Podcasts about organ symphony

Anna Lapwood chooses her favourite recording of Saint-Saëns's Organ Symphony

Today, another one of our top episodes from the archive… YolanDa Brown joins organist and conductor Anna Lapwood, piccolo player Stewart McIlwham and violinist Martin Höhmann to take a close look at Camille Saint-Saëns' Symphony No.3 - his organ symphony. They discuss the challenges of communicating with the conductor from the organ, how to get the perfect tempo so those mammoth chords have maximum impact, and how the flutes and violins manage the difficult offbeat rhythms. Anna also reveals how she's able to practise on concert hall organs, gives some social media tips for musicians who want to share their own musical journeys, and our listener question zooms in on organ ‘stops'. Plus, what it's like to actually be inside a 32-foot organ pipe… If you have any questions you'd like to put to the musicians, please email offstage@lpo.org.uk, and you might be featured in Series 7!Produced by Tandem Productions for the London Philharmonic Orchestra. #OffstagePodX: @LPOrchestraInstagram: @londonphilharmonicorchestraFacebook: @londonphilharmonicorchestra Hosted on Acast. See acast.com/privacy for more information.

YolanDa Brown joins organist and conductor Anna Lapwood, piccolo player Stewart McIlwham and violinist Martin Höhmann to take a close look at Camille Saint-Saëns' Symphony No.3 - his organ symphony. They discuss the challenges of communicating with the conductor from the organ, how to get the perfect tempo so those mammoth chords have maximum impact, and how the flutes and violins manage the difficult offbeat rhythms. Anna also reveals how she's able to practise on concert hall organs, gives some social media tips for musicians who want to share their own musical journeys, and our listener question zooms in on organ ‘stops'. Plus, what it's like to actually be inside a 32-foot organ pipe… If you have a question you'd like to ask the musicians, email offstage@lpo.org.ukProduced by Tandem Productions for the London Philharmonic Orchestra. Twitter: @LPOrchestraInstagram: @londonphilharmonicorchestraFacebook: @londonphilharmonicorchestra Hosted on Acast. See acast.com/privacy for more information.

"I gave everything to it I was able to give. What I have here accomplished, I will never achieve again." So said child prodigy, virtuoso pianist, intellectual, conductor and composer Camille Saint-Saëns about his wildly successful 1873 ‘Organ Symphony'. Famously featured in the 1995 porcine Disney film Babe, it's still immensely popular today. But where did it come from? What was Saint-Saëns trying to achieve and how influenced was he by his Parisian contemporaries? With organist Anna Lapwood on the thrill of playing ‘that chord' in the Royal Albert Hall at the BBC Proms. Producer: Ruth Thomson

Iconoclastic organist Cameron Carpenter, “one of the rare musicians who changes the game of his instrument” (Los Angeles Times), takes on Poulenc's sparkling, Baroque-infused concerto, followed by the elegance and floor-shaking grandeur of Saint-Saëns' Organ Symphony. Ticket holders are invited to a free preconcert conversation featuring Carl Grapentine in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Classic Encounter December 15: Preconcert lecture hosted by Chicago's favorite radio DJ, WXRT's Terri Hemmert, with co-host Miles Maner, CSO bassoon and contrabassoon. You will have the opportunity to add Classic Encounter to your order after selecting your seats for the concert. Learn more: cso.org/performances/22-23/cso-classical/the-sorcerers-apprentice-and-saint-saens-organ-symphony

Ignacio Barrón Viela, the Reno Phil's new President and CEO, and Reno Phil Music Director and Conductor Laura Jackson speak with Chris Morrison about the Reno Phil, Barrón Viela's background and hiring, and the second concerts of the Phil' 2022-23 Classix season, "The Organ Symphony," on November 12 and 13, 2022.

Saint Saens Symphony #3 is nicknamed the "Organ Symphony" because of the significant use of the organ in the piece. Saint Saens was an accomplished Organist, thus the especial use of the instrument.

