Podcasts about osmo v

A distinguished conductor with a large repertoire of recordings, Osmo Vänskä has been chief conductor of orchestras in many parts of the world, including the Lahti Symphony Orchestra in his native Finland, the Iceland Symphony Orchestra, the BBC Scottish Symphony Orchestra, and the Minnesota Orchestra. His repertoire may be vast, but it's the music of his native Finland, and in particular the music of Sibelius, for which the New York Times noted that Osmo is “one of the most important contemporary interpreters”. Osmo discusses the music of Sibelius and its importance to Finland, as well as sharing inspirational stories from his life as a conductor. Osmo Vänskä conducts the Sydney Symphony Orchestra for selections of Sibelius's original and profound music 24-27 April, and conducts the Adelaide Symphony Orchestra for Sibelius and Beethoven on 3-4 May.

SynopsisFor most music lovers, the phrase “Italian composers of the 19th and 20th centuries” means, first and foremost, opera composers.But during the 1920s and 1930s, when great Italian opera conductor Arturo Toscanini was music director of the New York Philharmonic, American audiences heard many nonoperatic, symphonic works by modern Italian composers.On today's date in 1929, for example, Toscanini led the New York Philharmonic in the world premiere performance of Concerto dell ‘Estate (Summer Concerto), by contemporary Italian composer Ildebrando Pizzetti.In addition to premieres by Pizzetti, New York audiences heard recent Italian symphonic works by Respighi, Tommasini, Martucci, Castelnuovo-Tedesco, Wolf-Ferrari and others.Absent from Toscanini's New York programs were new works by the rising American composers of the day. There were no Toscanini premieres — or even performances — of works by Copland, Harris or Piston. Those composers had to look to the Boston Symphony under Serge Koussevitzky if they wanted a hearing.American composer Daniel Gregory Mason complained in 1931 that the Philharmonic was run by “fashion-enslaved, prestige-hypnotized minds ... totally devoid of any American loyalty to match the Italian loyalty” that was, as Mason admitted, “rather likeable” in the charismatic Italian maestro.Music Played in Today's ProgramIldebrando Pizzetti (1880-1968): Rondo Veneziano; BBC Scottish Symphony; Osmo Vänskä, cond. Hyperion 67084

Kun je de wereld veranderen met muziek? Joris en Guido trekken op onderzoek uit. Ze duiken in de historie van klassiek muzikaal protest, van het 17de-eeuwse geuzenlied tot de provocaties van de zwarte Amerikaanse queer-componist Julius Eastman. De kracht van klassiek verandert de mens. En ook de maatschappij? Gedraaide muziek: * repetitiefragment uit Reconstructie (1969), een opera van het collectief Louis Andriessen, Reinbert de Leeuw, Misha Mengelberg, Peter Schat, Jan van Vlijmen, Hugo Claus en Harry Mulisch * Alweer geen deegh de kuyp is leegh, Camerata Trajectina * Joseph Haydn, deel vier (Finale) uit: Symfonie nr. 45 in f-klein, Il Giardino Armonico o.l.v. Giovanni Antonini * Jean Sibelius, Finlandia, Minnesota Orchestra, YL Male Voice Choir o.l.v. Osmo Vänskä * Ethel Smyth, The March of the Women, Chorus of the Plymouth Music Series * Kurt Weill, Die Mortitat von Mackie Messer, uit: Die Dreigroschenoper, Wolfgang Neuss, Wilhelm Brückner-Rüggeberg * Julius Eastman, Evil Nigger, Wild-Up

Osmo Vänskä/Minnesota Orchestra – Mahler: Symphony No. 9 (BIS) New Classical Tracks - Osmo Vanska by In the past few months, Osmo Vänskä has conducted from a wheelchair, a stool and now, finally, standing up after suffering a bad fall and shattering his pelvis. There's a lot of metal keeping him going, he says, and that's another reason he's decided his motorcycling days are over. “I have decided to sell it, because I'm now 70, and I've had enough miles with the motorcycle,” he says. “… It will go to the Symphony Ball auction this June. I don't want to have anymore stupid risks in my life.” Vänskä has been a music director for almost 40 years. Nineteen of those years were with the Minnesota Orchestra. Recordings he made with the orchestra are still being released, and the latest features Gustav Mahler's Symphony No. 9. More From New Classical Tracks 2017 Minnesota masters Mahler's Symphony No. 5 2019 Vanska shares insights into Mahler's 'Resurrection Symphony' 2020 Keeping the beat on Minnesota's recording of Mahler's Symphony No. 7 2021 Minnesota violist enjoys being an inner voice on Mahler's Symphony No. 10 What makes Mahler's Symphony No. 9 so powerful?  “[The piece was composed] at the time when his daughter had died, and Mahler knew in his heart that there was something wrong.  He thought he was coming to the end of his life. And even though he wrote about the world and about life when he was younger, those pictures were different than when he was an older composer. Death is much closer to this music. It's a question about the whole life, the whole world, whatever those thing include.” Mahler was a conductor as well as a composer. Are you seeing something in the score that makes his intentions clearer because he's so well versed in both of those roles? “It means for me that I have to take what he wrote very seriously. He's giving a lot of instructions in this score. Technically speaking, I don't need to add anything to the score. I just try to do what he wrote there, and in my experience, that is how it works. But then it comes to the point where technical things are not the final say in the music. The final say is what my heart and the hearts of the players are telling them when they are playing this.” Can you give me an example? Is there a spot in this performance with the Minnesota Orchestra, with you conducting, where you followed your heart?   “From the first bar until the last bar. There is not one bar that is done without emotional feeling, not one bar that is done without the heartbeat and the understanding that comes from the music about life, about the world.” Mahler's protégé, Bruno Walter, conducted the premiere of this symphony over a year after Mahler died. Walter said that as he studied the score, he recognized the way that Mahler walked, his gait, in some of the limping rhythms of the first movement. And then, later, Leonard Bernstein said that it could have been Mahler's irregular heartbeat. What do you hear in that first movement? “I think both are right. And I believe that the reason why we like that music is because those details could be about our lives, too. I can easily say right now, after my accident, that I have much more understanding about people who cannot move, especially when I was in my wheelchair on the streets. It's difficult to go because the streets are not made for people who are using wheelchairs, those kind of things. And I also understand that I was very close to dying.  “We all have our dark moments, and we all have our hope, and then we are thankful and think, ‘Wow, this is a new chance.' That is all coming from Mahler's music. He sent a message about his life.” Symphony No. 9: I. Andante comodo To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Resources Osmo Vänskä and Minnesota Orchestra — Mahler: Symphony No. 9 (Amazon) Osmo Vänskä (Minnesota Orchestra official site) Minnesota Orchestra (official site)

