Podcast appearances and mentions of paris conservatoire

SynopsisAs today is International Women's Day, we thought we'd tell you about a wonderful French composer you may or may not have heard of before.Mélanie Hélène Bonis, or Mel Bonis as she preferred to be called, was a prolific composer of piano and organ works, chamber music, art songs, choral music, and several orchestral pieces. She studied at the Paris Conservatoire, where her teachers included César Franck. She was born in 1858 and died in 1937, so her lifetime spanned the age of Hector Berlioz to Alban Berg.In the 1890s, Bonis reconnected with her first love, a man she had met while still a student, who had encouraged her musical talent. So she left her husband, who did not encourage her, to devote herself full-time to her music. Initially performed and admired in Paris, after World War I her music was neglected, and she became bedridden from arthritis. Despite everything, she continued to compose up to the time of her death at 79.Among her works are seven piano portraits of women, collectively titled Femmes de Légende, or Legendary Women — some of which, like Salomé, she arranged for full orchestra.Music Played in Today's ProgramMel Bonis (1858-1937): Salomé; Orchestre du Capitole de Toulouse; Leo Hussain, conductor; Bru Zane BZ-2006

fWotD Episode 2628: Jacques Offenbach Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Monday, 15 July 2024 is Jacques Offenbach.Jacques Offenbach (; 20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario. He is remembered for his nearly 100 operettas of the 1850s to the 1870s, and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Franz von Suppé, Johann Strauss II and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffmann remains part of the standard opera repertory.Born in Cologne, Kingdom of Prussia, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire; He found academic study unfulfilling and left after a year, but remained in Paris. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris's Opéra-Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There, during the next three years, he presented a series of more than two dozen of his own small-scale pieces, many of which became popular.In 1858 Offenbach produced his first full-length operetta, Orphée aux enfers ("Orpheus in the Underworld"), with its celebrated can-can; the work was exceptionally well received and has remained his most played. During the 1860s, he produced at least eighteen full-length operettas, as well as more one-act pieces. His works from this period include La belle Hélène (1864), La Vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867) and La Périchole (1868). The risqué humour (often about sexual intrigue) and mostly gentle satiric barbs in these pieces, together with Offenbach's facility for melody, made them internationally known, and translated versions were successful in Vienna, London, elsewhere in Europe and in the US.Offenbach became associated with the Second French Empire of Napoleon III: the emperor and his court were genially satirised in many of Offenbach's operettas, and Napoleon personally granted him French citizenship and the Légion d'honneur. With the outbreak of the Franco-Prussian War in 1870, and the fall of the empire, Offenbach found himself out of favour in Paris because of his imperial connections and his German birth. He remained successful in Vienna, London and New York. He re-established himself in Paris during the 1870s, with revivals of some of his earlier favourites and a series of new works, and undertook a popular US tour. In his last years he strove to finish The Tales of Hoffmann, but died before the premiere of the opera, which has entered the standard repertory in versions completed or edited by other musicians.This recording reflects the Wikipedia text as of 00:35 UTC on Monday, 15 July 2024.For the full current version of the article, see Jacques Offenbach on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Amy.

In this episode of Join Us in France, Annie Sargent and Elyse Rivin delve deep into the life and musical journey of Maurice Ravel, one of France's most celebrated composers. Known for his lush orchestrations and exquisite compositions like Boléro and the Piano Concerto in G Major, Ravel's work blends technical mastery with rich cultural influences. Get the podcast ads-free We explore his Basque origins, his formative years in the vibrant cultural milieu of Paris, and his evolution as a composer against the backdrop of early 20th-century Europe. From his studies at the Paris Conservatoire to his challenges with the establishment, his involvement with the avant-garde Apaches, and his experiences during World War I, this episode paints a comprehensive portrait of Ravel's complex character and artistic genius. Learn about his famous American tour, his philosophical disputes, and the creation of his revolutionary yet simplistic masterpiece, Boléro. Discover Ravel's lasting impact on music and why his innovative compositions continue to captivate and mesmerize audiences around the globe. This episode is a must-listen for anyone interested in the intersections of history, culture, and timeless music. Table of Contents for this Episode Today on the podcast Podcast supporters The Magazine Segment Introduction to a Special Composer: Maurice Ravel Ravel's Early Life and Musical Beginnings Ravel's Unique Musical Journey and Influences Interested in Experimentation at an Early Age No Romantic Relationships The Apaches: Ravel's Artistic Circle and Social Life Do you play the Piano Puzzler on NPR? Ravel's Philosophical Stance towards Germany Grand American Tour Gershwin and Ravel: A Musical Friendship The Creation of Bolero: Ravel's Iconic Composition Bolero's Premiere and Legacy: Controversy to Classic Ravel's Life and Other Works: Beyond Bolero Maurice Ravel at the end of his life Music in constant motion What do you listen to when driving, walking the dog, working? Thank you Patrons Reviews on VoiceMap Taking the Train in France Train Strikes Next week on the podcast Copyright More episodes about French culture    

fWotD Episode 2411: Hector Berlioz Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Monday, 11 December 2023 is Hector Berlioz.Louis-Hector Berlioz (11 December 1803 – 8 March 1869) was a French Romantic composer and conductor. His output includes orchestral works such as the Symphonie fantastique and Harold in Italy, choral pieces including the Requiem and L'Enfance du Christ, his three operas Benvenuto Cellini, Les Troyens and Béatrice et Bénédict, and works of hybrid genres such as the "dramatic symphony" Roméo et Juliette and the "dramatic legend" La Damnation de Faust.The elder son of a provincial doctor, Berlioz was expected to follow his father into medicine, and he attended a Parisian medical college before defying his family by taking up music as a profession. His independence of mind and refusal to follow traditional rules and formulas put him at odds with the conservative musical establishment of Paris. He briefly moderated his style sufficiently to win France's premier music prize – the Prix de Rome – in 1830, but he learned little from the academics of the Paris Conservatoire. Opinion was divided for many years between those who thought him an original genius and those who viewed his music as lacking in form and coherence.At the age of twenty-four Berlioz fell in love with the Irish Shakespearean actress Harriet Smithson, and he pursued her obsessively until she finally accepted him seven years later. Their marriage was happy at first but eventually foundered. Harriet inspired his first major success, the Symphonie fantastique, in which an idealised depiction of her occurs throughout.Berlioz completed three operas, the first of which, Benvenuto Cellini, was an outright failure. The second, the huge epic Les Troyens (The Trojans), was so large in scale that it was never staged in its entirety during his lifetime. His last opera, Béatrice et Bénédict – based on Shakespeare's comedy Much Ado About Nothing – was a success at its premiere but did not enter the regular operatic repertoire. Meeting only occasional success in France as a composer, Berlioz increasingly turned to conducting, in which he gained an international reputation. He was highly regarded in Germany, Britain and Russia both as a composer and as a conductor. To supplement his earnings he wrote musical journalism throughout much of his career; some of it has been preserved in book form, including his Treatise on Instrumentation (1844), which was influential in the 19th and 20th centuries. Berlioz died in Paris at the age of 65.This recording reflects the Wikipedia text as of 00:25 UTC on Monday, 11 December 2023.For the full current version of the article, see Hector Berlioz on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Matthew Neural.