Synopsis It’s ironic that the great Romantic composer Camille Saint-Saëns was more appreciated in England and the United States than in his native France. And so, it’s perhaps not surprising that his Symphony No. 3, subtitled the “Organ Symphony,” premiered not in Paris, but at St James’s Church in London on today’s date in 1886, with the composer conducting as well as performing as the organ soloist. In addition to being a famous composer and brilliant pianist, Saint-Saëns was also an accomplished organist. In 1857, he became an organist at the famous Church of the Madeleine in Paris, and held that post for 20 years. The great Romantic composer Franz Liszt once hailed Saint-Saens as the finest organist in the world. And so, again not surprisingly, Saint-Saëns dedicated the published score of the “Organ Symphony” to Liszt, who had died in Germany shortly after the London premiere. What we DO find surprising is that, for quite a few modern American audiences, this great and noble symphonic work calls to mind a clever little sheep-herding piglet named “Babe,” since one of the uplifting themes from the “Organ Symphony” was used, to great effect, in a popular 1995 film about talking barnyard animals. Music Played in Today's Program Camille Saint-Saëns (1835 – 1921) Symphony No. 3 (Organ) Matthias Eisenberg, organ; Toulouse Capitole Orchestra; Michel Plasson, cond. EMI 56362

Dr. Robert Baldwin joins us and crew mate Matthew Makeever to discus Saint-Saëns’s magnum opus, his Symphony No. 3 “Organ.” Plus, Dr. Baldwin gives us a review of his COVID school year.

Borodin: Symphony No. 3 in A minor (unfinished) Ives: Symphony No. 3 "The Camp Meeting" Saint-Saens: Symphony No. 3 in C minor, Op. 78 "Organ Symphony" Dominique Beaulieu, conductor CMD Paris Philharmonic in Orleans Kathryn Cavanaugh, conductor/producer CMD Grand Opera Company of Venice Sylvia Wagner, conductor CMD German Opera Company of Berlin Purchase the music (without talk) at: http://www.classicalsavings.com/store/p940/A_Third_of_Borodin%2C_Ives_and_Saint-Saens_%283rd_Symphonies%29.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Saint-Saens considered his 3rd symphony his greatest work: “I have given all that I had to give. What I have done I shall never do again.” Later in his life, Saint-Saens would be known as an arch-conservative, but at the time he was writing the Organ symphony, Saint-Saens was enamored with the formal and structural innovations of the music of Liszt. Today we’ll explore the dualism between the piece’s Romantic aspirations and Classical grounding, plus of course, the role of the organ in this Organ Symphony.

A child prodigy, Saint-Saëns was not only a gifted composer but an accomplished pianist who could perform all of Beethoven’s 32 piano sonatas from memory by the age of ten.  Composed for the Philharmonic Society of London, his Symphony No. 3, Organ, is dedicated to his friend Franz Liszt.

Find out how the theme of Camille Saint-Saëns' 3rd Symphony endured for a century

Find out how the theme of Camille Saint-Saëns' 3rd Symphony endured for a century

