Podcasts about Paul Hindemith

The commission for a new Clarinet Concerto from the great American composer Aaron Copland came from a rather unlikely source: Benny Goodman, the man known as the King of Swing. Goodman was one of the most famous and important jazz musicians of all time, but in the late 1940s, swing music was on the decline, and bebop had taken over. Goodman experimented with bebop for a time but never fully took to it in the way that he had so mastered swing. Goodman then turned towards the classical repertoire, commissioning music from many of the great composers of the time, such as Bela Bartok, Darius Milhaud, Paul Hindemith, Francis Poulenc, and of course, Aaron Copland. Copland eagerly agreed to the commission, and spent the next year carefully crafting the concerto, which is full of influences from Jazz as well as from Latin American music, perhaps inspired by the four months Copland spent in Latin America while writing the piece. What resulted from all this was a short and compact piece in one continuous movement split into two parts. With an orchestra of only strings, piano, harp, and solo clarinet, Copland created one of the great solo masterpieces of the 20th century. It practically distills everything that makes Copland so great into just 18 minutes of music. Today on the show we'll talk about the difficulty of the piece, something that prevented Benny Goodman from performing the concerto for nearly 2 years, as well as the immense difficulty of the second movement for the orchestra. We'll also talk about all of those quintessentially Copland traits that make his music so wonderful to listen to, and the path this concerto takes from beautiful openness to jazzy fire. Join Us!  Recording: Martin Frost with the Norwegian Chamber Orchestra Pedro Henrique Alliprandini dissertation: https://getd.libs.uga.edu/pdfs/alliprandini_pedro_h_201812_dma.pdf

Laura Jackson, Reno Phil Music Director and Conductor, talks with Chris Morrison about the Reno Phil's “Lord Nelson Mass” concerts, the final concerts of the orchestra's 2024-25 Classix season, on April 12 and 13, 2025. The concerts feature the west coast premiere of Go where the wind takes you... by Iryna Aleksiychuk, the Mathis der Maler Symphony by Paul Hindemith, and, with the Reno Phil Chorus and soloists, the Lord Nelson Mass by Franz Josef Haydn.

Episode 150 Chapter 11 Electronic Music Performance Instruments (1920– 40). Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast.   Playlist: ELECTRONIC MUSIC PERFORMANCE INSTRUMENTS (1920– 1950)   Time Track Time Start Introduction –Thom Holmes 01:35 00:00 1.     Luigi Russolo, “Serenata” (1924). Mechanical noise-intoners and orchestra. 02:01 01:38 2.     Leon Theremin, “Deep Night” (1930). The inventor playing his own instrument. 01:48 04:16 3.     Orchestra Raymonde, “Romantique” (1934). Song featuring the Electronde, an instrument based on the Theremin made by Martin Taubman. 02:55 06:06 4.     Edgard Varèse, “Ecuatorial” (1934). Scored for chorus, small orchestra, organ, and two Ondes Martenots. Performance under the direction of Pierre Boulez in 1983. 12:11 09:00 5.     Paul Hindemith, “Langsames Stück und Rondo für Trautonium” (1935). Oskar Sala played the Trautonium. 05:29 21:02 6.     Olivier Messaien, “Oraison” (1937) for Ondes Martenot and orchestra. 07:43 26:34 7.     John Cage, “Imaginary Landscape No. 1” (1939). Radios and turntables playing test signals. 08:37 34:14 8.     Slim Galliard Quartet, “Novachord Boogie” (1946). Featured the Hammond Novachord organ/synthesizer. 02:57 42:50 9.     Lucie Bigelow Rosen, “That Old Refrain” (1948) for Theremin and piano. 03:25 45:48 10.   Miklós Rózsa. “Subconscious” from Spellbound (1948). Musical score for the Alfred Hitchcock film featuring Dr. Samuel J. Hoffman on Theremin. 02:07 49:14 11.   Clara Rockmore, “Valse Sentimentale” (Tchaikovsky) (1977) for Theremin. Later performance of the famous Thereminist from the 1930s-1940s. 02:07 51:22   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 151 Chapter 12, The History of Audio Recording Technology. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast.   Playlist: THE HISTORY OF AUDIO RECORDING TECHNOLOGY   Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1.     Leon Scott “Au Clair de la Lune” (1860). Phonautograph. One of about 50 recordings made around 1860 by Édouard-Léon Scott de Martinville's on his invention, the Phonautograph that were digitally restored in 2008 by the First Sounds collaborative. These were created using the Lawrence Berkeley National Laboratory's virtual stylus technology, which sought to track the wavy lines scratched on soot-covered paper as though they were standard record grooves. 00:20 01:38 2.     Alice J. Shaw, an improvised whistling performance (1888) from an Edison Records cylinder recording. 02:13 01:58 3.     George J. Gaskin, “Drill Ye Terriers Drill” (1896) from an E. Berliner's Gramophone shellac disc. 01:24 04:10 4.     Sousa's Band, “Happy Days In Dixie” (1897) from an E. Berliner's Gramophone shellac disc. 01:43 05:36 5.     Emperor Franz Joseph, short message recorded on Valdemar Poulsen's Telegraphone (1900). Early magnetic wire recording. Recording made without microphone. 00:09 07:18 6.     Sousa's Band, “The Mosquito Parade” (1904) from Columbia Records shellac disc. Note the higher fidelity of the instruments compared to earlier recordings on disc, recorded without electrical microphones but optimizing the use of acoustic horns for sound intake. 02:54 07:28 7.     Noble Sissle (vocals) and Eubie Blake (piano), medley of popular songs (1923). Recording using onto an early sound film using the Phonofilm process invented by Lee de Forest. 06:51 10:22 8.     Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1924) from an RCA Victor shellac disc. This is an acoustically recorded version of this piece, without the benefit of vacuum tube amplification or electrical microphones. Compare to the 1927 version (next), also by Whiteman, produced using electrical recording. 09:06 17:12 9.     Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1927) from RCA Victor, His Master's Voice shellac disc. An electrical recording using vacuum tube amplification and electrical microphones. 08:59 26:30 10.   Paul Hindemith, “Trickaufnahme” (excerpt) (1930), an experiment in turntablism using turntable discs to both record, mix, and playback the result. 00:58 35:28 11.   BBC, “Pieces of Tape” excerpt of a program (1933) produced by editing together segments recorded previously using the Blattnerphonesteel tape recorded that used a magnetic process. This was the first audio recording assembled using tape editing. A dozen years prior to the available of magnetic tape, edits made to steel tape had to be made by spot welding. 05:29 36:28 12.   Sidney Bechet, “Blues of Bechet” (1941) from an RCA Victor shellac disc. An early example of overdubbing/multitracking. Bechet played every instrument on this track, including the piano, clarinet and soprano saxophone. Each instrument was recorded onto a new master disc and mixed on another disc to create the final recording. 01:57 41:56   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

