Podcasts about Mstislav Rostropovich

Cellist Sheku Kanneh-Mason was born in Nottingham in 1999 into a big musical family. He and his six siblings all grew up learning classical instruments, and appeared on Britain's Got Talent in 2015. Sheku first made his mark as a solo performer the following year when he won the BBC Young Musician Of The Year competition. In 2018 a global audience of over a billion watched him perform live at the wedding of the Duke and Duchess of Sussex. Since then he has received two classical Brit awards, An MBE for services to music, and performed at the Proms every year since 2017. His book The Power Of Music charts his creative journey, whilst his new album - his fifth release - includes recording of works by Shostakovich and Britten. Sheku talks to John Wilson about the early influence of his paternal grandfather, a classical music lover who encouraged an appreciation of chamber music, including Schubert's Trout Quintet. Sheku also discusses his cellist heroes Jacqueline du Pré and Mstislav Rostropovich and explains how the music of reggae superstar Bob Marley has been an inspiration throughout his life.Producer: Edwina Pitman

Last week on July 25th, the music world was saddened by the death of the Cornish baritone Benjamin Luxon at the age of 87. I began collecting recordings of this exceptional artist a few years ago with the intention of producing an episode in his honor at some point. Here is that episode, albeit a posthumous effort now. In an episode I produced in the first few months of Countermelody in 2019, I featured the French baritone Gérard Souzay and called him “a modern troubadour.” There are very few singers of recent years to whom one could accurately apply that appellation, but Ben Luxon is emphatically one of them. Music and words simply flowed out of him, and he sang with equal aplomb in an extraordinary number of different styles: opera, oratorio, art song, Broadway, crossover, and, perhaps most immediately and delectably, folk. In opera alone his range was exceptional, covering key roles in Mozart, Verdi, Tchaikovsky, Wagner, Berg, and Britten, who wrote the title role of his television opera Owen Wingrave expressly for Luxon. In song as well he covered a vast array of repertoires, including Russian, German, and British (including Victorian ballads), including, again, many contemporary composers. Luxon's career hit a snag in the late 1980s, when he first began experiencing hearing loss which eventually resulted in him putting a stop to his singing career. But he hardly retired: moving to the Berkshires, he became actively involved in the artistic life of the region, and founded a theatre troupe, the Sandisfield Players, while continuing to give poetry readings and spoken word performances. The program today attempts to recreate his profound versatility, and range from folk song to pop song; from orchestral song cycles to world premiere creations; art songs by Hugo Wolf, Mussorgsky, George Butterworth, Schubert, and John Ireland; to late career narration and poetry projects. Collaborators include artists such as Benjamin Britten, Bill Crofut, Galina Vishnevskaya, Leonard Bernstein, Robert Tear, Janet Baker, Seiji Ozawa, Ileana Cotrubaș, Jill Gomez, Klaus Tennstedt, Mstislav Rostropovich, and his most frequent recital collaborator, pianist David Willison. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Neil is a renowned percussionist, accomplished music educator, imaginative product innovator, and successful entrepreneur. He is the founder and president of Grover Pro Percussion Inc., a market leader in the design, manufacture, and distribution of world-class percussion instruments.  At the young age of 23, Neil was appointed Principal Percussionist of the Opera Company of Boston, a position he held for seven seasons.  As his career progressed, he found himself in demand for all musical genres, including symphony, chamber music, ballet, opera, and commercial recordings.  Highlights of his collaborations include the Royal Ballet, Bolshoi Ballet, American Ballet Theatre, Dance Theatre of Harlem, Music from Marlboro, Indianapolis Symphony, Boston Musica Viva, and the Empire Brass. He was chosen to record the percussion tracks for Phillip Glass' film soundtrack for Mishima. In addition, Neil appears as a Boston Pops percussionist in the hit movie Blown Away, starring Jeff Bridges and Tommy Lee Jones.  He has toured with Music From Marlboro, Boston Symphony, Henry Mancini, Boston Symphony Chamber Players, and the Broadway production of The Pirates of Penzance.  Since 1977, he has performed, recorded, and toured with the world-famous Boston Pops, where he has made music under the batons of Maestros Arthur Fiedler, John Williams, and Keith Lockhart.  Having performed regularly in the percussion section of the Boston Symphony for over 35 years, he has worked with Maestros Seiji Ozawa, James Levine, Leonard Bernstein, Aaron Copland, Colin Davis, Charles Dutoit, Colin Davis, Neemi Jaarvi, Rafael Fruhbeck de Burgos, Mstislav Rostropovich, and Bernard Haitink. It is noteworthy that Neil has performed in over 1,500 concerts as a percussionist with the BSO & Boston Pops. Neil's percussive talents have been heard by thousands at renowned venues, such as Boston's Symphony Hall, Carnegie Hall, Chicago's Orchestra Hall, and festivals at Tanglewood, Hollywood Bowl, Wolf Trap, Blossom, and Ravinia.  In addition, he has performed for millions of listeners through television and radio broadcasts on the NBC, CBS, NHK, PBS, A&E and NPR networks.  At the request of composer John Williams, Neil joined the multi-media musical extravaganza, “Star Wars in Concert”, serving as Principal Percussionist on two legs of their North American Tour.   Neil Grover has written/co-authored five publications: Four Mallet Primer, Four Mallet Fundamentals, Art of Triangle & Tambourine Playing, Percussionist's Cookbook, and The Art of Percussion Playing, all published by Meredith Music.  Neil's innovative designs and cutting edge manufacturing techniques have set a new standard for the ergonometric functionality of modern day percussion instruments. Neil and his company have been featured in many publications, including: Percussive Notes, Modern Drummer, School Band & Orchestra, Musical Merchandise Review and on two episodes of the Discovery Channel's series How It's Made. Formerly the Chair of the Percussion Programs at both The Boston Conservatory and the University of Massachusetts-Lowell, today, Neil's students occupy leading positions in many top performing, educational and music business organizations. Things That Came Up:  -1:45 Owning ALL the percussion instruments -3:50 The magic of Zelda -6:00 Studied with the same teacher as Dom Famularo -7:00 Studying with Vic Firth  -11:10 “Classical musicians play with their eyes and jazz musicians play with their ears” -12:10 “Talent got you this far, perseverance will carry you through.” -12:45 Took AFM pension at age 65  -13:50 Contracting, composing and arranging as a new life chapter -15:10 Bradley Cooper's “Maestro” -16:35 Being a frustrated stand-up -17:40 Fred Buda: “Playing drum set in an orchestra is like swinging an elephant” -19:40 How union pensions work -26:05 At Tanglewood at the same time as Kenny Aronoff, with Leonard Bernstein conducting! -27:40 Playing bongos for Bernstein's “West Side Story” -30:50 Star Wars Tour: Drum Tech, 7 percussionists, 3 conductors and music from all 6 Star Wars films -38:00 Follow your dreams, no matter what!  -40:00 “The Accidental Entrepreneur” -41:00 The FIRST Grover Triangle  -48:20 Allowing Redmond to help develop the “Studio Pro Series” pop tambourines -54:00 Selling Grover Percussion to RBI Music  -60:40 On screen percussionist in the “Blown Away” film, starring Tommy Lee Jones  -61:30 Authoring Books  -63:30 Aerosmith! Glocks!  -69:30 Neil's favorite axe is the piatti (cymbals)  -74:00 “The Fave 5”  Follow:  www.groverpro.com Email: ngrover@groverpro.com The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits.  Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:     https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Ofra Harnoy. They talk about how she built an International career, she shares stories about studying with William Pleeth, Mstislav Rostropovich, and Jacqueline du Pré, and she shares details on her new recording of the Elgar and Lalo Cello concertos. For more information on Ofra, visit:www.ofraharnoy.ca You can also find Ofra on Instagram: @ofraharnoyYouTube: @OfraHarnoyVideosFor more information on our sponsor: www.CLEAResources.com If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Instagram and Threads @theCelloSherpa

SynopsisBy a coincidence, the last two symphonies of Soviet composer Sergei Prokofiev premiered on today's date: His Sixth Symphony premiered in Leningrad in 1947, and his final, Seventh Symphony, in Moscow, in 1952.The Sixth Symphony is tragic in tone, and Prokofiev confided that it was about the physical and emotional wounds suffered by his countrymen during World War II. The Sixth was premiered at the opening concert of the Leningrad Philharmonic's 1947 season and was applauded warmly by both audiences and the official Soviet critics. But early in 1948, Prokofiev somehow ran afoul of the Central Committee of the Communist Party, and his Sixth was quickly withdrawn from further performances.Prokofiev's Seventh was intended to be a symphony for children, a kind of symphonic Peter and the Wolf, written in a deliberately populist style and with a wary eye on the dictates of the Central Committee. It's an airy, almost transparently melodic score. Originally, it had a wistful, somewhat melancholic ending, with the music trailing off into silence. During the final dress rehearsals, however, Prokofiev wrote an alternative, perhaps more “politically correct” finale, decidedly chipper and upbeat in tone.Music Played in Today's ProgramSergei Prokofiev (1891 – 1953) Symphony No. 6 - National Symphony; Leonard Slatkin, cond. RCA/BMG 68801Symphony No. 7 - French National Orchestra; Mstislav Rostropovich, cond. Erato 75322

Synopsis On today's date in 2020, a new cello concerto by the American composer Ellen Taaffe Zwilich was given its premiere in Fort Lauderdale, by cellist Zuill Bailey the South Florida Symphony Orchestra conducted by Sebrina María Alfonso, the same performers who had commissioned the work. About the work, Ellen Taaffe Zwilich said, “A Cello Concerto is something that had been on my ‘composer's wish list' for a long time. One of the things I love about the cello is that it covers virtually the entire range of the human voice— I particularly like its evocation of the mezzo-soprano … I sometimes refer to string instruments as ‘singers on steroids,' because of the power they give to a composer to explore virtuosity as well as expressivity. My Cello Concerto engages both the lyrical, singing nature of the instrument and its technical possibilities.”Zwillich dedicated the new concerto to the memory of two legendary cellists, Leonard Rose and Mstislav Rostropovich. Following the premiere, Dennis D. Rooney of the Palm Beach Arts Paper wrote, "The concerto's three linked movements suggested a meditation on melodic gestures from the American vernacular. The blues hovered over the work allusively … Throughout, the mood was thoughtful but not elegiac.” Music Played in Today's Program Ellen Taaffe Zwilich (b. 1939) – Concerto for Cello and Orchestra (Zuill Bailey , vcl; Santa Rosa Symphony; Francesco Lecce-Chong, conductor.) Delos DE-3596

