is described on Magnatune as "19th century classical piano" and I definitely like the album. The profile last I read it was very extensive, so I'll leave it here for you to go and get and read. Kitka is described on Magnatune as "Eastern european women's vocal music." I really enjoy this group, and there are multiple albums for you to enjoy. Each have their own sound, and each is good in its own way. Set 1: Oberlin Consort of Viols Set a 5 in C Minor 11:38 Kaare Norge Menor - Suite Andalucia 03:46 Kara Nomadica Out Of The Erg 05:21 Kenji Williams Yelo 10:14 Kinky Atoms Fall Down 03:53 Set 2: Superdirt2 Gate 05:09 Sterling Caoimhe (Deep Blue Mix) 05:11 Sora The Tower 03:30 Shane Jackman Raise My Eyes 04:54 Elizabeth Wolff Sergei Rachmaninoff - 6 Moments Musicaux Op. 16 - Andantino 08:20 Elizabeth Wolff Sergei Rachmaninoff - 6 Moments Musicaux Op. 16 - Allegretto 03:17 Elizabeth Wolff Sergei Rachmaninoff - 6 Moments Musicaux Op. 16 - Andante cantabile 04:21 Elizabeth Wolff Sergei Rachmaninoff - 6 Moments Musicaux Op. 16 - Presto 02:49 Elizabeth Wolff Sergei Rachmaninoff - 6 Moments Musicaux Op. 16 - Adagio sostenuto 04:24 Elizabeth Wolff Sergei Rachmaninoff - 6 Moments Musicaux Op. 16 - Maestoso 04:26 Elizabeth Wolff Moritz Moszkowski - 3 Moments 02:30 Elizabeth Wolff Moritz Moszkowski - 3 Moments 06:17 Elizabeth Wolff Moritz Moszkowski - 3 Moments 03:45 Elizabeth Wolff Moritz Moszkowski - 4 Moments 01:04 Elizabeth Wolff Moritz Moszkowski - 4 Moments 01:33 Elizabeth Wolff Moritz Moszkowski - 4 Moments 01:40 Elizabeth Wolff Moritz Moszkowski - 4 Moments 01:05 Set 3: Kaissa Joy 04:48 Kitka Oj, Jak Priletaly Taj Dva Sokolonky (Ukraine) 01:53 Kitka A v Jerusalime (South Russia Ukraine) 02:17 Justin Bianco Wings Of Fire 02:47 Judson Hurd Happy Song 02:27 Kitka Ah Razpasledni Raz Devchonechka (Russia) 01:23 Kitka Szerelem, Szerelem (Hungary) 01:39 Kyven Coming Together 03:28 Laura Dreyer Moreno dos Olhos Castanhos 07:54 Kitka Tsmindao Ghmerto 02:53 Kitka Kalimanku Denku 05:26 Kettleblack Same Day 06:00 The Electronic Anthology Project What If Your Dull 04:08 Haven Thanksgiving (Instrumental) 00:52 Hullabaloo Big Rock Candy Mountain 01:52 Kitka Transformation 03:57 Kitka To The Lake 04:17 Kim Ribeiro Bachianas Brasileiras, no. 4, W264: Preludio (Heitor Villa-Lobos) 03:51 Kitka Zaspo Janko (Croatia) 02:31 Kitka Mershkvaris Simghera Rim-Ti-Tairi_ (Georgia) 03:47 Set 4: Kiwi Expanse 02:39 Lilly Wolf Disaster 04:26 Lizzi Remedy 05:29 Lydia McCauley Ashes 04:25 Made of Wood Electric Funk Break For Addy 04:55 Margaret Maria Tobolowska Stellaris 02:41 This completes the program.

Gemeenteberichten: Koor Column Evert Konijn: 3. Emotionele intelligentie Muziek: From me to you (Lennon/McCartny) - the Torero band van de LP:’Lennon & McCartny Tijana Style’ EMI/Hamlyn group MFP 5015 Oproep: Borstvoeding Kerkhof: 6. Beierse vrouwen Muziek: Andante cantabile (N0 3 from Moments Musicaux,Op.16) (Rachmaninov) the Moscow Military Brass Orchestra conducted by Kolotushkin & Gerasimov (CD) [...]