Donald Macleod surveys the life and music of the elusive French composer, Edouard Lalo Even if you know the name, it's possible you might not be able to place the French composer Edouard Lalo date-wise. He was born in Lille in 1823. Berlioz was his senior in age by some twenty years, Saint-Saëns twelve years his junior. Lalo has a direct contemporary in the shape of César Franck, another composer who preferred to stay out of the limelight. As a musician, Lalo cut an independent path, preferring to complete his music studies privately rather than following the accepted route of attending the Paris Conservatoire. Lalo had a retiring nature, a man who appears to have preferred the quiet life. That doesn't mean he wasn't sociable. He seems to have been generally well liked. He lived in Paris from the age of sixteen and mixed with and knew all the leading musical personalities of the day. Aside from the Symphonie espagnole, he wrote several operas, a ballet, a symphony, a whole number of orchestral and chamber works including three piano trios and a string quartet, and something in the region of 30 songs. Trying to get a handle on Lalo isn't straightforward. The first letter that's been preserved dates from 1848, by which time Lalo was in his late twenties. His son Pierre was a primary source of information about his father, but more recent research indicates the picture he drew seems to have been somewhat rose-tinted. The first full length biography in English has yet to be published. Donald Macleod sets about mapping the life and the music of this elusive, yet significant figure in French musical history in a survey that takes us from Lalo's early experiences in Lille, where he first met Berlioz, to his eventual triumph, age sixty on the opera stage with Le roi d'Ys. Music Featured: Guitarre, op 28 arr. Ernest Guiraud Symphonie Espagnole in D minor , Op 21 (I: Allegro non troppo) Le roy d'Ys - Overture Violin sonata in D major, “Grand duo concertant” Op 12 (2nd movement Variations) Piano Trio No 2 (III: Minuetto: Allegro) Violin Concerto No 1 in F major, Op 20 (I: Andante – Allegro) Deux impromptus, Op 4 (I : Espérance) Symphonie Espagnole in D minor, Op 21 (II : Scherzando; Allegro molto) Trois mélodies La fenaison Six romance populaires (IV : Si j'étais petit oiseau; I : La pauvre femme) Piano Quintet "Grand Quintette" in Ab major (2nd movement) Cello Concerto in D minor (I. Prélude. Lento - Allegro maestoso) Rapsodie norvégienne Divertissement No 3: Andantino Fiesque, Act 2: Entr'acte: une place de Gênes Fiesque, Act 1: Je ne puis supporter Fiesque Act 2 (except) Piano Trio No 3 in A minor, Op 26 (II: Presto) Sonata for cello and piano (I: Andante non troppo) Concerto russe (II: Chants russe; III. Intermezzo) Namouna, Act 1: Valse de la Cigarette Symphony in G minor (III: Adagio) Namouna Suite No 2 Piano Trio in A Minor, Op 26 (I: Allegro appassionato) Cello Concerto in D minor (II: Intermezzo; III: Introduction: Andante - Allegro vivace) Overture to Le roi d'Ys (excerpt) Le roi d'Ys, Act 3: Vainement, ma bien-aimée String Quartet in E flat (I: Allegro vivo) Piano Concerto in F minor (I: Lento-Allegro) Le roi d'Ys, Act 1 (excerpt) Le roi d'Ys, Act 3 (excerpt) Symphonie Espagnole (V: Rondo) Presented by Donald Macleod Produced by Johannah Smith for BBC Audio Wales and West For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Edouard Lalo (1823-1892) https://www.bbc.co.uk/programmes/m001rhyp And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Mélanie Bonis (1858–1937), a fine pianist herself, composed some 150 works for solo piano, publishing them with her first name shortened to ‘Mel' to disguise the fact that she was a woman – while she lived among the French haute bourgeoisie as Mme Domange. They sometimes show the influence of Chabrier and have points of contact with the music of Chausson, Debussy, and Pierné, who had been fellow students at the Paris Conservatoire. But they also reveal an individual approach to rhythm, harmony and tone-color – and it's clear that her conventional exterior hid a lively sense of fun, her many miniatures for children perhaps influenced by her own experience as a mother.Tracks Barcarolle in E-Flat Major, Op. 71 (publ. 1906) (4:40) L'escarpolette, Op. 52 (publ. 1901) (4:23) Les Femmes de Légende (publ. 2003) No. 1 Mélisande, Op. 109 (1922) (2:40) No. 3 Ophélie, Op. 165 No. 1 (1909) (5:00) No. 6 Salomé, Op. 100 No. 1 (publ. 1909) (4:26) No. 5 Phœbée, Op. 30 (publ. 1909) (3:21) Romance sans parole, Op. 56 (publ. 1905) (2:18) Mazurka, Op. 26 (publ. 1896) (3:59) Il pleut!, Op. 102 (publ. 1913) (2:34) Méditation, Op. 33 (publ. 1905) (3:08) Cinq petites piéces (publ. 1929) (9:17) Une flûte soupire, Op. 117 (1:59) Berceuse triste, Op. 118 (1:41) Boston Valse, Op. 119 (1:17) Agitato, Op. 120 (1:33) Cloches Iointaines, Op. 121 (2:47) Fauré Clair de Lune, transc. Bonis (publ. 1933) (3:12) Scènes enfantines, Op. 92 (publ. 1912)* (14:01) I. Aubade (2:10) II. Joyeux réveil (1:46) III. Cache-cache (1:37) IV. Valse lente (1:19) V. Marche militaire (1:57) VI. Frère Jacques (2:08) VII. Bébé s'endort (1:39) VIII. Carillon (1:25) Cinq pièces musicales (publ. 1897) (14:43) No. 1 Gai printemps: Impromptu, Op. 11 (publ. 1889) (2:52) No. 2 Romance sans Paroles, Op. 29 (3:16) No. 3 Menuet, Op. 14 (publ. 1889) (3:46) No. 4 Eglogue, Op. 12 (publ. 1889) (3:08) No. 5 Papillons, Op. 28 (1:41) *First Recordings This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Not yet 25 years old, Marie-Ange Nguci has exploded onto the international scene in just the last few years, having performed with Orchestre de Paris, Konzerthausorcheter Berlin, and the BBC Symphony Orchestra to name just a few. She certainly fit the model of a child prodigy, being accepted into the Paris Conservatoire at 13, completing her Master of the Piano at 16, and releasing her first album at 20. She's coming to Sydney to join the Sydney Symphony Orchestra to perform Saint-Saëns Second Piano Concerto from the 8th to the 11th of March at the Sydney Opera House, as well as a solo recital on Monday 6th March at the City Recital Hall Angel Place. In this conversation, conducted remotely from her home in Paris, Marie-Ange speaks with great warmth and enthusiasm of the repertoire she has chosen for the program, we hear about growing up in her home country of Albania, and the move to Paris at just 13 years old to attend the Paris Conservatoire. Her passion for her music is unparalleled.