A musician is halfway through a public performance when they realise they might not make it to the end. Their body is fighting them, they're in extreme pain. But stopping is not an option so they push on. No one would know. But boy does the musician know it. When they come off stage, they are in agony. It feels like their career is at an end. In this episode of Sideways, Matthew Syed explores the connection between the musician and their instrument and what happens when that precious relationship is severed by injury. He considers what happens when the thing we love to do most in the world begins to hurt us, and how being unable to do it can tear at the fabric of who we are. But in experiencing that loss, how we may find new ways of understanding ourselves? With cellist Corinne Morris, Artina McCain (pianist and Associate Professor of Piano, University of Memphis), and clarinetist Professor Dr Luc Nijs (University of Luxembourg). Featuring recordings of Artina McCain from her album Heritage: an American Musical Legacy, performing The Vale of Dreams, composed by Charles Griffes, and Troubled Water from Spiritual Suite, composed by Margaret Bonds. And also featuring recordings of Corinne Morris from her album Chrysalis with the Scottish Chamber Orchestra, performing Siciliène, composed by François Couperin, and the final movement from Joseph Haydn's Cello Concerto No, 1 In C Major. Mstislav Rostropovich is the solo cellist for Tchaikovsky's Variations on a Rococo Theme. Presenter: Matthew Syed Producer and Series Editor: Katherine Godfrey Executive Producer: Max O'Brien Sound Design and Mix: Rob Speight A Novel production for BBC Radio 4

Jess Gillam is joined by the Mumbai-born pianist Shivank Menon, to talk about the records that they love. Their playlist includes Rostropovich playing Bach, Sviatoslav Richter playing Chopin, songs by Ravel, Fanny Mendelssohn and Donny Hathaway, and a recording of Bill Evans duetting with himself. Playlist: MORELENBAUM2 & RYUICHI SAKAMOTO: Sabia J S BACH ARR. KODALY: Vater unser im Himmelrich, BWV 762 (Mstislav Rostropovich, cello; Herbert Tachezi (organ) CHOPIN: Polonaise No 7 in A flat, Op 61 (Sviatoslav Richter, piano) ROBERT DE VISÉE: Sarabande from Suite No 7 in D minor (Thomas Dunford, archlute; Jean Rondeau, harpsichord) FANNY MENDELSSOHN: Schwanenlied, Op 1 No 1 (Dorothea Craxton, soprano & Babette Dorn, piano + Benjamin Appl, baritone & James Baillieu, piano) RAVEL: Soupir from 3 Poèmes de Stéphane Mallarmé (Anne Sofie von Otter, mezzo-soprano) DONNY HATHAWAY: A Song for You BILL EVANS: Emily

本期空岛「遗落的歌」我们邀请到的是来自中国爱乐乐团的弦乐四重奏组合「麒麟四重奏」，四位音乐家除中提琴王子洋外，小提琴赵婵、徐鼎力与大提琴杨长缨均已顺利抵达空岛，并分享了他们私藏的古典音乐歌单，带领大家近距离地感受他们所理解的音乐的极境。本期节目，舒伯特、贝多芬、马勒等大师的作品依次奏响，古典音乐带给人的震撼，不仅是在于演奏的高超技术，它所蕴含的演奏者和作品之间微妙细腻的情感才最让人动容。在静谧的夜色里，抛开杂念，把身体和灵魂统统交给音乐，跟随三位的讲述，慢慢走入音乐的极境之处～温馨提示，因为时长原因，在节目中无法完全展示每首歌的魅力，大家感兴趣的话不妨找来全曲听一听。00:05:56 Emerson String Quartet - Beethoven String Quartet In F Major Op.18 No.1:2rd Adagio affettuoso ed appassionato（埃默森四重奏 - 贝多芬F大调弦乐四重奏，作品18 之一，二乐章）00:09:58 Ian Bostridge - Schubert 《Du bist die Ruh》D.776（伊恩·博斯崔吉 - 舒伯特 《你是安宁》 作品776）00:15:06 Leonard Bernstein,New York Philharmonic - Mahler Symphony No. 3：VI. Langsam. Ruhevoll. Empfunden（伯恩斯坦&纽约交响乐团 - 马勒第三交响曲第6乐章）00:20:46 麒麟四重奏 - 卡契尼《圣母颂》（live）（Giulio Caccini - 《Ave-Maria》）00:26:58 Takács Quartet - Brahms String Quartet No.2 in a minor, Op.51 No.2：1. Allegro non troppo（塔卡契四重奏 - 勃拉姆斯a小调弦乐四重奏，作品51之二，一乐章）00:36:15 Mstislav Rostropovich,Emerson String Quartet,Franz Schubert - String Quintet in C Major, D. 956：II. Adagio（姆斯蒂斯拉夫·罗斯托罗波维奇&埃默森四重奏 - 舒伯特C大调弦乐五重奏第2乐章，作品号D. 956）00:41:26 Northern String Quartet - Samuel Barber Adagio for Strings, Op. 11（北方弦乐四重奏 - 赛谬尔·巴伯 柔板，作品11）00:46:38 Borodin Quartet - Tchaikovsky - String Quartet No.1 in d major, Op.11：2rd Andante cantabile（鲍罗丁弦乐四重奏 - 柴可夫斯基d小调第一弦乐四重奏，作品11，二乐章，《如歌的行板》）00:55:56 Galimir String Quartet,Harold Gomberg,Benjamin Britten - Fantasy for Oboe and String Trio in f Minor, Op. 2（Galimir弦乐四重奏&Harold Gomberg - 本杰明.布里顿f小调双簧管和弦乐三重奏幻想曲，作品2）01:03:13 Iskander Zakirov - Johannes Brahms Intermezzi：Op.118 No. 2 Andante teneramente（勃拉姆斯钢琴间奏曲，作品118之二）01:09:29 朱晓玫 - Bach Goldberg Variations, BWV 988（巴赫 哥德堡变奏曲，作品988）

Synopsis It's strange to read the doubts Tchaikovsky expressed in letters about many of his greatest musical works, which he first would dismiss as failures, only to change his mind completely a few weeks later. Take, for example, his ballet The Nutcracker, which had its premiere performance on this day in 1892 at the Mariinsky Theater in St. Petersburg. Tchaikovsky described working on the ballet as a "dread-inspiring, feverish nightmare, so abominable that I don't think I have the strength to put it into words." At the time, Tchaikovsky was MUCH more optimistic about an opera he was writing titled Yolanta—only to abruptly changed his mind, writing "Now I think that the ballet is good and the opera nothing special." This time, Tchaikovsky got it right—although initially the opera DID prove more popular than the ballet. Another—and deliberately nightmarish—Russian composition had its first performance on this same day 70 years later. This was the Symphony No. 13 by Dmitri Shostakovich, subtitled Babi Yar, based on poems of Yevgeny Yevtushenko. This choral symphony was first heard on today's date in 1962 at the Moscow Conservatory, but was quickly banned by the Soviet authorities. Its title poem, Babi Yar, called attention to Soviet indifference to the Holocaust and persistent anti-Semitism in Soviet society. Yevtushenko later softened these lines so the symphony could be performed in the U.S.S.R. Music Played in Today's Program Peter Tchaikovsky (1840-1893) The Nutcracker Ballet, Op. 71 Kirov Orchestra; Valery Gergiev, cond. Philips 462 114 Dmitri Shostakovich (1906-1975) Symphony No. 13, Op. 113 (Babi Yar) Nicola Ghiuselev, bass; Choral Arts Society of Washington; National Symphony; Mstislav Rostropovich, cond. Erato 85529

Synopsis In 1971, after reading a book about the Dutch painter Vincent Van Gogh, the American pop singer Don McLean wrote a song he titled “Vincent,” which became a big hit the following year. The song is better known by its opening line, “Starry, starry night,” a reference to one of Van Gogh's best-known paintings, entitled “The Starry Night.” But McLean wasn't the only composer inspired by that painting. On today's date in 1978, the National Symphony Orchestra under Mstislav Rostropovich premiered at the Kennedy Center in Washington, D.C., a new orchestral work by the French composer Henri Dutilleux. Dutilleux titled his new work “Timbre, space, movement,” but added a subtitle, “The Starry Night,” in acknowledgement of the painting's influence, and said he wanted to translate into music the (quote) "almost cosmic whirling effect which [the painting] produces". Now, painting and music are very different art forms, but the energy, pulsation, and whirling qualities of Van Gogh's masterpiece do find vivid expression, both visual and musical, in Dutilleux's work. As a kind of frame, Dutilleux placed the cellos in a half circle around the conductor, omitted violins and violas from his instrumentation, and alternated static episodes and whirling wind and percussion solos to evoke the illusion of motion in the Van Gogh painting. Music Played in Today's Program Henri Dutilleux (1916 - 2013) Timbres, espace, mouvement BBC Philharmonic; Yan Pascal Tortelier, conductor. Chandos 9504