Gemeenteberichten: Open-Kist-Fotografie TrendsTipsLifestyle: Frituurvet Kerkhof: 5. Wroeging Muziek: Andante cantabile (N0 3 from Moments Musicaux,Op.16) (Rachmaninov) the Moscow Military Brass Orchestra conducted by Kolotushkin & Gerasimov (CD) Olympia CD 556 Sport/Telefoonterrorist: Volleybalvereniging Volleer goed op dreef / ultimatum /oproep Muziek: Mariaklokje (Engelhardt) - Kinderkoor de Karekieten DURECO 1155082 Meer op de site van Radio Bergeijk

Gemeenteberichten: Avond Kruidenhof ‘horoscoop-correcties’ (Peer valt in voor Lillian) Studiogast: Peer i.g.m. Matthijs Kuiken (Slachtoffers tegen slachtoffers) Muziek: Vol hoare (Modugno/Verschuren) - WC Experience Bunny Music BUCD 9333 Kerkhof: 4. Bloeddorst Muziek: Andante cantabile (N0 3 from Moments Musicaux,Op.16) (Rachmaninov) the Moscow Military Brass Orchestra conducted by Kolotushkin & Gerasimov (CD) Olympia CD 556 [...]

George Zacharias "Nel cor pi√π non mi sento, Op. 38, MS 44" (mp3) from "Unaccompanied" (Divine Art) Buy at iTunes Music Store Buy at Rhapsody More On This AlbumArtist: George ZachariasIt takes a particular and extreme level of skill and dedication to perform virtuoso works for unaccompanied solo violin; suffice it to say these are qualities held by George Zacharias without doubt. This is a tour-de-force of musicianship and technique - and wonderful music too. Bartok's Sonata is presented in its original version and of the two awesome Paganini works, the 'God Save the King' Variations are very rarely heard. Dejan Laziƒ?, London Philharmonic Orchestra, Kirill Petrenko "Concerto No. 2 in C Minor, Op. 18" (mp3) from "Rachmaninov: Piano Concerto No. 2 in C Minor, Op. 18 - Moments Musicaux, Op. 16" (Channel Classics Records) Buy at iTunes Music Store Buy at Rhapsody Buy at Napster More On This AlbumArtist: Dejan Lazic Pianist Dejan Lazic was born in Zagreb, Croatia, and grew up in Salzburg where he studied at the Mozarteum. He is quickly establishing a reputation worldwide as ìa brilliant pianist and a gifted musician full of ideas and able to project them persuasivelyî (Gramophone). The New York Times hailed his performance as ìfull of poetic, shapely phrasing and vivid dynamic effects that made this music sound fresh, spontaneous and impassionedî. As recitalist and soloist with orchestra, he has appeared at major venues in Berlin, Paris, London, Vienna, New York, Chicago, Tokyo, Buenos Aires and Sydney, and at the Edinburgh, Schleswig-Holstein, Verbier, Huntington and Menuhin/Gstaad Festivals. In the 2006/2007 season he gave his debut at the New York Lincoln Center and the Amsterdam Concertgebouw to great critical acclaim. Orchestral engagements included the Philharmonia Orchestra London with Vladimir Ashkenazy, Rotterdam and Hong Kong Philharmonic Orchestras, Australian and Netherlands Chamber Orchestras, Danish Radio Sinfonietta and Bamberg Symphony Orchestra. Upcoming engagements are with London Philharmonic Orchestra and Kirill Petrenko, Swedish Radio Symphony Orchestra, Atlanta and Indianapolis Symphony Orchestras and Basel Chamber Orchestra. He will be in season 2008/09 ìartist in residenceî at the Netherlands Chamber Orchestra. He has a growing following in the Far East where he returns in spring 2008 for engagements with the Sapporo Symphony and for recitals in Tokyo and Beijing as well as for an engagement with Seoul Philharmonic Orchestra. In 2009 a national Australian tour is planned with the Australian Chamber Orchestra. In the next season he will appear in recitals at the BBC Belfast, in Istanbul and Salzburg, Queen Elisabeth Hall London and at Vienna Musikverein to mention just a few. Alongside his solo career, Dejan Lazic is also a passionate chamber musician. He collaborates with artists such as Benjamin Schmid, Thomas Zehetmair, Gordan Nikolic and Richard Tognetti. Dejan records exclusively for Channel Classics. In autumn 2007 the first publication of the double portrait series with a Scarlatti/Bartok program is planned. The second CD will be released in 2008 with a Schumann/Brahms program as well as a recording of the Khachaturian Concerto and the Rachmaninov Paganini Rhapsody with the Bamberg Symphony Orchestra and a CD with the London Philharmonic Orchestra and the Rachmaninov Concerto No. 2. His last recording of Schubertís sonata D960 and his earlier one with Beethoven Piano Concerto No. 2 have earned rave reviews. His compositions include various chamber music and orchestral works. In 2007/08 he will premiere his ìKinderszenenî op. 15 for piano solo. Album Notes: You're going to compose your concerto. You will work with great ease. The concerto will be of excellent qualitySo spoke Dr. Nikolai Dahl, of one of the pioneers of psychiatry in Russia, and in this way he successfully restored Sergey Rachmaninov's concentration during a period of creative despair after the failure of his first Symphony. Later, Rachmaninov himself was to write: ìEven though it seems unbelievable, this therapy truly helped me. I was already starting to compose by summer!