Rubrika „Muzikos enšteinai“ klausia: kieno dėka namuose atsirado kolonėlės? Kaip jos vystėsi ir kada tapo tokiomis mažomis, kad galėjo tilpti į kambarį? O taip pat laidoje: džiazo saksofono legendai Dexteriui Gordonui šiomis dienomis sueitų 100, o štai puikiais įrašais garsėjančiam dirigentui suomiui Osmo Vänskä – 70.Ved. Domantas Razauskas

Nina Bernat is the first prize winner at the 2019 International Society of Bassists Solo Competition and first and grand prize winner of the 2022 Minnesota Orchestra Young Artist Competition.    At the age of 19, she performed as guest principal of the Israel Philharmonic under Adrás Schiff and Osmo Vänskä and the New York Philharmonic under Gustavo Dudamel. As a recipient of the 2019 Keston MAX Fellowship, she performed with the London Symphony Orchestra on a subscription series concert at the Barbican Centre and in a chamber music concert for LSO Discovery Day at LSO St. Lukes.   We dig into her journey so far, what it was like having her dad as her teacher, the great Discover Double Bass interview she did with Geoff Chalmers, her father Mark Bernat's recent second recording of the Bach Cello Suites, and more.   Enjoy, and be sure to follow along with Nina on her website, Instagram, and YouTube!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsor!   Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   theme music by Eric Hochberg

Synopsis On today's date in 2005, the chancel of the Basilica of St. Mary in Minneapolis was transformed into a performance stage for vocal soloists, choirs, and the Minnesota Orchestra led by Osmo Vänksä. The occasion was the world premiere performance of a new oratorio entitled To Be Certain of the Dawn, featuring music by the American composer Stephen Paulus and a text by the British-born poet Michael Dennis Browne. The Basilica had commissioned the oratorio as a gift to Temple Israel in Minneapolis in commemoration of the 60th anniversary of the liberation of the Nazi death camps in 1945. As Paulus explained, the idea for the oratorio began with a former rector of the Catholic basilica, who felt that Christians should acknowledge and teach about the Holocaust as much as—or more so—than Jews. “It was he,” wrote Paulus, “who decided that an oratorio would be a powerful vehicle for communicating… [and] that children are key to the prevention of genocide, both today and in the future.” With telling effect, actual informal photographs of Jewish children taken in European ghettos during the 1930s and 40s were projected onto screens during the performance. As poet Michael Dennis Browne wrote, “The faces of children are the sun, moon, and stars of this work.” Music Played in Today's Program Stephen Paulus (1949 - 2014) To Be Certain of the Dawn Minnesota Chorale; Minnesota Boychoir;Basilica Cathedral Choir and Choristers;Minnesota Orchestra; Osmo Vänskä, cond. Bis CD-1726

Synopsis On this day in 1918, Russian composer Serge Prokofiev arrived in America to give a recital of his piano works in New York. He told interviewers that despite the revolution in his homeland and widespread conditions of famine, Russian musicians continued to work. Prokofiev himself, however, stayed away from his homeland for years. His opera “The Love for Three Oranges” and his Third Piano Concerto received their premieres in Chicago in 1921. From 1922 to 1932, Prokofiev lived mainly in Paris before eventually returning home for good. Another temporary expatriate composer, Jón Leifs of Iceland, also has an anniversary today, when in 1950, his “Saga-Symphony” was performed for the first time in Helsinki. Leifs was born in Iceland in 1899 and died there in 1968. He studied in Leipzig, where, in his words, he (quote) “began searching whether, like other countries, Iceland had some material that could be used as a starting-point for new music… some spark that could light the fire.” Leif's years in Germany coincided with the rise of the Nazis, who at first found him a sympathetic Nordic composer. When Leifs married a Jewish woman, however, he soon fell out of favor and eventually fled to Sweden with his family. After the war he returned home and today is honored as Iceland's first great composer. Music Played in Today's Program Sergei Prokofiev (1891-1953): Piano Concerto No. 3 in C, Op. 26 –Martha Argerich, piano; Montréal Symphony; Charles Dutoit, cond. (EMI Classics 56654) Jón Leifs (1899-1968): Saga Symphony –Iceland Symphony; Osmo Vänskä, cond. (BIS 730)

Synopsis Many composers have produced works inspired by their deep religious faith: in the 18th century, the sacred music of the devout Lutheran church musician Johann Sebastian Bach being a notable example. Even in our more secular age, this is sometimes the case. The contemporary Scottish composer James MacMillan's works have explicit Christian themes, and, like Franz Liszt in the 19th century, MacMillan has even taken minor religious orders in the Roman Catholic Church. On commission from the London Symphony, MacMillan wrote three interrelated orchestral works, two concertos and a symphony, all based on the Passion and Resurrection story. The first of these, entitled “The World's Ransoming,” for English horn and orchestra, focused on Maundy Thursday of Holy Week, and was premiered at the Barbican Center in London on today's date in 1996. Of this piece, MacMillan wrote, “'The World's Ransoming' includes musical references to [traditional liturgical] plainsongs for that day, as well as a Bach chorale … which I have heard sung in the eucharistic procession … The title of the piece comes from St. Thomas Aquinas's [Latin] hymn ‘Pange Lingua'.” An English translation of part of the Aquinas hymn reads: Sing, my tongue, the Savior's glory, Of His Flesh, the mystery sing; Destined, for the world's ransom, From a virgin's womb to spring. Music Played in Today's Program James MacMillan (b. 1959) – The World's Ransoming (Christine Pendrill, English horn; BBC Scottish Symphony; Osmo Vänskä, cond.) BIS 989

De Finse dirigent Osmo Vänskä was verbonden aan orkesten in Lahti, Reykjavik en Glasgow en is chef in Minneapolis en Seoul. Hij vertelt over ‘het geheim' van het Finse dirigeren en over het luisteren naar opnamen van anderen.