Synopsis On today's date in 1928, the Danish composer Carl Nielsen conducted the first public performance of his new Clarinet Concerto in Copenhagen. “The clarinet,” said Nielsen, “can, at one and the same time seem utterly hysterical, gentle as balsam, or as screechy as a streetcar on badly greased rails.” Nielsen set himself the task of covering that whole range of the instrument's conflicting emotions and colors. He wrote it for a Danish clarinetist he admired named Aage Oxenvad, who played both the public premiere on today's date and a private reading a few weeks earlier. After the private performance Oxenvad is supposed to have muttered: “Nielsen must be able to play the clarinet himself — otherwise he would hardly have been able to find all the instrument's WORST notes.” The concerto's wild mood-swings puzzled audiences in 1928, but today it's regarded as one of Nielsen's most original works. In October of 1996, another Clarinet Concerto received its premiere when American composer John Adams conducted the first performance of his work Gnarly Buttons with soloist Michael Collins. This concerto contains a bittersweet tribute to Adams' father, a clarinetist who fell victim to Alzheimer's disease. In Adams' concerto, the swing tunes slide into dementia, but the concerto ends with a kind of benediction. Music Played in Today's Program Carl Nielsen (1865-1931) Clarinet Concerto, Op. 57 Kjell-Inge Stevennson, clarinet; Danish Radio Symphony; Herbert Blomstedt, cond. EMI 69758 John Adams (b. 1947) Gnarly Buttons Michael Collins, clarinet; London Sinfonietta; John Adams, cond. Nonesuch 79453 On This Day Births 1882 - Canadian-born American composer R. Nathaniel Dett, in Drummondsville, Ontario; Deaths 1896 - Austrian composer Anton Bruckner, age 72, in Vienna; Premieres 1727 - Handel: "Coronation Anthems," in London at Westminster Abbey during the coronation of King George II and Queen Caroline (Gregorian date: Oct. 22); 1830 - Chopin: Piano Concerto No. 1 in E minor, in Warsaw, composer as soloist; 1928 - Nielsen: Clarient Concerto, at a public concert in Copenhagen, with the composer conducting and Aage Ozenvad the soloist; This concert had been given a private performance in Humlebaek on September 14, 1928); 1947 - Prokofiev: Symphony No. 6, by Leningrad Philharmonic, Yevgeny Mravinsky conducting; 1952 - Prokofiev: Symphony No. 7, by Moscow Philharmonic, Samuil Samosud conducting; 1953 - Messiaen: "Réveil des oiseaux," in Donaueschingen, Germany; 1955 - B.A. Zimmermann: "Nobody Knows de Trouble I See" for Trumpet and Orchestra, in Hamburg, by the North German Radio Orchestra conducted by Ernest Bour, with Adolf Scherbaum the soloist; 1962 - Carlisle Floyd: opera "The Passion on Jonathan Wader," by the New York City Opera; 1977 - Bernstein: "Songfest," "Three Mediations from 'Mass,'" and "Slava!" by the National Symphony, conducted by the composer ("Songfest" and "Meditations"‚ and Mstislav Rostropovich ("Slava!"); Rostropovich was also the cello soloist in the "'Meditations"; 1980 - Bernstein: "A Musical Toast ( A Fanfare in Memory of André Kostelanetz)" by the New York Philharmonic conducted by Zubin Mehta; 1980 - Zemlinksy: opera "Der Traumgörge" (Goerge the Dreamer), posthumously, in Nuremberg at the Opernhaus (This opera was written in 1906); 1985 - John Harbison: String Quartet No. 1, at the Corcoran Gallery in Washington, D.C., by the Cleveland Quartet. 1985 - Michael Torke: “Vanada” for brass, keyboards and percussion, at the Concertgebouw Chamber Hall in Amsterdam, by the Asko Ensemble, Lukas Vis conducting. Links and Resources On Carl Nielsen On John Adams

Synopsis In 1939, Dale Carnegie published a self-help book entitled How to Win Friends and Influence People, suggesting you could change people's behavior to you by changing YOUR behavior toward them. We're not sure if Carnegie's book was ever translated into Russian, but we'd like to cite the case of the famous Russian cellist Mstislav Rostropovich as an example of one way to influence a particular composer. In Rostropovich's day, the greatest living Soviet composers were Sergei Prokofiev and Dmitri Shostakovich. In 1949 Prokofiev wrote a Cello Sonata for the 22-year old Rostropovich, and also dedicated his 1952 Sinfonia Concertante for cello and orchestra to him. Not surprisingly, Rostropovich hoped Shostakovich might write something for him, too, and so asked that composer's wife, Nina, how to ask him. She replied the best way was NEVER to mention the idea in the presence of her husband. She knew Shostakovich was following the cellist's career with interest, and if the idea of writing something for Rostropovich was his own, rather than somebody else's, it stood a better chance of becoming reality. Rostropovich followed her advice, and – surprise surprise – on today's date in 1959, gave the premiere performance with the Leningrad Philharmonic of a brand-new cello concerto specially-written for him by Dmitri Shostakovich. Music Played in Today's Program Dmitri Shostakovich (1906-1975): Cello Concerto No. 1 in Eb, Op. 107 –Philadelphia Orchestra; Eugene Ormandy, cond. (Sony 7858322)

Synopsis For over 120 years the late summer music festival known as the BBC Proms has been presenting memorable concerts in London, but one of the most memorable occurred on today's date in 1968. The scheduled performers at the Royal Albert Hall were the USSR State Symphony, its conductor Yevgeny Svetlanov, and the virtuoso cellist Mstislav Rostropovich. As the musicians took to the stage, boos and cat-calls were mixed with the applause, and some shouts of “Go home!” and “Russians out!” The reason? Earlier that same day, the Soviet Union and its East Block allies had invaded Czechoslovakia, sending troops and tanks into the country to crush the so-called “Prague Spring,” a period of liberalization and reform that threatened Communist control of that nation. By a cruel stroke of irony, one of the works on the scheduled program of the Soviet orchestra was the Cello Concerto of Czech composer Antonin Dvorak. There were some shouts of protests as Rostropovich began to play, but by the end of his intense performance, all was quiet. Rostropovich had played with tears streaming down his face, and after finishing held up the conductor's score of the concerto as both a sign of solidary with the Czech nation and act of mute protest of the invasion. Music Played in Today's Program Antonin Dvorak (1841 -1904) –Cello Concerto in b, Op. 104 (Mstislav Rostropovich, vcl; USSR State Symphony; Yevgeny Svetlanov, cond.) BBC Legends CD 4110 (r. live August 21, 1968 at the BBC Proms)

I had the enormous good fortune as a young man to get to work with the great cellist Mstislav Rostropovich. Rostropovich, or “Slava,” as everybody called him, was the music director of the National Symphony Orchestra when I played in that ensemble, and with all his other engagements he still somehow made time to give master classes just for members of the orchestra.

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!

We talk to Adam Hill about how dealing with anxiety disorder led him into Ironman competitions; his new book, Shifting Gears; and the process and mechanisms of personal transformation.TOPICS & TIMES:Anxiety & Alcohol (2:23)Anxiety & Sobriety (18:03)Getting into Ironmans (26:22)Overcoming hopelessness - (46:44)Shifting Gears (51:37)The support of Adam's wife (56:05)YoYo Ma vs. Mstislav Rostropovich (1:07:25)OUR OTHER BLISTER PODCASTSBlister PodcastGEAR:30 podcastBikes & Big Ideas podcast See acast.com/privacy for privacy and opt-out information.

Synopsis In a creative life that spanned over 60 years, the American composer Howard Hanson never wavered in his belief that music should be tonal in nature and fundamentally Romantic in style, with strong and clear melodic lines. By the mid-1950s, many other European and American composers were espousing a far different approach to music, favoring an abstract and often densely complex style, more in harmony with the non-representational canvases of the painter Jackson Pollack than the meticulous realism of, say, Norman Rockwell. On today's date in 1955, this music, Hanson's Symphony No. 5, had its premiere performance by the Philadelphia Orchestra under Eugene Ormandy. It's the most compact of Hanson's seven symphonies, a single-movement work in three sections lasting just 15 minutes. Hanson titled the work “Sinfonia Sacra” or “A Sacred Symphony,” and suggested it was inspired by the account of Christ's resurrection in the Gospel of St. John. “The Sinfonia Sacra does not attempt programmatically to tell the story of the first Easter,” wrote Hanson, “but does attempt to invoke some of the atmosphere of tragedy and triumph, mysticism and affirmation of this story, which is the essential symbol of the Christian faith.” Music Played in Today's Program Howard Hanson (1896 - 1981) — Symphony No. 5 (Sinfonia Sacra) (Seattle Symphony; Gerard Schwarz, cond.) Delos 3130 On This Day Births 1632 - Italian composer Giovanni Battista Vitali, in Bologna; 1864 - American music publisher Gustave Schirmer, Jr., in New York City, son of the German-born music publisher Gustave Schirmer, Sr. 1915 - French composer Marcel Landowski in Prêt L'Abbé (Finistère); 1939 - Brazilian composer, conductor and pianist Marlos Nobre, in Recife; Deaths 1956 - French composer French composer Gustave Charpentier, age 95, in Paris; Premieres 1743 - Handel: oratorio “Samson,” at Covent Garden Theatre in London, and possibly the premiere of Handel's recently-completed Organ Concerto Op. 7, no. 2 at the same concert (Gregorian date: Mar. 1); 1874 - Rimsky-Korsakov: Symphony No. 3, in St. Petersburg (Gregorian date: Mar. 2); 1893 - Berlioz: "La Damnation de Faust" (as a staged opera), in Monte Carlo with a cast headed by tenor Jean de Reske; Berlioz conducted the first concert performance of this work (as an oratorio) at the Opéra-Comique in Paris on Dec. 6, 1946; 1893 - Brahms: Intermezzo No. 1, for piano, from Op. 117, in Vienna; 1895 - Loeffler: Quintet for three violins, viola and cello, at Boston's Union Hall by the Kneisel Quartet joined by violinist William Kraft; 1916 - Daniel Mason: First Symphony (first version), by the Philadelphia Orchestra, Leopold Stokowski conducting; 1919 - Deems Taylor: chamber suite "Through The Looking Glass," by the New York Chamber Music Society; 1947 - Menotti: one-act opera "The Telephone," in New York City at the Heckscher Theater; 1952 - Prokofiev: Sinfonia Concertante, Op. 125 (as "Cello Concerto" No. 2), in Moscow, with Sviatoslav Richter conducting and Mstislav Rostropovich the soloist; 1955 - Hanson: Symphony No. 5 ("Sinfonia Sacra"), the Philadelphia Orchestra, Eugene Ormandy conducting; 1965 - Ginastera: Harp Concerto, by harpist Nicanor Zabaleta , with the Philadelphia Orchestra, Eugene Ormandy conducting; 1998 - Thea Musgrave: "Phoenix Rising," at the Royal Festival Hall in London, by the BBC Symphony, Andrew Davis conducting. Links and Resources On Howard Hanson