îAlthough they were separated by the crisis which interrupted his work, both the second Piano Concerto and the ìMoments Musicauxî date from the composer's early period, during which he was active primarily as a composer rather than a pianist. This explains the character of the second Piano Concerto, which partakes of both chamber music and symphony, despite the dazzling virtuosity of the solo piano part. Unlike many of Rachmaninov's other works, the concerto, dedicated in thanks to his doctor, was never revised after the first performance-another indication of the ease and freshness with which Rachmaninov went to work.The formal simplicity (e.g., in the first movement: main theme in the minor, second theme in the relative major, the development section laid out as a large-scale accelerando with gradually increasing dynamics, recapitulation with both themes, although given out with different instrumentation) is just as classically conceived as the choice of tonalities for the three movements (opening and closing movements in C minor, the slow central movement in E major, just as in Beethoven's 3rd Piano Concerto, except for the introductory modulations), and the balanced alternation between the freely improvisatory, martially strict, and dancelike, as well as between polyphonic and homophonic writing. However, all three movements are in 2/2 time, making the frequent shifts between 2/2 and 3/2 in the third movement all the more refreshing....http://www.channelclassics.com/ New Century Saxophone Quartet "The Art of Fugue" (mp3) from "Bach: The Art of Fugue" (Channel Classics Records) Buy at Rhapsody Buy at Napster More On This AlbumArtist: New Century Saxophone QuartetThe New Century Saxophone Quartet is a pioneering and versatile group winning new-found enthusiasm for its diverse repertory of innovative contemporary works and imaginative adaptations comprising an extraordinary range of musical styles. The only ensemble of its kind to win First Prize of the Concert Artists Guild Competition, the quartet is the recipient of grants from the National Endowment for the Arts, Chamber Music America, and the Aaron Copland Fund for Music, and in its home state from the North Carolina Arts Council. New Century has been heard in major concert venues and on radio and television throughout the Americas and Europe; in recordings for the Channel Classics label; and in unusual performance settings including two Command Performances for President Clinton at the White House, an appearance with the United States Navy Band, and a Chinese New Year broadcast seen by a television audience of over 300 million worldwide. Peter Schickeleís Concerto for Saxophone Quartet and Orchestra is among the ensembleís numerous and widely-performed commissions and premieres, which also include works from Saturday Night Live bandleader Lenny Pickett, Bob Mintzer, Ben Johnston, David Ott, and Sherwood Shaffer. Album Notes:This project then is the culmination of over eight years studying, rehearsing, and performing Bach, and even in its "final" form on this disc represents a work in progress. As the quartet has discovered, one is never through learning Bach. Faced with the infinite possibilities of interpretation, one never plays it the same way twice. (Even in "extreme" interpretations, the music almost never suffers.) Also, one cannot spend this much time in the presence of the master without being fundamentally changed as a musician. The quartet has become keenly aware through this process that playing "The Art of Fugue" has changed everything ?ó the way they listen to each other, hear and experience an individual musical line and its relation to the surrounding parts, balance a chord or section of counterpoint, and even tune. The New Century Saxophone Quartet simply sounds different now, and they approach every piece, new and old, with a fresh perspective. It is their sincere desire to present the music of Bach in a way that is true to his intentions and the stylistic practices of the period, and yet with a vitality and freshness that can come from over 250 years of perspective. It is hoped you are as moved and inspired by the mastery of "The Art of Fugue" as they are.http://www.channelclassics.com/