Conductor and Music Director of the Minnesota Orchestra Osmo Vänskä joins Brad Cresswell for a conversation about his career and his new recording of Gustav Mahler's formidable Symphony No. 7. Watch the video chat here: https://www.youtube.com/watch?v=tFTM0rH2DKQ

Last year – and for the fourth consecutive year – we asked our readers, followers and visitors to our website to vote, from a short list of 10, for our Orchestra of the Year for 2021. Thousands of votes were cast, but romping in by a long margin, was the Minnesota Orchestra. As we look back on that Award, Gramophone's Editor in Chief, James Jolly, caught up with the Minnesota Orchestra's Music Director Osmo Vänskä to talk about his 19-year tenure with the ensemble, how the relationship has changed, and the recordings they have made together. Gramophone Podcasts are presented in association with Wigmore Hall. 

den2radio's serie 'Det finske dirigentmirakel' handler i denne uge om Osmo Vänska og Ari Rasilainen. I mellem de to dirigenter fortæller den danske dirigent Maria Badstue om Jorma Panula. Kirsten Rønn har tilrettelagt.

Synopsis Some instruments seem to have all the luck – or at least all the concertos! If you play piano or violin, you have hundreds of concertos to choose from. But if your instrument is the harp – and you will forgive the pun – the pluckings are slim. This hardly seems fair to one of mankind's oldest instruments, depicted on murals from ancient Egypt and traditionally associated with King David in the Bible. In the 18th and early 19th century, there are a handful of great classical harp concertos by Handel, Mozart, and others. In the 20th century, things start to improve a little, with modern concertos by Gliere, Pierne, Castelnuovo-Tedesco, and Rodrigo. On today's date in 1955, we're happy to report, one of the finest modern works for harp and orchestra had its premiere performance when harpist Nicanor Zabeleta premiered a new harp concerto by the prolific Brazilian composer Heitor Villa-Lobos – with the Philadelphia Orchestra conducted by the composer. One more recent addition came in 2000 from the pen of the Finnish composer Einojuhanni Rautavaara. His harp concerto was commissioned by the Minnesota Orchestra, who premiered the new work with the Finnish conductor Osmo Vänskä and Kathy Kienzle as soloist. Music Played in Today's Program Heitor Villa-Lobos (1887 - 1959) — Harp Concerto (Catherine Michel, harp; Monte Carlo Opera Orchestra; Antonio de Almeida, cond.) Philips 462 179 Einojuhani Rautavaraa (1928 - 2016) — Harp Concerto (Marielle Nordmann, harp; Helsinki Philharmonic; Leif Segerstam, cond.) Ondine 978

Synopsis The great Finnish composer Jean Sibelius was born on this date in 1865. In 1990, on Sibelius's 125th birthday, Finnish conductor Osmo Vänskä led the Lahti Symphony in the belated world-premiere of a previously unknown work by the composer, a Suite for Violin and Orchestra that Sibelius finished around 1929, but never published. Now, Sibelius was a very prolific composer up through his fifties, but during the last 30 years of his life before his death in 1957 wrote very little. He had completed his Seventh Symphony, his last, in 1924, and the world waited in vain for an Eighth. Perhaps it was due to depression, perhaps it was due to drink – or maybe, creatively speaking, Sibelius had just dried up. In any case, what works he did complete as a senior citizen were either revisions of much earlier pieces, or minor incidental works. Which makes this genial little Suite rather interesting. It's landscape music, evoking the Finnish countryside, but in a less bleak and abstract manner than usual. It may not be top-drawer Sibelius, but even so, we're grateful that Sibelius decided to put his Suite for Violin in a bottom drawer – and not in the fireplace! Music Played in Today's Program Jean Sibelius (1865-1957) — Suite for Violin and Orchestra, Op. 117 (Dong-Suk Kang, vn; Lahti Symphony; Osmo Vanska) BIS 1125

Synopsis On today's date in 1885, at a public rehearsal at the Old Metropolitan Opera House, the New York Symphony, led by a fresh-faced 23-year-old conductor named Walter Damrosch, performed for the first time in America a work by a 61-year-old Austrian composer named Anton Bruckner – his Symphony No. 3 in D minor. The New York Times critic, in fairness to this unfamiliar composer, attended both the rehearsal and concert before venturing an opinion: “As to form and workmanship,” he wrote, “it is a highly commendable achievement. The composer's motives are distinct and fluent, the instrumentation is rich, though not cloying… Unfortunately, there is not in the whole composition a measure in which a spark of inspiration, or a grain of inventiveness is discernible.”  Other New York papers were more blunt: “A dreary waste of sound… formless, weird, flimsy, uncongenial and empty” according to The Sun, while The Post observed: “The first movement is marked ‘misterioso', but the only mystery about it is how it ever came to be written, printed and performed.” In fairness to those critics of 1885, it would take many decades before American audiences started to acquire a taste for Bruckner's particular blend of music and mystery. Music Played in Today's Program Anton Bruckner (1824–1896) — Symphony No. 3 in d (BBC Scottish Symphony; Osmo Vänskä, cond.) Hyperion 67200