Hello and welcome to Bittersweet Symphony, a podcast where classical musicians share the bitter, the sweet and the bittersweet of life when the concert halls shut their doors and the music stopped. I'm Cliodhna Ryan, violinist, member of the Irish Chamber Orchestra and freelancer. In this episode, I'm chatting to Cormac Ó hAodáin, principal horn with the RTE Concert Orchestra. He shares the bitter experience of his Mum being ill, becoming a carer overnight, and the burnout that followed. His sweet memory is of regular meetups on Zoom with a community of musicians and composers, facilitated by the Contemporary Music Centre in Dublin. His bittersweet is while isolation was challenging, he felt equipped to handle it after a decade of living alone. Between 1993-1996, Cormac represented Ireland in the European Union Youth Orchestra, working with such eminent maestros as Carlo Maria Giulini, Bernard Haitink, Mstislav Rostropovich and Vladimir Ashkenazy. In 1997 he joined the Royal Philharmonic Orchestra and in 1999 became a member of the Philharmonia Orchestra. Cormac moved back to Ireland in 2009 to join the RTÉ Concert Orchestra as principal horn. Since his return to Ireland, he has established the Cassiopeia Wind Quintet and joined the teaching staff of the Royal Irish Academy of Music. He is currently doing a Masters in Conducting at TU Dublin, under the mentorship of David Brophy. CREDITS Thumbnail Art || Colm MacAthlaoith Songwriters || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Patrick Stefan Groenland GET IN TOUCH WITH CORMAC/LINKS Cassiopeia Winds Contemporary Music Centre Norah Walsh GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony

The music of Augusta Read Thomas has been performed all over the world by conductors such as Daniel Barenboim, Pierre Boulez, Mstislav Rostropovich, Seiji Ozawa, Oliver Knussen, George Benjamin, Vimbayi Kaziboni, Christoph Eschenbach and many others. She is Vice President for Music at The American Academy of Arts and Letters, among many other distinctions, and is a long-standing, exemplary citizen of the profession at large supporting the work of others. Her music is published by G Schirmer and, since 2016, by Nimbus Music Publishing. Her music has been featured on nearly 100 commercial CDs. Since 2013, Nimbus Records has been recording her complete works. She is currently a University Professor of Composition in Music at The University of Chicago. Thomas played piano as a young child, starting private lessons at age four.  In third grade, she took up the trumpet and played for 14 years, attending Northwestern University as a trumpet performance major.  She played trumpet in brass quintet, chamber orchestra, orchestra, band, and Jazz band and she sang in choirs for many years.Thomas also had the distinction of having her work performed more frequently in 2013-2014 than any other living composer, according to statistics from performing rights organization ASCAP.MUSICAL EXCERPTS (in order)Words of the Sea  for orchestra (3rd movement)Chicago Symphony OrchestraPierre Boulez, conductorCarillon Sky  for violin and chamber orchestraBaird Dodge, violinChicago Symphony Orchestra MusicNOW ensembleOliver Knussen, conductorAugusta Read Thomas official websiteSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

Synopsis Two famous pieces of chamber music had their premieres on today's date, both at private readings prior to their first public performances. On today's date in 1842, the German Romantic composer Robert Schumann arranged for a trial reading of his new Piano Quintet in E-flat at the Leipzig home of some of his friends. Schumann's wife, Clara, was supposed to be the pianist on that occasion, but she took ill, and Schumann's friend and fellow-composer Felix Mendelssohn stepped in at the last moment for the informal performance, reading the work at sight. After this preliminary reading, Mendelssohn praised the work, but offered some friendly suggestions concerning part of the trio section in the new work's Scherzo movement, which prompted Schumann to write a livelier replacement movement for the work's first public performance. About 100 years later, on today's date in 1949, a cello sonata by the Soviet composer Sergei Prokofiev received a similar private performance in Moscow, for an invited audience at the House of the Union of Composers. Two of the leading Soviet performers of the day, cellist Mstislav Rostropovich and pianist Sviatoslav Richter, gave the work its first performance. The following spring, it was again Rostropovich and Richter who gave the Sonata its public debut at the Moscow Conservatory. Music Played in Today's Program Robert Schumann (1810–1856) — Piano Quintet in Eb, Op. 44 (Menahem Pressler, piano; Emerson String Quartet) DG 445 848 Sergei Prokofiev (1891–1953) — Cello Sonata, Op. 119 (David Finckel, cello; Wu Han, piano) Artist Led 19901

Synopsis When grandma turns 90, you can bet by her age she's gotten just about EVERYTHING imaginable as a birthday gift. That was the quandary facing the Prince of Wales in 1990, when HIS granny, Her Royal Majesty Queen Elizabeth of England—or “The Queen Mum” as just about everybody called her—was about to celebrate her 90th. As Prince Charles wrote: “The idea for a concert came to me when I was trying to think of an original birthday present for my grandmother. It suddenly struck me that here was a wonderful reason for commissioning some new music to celebrate a very special occasion.” Since Charles liked the music that the Scottish composer Patrick Doyle had written for Kenneth Branagh's film of Shakespeare's “Henry V,” Doyle was asked to write a song cycle. The Russian cellist Mstislav Rostropovich heard about the planned birthday concert, and for his part commissioned the British composer David Matthews. The Swiss conductor and new music impresario Paul Sacher commissioned a third new work from the British composer Patrick Gowers. All three pieces were premiered in the Ballroom of Buckingham Palace on today's date in 1990, two days before the Queen Mum's 90th birthday. Music Played in Today's Program Patrick Doyle (b. 1953) — The Thistle and the Rose (Marie McLaughlin, soprano) Patrick Gowers (b. 1936) — Suite for Violin (Jose Luis Garcia, violin) David Matthews (b. 1943) — Romanza (Mstislav Rostropovich, cello; English Chamber Orchestra; Raymond Leppard, cond.) All three pieces on EMI 54164

Synopsis Today is National Hot Dog Day, but we're taking this opportunity to celebrate the non-grill variety, namely the Weiner dog or dachshund, a breed beloved of some famous composers and performers. Leonard Bernstein was passionate about the many dachshund he owned, all named Henry, and once on a flight to Paris, booked a seat for a furry passenger named “Henry Bernstein.” When composer Benjamin Britten and tenor Peter Pears moved into their house in Aldeburgh, the brick wall surrounding the property soon sported signs in English, German, and Latin, warning “Beware of the Dog,” “Bisseger Hund,” and “Caveat Canem,” lest passersby ankles be savaged by their classically-named dachshunds, Klithe and Jove.  Britten's friend and frequent collaborator, the Russian cellist Mstislav Rostropovich, also a dachshund owner, presented Britten and Pears with an additional warning sign in Russian. We're told that Rostropovich's miniature, long-haired dachshund, Pooks, upon command, would play the piano with its front paws, then, after the humans' appreciative applause died down, would walk up and down the keyboard as an encore. “Pooks” even gets a shout-out in Leonard Bernstein's short orchestral tribute to Rostropovich entitled “Slava!” – at one point in the score members of the orchestra are invited call out the talented dog's name. Music Played in Today's Program Leonard Bernstein (1918 – 1990): Slava! A Political Overture (Israel Philharmonic Orchestra; Leonard Bernstein, cond.) Naxos 8.559813

Synopsis Today is National Hot Dog Day, but we're taking this opportunity to celebrate the non-grill variety, namely the Weiner dog or dachshund, a breed beloved of some famous composers and performers. Leonard Bernstein was passionate about the many dachshund he owned, all named Henry, and once on a flight to Paris, booked a seat for a furry passenger named “Henry Bernstein.” When composer Benjamin Britten and tenor Peter Pears moved into their house in Aldeburgh, the brick wall surrounding the property soon sported signs in English, German, and Latin, warning “Beware of the Dog,” “Bisseger Hund,” and “Caveat Canem,” lest passersby ankles be savaged by their classically-named dachshunds, Klithe and Jove.  Britten's friend and frequent collaborator, the Russian cellist Mstislav Rostropovich, also a dachshund owner, presented Britten and Pears with an additional warning sign in Russian. We're told that Rostropovich's miniature, long-haired dachshund, Pooks, upon command, would play the piano with its front paws, then, after the humans' appreciative applause died down, would walk up and down the keyboard as an encore. “Pooks” even gets a shout-out in Leonard Bernstein's short orchestral tribute to Rostropovich entitled “Slava!” – at one point in the score members of the orchestra are invited call out the talented dog's name. Music Played in Today's Program Leonard Bernstein (1918 – 1990): Slava! A Political Overture (Israel Philharmonic Orchestra; Leonard Bernstein, cond.) Naxos 8.559813

Sin tids vänsterproggare som skrev musik med budskap för folket. En genial men alkoholiserad överklasskille som lämnade det mesta halvfärdigt. Låtlista Night at the disco mountain, ur Saturday Night Fever Skyltbararpolka Nina Kavtaradze, piano Islamei Boris Berezovsky, piano Alexander Borodin: Symfoni nr 2 Slovakiska symfoniorkestern Alexander Borodin: Polovtsiska danser Londons festivalorkester och kör, Stanley Black, dirigent Nikolai Rimsky-Korsakov: Hymn to the sun Aida Garifullina, sopran , , ! Galina Kuznetsova With Nanny Nina Dorliac Boris Godunov, fjärde akten, Ah! Ah! They've offended God's Fool! Mstislav Rostropovich, cello, Nicolai Gedda, tenor ur Tavlor på en utställning Janos Solyom, piano

Sin tids vänsterproggare som skrev musik med budskap för folket. En genial men alkoholiserad överklasskille som lämnade det mesta halvfärdigt. Lyssna på alla avsnitt i Sveriges Radio Play. Låtlista Night at the disco mountain, ur Saturday Night Fever Skyltbärarpolka – Nina Kavtaradze, piano Islamei – Boris Berezovsky, piano Alexander Borodin: Symfoni nr 2 – Slovakiska symfoniorkestern Alexander Borodin: Polovtsiska danser – Londons festivalorkester och kör, Stanley Black, dirigent Nikolai Rimsky-Korsakov: Hymn to the sun – Aida Garifullina, sopran Ах, ты, пьяная тетеря! – Galina Kuznetsova With Nanny – Nina Dorliac Boris Godunov, fjärde akten, ”Ah! Ah! They've offended God's Fool!” – Mstislav Rostropovich, cello, Nicolai Gedda, tenor ur Tavlor på en utställning – Janos Solyom, piano

durée : 00:07:27 - Disques de légende du jeudi 13 mai 2021 - En 1959, Mstislav Rostropovich crée à Leningrad le premier concerto pour violoncelle de son maître et ami, le compositeur Dimitri Chostakovitch. Le violoncelliste russe l'enregistre deux ans plus tard avec l'Orchestre philharmonique de Moscou placé sous la direction de Guennadi Rojdestvenski...