Paul's First Epistle to the Corinthians contains a number of key themes that a reader might overlook. The fact that so few lay Catholics in America deliberately choose celibacy is a sign of a worldly church. Marriage was, is, and will always be a wonderful vocation, but many early lay Christians chose celibacy as an alternative to marriage, rather than simply a preparation for it. Too frequently the consecrated life is seen as a calling reserved for clergy and religious.Paul exhorts the Corinthians not to associate with immoral men who claim to be Christian. He knows that Christians ought to judge the bad that is among their community (Cf. 5:13). American contemporary Catholicism is so far removed from Paul's pastoral spirit that those who seek significant reforms must be excruciatingly prudent in their judgments and actions. The duty of a Christian is to be his brother's keeper, but never a busybody.Charismatic gifts are prevalent within Acts and First Corinthians. These gifts are always at God's disposal and proper spiritual discernment is always a requisite. One must never forget that the greatest of gifts is love. One must not contextually dismiss Paul's views on women and sexuality as irrelevant to this age. He ever seeks to have men and women compliment one another properly and avoid unnecessary contesting of leadership. One must never forget Paul's exhortation in the Epistle to the Ephesians, ''Be subject to one another out of reverence for Christ'' (5:21). It is a tragedy of our age that self-assertion is the new golden rule.Music: Moritz Moszkowski's 4 Moments Musicaux Op. 84 - Maestoso, from the album Moments Musicaux, performed by Elizabeth Wolff. www.magnatune.com

Paul's great pastoral epistle is especially instructive for the Church in modern America. Written to a Church often beset by infighting, immorality, and individualism, the timeless messages of forbearance, freedom from sin, and fellowship are a much-needed salve. These final inquiries into First Corinthians revisit the issues of how bad the Corinthian Church really was, whether our time is any worse than other times in history, and the Church's current practice on women's veils.Music: Moritz Moszkowski's 4 Moments Musicaux Op. 84 - Moderato e grazioso, from the album Moments Musicaux, performed by Elizabeth Wolff. www.magnatune.com

In chapter one, Paul introduces himself as an encouraging father. Chapter two shows a more corrective side, outlining the immaturity of the Corinthian community. He highlights their faults even more centrally throughout chapter three. By the end of the letter, he establishes himself as an honorable father who will ever speak honestly to his children, correcting faults when necessary.In chapter 16, he says, ''I urge you to be subject to such men and to every fellow worker and laborer'' (v. 16). He cites Stephanus, Fortunatus and Achaicus as examples of holiness and leadership within the Church. He closes the letter with, ''I, Paul, write this greeting with my own hand. If anyone has no love for the Lord, let him be accursed. Our Lord, come! The grace of the Lord Jesus be with you. My love will be with you all in Christ Jesus. Amen'' (v. 21-24). When Paul says ''If anyone has no love for the Lord, let him be accursed,'' he instructs the Church not to tolerate immorality and godlessness.Ever present throughout this letter is the mind and personality of St. Paul. The letter contains vivid and notable snapshots of the Church that hosted the great missionary-pastor for 18 months, and one can never reach the bottom of its depths. The letter's contents compel the reader to spiritual progress as well as discipleship, service and love. It also demands the resolution of interpersonal disputes and the establishment of the highest standards of sexual morality. The role of women, spiritual gifts and the nature of the Eucharist all have profound places in this letter. Although the letter's chapters build into a sort of crescendo of pastoral correction, Paul always writes with great and genuine love.Music: Sergei Rachmaninoff's 6 Moments Musicaux Op. 16 - Andantino, from the album Moments Musicaux, performed by Elizabeth Wolff. www.magnatune.com