Synopsis Today's date in 1910 marks the birthday in Paris of a French composer you perhaps have never heard of, but Elsa Barraine is well-deserving of your attention. Barraine's father was a cellist at the Paris Opera, and as a teen Elsa attended the Paris Conservatory, studying composition with Paul Dukas. Olivier Messiaen was her classmate and remained a life-long friend. Barraine won several prizes for her compositions, including the prestigious Prix de Rome in 1929 when she was just 19.She worked at the French National Radio from 1936 to 1940. During World War II, Barraine was heavily involved in the French Resistance, and from 1944 to 1947 was the Recording Director of the French record label Le Chant du Monde. In 1953 she joined the faculty at the Paris Conservatoire, where she taught until 1972, the year the French Ministry of Culture named her Director of Music. She died in 1999. Elsa Barraine's catalog of works includes a variety of vocal and instrumental works, an opera, ballets, and two symphonies, but her music is seldom performed today. We're sampling one of her chamber works, a piece for French horn and piano entitled Crépuscules, or Twilights. Music Played in Today's Program Elsa Barraine (1910-1999): Crépuscules Lin Foulk Baird, fh; Martha Fischer, p. Centaur CRC-3857

The Labeque Sisters, Katia and Marielle Labeque, shot to fame in 1980 with their arrangements of Gershwin, including the Rhapsody in Blue, and for more than half a century have made a unique musical life together. Tom Service talks to Katia and Marielle about the broad range of music that they are creating, the boundaries that they are constantly pushing, and their sound-world within two pianos. Before the release of their award-winning Gershwin disc in 1980, Katia and Marielle Labeque predominantly performed contemporary music, and encountered the composer Olivier Messiaen, who overheard them practising his Vision de l'Amen while they were still students at the Paris Conservatoire. They've since worked with Boulez and Berio, and it was on tour in Los Angeles, performing Berio's Concerto for Two Pianos, that they happened across Gershwin for the first time. As students at the Paris Conservatoire, they had to fight to be accepted into the chamber music class, and they tell Tom about perceptions of piano duos and the mission to constantly seek new repertoire. The sisters' continual curiosity and creativity has led them on a journey, as Marielle describes it, where one chance encounter leads to another. They have commissioned new works from musicians of backgrounds from rock to classical, from Bryce Dessner to Nico Muhly, and they have worked alongside Giovanni Antonini who helped them to acquire two reproductions of Bach's Silbermann keyboards, which they keep in their Palazzo in Venice. The sisters speak to Tom at length about all their musical projects, delve into what keeps them going, and discuss how their distinct two-piano sound really works.

My amazing guest for Episode 27 is Anneke Scott! Anneke is at the forefront of the historically informed performance field, and recently performed as a Featured Artist at IHS54 in Kingsville, TX. Episode Highlights Working in Australia, Australian Chamber Orchestra, Australian Romantic and Classical Orchestra IHS54 in Kingsville, TX Prince Regents Band Dealing with jet lag, traveling, etc: “You are just where you are…you are right here right now.  Be rigorous about establishing that you are in that time zone. Eat at the usual times in your current time zone, even if you aren't hungry. Get outside.” Switching between instruments: “Don't think about what you did yesterday and what you have to do tomorrow, just focus on what you are doing right now.” Getting into historically informed performance: “I like the variety of it, and the sense of exploration.” Growing up in Birmingham, UK, musical education Music Programs at Universities, Conservatories in the UK Studying at the Royal Academy of Music in London “We have a remarkable history of different kinds of horns…” Further study in France, Holland Most bizarre instrument you've ever played: alto ophicleide with the Prince Regents Band; Corno da tirarsi Video project: “Corno not Corona” Sense of community with the IHS Royal Philharmonic Society “We have such wonderful repertoire as horn players.” More on switching instruments: “It does get easier.” “I find it useful to play the mouthpieces that go with the instruments.” Learning Portuguese! Book: Historical Horn Handbook: Volume I: Natural Horn, An Introduction https://www.annekescott.com/the-historic-horn-handbooks Jeffrey Snedeker's Book: Horn Teaching at the Paris Conservatoire, 1792 to 1903 The Transition from Natural Horn to Valved Horn https://www.taylorfrancis.com/books/mono/10.4324/9781003093237/horn-teaching-paris-conservatoire-1792-1903-jeffrey-snedeker 

Lessons and Prizes and Rome, OH MY! Bizet takes the Paris Conservatoire by storm—culminating in an all-expense trip to sunny Italy! You probably know that French composer Georges Bizet wrote Carmen, but did you know that he was also a musical prodigy who started composing at the age of nine? Or that composers such as Liszt, Rossini, and Gounod immediately recognized his musical brilliance? Dig into the life of Bizet and meet his musical family. Beautifully brought to life by actor Felix LeBlanc as the voice of Bizet, this seven part audio series reveals the hidden story behind one of opera's greatest composers. This exciting podcast is produced in celebration of Vancouver Opera's production of The Pearl Fishers onstage from October 22-30, 2022. CREDITS Written and edited by Kris Epps Additional editing by Ashley Daniel Foot Music Supervisor and Clearances: Kris Epps and Ashley Daniel Foot Sound design by Kris Epps Associate Producer: Vincent Huynh Voice cast: Bizet: Felix LeBlanc Narrator: Jane Potter Additional Voices: Ashley Daniel Foot, Travis Baugh Allen, Vincent Huynh