01 - Prologue Quarteto Cordes n5 (Bartok) 1 37 02 - Deux Guitares (Charles Aznavour)    3 23 03 - Brahms Double Concerto - David Oistrakh (violin)  Mstislav Rostropovich (cello)  13 05 04 - Criador de Argonatas (Lula Pena)  2 27 05 - Eurico Carrapatoso Opéra1 (Coro Ricercare)  11 08 06 - Nao se Subordinar Nada (Timoteo DosSantos) 2 57 07 - David Oistrakh (violin)  Mstislav Rostropovich (cello)  11 06  08 - Cantiga Santa Maria Afonso X O Sabio (C Infantil Lisboa) 1 38 09 - Toca Me Suaves Olhos (Carminho & Diogo Clemente) 1 06 10 - Serei Sempre Rua Douradores (Ricardo Ribeiro) 1 03 11 - Tocata Adagio Fuga doM (Bach)   2 56 12 - Quarteto Cordas 19 DoM Adagio Allegro (Mozart 13 - Sofro e Sonho  Caetano Veloso

01 - Prologue Quarteto Cordes n5 (Bartok) 1 37 02 - Deux Guitares (Charles Aznavour)    3 23 03 - Brahms Double Concerto - David Oistrakh (violin)  Mstislav Rostropovich (cello)  13 05 04 - Criador de Argonatas (Lula Pena)  2 27 05 - Eurico Carrapatoso Opéra1 (Coro Ricercare)  11 08 06 - Nao se Subordinar Nada (Timoteo DosSantos) 2 57 07 - David Oistrakh (violin)  Mstislav Rostropovich (cello)  11 06  08 - Cantiga Santa Maria Afonso X O Sabio (C Infantil Lisboa) 1 38 09 - Toca Me Suaves Olhos (Carminho & Diogo Clemente) 1 06 10 - Serei Sempre Rua Douradores (Ricardo Ribeiro) 1 03 11 - Tocata Adagio Fuga doM (Bach)   2 56 12 - Quarteto Cordas 19 DoM Adagio Allegro (Mozart 13 - Sofro e Sonho  Caetano Veloso

The great musical friendship between two legendary 20th century musicians, composer and pianist Benjamin Britten (1913-1976) and cellist Mstislav Rostropovich (1927-2007), has enriched the world with some fine examples of music. We are also lucky to have this wonderful recording, showing the joy of music making by these two brilliant men. https://spoti.fi/36sVROi

Fali Pavri was my mentor and piano teacher at the Royal Conservatoire of Scotland for two years. He was born in India and after finishing his degree in chemistry, he decided to move to Moscow where his professional musical journey began. While still a student, he was invited by the great Russian cellist, Mstislav Rostropovich to be his pianist on an extensive concert tour of India. How cool is that? Join us for this talk and find out how Fali met Rostropovich and what was the lesson he learnt from the legendary cellist. We also talked about his experiences in different countries, how it formed him as a teacher and human being and  most importantly we talked about  the joy music can bring us.Support openARTed on PatreonEpisode music:R. Schumann's Widmung arranged for piano by F. Liszt  performed by Fali Pavri S. Rachmaninov's sonata for cello and  piano - 3rd movement "Andante" performed by  Naomi Boole-Masterson - cello, Fali Pavri - piano E. Rubbra - Sonata in G Minor, Op. 60_ III Tema - Six Variations & Fugue performed by Timothy Gill - cello , Fali Pavri - piano Thanks for listening and if you know anyone who would benefit from this talk, please share it with them. If you have any comments or enquiries, drop me a line at openartedpodcast@gmail.comwww.monikapianiste.comFollow me on Facebook or Instagram

Il 25 dicembre 1966 Benjamin Britten e Dmitrij Shostakovich sono ospiti a cena di Mstislav Rostropovich. Alessandro Macchia lo racconta a WikiMusic

Close personal and professional relationships are explored. We recall those of Joan Sutherland and Richard Bonynge; Galina Vishnevskaya and Mstislav Rostropovich; Benjamin Britten and Peter Pears; and Roberto Alagna and his brothers. The post All in the Family appeared first on WFMT.

La European Union Youth Orchestra (o Orchestra Giovanile dell'Unione Europea) nasce nel 1976 a seguito di una votazione all'unanimità del Parlamento Europeo, e il maestro Claudio Abbado ne è il primo direttore musicale. Da allora l'Orchestra seleziona ogni anno i suoi membri con audizioni aperte a giovani tra i 16 e i 26 anni di tutti gli stati membri dell'UE, organizzando tournée in tutto il mondo con alcuni tra i migliori direttori d'orchestra e solisti, tra cui, ad esempio, Daniel Barenboim, Leonard Bernstein, Herbert von Karajan, Bernard Haitink, Mstislav Rostropovich, Vladimir Ashkenazy emolti altri ancora.L'Orchestra ha iniziato il 2020 con il concerto di apertura del World Economic Forum a Davos, diretto da Marin Alsop. Silvia Bernardi incontra il direttore Gianandrea Noseda e tre giovani musicisti che raccontano la loro esperienza di ambasciatori europei della cultura.In collaborazione con Euranet Plus.

La European Union Youth Orchestra (o Orchestra Giovanile dell'Unione Europea) nasce nel 1976 a seguito di una votazione all'unanimità del Parlamento Europeo, e il maestro Claudio Abbado ne è il primo direttore musicale. Da allora l'Orchestra seleziona ogni anno i suoi membri con audizioni aperte a giovani tra i 16 e i 26 anni di tutti gli stati membri dell'UE, organizzando tournée in tutto il mondo con alcuni tra i migliori direttori d'orchestra e solisti, tra cui, ad esempio, Daniel Barenboim, Leonard Bernstein, Herbert von Karajan, Bernard Haitink, Mstislav Rostropovich, Vladimir Ashkenazy emolti altri ancora.L'Orchestra ha iniziato il 2020 con il concerto di apertura del World Economic Forum a Davos, diretto da Marin Alsop. Silvia Bernardi incontra il direttore Gianandrea Noseda e tre giovani musicisti che raccontano la loro esperienza di ambasciatori europei della cultura.In collaborazione con Euranet Plus.

La European Union Youth Orchestra (o Orchestra Giovanile dell'Unione Europea) nasce nel 1976 a seguito di una votazione all'unanimità del Parlamento Europeo, e il maestro Claudio Abbado ne è il primo direttore musicale. Da allora l'Orchestra seleziona ogni anno i suoi membri con audizioni aperte a giovani tra i 16 e i 26 anni di tutti gli stati membri dell'UE, organizzando tournée in tutto il mondo con alcuni tra i migliori direttori d'orchestra e solisti, tra cui, ad esempio, Daniel Barenboim, Leonard Bernstein, Herbert von Karajan, Bernard Haitink, Mstislav Rostropovich, Vladimir Ashkenazy emolti altri ancora.L'Orchestra ha iniziato il 2020 con il concerto di apertura del World Economic Forum a Davos, diretto da Marin Alsop. Silvia Bernardi incontra il direttore Gianandrea Noseda e tre giovani musicisti che raccontano la loro esperienza di ambasciatori europei della cultura.In collaborazione con Euranet Plus.

T. Alan Stewart wears many musical hats in the Baltimore/Washington DC area.  In addition to serving as principal bass with the Williamsburg Symphony and Roanoke Symphony, Alan has performed with the Baltimore Opera, National Symphony, Baltimore Symphony, Spoleto Festival, Alexander Schnieder String Orchestra; and many other ensembles in the area. We cover a lot of ground in this conversation, digging into topics like Alan’s path through the music world, his time in the New World Symphony and subsequently working with Mstislav Rostropovich and the National Symphony, audition preparation, The Artist’s Way, diversity and inclusion in classical music, freelance life, and much more. I hope you enjoy Alan’s thoughtful insights and perspectives, and I can’t wait to spend some more time with him in the future! Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging theme music by Eric Hochberg