Episode 02 Summary 00:00 - Intro   01:00 - Defining Harmony (and Hominy) If a melody is a series of single notes, harmony refers to stacking simultaneous, different pitches. Different cultures have different approaches to harmony One example would be music that uses microtones - notes in between the keys of your piano Music exists that doesn’t use harmony   5:05 - Origins of Harmony The earliest music we have a written record of is usually religious music Church music was regarded as pretty important and worth saving Clergy members were literate and able to write down and thus preserve their music Religious music had the function of conveying important text to churchgoers since singing is louder than speaking (especially when a choir is involved) The earliest music we have a record of is usually just one melody Note: “The Church” usually refers to the Catholic church in the middle ages The church did not necessarily invent musical techniques; they just wrote them down People began to add a second melodic line to create musical interest, and they had rules about how to do it in a way that sounded beautiful The rules evolve over time, and patterns emerge for what sounds pleasing: these combinations eventually become chords This takes centuries JS Bach’s music is kind of the “how to” manual of modern harmony   13:02 - Modern Harmony a stack of different notes that support the melody Harmonic trends can change over time Individual cultures, composers, and listeners have preferences about harmony Different chords are thought to have different funcitons/tendencies One chord might pull towards another chord, and the ear won’t be satisfied until that next chord is reached Garrett uses the Simpsons Theme example and attempts to scare you with numbers Amanda uses a baseball diamond example Moving form chord to chord is called a chord progression   15:36 - Triads A triad is three notes stacked on top of each other Any three notes can be a triad, but we’re mostly used to three notes located a “third” apart from each other. Most of the music people know is built in triads A genre that decorates the triads is Jazz.  Even your most basic chords have at least one “chord extension” - added notes that give extra flavor Genres known for: harmonic complexity include classical music (especially Romantic music and 20th century classical music). Pop and Rock have a reputation for being very harmonically simple, but it should really be treated on a case by case basis.   18:41 - “Simple” Is Not an Insult! If the harmony serves its function, then that’s all it needs to do. Complex is not always good. Complicated things Garrett and/or Amanda like: Cars and engines, D&D Simple things Garrett and/or Amanda like: … a hot shower… and kayaking Don’t attach value to statements about complexity and simplicity Simple music can be every bit as great as complicated music "Horse With No Name" by America example When music is simple in one way, it tends to be complicated in another way Spaceship controls example   22:40 - Games and Sports: A Harmonic Metaphor In terms of harmonic complexity, Classical music might be chess, whereas top 40 might be more like checkers The duration of each game differs, and one is thought to require more strategy than the other to play. In terms of complexity, maybe Romantic music is like basketball, whereas 12-tone music is like billiards. Basketball has strategies that anyone can become familiar with, and fans who have studied the sport can make fairly accurate predictions about where the game is heading. Similarly, Romantic music has recognizable themes and action because the pieces are often based on recognizable stories, mythology, paintings, etc.  Listeners can begin to predict where the piece is going to go. Billiards seems much more subtle, and most every day people don’t find it nearly as intuitive a game. Twelve tone music is similarly much more difficult for most listeners to process and feels very unfamiliar.  The enjoyment (or lack of it) comes from being surprised and recognizing that you don’t know what’s going to happen. What is the musical equivalent of curling? Garrett says it’s free jazz because he knows what the main objectives are, but he has no idea what role individual team members have or how their responsibilities really work. Amanda says free jazz is like racquetball because it looks very chaotic from the outside and the objective is less clear, especially if you’ve never played it before. Garrett defends racquetball to the death   30:55 - Harmony: The Photoshop Effect Amanda recommends a YouTube video on harmony called “A Thing About Chords” by Louie Zong The video is two minutes long The creator of the video uses a photoshop metaphor: changing the chords under a melody is sort of like using effects in photoshop.  The composition of the image might stay the same, but the style of it and its mood can change a lot. The creator of the video demonstrates with a simple melody and many different chord progressions.   32:12 - A Brief Interlude (without ads)   32:18 - Listening Recommendations… Almost!   33:13 - Two Common Usages of “Harmony" Garrett primarily thinks of harmony as vocalists harmonizing lines together Amanda primarily thinks of harmony as the overall chord progression These are each common usages of the word Harmony. The chord progression is kind of the noun form of harmony.  It’s the thing. “Harmonizing” is kind of the verb form of harmony.  It’s the act of doing it.   Listening Recommendations: 35:09 - Amanda’s 1st rec: “What A Piece of Work is Man” from Hair, the American tribal love rock musical. (1967, but I’m gonna post the 2009 revival soundtrack) 39:15 - Garrett’s 1st rec: Symphony no. 3, movement 4 (The Organ Symphony) by Camille Saint-Saens (1886) 42:03 - Amanda’s 2nd rec: “Dirty Computer” by Janelle Monae (2018) 43:42 - Garrett’s 2nd rec: “Saturday in the Park” by Chicago (1972) 44:24 - Amanda’s 3rd rec: The 2nd movement of "Pines of Rome" by Ottorino Respighi (1924) 48:25 - Garrett’s 3rd rec: The entire band Fleet Foxes (cheating, obviously) but he recommends the song “Lorelai" (2011)   50:02 - Some Back to School Advice! Our next episode will be on rhythm and meter.  If you have questions for us about either of those topics or anything else, please reach out to us about them on: Instagram: @uptoyourearspodcast Twitter: @uptoyourears via email: uptoyourearspodcast@gmail.com Since many of our listeners are headed back to school, here’s some back to school advice for you. 51:05 - Garrett tries to convince us that writing research papers is fun and outlines a great method for making your papers better, faster, stronger, (not harder).  (Hint: it’s all about the annotated bibliography) 53:53 - Part 1 of Amanda’s advice: stop fighting your teacher’s suggestions!  Take them, and if you think you’re already taking them, try taking them again.  Your teacher isn’t necessarily the leading expert on everything, but they’re knowledgeable enough to give helpful suggestions. 56:12 - Part 2 of Amanda’s advice: try to go an entire semester without making excuses when you’re given constructive criticism or even called out by someone.  This has been really helpful for Amanda as a musician.   57:49 - Sign Off Thanks for listening!  Please tune in for episode 3 If you liked this podcast, please like, share, review, tell your friends, etc. Remember that there is a playlist associated with this episode of the podcast, so you can access all of our listening recommendations in one place.   Episode 02 Spotify Playlist    Special thanks to OpenMusicRevolution.com for our intro and outro music and to the guys at Better Podcasting for being such great guides to us.  Special thanks to you, our listeners, too!   Visit our Website!   Follow us on social media! Instagram: @uptoyourearspodcast    Twitter @uptoyourears    Email us! uptoyourearspodcast@gmail.com