This chapter describes a wide-spread collection of funds for the Church in Jerusalem. Giving sacrificially for Christ - who gave Himself for the human race - was ever on the mind of these early Christians who always gave well beyond the 10% tithing requirement. Tithe money never paid for ecclesial luxuries, but for pressing needs like furthering effective missionary activity and sustaining widows and orphans. The offering described in this chapter is a sort of precursor to what we now know as Peter's Pence; Paul and many young men from the various churches throughout Christendom would later carry their offerings to Jerusalem to lay them at the feet of the apostles. Paul also presents the Gentile Christians to the Lord in the Temple, an act which fulfills a prophesy from Isaiah 60 but incites a riot and leaves him imprisoned. Paul cannot leave his post in Ephesus until Pentecost, but hopes to return to the Corinthians after passing through Macedonia (cf. v. 5-9). He urges the church to ''Be watchful, stand firm in your faith, be courageous, be strong. Let all that you do be done in love'' (13-14).Paul's First Letter to the Corinthians is not a manual of Christian doctrine or rubrics but a personal letter to a specific church with particular predicaments. Extremely personal, the letter is a riveting apostolic work that arises from love and compels the properly disposed reader to recollect and repent. Although one may not be privy to all the details of the particular Corinthian situation, studying this letter is always profitable. Although focused study is necessary to undermine the full weight of this letter, one's study must never remain purely intellectual but must penetrate to one's spirituality and daily life.Music: Sergei Rachmaninoff's 6 Moments Musicaux Op. 16 - Andantino, from the album Moments Musicaux, performed by Elizabeth Wolff. www.magnatune.com

Out study continues with the great Resurrection chapter, 1 Corinthians 15, verse 23. Christ is the Messiah whose reign must continue until he has triumphed, when eternity begins (cf. v. 23-27). The Father is the font of divinity without having any chronological or hierarchical priority over Jesus Christ. A close reading of this chapter will reveal that there was no "generic God-substance" that created Christ, but rather the one God, a personal moral being who is all-powerful and who eternally begets the Son. Note that verse 29 does not speak to the common Mormon practice of Baptizing the Dead, and is the only reference of any such a baptismal practice in the Bible. Paul knows that one is ruined by the bad company he keeps (v. 33), and he mentions it within this chapter for the good of the Church. He chastises them by saying "Come to your right mind and sin no more" (v. 34). He answers a number of the Corinthians' questions on the resurrection of the dead in verses 35-44. He writes, "Just as we have born the image of the man of dust, we shall also bear the image of the man of heaven. I tell you this, brethren: flesh and blood cannot inherit the kingdom of God, nor does the perishable inherit the imperishable" (v. 49-50). In this, he states that all who are raised to heaven will be changed, a change that occurs in the blink of an eye. He concludes the chapter by stating "Therefore, my beloved brethren, be steadfast, immovable, always abounding in the work of the Lord, knowing that in the Lord your labor is not in vain" (v. 58). One must never forget that the goal of the Christian life is to remain with the Lord in heaven. With this perspective, one has a life-changing motivation. Music: Sergei Rachmaninoff's 6 Moments Musicaux Op. 16 - Andante cantabile, from the album Moments Musicaux, performed by Elizabeth Wolff. www.magnatune.com