Oscar Wilde (1854-1900) was the pre-eminent master of the aphorism in the second half of the 19th century. Frederic Chopin (1810-1849) was one of the greatest of all pianists and his compositions were mostly for solo piano, and most were shorter than ten minutes. For this episode of Read Me to Sleep, Ricky, your host Rick Whitaker reads his own selection and arrangement of Oscar Wilde's aphorisms including the entire "Phrases and Philosophies for the Use of the Young." The recording of Chopin Nocturnes is by Guiomar Novaes (1895 – 1979).We recommend listening with auto-play OFF and the volume fairly low. So get into bed, close your eyes, and listen as you drift off to sleep. Don't bother arguing with Oscar. Though often preposterous, his style never flags. Even on his deathbed, as the story goes, in a cheap Paris hotel,  he managed to be funny: "Either this wallpaper goes, or I do."                   Brazilian pianist Guiomar Novaes (1895-1979) entered the Paris Conservatoire in 1909 at age 14 and instantly caught the attention of Debussy, who had been on her entrance jury. Even by that young age, she had already made fundamental decisions about musical interpretation. Her teacher at the Conservatoire, Isidor Philipp, found it difficult to persuade her to change her interpretations of things such as tempo once she had made up her mind. By 1910, she was already on the concert stage, performing in Paris, London, and on tour in Italy, Switzerland, and Germany and she was only 19 when she made her New York debut at Aeolian Hall. Her final appearance in New York was nearly 60 years later, with a concert in 1972.  She began with a large repertoire and gradually narrowed it, becoming most famous for her Chopin interpretations. Support the show

Donald Macleod begins the second leg of his “Tour de France” in three weeks focused on French composers across the centuries. This week, Donald introduces us to the remarkable life story and unsung musical innovations of Hélène de Montgeroult. There aren't many composers who can claim that music saved their life – at least, in the literal sense. But for Hélène de Montgeroult, it was her astounding powers of improvisation that got her out of the stickiest situation imaginable, hauled in front of the guillotine during the French Revolution. This week, we'll follow her rollercoaster tale and hear how she had her own revolutionary impact on the piano literature. Described as a precursor of Romanticism, anticipating the language of Schubert and Mendelssohn, audiences said her playing “made the keys speak”. She broke ground as the first female professor at the Paris Conservatoire and left behind 600 pages of music, including a complete course for piano which elevated the technical study into a miniature lyrical artform. As Donald pieces together her tantalising story, he's joined by pianist Clare Hammond, who has spent recent years getting to know Montgeroult and recording an album of her études. Music Featured: Etude No 66 in C minor Etude No 101 in C sharp major Sonata in E flat, Op 1 No 2 Sonata in D major, Op 5 No 1 (1st mvt) Sonata in A minor, Op 2 No 3 (2nd mvt) Etude No 38 in A minor Etude No 65 in E flat minor Etude No 17 in E flat major Etude No 55 in F minor Etude No 19 in F major Sonata in A minor, Op 2 No 3 (1st and 3rd mvt) Sonata in F sharp minor, Op 5 No 3 Etude No 107 in D minor Sonata in F minor, Op 5 No 2 Etude No 114 in F minor Sonata in G minor, Op 2 No 1 Thème varié dans le genre moderne Sonata in D major, Op 5 No 1 (2nd-4th mvts) Etude No 82 in C minor, Etude No 104 in G sharp minor Etude No 74 in C minor Etude No 26 in G major Etude No 73 in D major Fugue No 1 in F minor Fugue No 3 in G minor Etude No 110 in A major Etude No 112b in A flat major Sonata in A minor, Op 2 No 3 Etude No 106 in B major Etude No 62 in E flat major Fantaisie in G minor Sonata in C major, Op 2 No 2 Etude No 112 (1st mvt) Etude No 111 in G minor Presented by Donald Macleod Produced by Amelia Parker for BBC Audio Cardiff For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Hélène de Montgeroult (1764-1836) https://www.bbc.co.uk/programmes/m0018ylr And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Hi, I'm Bianca Vinther, the creator of The Pointless Artist. This is a deep conversation I had with Jacques Moreau, French concert pianist and professor of music based in Lyon, France on Tuesday, 12 April 2022. Jacques graduated from the Paris Conservatoire. Aside from piano concerts, he taught and held management positions within the network of French music schools since 1982. In 2002, he became Deputy-Director of the Music Department at the Lyon Conservatoire and Head of Cefedem Rhône-Alpes in Lyon, an institution that trains music teachers in innovative, student-driven, and project-based ways. During the academic year 2014-2015, Jacques was appointed by the Belgium Quality Agency for Higher Education to chair a committee in charge of assessing the four musical higher education institutions of Belgium (French part). Among other things, he's also Academic Advisor to the Princess Galyani Vadana Institute of Music in Bangkok, Thailand. In this episode, we talk in depth about the essence of music and the secret to being a musician, the importance of artistic expression, the role of the performer on stage and of a holistic, student-driven musical education, and we draw striking parallels to the visual arts and the art-making process. Listen to this podcast episode with Jacques Moreau and learn about the experience of music in hic et nunc! Via The Pointless Artist Blog, I support the creative energy of life and the artists who contribute to transforming this world into a freer, kinder, more inclusive, caring, transparent, and compassionate place to live. I firmly believe in the passion for art, the importance of sharing knowledge and experiences, and the power of personal stories to bring us together. www.thepointlessartist.com

We are joined today by our guest, Laurence Equilbey, a leading French conductor. She is the Founder and Music Director of the Insula Orchestra. On stage, she works with the Orchestre National de Lyon, the Orchestre Philharmonique de Strasbourg, Camerata Salzburg, the Scottish Chamber Orchestra, and the Grand Théâtre de Provence. Equilbey is Artistic Director and Director of Education at the Department for Young Singers at the Paris Conservatoire. Our thanks to the LLChat hosts of this series, Alexis Osipovs and Dr. Peter Schulman. What a great team!Farrenc - Symphony No. 3 - II Adagio cantabileFarrenc - Symphony No. 1 - III Minuetto-ModeratoBeethoven Piono Concerto No. 5 in E-Flat Major, Op. 73 , "Empereur" Gluck Orfeo Ed Euridice - Che puro Ciel! Che Chiaro Sol!Mozart Requiem in D Minor Lacrimosa 