Penderecki in Memoriam Podcast is produced and hosted by Max Horowitz, Crossover Media. Created by Anna Perzanowska and Klaudia Ofwona Draber, and presented by Polish Cultural Institute New York. Penderecki in Memoriam Podcast unveils a multifaceted portrait of Krzysztof Penderecki, with commentary from musicians, colleagues, radio programmers, and writers who lend insight and memories of Poland's greatest modern composer. This podcast is part of Penderecki in Memoriam Worldwide project, honoring the life and legacy of the great composer. Thank you to project partners DUX, NAXOS, Ludwig van Beethoven Association, and Schott EAM for sharing Krzysztof Penderecki's music with the world. Osmo Vänskä, the Minnesota Orchestra's tenth music director, is renowned internationally for his compelling interpretations of the standard, contemporary and Nordic repertoires. He has led the Orchestra on five major European tours, as well as an August 2018 visit to London's BBC Proms, and on historic tours to Cuba in 2015 and South Africa in 2018. The Cuba tour was the first by an American orchestra since the thaw in Cuban-American diplomatic relations, while the five-city South Africa tour—the culmination of a Music for Mandela celebration of Nelson Mandela's centennial—was the first-ever visit to the country by a professional U.S. orchestra. He has also led the Orchestra in appearances at New York's Carnegie Hall and Lincoln Center, Chicago's Symphony Center and community venues across Minnesota.  Track Credits: 1. Viola Concerto Vivace 2. Chaconne in memoria Giovanni Paolo II 3. Concerto Doppio Buffalo Philharmonic.

Kovo 11 dieną savo gimtadienį švenčia ne tik nepriklausomybę atgavusi Lietuva, bet ir vienas garsiausių Pietų Amerikos kompozitorių, tango karaliumi vadinamas Astoras Piazzolla. Jam šiandien sueitų 100. Ne kiekvienas žino, jog ne visada tėvynėje šis kūrėjas mėgtas, vertintas, jog augo jis Niujorke, jog ketino tapti europietiškos tradicijos kompozitoriumi, o lemtingas pamokas gavo Paryžiuje iš legendinės Nadios Boulanger. Po tango šokio galima pasižiūrėti, kas įdomesnio pasirodė klasikinės ir džiazo muzikos leidyklose. Tarp naujienų – smuikininkės Hilary Hahn Paryžius, netradicinis Benoît Delbecqo fortepijoninio džiazo albumas ir visada daug aistrų kelianti Gustavo Mahlerio 10 simfonija, kurią tik ką įrašė Minesotos simfoninis orkestras, diriguojant Osmo Vänskäi.Ved. Domantas Razauskas

Osmo Vänskä has been at the top of the conducting world for nearly 40 years. I found out why the ensemble of an orchestra is so important for him, why his relationship with BIS has been so successful and fruitful, and we had a particularly funny Finnish moment. A lovely chat with a lovely man! If you would like to financially support the podcast, why not subscribe at https://www.patreon.com/amiconthepodium, and for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meeting with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles and much more. Alternatively, if you would prefer to make a one-off donation, go to https://www.justgiving.com/crowdfunding/a-mic-on-the-podium and any donation you make will be greatly appreciated and help the podcast live on into the future. This interview was recorded on 4th July 2020 via Zoom.

Nový komplet sedmi symfonií Jeana Sibelia, Minnesota Orchestra řídí Osmo Vänskä. Poslechněte si 1. část recenze Jozefa Červenky.

Aan de vooravond van wat toch waarempel een echte - zij het korte - winter lijkt te worden, een paar ijzingwekkende muziekstukken vol ijs en sneeuw, letterlijk en/of figuurlijk. Klas Torstensson, die al lang geleden het indrukwekkende geluid van barstend ijs benutte, schreef eind vorige eeuw een aangrijpende opera over een pooltocht, The Expedition. Schuberts Winterreise gaat over de liefde, dat is waar, maar hoe koud is het in het hart van de aanbedene èn buiten, als je tranen bevriezen... En in Goebaidoelina's Jetzt Immer Schnee is sneeuw geen sneeuw meer, maar identiek geworden met ziel en licht. 23.04 Spezl (7 Mountain Records 7MNTN-025) Richard Strauss: An einsamer Quelle (ar.. Wilhelm Jeral) Floris Mijnders [cello] & Jelger Blanken [piano] 3'38” 23.09 CD Schubert Winterreise D.911 (harmonia mundi HMC 902107) Franz Schubert: Gefrorne Tränen Matthias Goerne [bariton] & Christoph Eschenbach [piano] 2'42” 23.12 CD Winterreise (Oehms Classics OC1898) Franz Schubert, arr. Hunstein, Siegmeth, Wolf: Gefrorne Tränen, Erstarrung, Der Lindenbaum Stefan Hunstein [verteller] & Hugo Siegmeth [saxofoon, basklarinet] & Axel Wolf [luit, theorbe] 7'55” 23.22 CD The Expedition [Composers' Voice CV100) Klas Torstensson: Northern Lights solisten en Radio Filharmonisch Orkest olv Peter Eötvös Göran Eliasson [tenor] & Olle Persson [bariton] & Mats Persson [bariton] 5'50” CD The Expedition [Composers' Voice CV100) Klas Torstensson: Epiloog solisten en Radio Filharmonisch Orkest olv Peter Eötvös Charlotte Riedijk [sopraan] 11'13” 23.44 CD Sofia Gubaidulina (Etcetera KTC 9000 - CD 17) Sofia Goebaidoelina: Jetzt Immer Schnee Nederlands Kamerkoor & Schönberg Ensemble olv Reinbert de Leeuw & Leonid Vlasov [stem] 10'23” CD Angel of Light (BIS CD 1038) Einojuhani Rautavaara: Cantus Arcticus (deel 1 en 2) Lahti Symphony Orchestra olv Osmo Vänska 10'33”

durée : 01:58:51 - Relax ! du lundi 23 novembre 2020 - par : Lionel Esparza - Portrait du chef d'orchestre finlandais Osmo Vänskä, actuel directeur musical de l'Orchestre symphonique du Minnesota, et spécialiste du répertoire nordique (Sibelius, Grieg, Nielsen). Et notre légende du disque est la célèbre version du Couronnement de Poppée de Monteverdi par Nikolaus Harnoncourt. - réalisé par : Antoine Courtin, Olivier Guérin