Ladies and gentlemen, I hope you all are doing well and taking care of yourself. I am keeping up my grand need of teaching cello on my youtube channel Petronella Torin. I am also planning the next season of Master in Music and would love to hear your ideas for exiting guest to invite to the podcast. Write to me om Instagram @swedishcellist_petronellatorin or Facebook or on my website; your opinion matters! .bmc-button img{width: 35px !important;margin-bottom: 1px !important;box-shadow: none !important;border: none !important;vertical-align: middle !important;}.bmc-button{padding: 7px 10px 7px 10px !important;line-height: 35px !important;height:51px !important;min-width:217px !important;text-decoration: none !important;display:inline-flex !important;color:#000000 !important;background-color:#FFDD00 !important;border-radius: 5px !important;border: 1px solid transparent !important;padding: 7px 10px 7px 10px !important;font-size: 22px !important;letter-spacing: 0.6px !important;box-shadow: 0px 0px 0px rgba(190, 190, 190, 0.5) !important;-webkit-box-shadow: 0px 0px 0px 0px rgba(190, 190, 190, 0.5) !important;margin: 0 auto !important;font-family:'Cookie', cursive !important;-webkit-box-sizing: border-box !important;box-sizing: border-box !important;-o-transition: 0.3s all linear !important;-webkit-transition: 0.3s all linear !important;-moz-transition: 0.3s all linear !important;-ms-transition: 0.3s all linear !important;transition: 0.3s all linear !important;}.bmc-button:hover, .bmc-button:active, .bmc-button:focus {-webkit-box-shadow: 0px 0px 0px 0px rgba(190, 190, 190, 0.5) !important;text-decoration: none !important;box-shadow: 0px 0px 0px 0px rgba(190, 190, 190, 0.5) !important;opacity: 0.85 !important;color:#000000 !important;}Buy me a coffee For today's episode, I have a very special guest. The man that taught me all the best things I know about cello playing: Profesor and solo cellist Niels Ullner. He is a Danish music animal that just spreads music in every step of his life. He has been working as a principal cellist since his twenties at Malmö Symphony orchestra. He is a cello professor and chamber music director at the Danish national conservatory in Odense. Just like the famous tale from the writer H.C. Andersen tells the story about the ugly duckling, Niels has the gift of seeing the inner swan in every person he meets. As a Cello teacher, he can get to know your hidden soul just by listening to your playing, as he slowly peels off the layers of duckling feathers, he awakes a beautiful swan in all of his students. I have always admired Niels ability to see other people's gift. In this episode you will get to go behind the scenes in the professional orchestra and learn about the unwritten orchestra rules, the does and don’t! Get a walk down memory lane to some of our times greatest cellist and Niels old teachers like Mstislav Rostropovich, Pierre Fournier, William Pleeth and some secret living locations of our most famous composers. I am so proud and grateful to have had the opportunity to learn from Niels and I like to give my strongest sincere recommendations to you who is listening to this episode and want to become an orchestra cellist. Niels Ullner is the most incredible teacher with more insight in to winning the jobs, competitions and finding the joy in professional cello playing. He has taught cellists like Jonathan Swensen, Mette Spang Hanssen, Mikolaj Blaszczyk (from Cello Brothers) and many more. In this episode we listen to Pyotr Ilyich Tchaikovsky's Pezzo Capriccioso, Malmö symphony orchestra and Niels Ullner. Featured Music https://open.spotify.com/track/0sotd2SOQcYrvPj3Wx9wM8?si=kmbJTAL1SGqUgcJN-j1hnQ https://open.spotify.com/track/1ylajGFC4RqyS5bCWApw7h?si=e6z40D4eQYO8f-U0H17I-Q https://open.spotify.com/artist/006fhSxbcoLQEdg4jOoZkS?si=lBj-lUwiQSCGIxBZ_5VhYw Niels Ullner on Spotify Danish National Academy of Music .

Today's the birthday of the versatile Argentinean-born American composer, arranger and jazz pianist, Boris Claudio "Lalo" Schifrin, who was born in Buenos Aires on today's date in 1932. From his background, you'd guess Schifrin was destined for a concert career. His father was a violinist in the orchestra of Argentina's premiere opera house, the Teatro Colon. As a boy he studied with Enrique Barenboim, father of pianist/conductor Daniel Barenboim, and in Paris he studied composition with Olivier Messiaen and Charles Koechlin. But Lalo Schifrin also loved jazz, and after studies by day with Messiaen, his nights were spent performing in Parisian jazz clubs. Eventually Dizzy Gillespie commissioned him to write for his band. Around the same time, Schrifin began writing film and TV scores. When he started working on the TV series "Alfred Hitchcock Presents," he came into contact with legendary film composer Bernard Herrmann, who became a friend and mentor. Schifrin has written more than 100 scores for film and television, garnering Grammy awards and Oscar nominations along the way. Undoubtedly his most famous composition is this catchy theme of the 1960s TV series, "Mission Impossible"—and still used in the subsequent movie remakes. For the concert hall, Schifrin has composed concertos and arrangements for cellist Mstislav Rostropovich, and guitarist Angel Romero, and was the arranger of choice for those "Three Tenor" song medleys sung by Pavarotti, Carreras and Domingo.

Today's the birthday of the versatile Argentinean-born American composer, arranger and jazz pianist, Boris Claudio "Lalo" Schifrin, who was born in Buenos Aires on today's date in 1932. From his background, you'd guess Schifrin was destined for a concert career. His father was a violinist in the orchestra of Argentina's premiere opera house, the Teatro Colon. As a boy he studied with Enrique Barenboim, father of pianist/conductor Daniel Barenboim, and in Paris he studied composition with Olivier Messiaen and Charles Koechlin. But Lalo Schifrin also loved jazz, and after studies by day with Messiaen, his nights were spent performing in Parisian jazz clubs. Eventually Dizzy Gillespie commissioned him to write for his band. Around the same time, Schrifin began writing film and TV scores. When he started working on the TV series "Alfred Hitchcock Presents," he came into contact with legendary film composer Bernard Herrmann, who became a friend and mentor. Schifrin has written more than 100 scores for film and television, garnering Grammy awards and Oscar nominations along the way. Undoubtedly his most famous composition is this catchy theme of the 1960s TV series, "Mission Impossible"—and still used in the subsequent movie remakes. For the concert hall, Schifrin has composed concertos and arrangements for cellist Mstislav Rostropovich, and guitarist Angel Romero, and was the arranger of choice for those "Three Tenor" song medleys sung by Pavarotti, Carreras and Domingo.

Episode 1, 2020: Prokofiev’s Sinfonia Concertante Wednesday 27 May 2020 After a disastrous premiere in 1938, Sergei Prokofiev put away his Sinfonia Concertante. It wasn’t until 1947 that it resurfaced, when a 20-year-old cello student, Mstislav Rostropovich, discovered it from the archives and performed it at the Moscow Conservatory. After that performance, Prokofiev worked with the young virtuoso to improve the composition – the rest is history. In this episode of ANAM Radio, cellist James Morley talks to Phil Lambert (our Music Librarian) about how he first discovered Prokofiev’s Sinfonia Concertante and why he decided to perform it as part of ANAM’s 2019 Concerto Competition. James was one of three finalists to perform in the Grand Final of the 2019 Concerto Competition with the Tasmanian Symphony Orchestra in Hobart. The music you will hear is from his Melbourne performance where he performed the piece with Leigh Harrold on piano. James received the Audience Choice Award for this performance. PROKOFIEV Sinfonia Concertante op. 125 James Morley SA cello Leigh Harrold piano To watch the full performance, visit https://youtu.be/LPlZREH-fFU

In tre minuti I punti salienti della relazione, a cura della Responsabile della comunicazione della Corte costituzionale.Musica: F. Schubert, Sonata for Arpeggione and Piano in A Minor. Mstislav Rostropovich e Benjamin Britten.

La Presidente legge la sintesi della relazione annuale.Musica: F. Schubert, Sonata for Arpeggione and Piano in A Minor. Mstislav Rostropovich e Benjamin Britten.

Saxophonist Jess Gillam is joined by viola player Timothy Ridout to share music from Bach to The Beatles via Michael Kiwanuka, Haydn and Bartok. Tracks we played today... David Popper - Dance of the Elves, Op. 39 - Mstislav Rostropovich (cello) Alexander Dedyukhin (piano) Joseph Haydn – String Quartet in C major Op 20 No 2; 2nd Movement Capriccio - The London Haydn Quartet Max Richter - On The Nature Of Daylight The Beatles - In My Life Bela Bartok - 3 Hungarian folksongs from the Csik district - Tom Poster (piano) Stéphane Grappelli – How High The Moon Michael Kiwanuka - Hard to Say Goodbye Johann Sebastian Bach - Matthauspassion (BWV.244), Part 1; no.1; Kommt, ihr Tochter [chorus] - Monteverdi Choir, London Oratory Junior Choir, English Baroque Soloists, John Eliot Gardiner

This week Tom talks to composer Jonathan Dove as he celebrates six decades of composing. He also speaks to Lilian Hochhauser about her career promoting great Russian artists in the UK, including the composer Shostakovich, pianist Sviatoslav Richter and cellist Mstislav Rostropovich. The percussionist Claire Edwardes and scholar Michael Hooper also join Tom from Sydney to review the Australian music scene and modernism in the 1960s and 1970s; and pianist Philip Thomas shows Tom an app for composing your own version of John Cage's Concert for piano and orchestra.

The film director Ken Loach talks to Michael Berkeley about the classical music he’s loved throughout his life and the dangerous power of music in film. Ken Loach began his career directing Z Cars - but very soon entered the national consciousness in the late 1960s with films such as Cathy Come Home, Poor Cow and Kes. He’s kept up this prolific pace in the subsequent fifty years, making more than fifty award-winning films for cinema and television, and achieving a level of realism rarely captured by other directors. His latest film, Sorry We Missed You, is about the impact on families of the gig economy. Ken talks to Michael about the music of his childhood growing up in Nuneaton after the war – he chooses Brahms's Academic Festival Overture to recall music lessons at school - and he we hear a piece by Schubert which reminds him of his own children growing up. Ken picks recordings which bring back particular moments in his life: the sheer energy and excitement of Carlos Kleiber’s 1974 recording of Beethoven’s Fifth Symphony; the 1968 recording of Dvorak’s Cello Concerto by Mstislav Rostropovich and Herbert von Karajan, which brings back memories of making Kes; and Geza Anda’s recording of Mozart’s Piano Concerto Number 21, which was used in the film Elvira Madigan. Every one of Ken’s films has a cause at its heart such as homelessness, unemployment and civil rights. We hear the music of resistance that reflects the struggle of ordinary people for justice and dignity that has driven his career. Producer: Jane Greenwood A Loftus production for BBC Radio 3

Daniel Muller-Schott played the Dvorak Cello Concerto with the SSO in September, 2019. Born in Munich, Germany in 1976, Daniel Muller Schott came to international attention as a teenager winning the Tchaikovsky International Competition at age 15. That achievement brought him to the attention of the great cellist Mstislav Rostropovich. Daniel talks with us about a year he spent following Rostropovich around the world and studying with the great Slava. Daniel learned that if Rostropovich wanted to give you a cello lesson at 2 in the morning, you woke up and took that lesson.