William Tell is a French-language opera in four acts by Italian composer Gioachino Rossini to a libretto by Victor-Joseph Étienne de Jouy and L. F. Bis, based on Friedrich Schiller's play Wilhelm Tell, which, in turn, drew on the William Tell legend. The opera was Rossini's last, although he lived for nearly 40 more years. Fabio Luisi said that Rossini planned for Guillaume Tell to be his last opera even as he composed it.  The often-performed overture in four sections features a depiction of a storm and a vivacious finale, the "March of the Swiss Soldiers".Paris Opéra archivist Charles Malherbe discovered the original orchestral score of the opera at a secondhand book seller's shop, resulting in its being acquired by the Paris Conservatoire.Conducted by Kathryn CavanaughCMD Grand Opera Company of VenicePurchase the music (without talk) at:Rossini: William Tell (classicalsavings.com)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

Women have played a major role in classical music history, but because they were women often their work was lost or simply overlooked. Join host Liz Lyon and producer Melanie Renate as we discuss a few of the countless women who have made a large impact in classical music. Episode 77 playlist Hélène de Montgeroult: Thème Varié dans le genre moderne — Hélène de Montgeroult plays a large role in classical music history. She was the first female professor at the Paris Conservatoire in 1795. She was a pianist and composer and paved the way for other composers like Ludwig Van Beethoven and Clara Schumann.LISTEN — Hélène de Monteroult: Thème Varié dans le genre moderne Hélène de Montgeroult: Thème Varié dans le genre moderne by Elfrida Andrée: Symphony No. 2 — Elfrida Andrée was a Swedish organist, composer and conductor. She was an activist in the Swedish women's movement and was the first woman to graduate as an organist. She was also the first woman in Sweden to become a cathedral organist and conduct a full orchestra.LISTEN — Elfrida Andrée: Symphony No. 2 Elfrida Andrée: Symphony No. 2 by Undine Smith Moore: Mother to Son — Undine Smith Moore is known as the Dean of Black Women Composers. She was the granddaughter of enslaved people and through a life filled with music, she became not only an accomplished composer but a renowned teacher. Most of her work is vocal compositions influenced by Black spirituals and folk music.LISTEN — Undine Smith Moore: Mother to Son Undine Smith Moore: Mother to Son by You can now search and listen to YourClassical Adventures where podcasts are found. Explore more from YourClassical Adventures! What are you curious about? You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy.

Donald Macleod explores Debussy's life as he approaches his thirties. Donald Macleod explores Debussy's life as he approaches his thirties, a challenging period both personally and musically. One of the twentieth century's most original minds, the French composer Claude Debussy has had a profound influence on the course of music. Born in 1862, his precocious talent gained him admittance to the prestigious Paris Conservatoire as a ten year old, one of the youngest pupils in the piano class. There were soon indications of his independence of mind. His student years are littered with reports which, while recognising his gifts also found him to be careless and scatterbrained. Debussy found it difficult to focus on his lessons because he felt frustrated with the rules of composition he was told to follow. He wanted to express himself differently, and if he broke the rules to achieve that, well, in his view, so be it. This week Donald Macleod begins his stories at the point in Debussy's life where, the young man has dispensed with institutional restrictions. He was free to choose his own path. No more rules, no more regulations. There were still some practical considerations he would have to factor in to his plans. Having fulfilled, for the main, the requirements of the Prix de Rome, he needed to make a professional name for himself, and most urgently, earn some money! All in all, it would prove to be a difficult decade. Music Featured: Deux Arabesques Romance (Silence Ineffable) La damoiselle élue, Poem Lyric (Introduction; Élue s'appuyait) String Quartet in G minor, op 10 (1st mvt) Rodrigue et Chimène, Act 1 (excerpt) Prélude à l'après-midi d'un faune Images oubliees, No 2 (Souvenir du Louvre) Trois Mélodies de Verlaine Pour le piano (Prelude, Sarabande, Toccata) String quartet in G minor, op 10 (2nd mvt) Proses Lyriques, No 4 (De soir) 6 Épigraphes Antiques Images Oubliees, No 3 (Quelques aspects de "Nous n'irons plus au bois") Proses lyriques, No 3 (De fleurs) Overture to Wagner's ‘The Flying Dutchman' (arr for two pianos) Pelléas et Mélisande, Act 4, Scene 4 Pelléas et Mélisande, Act 1 (excerpt) Nocturnes, No 1 (Nuages) Pelléas et Mélisande, Act 1 (excerpt) Pelléas et Mélisande, Act 1, Scene 3 Nocturnes, No 2 (Fêtes) Lindaraja for 2 pianos Pelléas et Mélisande, Act 3, Scene 1 Images, No 2 (Hommage à Rameau) La mer, No 3 (Dialogue du vent et de la mer) Estampes, No 1 (Pagodes) Le Diable dans le beffroi (excerpt) Masques pour piano Fantaisie for piano and orchestra (1st mvt) Pelléas et Mélisande Act 5 (excerpt) La mer, No 3 (Dialogue du vent et de la mer) Presented by Donald Macleod Produced by Johannah Smith, for BBC Wales For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Claude Debussy (1862-1918) https://www.bbc.co.uk/programmes/m0015546 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Donald Macleod explores the life and work of composer, Luigi Cherubini An octogenarian when he died in 1842, Cherubini's long life places him alongside three giants of the age, Mozart, Haydn and Beethoven. When he was born in 1760, Mozart was four years old, and Haydn was in his thirties. Beethoven was born a decade after Cherubini. Standing among these luminaries, all of whom he admired, Cherubini was a composer, conductor, teacher, administrator, theorist and music publisher, who enjoyed a much higher standing in his own lifetime than his present day reputation might suggest. Beethoven and latterly Wagner are just two of a long list of notables who hugely admired his music. These days it's perhaps through his masses that many people come to his music, so it may be a surprise to discover that he followed the fashion of his day, and produced a considerable number of successful operas. This week Donald Macleod follows Cherubini's progress from his Florentine childhood to Paris, where he was to settle and see his theatrical ambitions realised, in addition to taking on the directorship of the Paris Conservatoire, a position which gave him considerable influence over successive generations. Music Featured: Lo sposo di tre e marito di nessuna, Overture Il Giocatore:, Intermezzo Mass in F minor (Chimay) (excerpt) Sonata for harpsichord no 3 in B flat major Nemo gaudeat in festo septem dolorum BV virginis a 8 voci Il Giulio Sabino, Sinfonia (3rd mvt) Horn sonata No 2 in F major Symphony in D major (1st mvt, Largo – Allegro) Mass No 2 in D minor (Kyrie) Il Giulio Sabino, Act 1: Aria, I mesti affetti miei Overture in G major Lodoïska, Act 1: Aria, Triomphons avec noblesse Démophon, Overture Lodoiska, Act 2 (excerpts) Eliza, ou Le voyage aux glaciers du Mont St. Bernard, Overture Clytemnestre, recit Aux lois d'Agamemnon Marcia per il signore Baron di Braun Faniska, Overture Chant sur la mort de Joseph Haydn (excerpt) Les deux journées, ou le porteur d'eau, Act 2 (excerpt) Medea, Act 3 Finale Les Abencérages, Overture Anacréon, Overture Requiem No 1 in C minor (excerpt) String Quartet No 2 (1st mvt, Lent – Allegro) Requiem No 2 in D minor for male chorus & orchestra (Agnus Dei) Presented by Donald Macleod Produced by Johannah Smith for BBC Cymru Wales For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Luigi Cherubini (1760-1842) https://www.bbc.co.uk/programmes/m0011bml And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