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Conductor and Music Director of the Minnesota Orchestra Osmo Vänskä joins Brad Cresswell for a conversation about his career and his new recording of Gustav Mahler's formidable Symphony No. 7. Watch the video chat here: https://www.youtube.com/watch?v=tFTM0rH2DKQ

Andrew Mellor has established himself as something of a British cultural attaché to Scandinavia since moving to Copenhagen in 2015. Well known for his contributions to BBC Radio 3's Record Review and the BBC Proms, he takes Paul on a guided tour of Denmark, Faroe, Iceland, Norway, Sweden and Finland, discussing some of the fascinating music that has been inspiring him recently.www.prestomusic.comMusic discussed:Nielsen: Symphony No. 3, Op. 27 (FS60) 'Sinfonia espansiva'Gothenburg Symphony Orchestra; Myung-Whun ChungBIS - BISCD321Sørensen, B: La mattinaLeif Ove Andsnes (piano); Norwegian Chamber Orchestra; Per Kristian SkalstadDacapo - 8.226095ConfessionsNico Muhly & Teitur with Holland BaroqueNonesuch - 7559794430Þorvaldsdóttir: DreamingRecurrence - ISO Project, Vol. 1Iceland Symphony Orchestra, Daníel BjarnasonDorian Sono Luminus - DSL92213Grieg - Choral MusicDet Norske Solistkor (The Norwegian Soloists' Choir), Grete PedersenBIS - BISSACD1661Gunnar Idenstam: Songs For JukkasjärviSimon Marainen (yoik/vocals), Brita Stina Sjaggo (vocals), Sandra Marteleur (violin), Thorbjörn Jakobsson (saxophones), Jonas Sjöblom (percussion), Gunnar Idenstam (organ & pre-recorded sounds)BIS - BISSACD1868Outi Tarkiainen: The Earth, Spring's Daughter & SaivoVirpi Räisänen (mezzo-soprano), Jukka Perko (soprano saxophone), Lapland Chamber Orchestra, John StorgårdsOndine - ODE13532The Voice of SibeliusTom Nyman (tenor) & Tommi Hakala (baritone) YL Male Voice Choir & Lahti Symphony Orchestra, Hyökki (a cappella works) & Osmo Vänskä (accompanied works)BIS - BISCD1433

Sean Rafferty is joined by conductor Osmo Vänskä, who has a new recording out featuring Mahler’s Seventh Symphony. Soprano Golda Schultz joins Sean from Bavaria, to look forward to the Last Night of the Proms, and Sean also catches up with pianist Angela Hewitt.

durée : 01:57:57 - En pistes ! du mercredi 05 février 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour également : Mozart, avec le 17ème Concerto pour piano par Orli Shaham et un arrangement du Quatuor n°15 pour le quintette à vent québécois Pentaèdre, la 4ème Symphonie de Mahler sous la baguette du finlandais Osmo Vänskä, un album Beethoven par les chambristes de la WDR de Cologne... - réalisé par : Olivier Guérin

Colonel Jason K. Fettig is the 28th Director of “The President’s Own” United States Marine Band. In this episode we discuss his career, the Marine Band, and even talk performance practice for Sousa marches. Topics: Jason’s background growing up as a clarinet player and what are some of the important early lessons he learned. The audition process for the Marine Band and the story of how he almost didn’t go to the audition and how he was able to finish up his student teaching after winning that gig. Jason’s rise through the ranks of the Marine Band and some thoughts about leadership. An interesting bit of history about the instrumentation of the band and some not to be missed stories and anecdotes from Jason’s time as Director the Marine Band. Performance practice and Sousa marches and yes, it is okay to slow down right before the final strain! Links: Colonel Jason Fettig “The President’s Own” Marine Band The Complete Marches of John Philip Sousa Mozart: Serenade for 13 Winds in B-flat major, K. 361 "Gran Partita" Stephenson: Symphony no. 2 "Voices" Biography: Colonel Jason K. Fettig is the 28th Director of “The President’s Own” United States Marine Band. He joined in 1997 as a clarinetist and soon became a frequently featured soloist with both the band and the Marine Chamber Orchestra. After serving four years in the organization, he was select­ed as an Assistant Director, and he conducted his first concert with the Marine Band Aug. 1, 2001. He was commissioned a first lieutenant in July 2002, promot­ed to captain in August 2003, and became the band’s Executive Officer the following year. He was promot­ed to major in August 2007 and to lieutenant colonel in July 2014, one week before assuming leadership of “The President’s Own.” He was promoted to his present rank in August 2017 in the Roosevelt Room by President Donald J. Trump. He is the third Director of “The President’s Own” to be promoted to colonel in a White House ceremony. As Director, Col. Fettig is the music adviser to the White House and regularly conducts the Marine Band and Marine Chamber Orchestra at the Execu­tive Mansion and at all Presidential Inaugurations. He also serves as music director of Washington, D.C.’s historic Gridiron Club, a position held by ev­ery Marine Band Director since John Philip Sousa. In his first years as Director, Col. Fettig has led the band for numerous major national events both at the White House and throughout the country. He conducted national broadcast performances for the 200th Anniversary of the Star Spangled Banner at Ft. McHenry in Baltimore, a special Veterans Day performance with the Mormon Tabernacle Choir in Salt Lake City, and an appearance on the David Letterman Show at the invitation of Michelle Obama in New York. He leads frequent concerts throughout the Washington, D.C., area and across the country during the band’s annual national tour. Live performances by the Marine Band under his direction are often heard on National Public Radio. Col. Fettig is a fervent advocate for both traditional and contemporary American music and remains dedicated to the ongoing development of music for wind band. In recent years, he has conducted world premières of substantial new works by James Stephenson, Jacob Bancks, David Rakowski, Adam Schoenberg, David Conte, and Narong Prangcharoen. Throughout his career with the Marine Band, Col. Fettig has been deeply committed to music education and has taken an active role in the evolution and expansion of the many educational initiatives of “The Presi­dent’s Own.” In addition to helping refine the Music in the Schools and Music in the High Schools programs, he has made it a priority to maintain a significant presence in schools throughout the nation during the band’s national concert tours. He also began an interactive and theatrical Young People’s Concert series in 2006 and authored, hosted, and conducted this popular annual event until 2015. In 2014, shortly after assuming com­mand of the Marine Band, Col. Fettig launched an ambitious project to re-record all of the marches of John Philip Sousa and provide free performance and educational materials online to schools throughout the world. Col. Fettig is a 1993 graduate of Manchester Central High School in New Hampshire and holds two bachelor’s degrees from the University of Massachusetts, Amherst (UMass) in both clarinet performance (1997) and music education with an emphasis in conducting (1998). In 2005, he earned a master’s degree in orchestral conducting at the University of Maryland, College Park (UMD) where he served as assistant conductor for two productions of the Maryland Opera Studio. He studied clarinet with Michael Sussman and David Martins, and his principal conducting teachers were Malcolm W. Rowell and James Ross. Additionally, Col. Fettig has par­ticipated in workshops with several renowned conductors including Osmo Vänskä and Otto Werner Mueller. Col. Fettig has represented the Marine Band on numerous occasions as a soloist, adjudicator, and clini­cian, and regularly conducts both concert bands and orchestras for all-state and honor festivals. In 2014, he was elected as a member of the prestigious American Bandmasters Association.