Sometimes termed "the great Resurrection chapter," 1 Corinthians 15 accounts just that and more. Certain members of the Corinthian Church, perhaps because of a Greek heritage that often disparages the flesh, take issue with Jesus' resurrection. From the initial verse, Paul affirms that the resurrection is an essential part of the gospel.He expresses that Christ died for our sins and rose to give us eternal life, appearing to many (v 2-6). Note that Cephas [Peter] is mentioned specifically as well as being included in those "twelve" apostles who witnessed Him (v 5). Paul uses the terms "the twelve" and "the apostles" as two separate categories (v 7). These precise groupings of witnesses serve help establish facts, adding credibility to Paul's argument. It was only the resurrected Christ who dramatically changed Paul from the Church's greatest persecutor into one of its chief workers. Paul reminds them that a Christian's resurrection will be one of both the spirit and the body, urging them to never overlook the resurrection of the body on the last day. He writes in response to those who question the resurrection of the body, "If the dead are not raised, then Christ has not been raised. Christ has not been raised, your faith is futile and you are still in your sins" (v 16-17). Christ has trampled upon death through the resurrection and lifts believers from the dead and from sin. By thinking deeply about heaven and the resurrection of the dead, Christians remain focused on their final end throughout the battle against sin.Music: Moritz Moszkowski's 3 Moments Musicaux Op. 7 - Allegramente, from the album Moments Musicaux, performed by Elizabeth Wolff. www.magnatune.com

Chapter 13 of the First Letter of Paul to the Corinthians begins with Paul's address to those who speak in tongues. Unless love is the controlling virtue in one's life, a spectacular faith, a powerful prophetic message or even the gift of tongues are of no value (cf. v. 1-3). He infers that love and the peace of Christ are to ever remain the arbiters among disputing peoples. Characterizing love, he notes how it is "patient and kind," neither jealous or boastful; nor arrogant or rude; and never insisting on its own way (cf. v. 4-6). Further, love "does not rejoice at wrong, but rejoices in the right. Love bears all things, believes all things [without ever being wishy-washy], hopes all things, endures all things. [Divine] Love never ends" (v. 7-8). Paul knows that divine love does not come naturally to humans; rather, it is always a gift of purely supernatural grace.He writes, "When I was a child, I spoke like a child, I thought like a child, I reasoned like a child; when I became a man, I gave up my childish ways. For now we see in a mirror dimly, but then face to face. Now I know in part; then I shall understand fully, even as I have been fully understood. So faith, hope, love abide, these three; but the greatest of these is love" (v. 10-12). Our American connotation of "love" pales in comparison to the love expressed through deeds of self-sacrifice that Paul speaks of in this chapter.He again addresses the gifts of tongues in Chapter 14. He places the gift of prophesy as more valuable than the gift of tongues, except in instances where the tongue is interpreted, because prophesies edify the whole church (cf. v. 5). If all spiritual gifts are given for the common good, he observes that those who speak in tongues should speak in intelligible tongues and pray for their tongue's interpretation (cf. v. 7-10). Note that the interpretation of tongues does not mean a translation, for interpretations always convey a spiritual message beyond the jots and tittles of any message. When in church, Paul would rather "speak five words with [his] mind, in order to instruct others, than ten thousand words in a tongue" (v. 19). He heightens his tone by urging the Corinthians to maturity and wisdom (cf. v. 20). To understand the larger context of his powerful statement in verse 22, "Thus, tongues are a sign not for believers but for unbelievers, while prophecy is not for unbelievers but for believers," one must thoroughly digest Isaiah 28. He concludes the chapter by masterfully instructing his wayward church on the proper use of tongues, prophesy and silence in their worship and communal life.Music: Moritz Moszkowski's 4 Moments Musicaux Op. 84 - Animato ma non troppo, from the album Moments Musicaux, performed by Elizabeth Wolff. www.magnatune.com