This month on Live Culture, Martha is in discussion with two members of VozTerra, an experimental sound project based in Bogotá, Colombia, which addresses the climate crisis, social justice issues, and the effects of Covid lockdown through innovative collaborative audio recordings mixing ambient noises and music. Much of it incorporates sounds of nature from the threatened and environmentally rich Van der Hammen Reserve, while the Sounds From Your Window project offers a global interactive aural glimpse of life during the lockdown. VozTerra is an audio project created with the purpose of raising awareness about the care of our natural ecosystems, and to open up new experiences for listening, in dialogue with global communities. VozTerra is a proud recipient of the Latinoamerica Verde Awards and features an excellent website full of audio meditations, videos, sounds, music and ways to participate and get involved. You may listen to more here: https://www.vozterra.com/ The music albums Ventanas Volume 1, Ventanas, Volume 2, and Alteraciones, and Reserva, all from 2021, are now available on most major sound platforms for listening, with sale proceeds going to the artists who donated their talents to this project as well as an ecological tree planting initiative, and a fund to support older musicians living on the margins. There is also a wonderful video, an official selection from the AXD Short Film Festival about the Sounds from Your Windows project is available here: https://www.youtube.com/watch?v=uguCxdUD_WE VozTerra was created in November, 2019 by Lany Arévalo, Héctor Buitrago, Rafael Puyana, Diana Restrepo, and Daniel Roa, who, in collaboration with The Museum for the United Nations - UN Live, developed the multimedia web platform for this innovative and timely project. Don't miss this conversation with two of the VozTerra Collective: Rafael Puyana and Diana Restrepo as we meet on Zoom from Sweden, Hong Kong, and Bogotá to discuss art, social justice, and the climate crisis during the time of Covid. This is environmental activism at its most creative, compelling, and inclusive. More about the The Museum for the United Nations - UN Live here: https://museumfortheun.org/about/ Diana Maria Restrepo is a distinguished sound artist and performer. She graduated in percussion from the Paris Conservatoire and did her Masters's studies at the Sound Studies Program of the University of Arts, Berlin. Her artistic concerns point towards personal and collective memory as plastic matter and its relation to sound. She has worked in soundscape, radio, audio design, and installation. She has extensive experience managing and curating artistic and cultural projects. More about Diana can be found at www.dianarestrepo.co Rafael Puyana is a media artist, designer, interactive creative director, educator, and live coder. He has been exploring the intersections between art, design and technology in the digital landscape for around 15 years, for projects and companies in Colombia, Canada, United States, and Mexico. He currently supports companies and special projects with the crystallization of their ideas into prototypes and digital tangible products: applications, mobile, web, installations, and AR/VR. More about Rafael can be found at: www.rafaelpuyana.com Now in it's 5th Year, Live Culture is a monthly radio program about art, ideas and visual culture. For 2021 Martha has largely been focusing on art addressing the Climate Crisis and issues of Social Justice during the time of Covid.

Donald Macleod explores some of the many turning points in Fauré’s career Gabriel Fauré’s story begins during the second half of the 19th century, when the musical world was dominated by the heavily romantic voices of composers like Wagner, Brahms and Liszt. Fauré became a key protagonist in a musical revolution that opened audiences ears to new modes of expression - modern, refined and utterly French. As a composer, and as a teacher at the Paris Conservatoire, he left a huge legacy on the music of the twentieth century. This week Donald Macleod explores some of the many turning points in Fauré’s career, and how those events affected his life and his art. Music Featured: Tarentelle, “Aux cieux la lune monte et luit” Op 10, No 2 Violin Sonata No 1 in A, Op 13 Élégie in C minor, Op 24 Berceuse, Op 16 Après un rêve, Op 7, No 1 Automne, Op 18 No 3 Poème d’un jour, Op 21 No 1-3 Souvenirs de Bayreuth Piano Quartet No 1 in C minor, Op 15 Ballade in F sharp, Op 19 Les roses d’lspahan, Op 39, No 4 Papillon, Op 77 Pavane, Op 50 Clair de lune, Op 46, No 2 Spleen Op 51, No 3 Mandoline, Op 58, No 1 Requiem, Op 48 Le parfum impérissable, Op 76, No 1 Dolly Suite, Op 56 Fantaisie, Op 79 Pelléas et Mélisande, Op 80 Nocturne No 6 in D flat, Op 63 Cantique de Jean Racine, Op 11 Le Chanson d’Ève, Op 96, No 1-5 Pénélope (Prelude) Violin Sonata No 2 in E minor, Op 108 (Andante) Masques et bergamasques, Op 112 Presented by Donald Macleod Produced by Luke Whitlock, for BBC Wales For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Gabriel Fauré (1845-1924) https://www.bbc.co.uk/programmes/m000w2x8 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Symphonie fantastique: Épisode de la vie d'un artiste … en cinq parties (Fantastical Symphony: Episode in the Life of an Artist … in Five Sections) Op. 14, is a program symphony written by the French composer Hector Berlioz in 1830. It is an important piece of the early Romantic period. The first performance was at the Paris Conservatoire on 5 December 1830. Franz Liszt made a piano transcription of the symphony in 1833. Leonard Bernstein described the symphony as the first musical expedition into psychedelia because of its hallucinatory and dream-like nature, and because history suggests Berlioz composed at least a portion of it under the influence of opium. According to Bernstein, "Berlioz tells it like it is. You take a trip, you wind up screaming at your own funeral." Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p1084/Berlioz%3A_Symphonie_fantastique%3A_%C3%89pisode_de_la_vie_d%27un_artiste_%E2%80%A6_en_cinq_parties.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