durée : 00:57:48 - Le Beethoven d'Osmo Vänskä - par : Aurélie Moreau - Après Sibelius, Osmo Vänskä se frotte aux Symphonies de Beethoven. Une intégrale passionnante parue chez le label Bis. - réalisé par : Bruno Riou-Maillard

durée : 01:57:57 - En pistes ! du mercredi 05 février 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour également : Mozart, avec le 17ème Concerto pour piano par Orli Shaham et un arrangement du Quatuor n°15 pour le quintette à vent québécois Pentaèdre, la 4ème Symphonie de Mahler sous la baguette du finlandais Osmo Vänskä, un album Beethoven par les chambristes de la WDR de Cologne... - réalisé par : Olivier Guérin

The Minnesota Orchstra announced last fall that they will tour South Korea and Vietnam starting June 21, 2020, for nearly two weeks, continuing a legacy of musical diplomacy, and mounting one of the signature events of Osmo Vänskä's final three years as the Orchestra's music director. With other local and inclusive programs like Music and Mindfulness, the new "Hall Pass", sensory-friendly concerts and more, the Minnesota Orchestra is well on its way to a high note this 2020!

Aarno Cronvall haastattelee Osmo Vänskää

Enjoy the #classicalbuzz news roundup of classical music news from around the world. Esa-Pekka Salonen is heading back to California. Osmo Vänskä leaves Minnesota. Daniele Gatti got a quick contract in Rome. The Aldeburgh Festival won some of the most innovative musicians for the 2019 edition. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Today, I speak with composer Jim Stephenson.  Among many other topics, we discuss his transition from performer to full-time composer, why it's important to look inside and listen to our instinct, why we need to have the right mindset in building a career we love, and how to harness focus in our work.   Jim's story is a testament to the incredible things that can happen when one follows a calling and takes a leap of faith forward.  His approach to following a path is highly inspirational and I know you'll love this discussion!  (Not only that, but Jim graciously agreed to let me use his Concerto #1 for Trumpet and Chamber Orchestra as the Mind Over Finger Podcast's musical theme!  So his music has been greeting you at the beginning and end of each episode of the podcast!) We elaborate on: His journey, from trumpet player to composer How and why he got started composing How he moved forward with his new career Why it's important to look inside and listen to our instinct Why we need to have the right mindset in regards to building a career we love How we are in charge of defining our lives and creating the passionate story that we want to tell Why it's important to be genuine His compositional process How he has the audience and musicians in mind when he writes How he learns his best lessons from performances of his works How he harnesses focus in the work studio The importance of figuring out when you do your best work and how to organize your day in a way that suits you Why good stage presence is important   ABOUT JIM: Website: https://composerjim.com YouTube channel: https://www.youtube.com/channel/UC18hLfX0xDhRkaUaRcKyiUA Facebook Page: https://www.facebook.com/Stephenson-Music-95151931586/ Instagram : https://www.instagram.com/composerjim/ Twitter : https://twitter.com/ComposerJim   Leading American orchestras, instrumentalists, and wind ensembles around the world have performed the music of Chicago based composer James M. Stephenson, both to critical acclaim and the delight of audiences.  The Boston Herald raved about “straightforward, unabashedly beautiful sounds,” suggesting “Stephenson deserves to be heard again and again!”  A formal sense of melody and tonality characterize his music, each embedded in a contemporary soundscape.  These qualities, coupled with the composer's keen ability to write to each occasion, have led to a steady stream of commissions and ongoing projects. Other upcoming premieres also include his 3rd symphony in April at the Frost School at University of Music, a piece based on model trains for the River Oaks Chamber Orchestra in February, and a multi-media tone poem for the Quad City Symphony also in April. Additionally, Compose Yourself!, Stephenson's landmark young-audience work has now been performed over 300 times since its creation in 2002, engaging children in New Zealand and Canada and across the U.S. Additional  premieres include Carnegie Hall in May, 2017 (Chamber Music Charleston) and in the summer, 2017, a Music Academy of the West premiere of “Martha Uncaged” – with the composer conducting – and a west-coast premiere of his violin concerto at the famed Cabrillo Music Festival. The 2017-18 season will see a new “Low brass concerto” with the Minnesota Orchestra and Osmo Vänskä. The Devil's Tale (2013), a sequel to Stravinsky's famous “Soldier's Tale” has become a highlight of Stephenson's extensive chamber music output, having already garnered much critical praise for its recent recording (“a most remarkable work” – Fanfare Magazine) and numerous performances, including at noteworthy venues such as Ravinia and Millennium Stage at the Kennedy Center. James M. Stephenson came late to his full-time composing career, having first earned a degree from the New England Conservatory in trumpet performance, and then going on to perform 17 seasons in the Naples Philharmonic in Florida.  As such, the composer is largely self-taught, making his voice truly individual and his life's work all the more remarkable.  Colleagues and friends encouraged his earliest efforts and enthusiasm followed from all directions.  As his catalog grew, so did his reputation.  That catalog now boasts concertos and sonatas for nearly every instrument, earning him the moniker “The Concerto King” from Chicago Symphony clarinetist John Yeh.  The vast majority of those compositions came through commissions by and for major symphony principal players, in Chicago, Boston, New York, Philadelphia, Minnesota, Washington DC, St. Louis, Oregon, Milwaukee, and Dallas, among others.  A major break came from the Minnesota Commissioning Club, which led to two works (violin concertos) receiving premieres in 2012—by Jennifer Frautschi with the Minnesota Orchestra under Osmo Vänskä and by Alex Kerr with the Rhode Island Philharmonic under Larry Rachleff.  Other international soloists for whom Stephenson has composed include saxophonist Branford Marsalis and trumpeter Rex Richardson, whose concerto has been performed on five continents.  With such prolific output, Stephenson's music is well represented in recordings.  Nearly all of his solo brass works (over 50) have been professionally recorded, and in total, his extensive catalog for all instruments can be heard on over 30 CDs. James Stephenson is also a highly sought-after arranger and conductor, rounding out his constantly busy schedule.  His arrangements have been performed/recorded/broadcast by virtually every major orchestra in the country, including the Boston Pops, Cincinnati Pops, New York Pops and more.  On the podium, Stephenson has led orchestras in Chattanooga, Bozeman, Charleston, Ft. Myers, Modesto, and Wyoming, in addition to numerous concert bands.  With the Lake Forest Symphony, near his Illinois home, he has not only conducted but also has served for seven years as Composer-in-Residence. Jim originally hails from the Greater Chicago area, as does his wife Sally.  In 2007 the couple, along with their four children, returned to the region to pursue the life they now share.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. THANK YOU: Most sincere thank you to composer Jim Stephenson (our guest today!) who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/   (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