Paul addresses spiritual gifts in the twelfth chapter of First Corinthians. He knows the Church does not realize their low level of spiritual maturity; but their arrogant, impatient and factious ways indict them. So misguided is this Church that they act against the teachings of both Paul and the Council of Jerusalem. This chapter showcases him again pleading with the people like they are close family members. He knows that the Corinthians have a good foundation of catechesis, but that many are either practicing dead-letter religion or are misappropriating their gifts. He addresses this by reiterating that all who are of Christ receive spiritual gifts and they must be exercised for the common good. A variety of gifts among individuals in a community provide the essential elements of Christian life. He lists numerous gifts, but "all [...] are inspired by one and the same Spirit, who appropriations to each one individually as he wills. For just as the body is one and has many members, and all the members of the body, though many, are one body, so it is with Christ" (v 11-12). Paul's language makes one question whether this factious Church was marginalizing individuals who had particular spiritual gifts as less important than those with other gifts. He stresses the equality of the people of God, for "the parts of the body which seem to be weaker are indispensable" (v. 22). Because the members of the Corinthian Church are one body, Paul chastises them for their disunity and urges them to love one another. A loving, family life is so characteristic of genuine Christian life, as expressed in the thirteenth chapter. Sadly, this type of love is so uncharacteristic of modern Catholicism in America. Paul exhorts the Corinthian Church to this love and what love is and what it is not (cf. v. 4-8). He also makes it clear that they must all love more genuinely. Music: Moritz Moszkowski's 3 Moments Musicaux Op. 7 - Tranquillo e semplice, from the album Moments Musicaux, performed by Elizabeth Wolff. www.magnatune.com

The character of Paul's language changes distinctly in Chapter 9 of 1 Corinthians as he attempts to reassert his role as an apostle. Some among the brethren of Corinth felt apostles would not need to work to support themselves, and viewed his working to support his ministry as a demerit on his authority. He responds by saying "I [am an apostle] to you; for you are the seal of my apostleship in the Lord" (v 2). He continues by asserting the rights of an apostle through a series of rhetorical questions.Using sound rabbinical arguments, he asserts that God allows the workers to partake of the fruit of their labor (Cf. v. 8-12). These statements are not Paul's attempt to amass material gains, but assert his authority as an apostle. As he continues, his temper begins to reveal itself in the verbiage (Cf. v 14). He hits on the cornerstone of his argument when he states "Woe to me if I do not preach the gospel!" and "What then is my reward? Just this: that in my preaching I may make the gospel free of charge, not making full use of my right in the gospel" (v 16, 18). Always trying to save as many souls as possible he reflects how he "became all things to all men, that I might by all means save some" (v 23). He closes the chapter with a lively exhortation that the Corinthians strive for holiness through self-restraint and exertion like an athlete strives for victory (Cf. v 24-27).Returning to his previous language-style in Chapter 10, he uses the example of their Jewish forefathers to instruct the troubled church. After illustrating the sacramental gifts that the Israelites received from God he warns the people not to partake unworthily or without gratitude, lest they die like many of the Israelites. He ever attempting to bring the conceited Corinthians to greater holiness, he provides hope against temptation by stating "God is faithful and he will not let you be tempted beyond your strength, but with the temptation will also provide the way of escape, that you may be able to endure it" (v 13). Returning to his railing against idolatry, he asks "The cup of blessing which we bless, is it not a participation in the blood of Christ?" so that he may come to his eucharistic theology "The bread which we break, is it not a participation in the body of Christ? Because there is one bread, we who are many are one body, for we all partake of the one bread" (v 16). This is to establish that one cannot drink the cup of the Lord and the cup of demons, and that meat sacrificed to idols is inherently demonic.He instructs the Judaizers by saying "All things are lawful, but not all things are helpful" (v 23). He also allows that "if one of the unbelievers invites you to dinner and you are disposed to go, eat whatever is set before you without raising any question" except it becomes clear that this meat was sacrificed to an idol (v 27).Finally, in the beginning of Chapter 11, Paul addresses the issue of women's head coverings.Music: Sergei Rachmaninoff's 6 Moments Musicaux Op. 16 - Adagio sostenuto from the album Moments Musicaux, performed by Elizabeth Wolff. www.magnatune.com