Minuet from Suite Bergamasque (1890-1905)                Claude Debussy (1862-1918) In 1889, Claude Debussy, already an accomplished and innovative composer, heard Javanese gamelan music at the Exposition Universelle in Paris, and soon changed Western music by demonstrating how music could be structured in scales and rhythms far removed from the rules then taught at the Paris Conservatoire. This piece was written for piano solo and arranged for oboe and harp or piano by the harpist Susan Jolles and the oboist Bert Lucarelli. Sonata for Oboe and Piano (1921)                           Camille Saint-Saëns (1835-1921) Camille Saint-Saëns wrote this joyful oboe sonata in a year of sadness at the end of his life, self-exiled in Algiers. Each of its three movements is a tone poem with its own mood and locale. The first movement, a Barcarolle, paints a watery scene. Opening calmly, the tempo increases like an afternoon sea breeze, then returns to calmness. The second movement suggests a solitary shepherd sounding a horn call across a magnificent valley, then piping a lilting Siciliano and closing with a farewell horn call. The finale is a Fandango, with sounds of frenzied castanets and the stamping boots of Spanish dancers.  

The music of Franco-British composer Jonathan Bell is influenced by Franco-Flemish polyphony, American minimalism (Morton Feldman), and spectral music. He graduated from the Paris Conservatoire with 4 prizes, and the Guildhall School of Music and Drama (Doctorate in Musical Composition). Since 2007, he has collaborated intensely with the vocal ensemble De Caelis, which produces his music in numerous festivals (Île-de-France, European church music festival…), France Musique, and in collaboration with other ensembles (Links ensemble, choirs of several cathedrals). In Germany, he has received commissions from the Zafraan ensemble (Berlin) and SKAM (Stuttgart). In 2014-16, he followed a two-year IRCAM residency, where he developed the SmartVox web application, dedicated to the interpretation of computer-assisted speech polyphony. Since September 2017 he has been a lecturer in music at Aix-Marseille University and researcher at PRISM-lab-CNRS. In 2018, he was named a resident at the Casa de Velasquez/Membre de l'académie de France à Madrid; His music is played and presented in computer music symposiums ICMC (New-York), NIME (Porto Allegre), SMC and Tenor (Melbourne).Jonathan Bell's website**MUSICAL EXCERPTS (in order):Fumeux Fume par Fumée, by Solange (14th century)Ensemble P.A.N.Common Ground, by Jonathan BellJudith Dodsworth, conductorDe joye interdict, by Jonathan BellEnsemble De CaelisLaurence Brisset, conductor**ORDER MY NEW CDIridescent NotationSUPPORT THIS PODCASTPatreonDonorboxLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSSpoken introduction: Maya RasmussenPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

3 Gymnopédies (1888)                              Erik Satie (1866-1925)3 Gnossiennes (1890)Satie attended the Paris Conservatoire, was expelled twice for ignoring musical rules, and thereafter went out of his way to offend the musical establishment. Following the motto of Charles Baudelaire that art should “épater (scandalize) les bourgeois”, the Gymnopédies and Gnossiennes refer to dances of naked men and boys as depicted in ancient Greek pottery and the murals of the Palace of Knossos in Crete. The Gnossiennes are written without bar lines to suggest a continuous flow of sound. Martha Graham, Diaghilev's Ballets Russes, Merce Cunningham and others choreographed dances based on this music. Satie was friendly with Debussy, Ravel, and the founders of Cubism and Dadaism. Hoping to call attention to Satie, Debussy orchestrated Gymnopédies #1 and #3, and Poulenc orchestrated Gnossienne #3. In all three arrangements an oboe plays the principal melodies. Photo by Soichi Sunami, 1927: Martha Graham Dancers performing Satie's Gnossienne. Source: Library of Congress

Today’s guest graduated from the Paris Conservatoire with a Premier Prix but eschewed a career in classical music for one in jazz. A bandleader in his own right, the master of electric violin has worked with the Mahavishnu Orchestra, Return To Forever and Frank Zappa’s Mothers of Invention… Part 1 of 2, continues on Monday.

I've been looking forward to chatting with Milton Masciadri for quite some time! Milton is Distinguished University Professor of the University of Georgia and is a UNESCO Artist for Peace.  He has been highly involved in the international double bass community for over 30 years. More About Milton: Milton Masciadri is a third generation of double bass player. Born in Montevideo, Uruguay, he began his studies with his father and by age 17 was Co-principal Bassist with the Porto Alegre Symphony in Brazil. At 19, he was already on the faculty at Brazil’s Federal University. He completed his Master’s and Doctorate Degrees with work under Gary Karr, Julius Levine and Lawrence Wolfe. In addition to being Professor of Double Bass at the University of Georgia Hugh Hodgson School of Music, Masciadri is also coordinator of the Hodgson School's International & Study Abroad Program, and each year he directs the University of Georgia International Double Bass Symposium. In 2009 Dr. Masciadri received the title of Distinguished University Professor of the University of Georgia, the first faculty member in the fine arts to be so honored in 62 years, and he also holds the title of "Accademico" of the Accademia Filarmonica in Bologna, Italy – Europe’s oldest musical educational institution. He has been awarded the Brazilian Medal of Honor for Academic Achievements for his musical and educational services to the people of Brazil, is listed in the “International Who's Who in Music”, in 1998 was designated a UNESCO Artist for Peace and in 2011 he received the Knighthood honor of the designation of Cavaglieri di San Marco in Venice. Masciadri has presented master classes at such musical institutions as The Juilliard School, Manhattan School of Music, Paris Conservatoire, Guildhall School of Music in London, Moscow Conservatory, Federal University of Rio de Janeiro, Buenos Aires National Conservatory, and Milan Conservatorio, among many others. During the summers he teaches at several international music festivals and double bass conventions in the United States, South America and Europe. His solo recordings have been released on the DMR, Sinfonica, ACA & Fondazione labels. As a performer, Dr. Masciadri has performed chamber music and duets with such artists as George Bolet, Robert Mc Duffie, Aldo Parisot, Sidney Harth, Gary Karr, and Francesco Petracchi, in addition to appearing in collaborations around the world with United Nations musical ambassadors. His solo performances have taken place at such internationally renowned concert venues as New York’s Lincoln Center, Venice’s “La Fenice” Opera House, Teatro Colon in Buenos Aires, Castro Alves Opera House in Salvador (Bahia, Brazil), and the Municipal Theater of Sao Paulo. He is a frequent recitalist and soloist with major symphony orchestras in Europe, Asia, North America, Central America and South America. Masciadri's enthusiasm for enlarging the repertoire of the double bass has led him to publish and premiere works of many contemporary American and South American composers, including works commissioned for him by such institutions as UNESCO and Funarte (Brazilian Foundation for the Arts) as well as making contributions of his own with numerous transcriptions and arrangements. Some of Masciadri 2015 performances included performances in Italy, Spain, France, Uruguay, Argentina, Brazil, Costa Rica, China, Russia, Canada, Slovenia, Croatia and the United States. Masciadri performes on a 320 years old Testore double bass, appears in the International Who’s Who in Music and has solo recordings on DMR, ACA, Fondazione & Sinfonica Labels. Links to Check Out: Milton's University of Georgia faculty page Inside Stories: Milton Masciadri Milton Masciadri Honored with Leonardo da Vinci World Award of Arts Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. The Upton Bass String Instrument Company.  Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr.  Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. Check out this video of David Murray "auditioning" his Upton Bass! The Bass Violin Shop, which  offers the Southeast's largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Subscribe to the podcast to get these interviews delivered to you automatically!