Over 60 years of composing, Thea Musgrave is a powerful voice that demand respect around the world. We're taking a deep-dive into her massive library and showcasing her eclectic range including chamber, orchestral, and electronic works. Hosted by Seth Boustead Produced by Dan Goldberg Music Turbulent Landscapes BBC Symphony Orchestra; Osmo Vänskä, conductor Concerto for Orchestra Gervase de Peyer, clarinet; Scottish National Orchestra; Alexander Gibson, conductor Green Scottish Ensemble Impromptu No. 1 Nicolas Daniel, oboe; Emer McDonough, flute

Helga Óskarsdóttir, ritstýra vefritsins Artzine, segir okkur frá verkunum sem breyttu lífi hennar. Á Listasafni Íslands er Birta Guðjónsdóttir að setja upp sýningu á verkum Elinu Bortherus. Hin finnska Brotherus er af mörgum talin vera einn mikilvægasti ljósmyndari samtímans og BIrta segir okkur betur frá verkunum á sýningunni sem öll eru tekin á síðastliðnum tveimur árum. Við segjum eilítið frá hljómsveitarstjóranum Osmo Vänska, sem var aðalhljómsveitarstjóri Sinfóníuhljómsveitar Íslands um skeið á 10. áratugnum, en hann stýrir sveitinni á tónleikum í kvöld og annað kvöld. Og hvað skyldi nú tengja átjándu aldar tónskáldið Muzio Clementi og popptónlistarmanninn Phil Collins? Arndís Björk Ásgeirsdóttir leiðir okkur í allan sannleikan um þau tengsl í sínum fyrsta pistli fyrir Víðsjá. Arndís mun héðan í frá flytja okkur reglulega pistla um forvitnilega atburði úr tónlistarsögunni. Og Bergþóra Snæbjörnsdóttir segir okkur frá ljóðabók sinni Flórída, sem er bók vikunnar ár Rás1.

Sibelius Osmo Vänskä interpretatsioonis

Sibelius Osmo Vänskä interpretatsioonis

I programmet diskuteras bl.a. klarinettkonserter med Julian Bliss, Daniel Barenboim spelar på "eget" piano samt Paul von Klenaus 9e symfoni. Johans väljer ur Mahlers trea o Strauss Alpsymfoni. I panelen Aurélie Ferriere, Bengt Forsberg och David Björkman som tillsammans med programledaren Johan Korssell betygsätter följande skivor: CARL NIELSEN W A MOZART Klarinettkonserter Julian Bliss, klarinett Royal Northern Sinfonia Mario Venzago, dirigent Signum SIGCD 390 ON MY NEW PIANO Musik av D Scarlatti, Beethoven, Chopin, Wagner och Liszt Daniel Barenboim, piano DGG 00289 4796724 PAUL VON KLENAU Symfoni nr 9 Cornelia Pfassek, sopran, Susanne Resmark, alt,  Michael Weinius, tenor, Steffen Bruun, bas Danska radions kör och symfoniorkester Michael Schönwandt, dirigent Dacapo 8.226098-99 REMEMBRANCE Körverk av bl. a. Duruflé, Tavener och Elgar Choir of Clare College, Cambridge Graham Ross, dirigent Harmonia Mundi HMU 907654 Referensen - Johan jämför och refererar: den här veckan är det Mozarts Klarinettkonsert som står i Referensens fokus. Denna tolkning är inspelad på Decca med klarinettisten Jack Brymer och Londons symfoniorkester allt under ledning av Colin Davis. Johans val Johan väljer och spelar valda delar ur ett nytt album där mezzosopranen Gerhild Romberger, Augsburger Domsingknabe, damröster ur Bayerska radions kör samt Bayerska radions symfoniorkester, allt under ledning av Bernard Haitink framför Mahlers tredje symfoni på skivmärket BR Klassik samt ur Richard Strauss En alpsymfoni också med Bayerska radions symfoniorkester, men där dirigenten heter Mariss Jansons. Även den är utgiven på BR Klassisk. Andra i programmet nämnda eller rekommenderade inspelningar: Mozarts Klarinettkonsert med klarinettisten Martin Fröst på Bis samt med Benny Goodman och Bostons symfoniorkester under ledning av Charles Munch på RCA. Nielsens Klarinettkonsert med Martin Fröst och Lahtis symfoniorkester under ledning av Osmo Vänskä på Bis; Kjell Inge Stevenson tillsammans med Danska radions symfoniorkester dirigerade av Herbert Blomstedt på Warner Classics; Niels Thomsen och Danska radions symfoniorkester ledda av Michael Schönwandt på Chandos samt med Benny Goodman och Chicagos symfoniorkester på RCA. Inget svep denna vecka