Mansfield Symphony Orchestra's Music Historian, Mark Sebastian Jordan, talks about Faure's Requiem and Saint-Saens' Symphony No. 3, "The Organ Symphony," in this episode.  These two masterpieces of the orchestral world will be performed in the upcoming Mansfield Symphony Orchestra and Chorus 'Fin Magnifique' concert on May 11, 2019 at 8:00 PM.  The concert is part of the OhioHealth Symphony Series.   The episode was recorded in the new Podcast studio of Idea Works in Mansfield, Ohio.  Idea+Works: Where Plans Come Together

Emmanuel Krivine leads the CSO in the shimmering and majestic Organ Symphony. After completing his third and final symphony, Saint-Saëns declared: "I gave everything to it I was able to give. What I have here accomplished, I will never achieve again." Also on the program is Brahms' turbulent Tragic Overture and Schumann's heart-wrenching Violin Concerto with Isabelle Faust, an artist of "disarming warmth and sweetness who can unveil hidden strains of lyricism" (The New York Times).

Andrew Mellor recommends recordings of Charles-Marie Widor's Organ Symphony No. 5

A child prodigy, Saint-Saëns was not only a gifted composer but an accomplished pianist who could perform all of Beethoven’s 32 piano sonatas from memory by the age of ten.  Composed for the Philharmonic Society of London, his Symphony No. 3, Organ, is dedicated to his friend Franz Liszt.

SOP Podcast 30 - Joris Verdin On Performance Practice In The Organ Works Of Cesar Franck Welcome to episode # 30 of Secrets of Organ Playing Podcast! Today's guest is Joris Verdin, organist, musicologist, and composer from Belgium. He teaches organ at the Royal Conservatory of Antwerp and is professor of organology at the University of Leuven, Belgium. He has recorded over forty CDs as a soloist, spanning many musical eras and styles. His main areas of interests are 19th century French organ and harmonium school. In this conversation Prof. Verdin shares his revolutionary insights about performance practice issues in the organ works of Cesar Franck. Enjoy and share your comments below. ​ If you like these conversations with the experts from the organ world, please help spread the word about the SOP Podcast by sharing it with your organist friends.​ Relevant links: http://www.jorisverdin.com Franck: Father of Organ Symphony - http://amzn.to/1PtWkhc

It's time for the 2010 remake of "The Karate Kid"! Dave and Scott have been dreading this moment ever since pre-production on this film began, but they knew they would one day need to watch it. Did it meet their expectations, exceed them, or fall short? Listen to find out! They also briefly discuss other remakes, and spit out a few ideas for movies they would like to see remade. Other Movies Discussed The Skin I Live In - Directed by Pedro Almodóvar Jurassic World - Directed by Colin Trevorrow The Lorax - Directed by Chris Renaud & Kyle Balda From Hell - Directed by The Hughes Brothers Psycho (1998) - Directed by Gus Van Sant The Kite Runner - Directed by Marc Forster The Godfather 4 ? Break Music "Symphony No. 3 (Organ Symphony)" by Camille Saint-Saëns www.dudesonmovies.com www.facebook.com/dudesonmovies www.twitter.com/dudesonmovies www.soundcloud.com/dudesonmovies email: dudesonmovies@gmail.com

In this episode, Grammy-nominated Producer, Director of Music and Organist at Salem Evangelical Lutheran Church in Houston, and Artistic Director of Grace Song, Inc. Keith Weber teaches Dacia about Camille Saint-Saëns' Organ Symphony. Audio production by (also Grammy-nominated!) Todd Hulslander with assistance from Dacia Clay.

In today's Proms music guide Sarah Walker talks about Saint-Saens's Organ Symphony.

Sue Lawley's castaway is pollster Bob Worcester. Favourite track: Organ Symphony in C Minor: Finale by Camille Saint-Saëns Book: Globes at Greenwich by Elly Dekker Luxury: Celestial and terrestrial globes

Sue Lawley's castaway is pollster Bob Worcester.Favourite track: Organ Symphony in C Minor: Finale by Camille Saint-Saëns Book: Globes at Greenwich by Elly Dekker Luxury: Celestial and terrestrial globes