Work for harp by Salzedo performed by Catrin Finch, harp on April 14, 2001 and work for violin and piano by Ravel performed by Benjamin Beilman, violin and Alessio Bax, piano on May 17, 2015.Salzedo: BalladeRavel: Sonata for Violin and Piano (1923)Harpist and educator Carlos Salzedo was born in France and trained at the Paris Conservatoire in piano at the age of nine, before taking up the harp and returning to the Conservatoire to earn a degree in that instrument as well. In 1909, knowing no English whatsoever, Salzedo emigrated to New York, where he’d been invited by Toscanini to join the Metropolitan Opera orchestra. A few years later, he wrote this piece—a virtuosic showcase for the harp, firmly rooted in the harmonic vocabulary widely employed in France at the time. Salzedo would go on to found the harp department at the Curtis Institute and teach at Juilliard, splitting his time between Europe and the States, and his influences lives on, through his pupils and his compositions. We’ll hear the piece played by harpist Catrin Finch.Next up, another Frenchman enamored of America: Ravel. His Sonata for Violin and Piano, written between 1923 and 1927, displays an interest in the uniquely American art form, jazz, which was all the rage in Paris at the time. Ravel wrote the piece before traveling to the States himself, in 1928, but the middle movement in particular (called “Blues”) was clearly inspired by the American music he’d heard performed in Europe.We’ll hear the sonata played by violinist Benjamin Beilman and pianist Alessio Bax, from Chamber Music Society of Lincoln Center. First, the Salzedo, performed by Catrin Finch.

Auguste Franchomme. 19th centuryChances are, unless you happen to be a cellist, you’ve probably never heard of Auguste Franchomme. But back in the day, he was one of the most celebrated musicians in Paris, he was besties with Chopin, and he hung out with people like Franz Liszt, Felix Mendelssohn, and the Rothschilds. He was a teenager when he won the Premier Prix at the Paris Conservatoire, and he was solo cellist in King Louis-Philippe’s Musique du Roi. So, why is it that most of his work hasn’t been recorded and is, in fact, out of print? Why do we remember the name “Chopin” and not “Franchomme”? Cellist and Franchomme scholar Louise Dubin, who just put out a CD called The Franchomme Project, discusses this and much more in this episode. All music in this episode from Louise Dubin’s The Franchomme Project. Audio production by Todd “Terr-ee-bleh” Hulslander with eating of palmiere by Dacia Clay and editing by Mark DiClaudio. For more about Louise Dubin: www.louise-dubin.com 

Fabien is a French composer who is currently living in Berlin. He studied composition with Gérard Grisey at the Paris Conservatoire. His works have been performed by the Ensemble Recherche, the London Sinfonietta, the Ensemble Modern of Frankfurt, and the Berlin Radio Symphony orchestra (among others). He won the 2004 Förderpreis from the Ernst von Siemens Foundation for music. He is currently Assistant Professor of Composition at Columbia University in New York (USA) and senior professor for composition at the Hochschule für Musik Detmold in Germany. You can listen to more of his music at www.fabienlevy.net.In our conversation we talk about his past life working for a bank, composers who write music at different paces, and his experience teaching and living in New York. The piece played in this interview is titled Danse Polyptote and was performed by Teodoro Anzellotti & Jean-Guihen Queyras.

The British writer Helen de Vere Beauclerk (1892–1969) was born Helen Mary Dorothea Bellingham. Her father, a major in the army, died in India a year after her birth, and she was adopted by a close family friend, Major Ferdinand de Vere Beauclerk. She studied at the Paris Conservatoire, and for a short time earned her living teaching music and accompanying on the piano. She returned to England at the outbreak of the First World War. She became a close friend of the artist Edmund Dulac and, after he separated from his wife, lived with him from 1924 until his death in 1953. Dulac frequently used her as a model for his illustrations, and illustrated her two novels, The green lacquer pavilion (1926) and The love of the foolish angel (1929). She also wrote Mountain and the tree (1935) and Shadows on the wall (1941) and translated into English work by Colette. She was tall and slender with a long neck, and dressed simply and elegantly. Lambert captured Helen Beauclerk’s face brilliantly, suggesting the pulsating life under her skin. He reminded viewers of her physicality by showing her putting on her gloves, one bare hand stroking down a gloved index finger on the other hand. At the time that he painted this portrait Lambert began to emphasise the hands of his sitters, which he invested with a degree of nervous energy, as he did in this painting. As well as creating a likeness of his fascinating subject, Lambert was interested in the beauty and texture of the whole of his paint surface. The background is thinly painted in expressive dabs in many colours, including chrome yellow, blue, purple and black. Contemporary critics appreciated the abstract, decorative qualities of this painting, as much as its likeness. The Observer critic, P.G. Konody, noted on 17 June 1917, ‘These portraits are convincing and full of character; but the interest aroused by the life-like representation is never allowed to distract attention from the more abstract qualities of the work’. The portrait was purchased by the Art Gallery of New South Wales when first exhibited in Australia at the Fine Art Society in 1921. It was their first purchase of Lambert’s work since the 1890s.