Ali Smith discusses her Brexit-era novel, Autumn, with Samira Ahmed. It's the first of a quartet which very much reflects the issues of today.Osmo Vänskä is about to conduct the London Philharmonic Orchestra playing all the symphonies of Sibelius. He speaks about the composer and Sibelius' place in Finnish national identity.In 1943 two African American brothers from Philadelphia performed a dance routine in the film Stormy Weather, which Fred Astaire would come to refer to as the greatest movie musical sequence he had ever seen. For Fayard and Harold Nicholas - otherwise known as The Nicholas Brothers - entering the Hollywood arena this was no small feat in the 1940's America, a time when racial prejudice was commonplace. Choreographer Stuart Thomas reflects on the achievement of the brothers who were regulars at Harlem's Cotton Club - working with the orchestras of Cab Calloway and Duke Ellington - and one of whom taught Michael Jackson to dance.There are old saws that depicting figures is prohibited in Islam and that the religion, apart from devotion to the one God, has no truck with the supernatural. Francesca Leoni, curator of a new exhibition at the the Ashmolean Museum, and Professor Tariq Ramadan, discuss with Samira Ahmed how things are a good deal more complicated than that.And, on the day a spacecraft lands on Mars to send messages back about the planaet, we hear part of a poem that reverses that process.

Netherlands Radio Philharmonic Orchestra | Netherlands Radio Chamber Philharmonic | Leitung: James Gaffigan, Ingo Metzmacher, Christoph Poppen, Michael Schønwandt, Markus Stenz, Osmo Vänskä

So, what comes next for the Minnesota Orchestra in the wake of the contract agreement that ended the bitter 15-month lockout and returns the musicians to Orchestra Hall in Minneapolis on Feb. 7? Short answer: a considerable amount of work. Settling the lockout is only the first mountain in a series of precarious peaks that the Minnesota Orchestra has to climb on its way to a healthy future, says Graydon Royce, classical music critic of the Minneapolis Star-Tribune. “Somehow the social fabric between the management and musicians has to be repaired and that’s a big, big question here of whether that can happen,” Royce tells Naomi Lewin. “There are still people who write letters to the editor who say, 'We'll come and see the players because I like the players but I’m not donating to the orchestra anymore,’” added Royce, who has chronicled the labor dispute since it began in October 2012. Relations between players, management, donors and audiences are such that “you have an orchestra that is still mad at itself.” At the heart of the lockout was a dispute over the size of pay cuts aimed at reversing a multi-million-dollar deficit that had peaked at $6 million in 2012. After musicians refused to accept pay cuts of up to 40 percent, and the two sides failed to agree on on new contract terms, management locked the musicians out on Oct. 1, 2012. The new contract cuts base pay by 15 percent. Minnesota announced its 2014 season on Friday, one that includes 39 classical concerts, plus educational and family programming. A series of guest conductors are to take the podium including Yan Pascal Tortelier, Mark Wigglesworth and Eric Whitacre. Osmo Vänska, who resigned as music director in October, will return to conduct an all-Sibelius program in March, followed by a single performance with soloist Joshua Bell in April. Despite the new season plans, the lockout has taken an enormous toll, said Royce. Not only did the orchestra lose millions in ticket income with more than a season cancelled, but each musician lost over a year's salary. Whether Vänska will return full-time is a long shot. “There are certainly board members who feel that Vänska was not a perfect soldier – that he should not have made a public ruckus that he would quit if there was not a deal by October 1,” said Royce. "At the same time, I think that he felt really personally hurt by that, and felt he was a put in that position where he felt he had to stand up and say something.” It could take a long time to woo back alienated audiences and donors; other orchestras that have lived through debilitating strikes have found that recovery can be frustratingly slow. Yet there is a model to be found: in the Detroit Symphony. Three years after its six-month strike, it has been on a roll, performing at Carnegie Hall last season, streaming its concerts online, and balancing its budget for the first time in six years. Last week, the musicians ratified a three-year contract. "I think Detroit is actually really instructive,” said Royce. “They got out into the communities and did a lot of concerts basically intended to repair the personal capital."

Aamun vieras Jukka-Pekka Saraste (s.1956) on sukupolvensa johtavia kapellimestareita. Hän aloitti uransa viulistina ennen siirtymistään Jorma Panulan oppilaaksi Sibelius-akatemiaan. Samaan aikaan Paunulan oppilaina olivat myös Esa-Pekka Salonen ja Osmo Vänskä. 30 vuotta sitten sitten Saraste ja Salonen perustivat modernia kamarimusiikkia esittävän Avanti!-orkesterin. Vuosina 1987-2001 Jukka-Pekka Saraste johti Suomen yleisradioyhtiön Ylen sinfoniaorkesteria (RSO). Hänellä on ollut useita kansainvälisiä kapellimesteritehtäviä: Scottish Chamber Orchestra, Toronto Symphony Orchestra, BBC Symphony Orchestra, Oslo Philharmonic ja WDR Symphony Orchestra Cologne.