Cellist Thomas Demenga is a renowned soloist, composer and teacher, whose own teachers and mentors include acclaimed musicians such as Leonard Rose and Mstislav Rostropovich. His repertory includes a full range of historical eras and styles of interpretation and composition, and he is an advocate for New Music. He is also passionate about historical performance practice of baroque music, and a virtuoso performer of the classical and romantic repertory for cello. Suzanne speaks with him about his broad ranging career.

durée : 01:58:30 - Souffle de mer - par : Renaud Machart - **Programme musical** **Claude Debussy:** _Children's Corner_, L. 113 - "Doctor Gradus ad Parnassum" Michel Dalberto (piano) Aparté AP111 **Franz Schmidt:** Symphonie n°2 - 1. _Lebhaft_ Vienna Philharmonic Orchestra Semyon Bychkov (direction) Sony 88985355522 **Peter Maxwell Davis:** _The Last Island_, Op. 301 pour sextuor à cordes Hebrides Ensemble Delphian DCD34178 **Franz Schubert:** Quintette pour cordes, Op. 163, D 956 - 2. Adagio Melos Quartet et Mstislav Rostropovich (violoncelle) DG 4776357 **Dimitri Chostakovitch:** Concerto pour piano n° 2 : 2. Andante Alexander Melnikov (piano) Mahler Chamber Orchestra Teodor Currentzis (direction) Harmonia Mundi HMC902104 **Aubert Lemeland:** _Time Landscapes_ op.153 Carole Farley (soprano) Cordes de l'ensemble instrumental de Grenoble Marc Tardue (direction) Skarbo D SK 5994 **Benjamin Britten:** _Night – Night Piece – Notturno_ Stephen Hough (piano) coffret de 37 CD EMI2175262 **Benjamin Britten:** _Peter Grimes_, Op. 33, "Four Sea Interludes" Boston Symphony Orchestra Leonard Bernstein (piano) Deutsche Grammophon 431 768-2 Dernier concert public de L. Berstein 19 août 1990 à Tanglewood - réalisé par : Laurent Lefrançois

Let’s talk about the first responsibility of a leader. This is Aviv with a new episode of Create New Futures. And today I am focusing on the fallacy of the Google age, and why as leaders, mentors, and parents we all must reflect on the Google fallacy and the conundrum it creates critically. As a leader, your first responsibility is to lead yourself. You begin with how you develop your thought process, and continue with how you map your learning and your actions. You cannot afford to outsource your self-leadership or to abandon your intuition, judgment, and you cannot afford to contract out the diligent work of your own reflective inquiry and development. My call to action here today is inviting you to practice mindfulness as a leader and as a parent, to recognize the fallacy of the Google age and to reflect on the learning and knowledge that you will encourage and promote. Here is a question for you. How many Google searches do you perform on a regular day? Well, during one recent work day, I decided to answer my own question, so I kept count. At the end of the day, I discovered that I had conducted 24 Google searches. I love Google. How can you not love what Google enables us to do? Here is the point though I need to make. Every good development invariably creates unintended consequences. The fallacy of the Google age is one of these consequences. Before we put the laser on this challenge, let me make the broader statement. Every age brings its technological innovation and progress. Every wave of innovation creates new possibilities and capabilities, which in turn give rise to mistaken beliefs. For instance, the innovation of antibiotics initially catalyzed the belief that we were about to eradicate all diseases. The fantastic discovery of DNA promoted a deterministic DNA-centric mental model that postulated that people are defined by their DNA. This belief still is prevalent, even though epigeneticists subsequently showed that what gets expressed from our DNA potential is determined by the collective impact of the environment, formative experiences, and behavioral and life style choices. Furthermore, the deterministic DNA-centric belief fails to recognize the broader significance of the psychological and spiritual dimensions of life such as their power and impact on our health, well-being and on our capacity to respond to opportunities. When we retrace and reflect on human progress as a species, sometimes we appear to be following the allegorical story of the man next to a street light, searching for the keys he had lost. When asked if he felt he dropped the keys right there next to the street light, he replied, “I’m not sure when or where I lost my keys. Perhaps it was down the street or even on a different street. But it is easier and more convenient to search the area illuminated by the street light.” As a species, we are a bit like that man. We develop antibiotics and think they will solve all our health issues. We discover DNA, and rush to believe we’ve unlocked the complete secret to life and all its mysteries. Clearly both discoveries represent important developments, and yet neither one of them can answer all the questions and unresolved mysteries or address all of humanity’s health problems. These examples provide a great segue to reflecting on the Google fallacy, which I should perhaps better name the fallacy of the Google age. To better appreciate this particular misunderstanding, let’s look at Google’s mission. Google was born back in the late 1990s, when many people believed that all of the world’s knowledge was going to be available on the web. Its founders recognized the opportunity to organize that knowledge and make it widely accessible. Google’s mission statement was and still is “to organize the world’s information and make it universally accessible and useful.” This mission statement was coupled with the company’s vision statement: “to provide access to the world’s information in one click.” These are excellent mission and vision statements because of their clarity. Indeed this mission and vision guided Google’s business effectively to focus on its search engine service because they are concrete and clear. More broadly, Google’s mission has been viewed and widely represented in the idea of organizing all the world’s knowledge, diluting a little the distinction we must make between information and knowledge. This meme of organizing all the world’s knowledge was initially developed in the early 20th century by Paul Marie Otlet, a Belgian entrepreneur, considered one the fathers of information science. Otlet wrote numerous essays and two books about how to collect and organize the world's knowledge. Google was in the right place at the right time to bring this idea to life. Today we all are the beneficiaries of Google’s service. Indeed most of the world’s information and knowledge is a click away. Where is the problem? What, then, is the Google fallacy? The fallacy of the Google age is the belief that people are able to access every level of knowledge on any topic or question immediately. Why is this a fallacy? What’s left out of the equation? What forms of knowledge not captured by the search engine’s algorithms are endangered by mindset propagated by Google’s search prowess? My premise is that the mental model enabled by Google –which is that everything you want to know is just a click away - is costing people some of the defining markers of our humanness. It allows us to get by superficially, it makes us lazy, and it facilitates the loss of reflection and concentration power. We are at risk of abandoning the joys of inner discovery, of striving to resolve unresolved mysteries. And, we are at risk of making mediocrity the new norm. When we relinquish the power of the depth of development knowledge acquired by persistent struggle and personal application, we lose some of our humanity.    Are we raising new generations of digital natives who discover Wikipedia and Google long before they experience the wonder of the outdoors, or learn to climb a tree, swim or ride a bike? Here are five dimensions and buckets of knowledge that cannot be re-created or explained fully by Google or Wikipedia or any app. Each of these buckets must be accessed by other means and from other sources. Bucket 1: Experiential knowledge: Can you remember your first outdoor adventure? Running in the open fields, climbing trees, hiking up a mountain to reach an alpine lake; scuba diving to discover the beauty of coral reefs. Can you recall these experiences, and the unbridled joy of engaging the elements? In this case the knowledge source is letting nature teach your body what you can and cannot do. There is much more in the experiential knowledge category, such as discovering the versatile capabilities of your hands to dismantle and reassemble almost anything, to draw, to knit, to cook, and to fix what’s broken. Could it be that this fallacy we are bringing into focus is putting the adventurous discovery inherent in these activities at risk of disappearing or dramatically weakening? These are questions to reflect on as leaders and as parents.  Consider this: what are the chances of young people today to explore romantic love before they have been cheated out of its natural discovery by the misleading images propagated through all forms of media that are more likely than not to leave most people feeling inadequate? The contents of the experiential knowledge bucket are clearly being threatened by the intensity of this immersive exposure. I am obviously not blaming Google or the media with all the ailments of society and how superficial we have become, I am simply observing what the case is so we can choose as leaders and parents to be alert.    Bucket 2: Character learning and knowledge: My most formative character learning and knowledge at the age of 11 was acquired during the three years I got up every morning at 5 AM for my long distance running practice before school started. This regular and consistent practice taught me about determination, commitment, focus, overcoming pain, and the rewards of hard work. It enabled me to win the Israeli long distance cross country running championship at age 14. This kind of knowledge cannot be imparted through Wikipedia or Google because it is an interior character knowledge. You have to discover and fashion this formation on the inside, and find out what commitment and determination feel like, to let the struggle steel your mind and instruct your soul.  Bucket 3: Concentrated focus and contemplative discovery: Important breakthroughs in science and in the arts were made possible by people who isolated themselves with a question and were able to mount tremendous focus and concentration on finding its answer. Are we losing this focused concentration with the never-ending noise of devices and digital alerts designed to trigger, to hack and to hook our brains with dopamine reactions? Discovery through contemplative inquiry always has been central to the human experience. Take it away and you remove more than half of our arts. These natural capacities and processes are at risk too. Why concentrate and contemplate if you can Google search and get an answer in seconds? Whatever happened to the defiant search for originality? The search engine premise is that all you can ever experience is a derivative and what someone else already felt, experienced and thought. Sure it’s obviously the case in 99% of the human experience, and yet we are interested in the one percent originality and genius that you can bring forward, that one percent that is not searchable on the web.    Bucket 4: Intuitive knowledge: Intuition is central to our humanness, and to our inventive and innovative breakthroughs. The sixth sense, the sense of being guided, the capacity to listen to our inner voice is at risk too. In fact it is at risk twice. Here is why. First, when you know you can find answers to your questions readily through Google, there is a temptation to cease listening to our intuition, to abandon the courage to seek the instinctive and intuitive guidance inside. Second, our creative innovation is diminished by extraordinarily persuasive external pressures to fit into existing categories and behavioral and thinking templates. Socialization is a process that acts a bit like a dog in training. Though some might disagree with this analogy, if you look and compare the two situations, you will find that the protocols of dog training and the rewards for social success follow a similar principle. That realization leaves us wondering, if we are the dogs, then who is the master? The price we pay for taking these risks is the loss of creative intuition. Bucket 5: Development knowledge: This category represents knowledge acquired and fashioned by self-application and by the development it fosters through the refinement of achieving mastery in a given area. Think about the knowledge acquired by Missy Franklin and by Katie Ladeky in the swimming pool. Think about the knowledge found by Itzhak Perlman through the violin, by Yo-Yo Ma with his cello and by Renée Fleming with her voice. In the process of achieving mastery in one’s craft, there are million insights into self-awareness, self-management, psychology, preparation, peak performance attunement, overcoming adversity and challenge, resilience and persistence, discordance and inner harmony. These experiences represent what we can call vertical knowledge because it lives and is accessed at different depths. I am talking about knowledge that cannot be acquired by just clicking on a mouse. It is only achieved with 10,000 hours of practice or perhaps 50,000 hours of practice. I once attended a concert by Mstislav Rostropovich toward the end of his life. As he played the Antonín Dvořák cello concerto, I sensed a distinct feeling in the concert hall that his bow was moving effortlessly by itself. It was as though someone or something had taken over the playing, and Rostropovich was the vessel. This is not “clickable” knowledge. Such a rare form of knowledge and mastery - a pure musical communion manifesting through the cello - can be observed in pioneers and thought leaders in almost every field. For example, there is development knowledge acquired by a passionate teacher who shows up to class every day with the thought, “Today I might inspire the student who will solve the climate or energy conundrums, or cure cancer or any other major problem, their love and dedication lead them to new and creative ways of teaching. Or consider the entrepreneur who starts a company and leads it from its inception to a thriving enterprise, needing to overcome million obstacles and to reinvent himself and herself along the way. I bet you have rare development knowledge that you fashioned in your professional journey. It extends beyond the information you carry in your head.   What then is the other facet of the Google fallacy? The thought and the mental model that believe all forms of knowledge can be accessed instantly. We would be wise to realize that certain forms of knowledge require preparation to fashion the “vessel” to be ready to receive and contain the knowledge. Here is a scenario for your reflection: when you go for a swim in the ocean you put on your swimming gear.  When you go snowboarding or when you climb Mount Rainer, you are not likely to show up with the swimming gear. Instead, you will use a snowboard for snowboarding and you will dress well and have the technical equipment you need to summit Mount Rainer. The same logic applies in the workplace when you inquire into the various fields of knowledge, especially non-academic fields such as leadership, sales, innovation, as well as inquiries related to  parenting and relationships. Each of these conversations requires and would be tremendously enhanced by an appropriate set of tools, mental models and frameworks. Of course you can try to summit Mount Rainer with your swimming gear, but it is not certain you will come back alive. We call ourselves the sapient species. The question is: are we indeed becoming wiser or are we dumbing-down ourselves and losing some of our humanness? As leaders, mentors and parents, we must explore daily the question of how we can enable experiential knowledge. How do we facilitate character learning and knowledge? How do we inspire knowledge acquired through focused discovery? How do we encourage intuition and development knowledge?  That’s the work of leadership in the effort of fostering and promoting a new more enlightened and capable generations in the future. FULL SHOW NOTES: http://www.avivconsulting.com/cnf15

1. I wan’na be like you (The monkey song), da trilha sonora de “Mogli, o menino lobo”/ from the soundtrack to "The Jungle Book" (Robert B. Sherman/ Richard M. Sherman). Louis Prima & Phil Harris. 2. Cello Suite N. 3: Gigue (Bach). Mstislav Rostropovich. cello. 3. Buzina de bicicleta/ Bike bell 4. Mirabella, a tarantella (Stephen Montague). Phyllis Chen, toy piano. 5. Oft she visits this love mountain, da/from opera “Dido and Aeneas” (Purcell). Anna Prohaska. Il Giardino Armonico. Giovanni Antonini, regente/conductor. 6. Canto do xexéu de bananeira/ Brazilian birdcall 7. Os Oito Batutas (Sem crédito de compositor/ Uncredited composer). Pixinguinha & Oito Batutas. Gravação original/ Original recording 1920s. 8. Google Maps voz/voice Fancy my sets? So please click LIKE and also FOLLOW. You can subscribe with iTunes. :: Gostou? Então clique em LIKE e também em FOLLOW. Ou se inscreva pelo iTunes para receber atualizações. helofischer@gmail.com

The latest episode of Cedille's Classical Chicago podcast features an interview with composer Mischa Zupko and violinist Sang Mee Lee, whose album Eclipse: Chamber Music by Mischa Zupko will be released on Cedille Records on November 11. In the podcast, Mischa and Sang Mee discuss their partnership and the inspiration behind the album. Eclipse encompasses world-premiere recordings of inventive, virtuosic, and impassioned chamber works, written in a present-day musical language by the strikingly original American composer and pianist Mischa Zupko. Joining him are two close friends and accomplished colleagues, the sublime violinist Sang Mee Lee, who chairs the string department at the Music Institute of Chicago, and internationally renowned cellist Wendy Warner, a protégé of Mstislav Rostropovich. Zupko wrote some of the works expressly for these artists.  You can listen to the podcast on Cedille's website or subscribe on iTunes. Eclipse: Chamber Music by Mischa Zupko is available for pre-order on Amazon, iTunes, and CedilleRecords.org.

I programmet diskuteras bl.a. blåsmusik av Beethoven med Il Gardellino och Nicola Benedetti som solist i Sjostakovitjs och Glazunovs violinkonserter. Johan Korssell möter också Nicola Benedetti. I panelen Camilla Lundberg, David Björkman och Evert van Berkel som tillsammans med programledaren Johan Korssell betygsätter följande skivor: LUDWIG VAN BEETHOVEN Oktett Rondino Kvintett Il Gardellino Arthur Schoonderwoerd m.fl. Passacaille 1016GUSTAV MAHLER Symfoni nr 1 D-dur Bayerska radions symfoniorkester Yannick Nézet-Séguin, dirigent BR Klassik 900143 G F HÄNDEL Imeneo Ann Hallenberg m.fl Europa Galante Fabio Biondi, violin och dirigent Glossa GCD 923405SJOSTAKOVITJ GLAZUNOV Violinkonserter Nicola Benedetti, violin Bournemouth symfoniorkester Kirill Karabits, dirigent Decca 478 8758 Johan möter Nicola Benedetti Johan Korssell träffade den skotska violinisten i samband med hennes gästspel i Stockholms konserthus i augusti då hon framträdde som solist i Szymanowskis andra violinkonsert tillsammans med Kungliga filharmonikerna och dirigenten Lahav Shani. Andra i programmet nämnda eller rekommenderade inspelningar: Sjostakovitjs första violinkonsert med solisten Maxim Vengerov tillsammans med Londons symfoniorkester under Mstislav Rostropovich inspelad på Teldec samt med David Ojstrach och New Yorks filharmoniker ledda av Dimitri Mitropoulos på Sony.  Glazunovs violinkonsert med violinisten Esther Yoo som spelar tillsammans med Philharmonia Orchestra ledd av Vladimir Ashkenazy på skivmärket DG. Mahlers första symfoni med Concertgebouw-orkestern dirigerad av Bernard Haitink på Philips; Concertgebouw-orkestern ledd av Leonard Bernstein på DG; Berlins filharmoniker under Bernard Haitink på Philips; San Fransiscos symfoniorkester dirigerad av Michael Tilson Thomas på SFS Media samt med Concertgebouw-orkestern under ledning av Mariss Jansons på RCO Live. Inget svep denna vecka      

Jeremy Pound and Rosie Pentreath introduce Mstislav Rostropovich's 1975 Edinburgh Festival performance of Bach's Cello Suites Nos 2,3 & 6, featured on our January 2015 issue cover CD. See acast.com/privacy for privacy and opt-out information.

Protests in the concert hall are nothing new: think of the riot-inducing premiere of Stravinsky's The Rite of Spring in 1913 or the backlash at the 1861 premiere of Wagner's Tannhauser. Recently, protesters for a variety of causes have picketed the Metropolitan Opera, the Israel Philharmonic and the Valery Gergiev's Mariinsky Orchestra, among others. It happened again on Oct. 4 at a St. Louis Symphony concert, when a group of demonstrators protesting the police shooting of Michael Brown began to sing, chant and unfurl banners from the balcony, moments before the Brahms Requiem. Beyond the sensational headlines, is there something deeper at play? And can a political demonstration actually shed light on the music that audiences have paid money to hear? Our experts thought so. They are: Sarah Bryan Miller, Classical music critic of the St. Louis Post-Dispatch, who witnessed the St. Louis Symphony protest. Philip Kennicott, Art and architecture critic of The Washington Post Kenneth Woods, a conductor, cellist and author of the blog, "A View from the Podium." Some highlights of the podcast: Concert halls can either be an inappropriate forum for demonstrations or "a vehicle for creating empathy and connection." How a 1968 protest at a Mstislav Rostropovich performance made a powerful statement about the Prague Spring. Why "music is most effective and engaging with political challenges when we step beyond politics and look at the universal human ideas." Listen to the full podcast above and tell us in the comments below: Have you ever witnessed a demonstration in a concert that was effective or ineffective?

Sonata para violonchelo y piano en Do mayor, op.65: Mstislav Rostropovich (violonchelo) y  Benjamin Britten (piano).Concierto para violonchelo y orquesta en Re menor: Jacqueline Du Pré (violonchelo), Cleveland Orchestra y Adian Boult (dirección)Dos obras fundamentales en el repertorio del violonchelo: bien diferentes en estilo, época y concepto pero igualmente cercanas por elegancia, complejidad técnica y estilística, personalidad, fuerza expresiva y calidad: la Sonata para violonchelo y piano, en do mayor, op.65, de Benjamin Britten, y el Concierto en re menor de Edouard Lalo.   Escuchar audio

Commissioned by the Royal Philharmonic Society, Witold Lutosławski's Cello Concerto was written for and premièred by the great cellist Mstislav Rostropovich at the Royal Festival Hall in London in 1970. Tom Hutchinson of the Royal Philharmonic Society tells us more. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at http://www.philharmonia.co.uk/lutoslawski

Commissioned by the Royal Philharmonic Society, Witold Lutosławski's Cello Concerto was written for and premièred by the great cellist Mstislav Rostropovich at the Royal Festival Hall in London in 1970. Tom Hutchinson of the Royal Philharmonic Society tells us more. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at http://www.philharmonia.co.uk/lutoslawski

Sir Clive Gillinson began his musical life as a cellist, holding positions in the Philharmonia Orchestra and the London Symphony Orchestra. When that orchestra got into financial difficulties in the 1980s he was asked to become Managing Director. He held the position for twenty years, turning around the fortunes of the orchestra and establishing relationships with some of the leading conductors like Michael Tilson Thomas, Mstislav Rostropovich and Sir Colin Davis. He also helped plan some of the most innovative and succesful concert series in London musical life, developed the orchestra's education department and established LSO St Luke's in a previously derelict church. Gillinson was also behind of the launch of the LSO's own CD label. In 2005 he became Chief Executive and Artistic Director of Carnegie Hall in New York one of the leading concert venues in the world. It actually consists of three halls and presents hundreds of events every year. Clive Gillinson talks to Norman Lebrecht about his life and career, the challenges he's faced in his various orchestral roles and the differences between working in the arts in the UK and America. Producer Tony Cheevers.