EPISODE PARTNER: Thrive Market  Our Operasluscious Hot Topic: Sancta Susanna, this 100 year old opera is raising some eyebrows. Over 18 people have sought medical attention after watching the opera.  Sex, search for identity, nudity, simulated sex scenes, nude performers on church bells, three hours no intermissionHow to prepare for the opera:Opera Basics – What to Know Before You GoGoing Solo to the OperaGoing to the Opera with FriendsGoing to the Opera on a Date  Host Bri Cooper Email: 728productions@gmail.com Thanks to our partners at THRIVE MARKET! Join today and get 30% off your first order as well as a gift up to $60. Visit www.thrivemarket.com/bricoopermezzo Instagram Harbour for the Arts Instagram Bri Cooper, Mezzo Soprano, MBA, BM (@bricooper.mezzosoprano) • Instagram photos and videos Spotify Playlists Harbour for the Arts Tik Tok Bri Cooper Mezzo Soprano SHOPPINGBy merch from my website: Merch Use my Rakuten Code

«Es klingt fein und ist ganz einfach zu hören und zu spielen, worauf ich äusserst stolz bin. Ich konstatiere mit Befriedigung, dass meine Sachen besser und einfacher werden (wird auch Zeit).» Das sagte Paul Hindemith über sein 4. Streichquartett.  Reden wir darüber, über diesen Klassiker der Moderne – mit der weltbesten und doch so geerdeten Bratschistin Tabea Zimmermann. Reden wir über Hindemith-Vorurteile, über Spiel und Innovation. Erstausstrahlung: 25.01.2023

In this conversation with WGTE's Mary Claire Murphy, Stathis Karapanos speaks on the often-misunderstood musical language of Paul Hindemith and introduces his album of complete Hindemith flute works.

Diario segreto di Ciompy Sellone, una ragazza timida 16 Ottobre 2024 "Eccomi qui, come ieri come oggi, a scrivere su questo diario una finta corrispondenza epistolare tra me e un amico che da anni amo chiamare Giadaun Poko, che immaginandomelo di estrema destra ho ormai imparato a chiamare Giada, perché so che lo fa incazzare quando mi rivolgo a lui con il genere femminile. Arrenditi Giada, arrenditi alla comunità queer. Come sto? Arresa dal fatto che più mi sforzo a colmare questo vuoto che sento, e di cui non riesco a trovare l'origine, e più cerco di colmarlo, più finisco per incontrare casi umani che non aiutano, anzi vanno a peggiorare la situazione. Vuoi sapere dell'ultimo Giada? Andiamo a cena fuori e poi mi porta a vedere questo spettacolo, lui la chiama performance però non ti nego che per un attimo ho pensato fosse gay, perdonami quale uomo attratto da Diletta Leotta direbbe performance? Comunque, lo spettacolo si chiamava Sancta, non saprei descrivere come mi sento in seguito a questa esperienza, non credo di aver mai visto una papessa nana fluttuare sul palco tramite un braccio meccanico mentre un gruppo di suore viene sculacciato con veemenza come nulla fosse. Me ne sono andata a metà spettacolo in preda ai conati di vomito. Mai più un figlio d'arte. Un bacio Giada dalla tua Ciompy. Link per il trailer di Sancta per farvi un'idea: https://www.youtube.com/watch?v=DWLmmDIMGaE Link per la pagina dove trovare il video della performance di Florentina Holzinger con lei appesa a dei ganci mentre se le danno di santa ragione: https://forecast-platform.com/mentor/florentina-holzinger/ Link per il video di Sancta Susanna di Paul Hindemith stra bello se avete una mezz'ora guardatevelo: https://www.youtube.com/watch?v=U7LALKkB2gE&t=1112s

SynopsisToday's date in 1922 marks the birthday of Héctor Campos Parsi, one of Puerto Rico's finest composers.Campos Parsi originally planned to become a doctor, but after a meeting with the Mexican composer Carlos Chávez, ended up studying music at the New England Conservatory in 1949 and 1950 with the likes of Aaron Copland, Olivier Messiaen and Serge Koussevitzky, and between 1950 and 1954 with Paul Hindemith at Yale and with Nadia Boulanger in Paris.Returning to Puerto Rico, Campos Parsi pursued a dual career: as a writer, he contributed short stories, essays, poems to Puerto Rican magazines, and wrote music reviews and articles for island newspapers. As a composer, he wrote instrumental and vocal works for chamber, orchestral, and choral ensemble. Two of his best-known works are Divertimento del Sur, written for string orchestra with solo flute and clarinet, and a piano sonata dedicated to Puerto Rican pianist Jesús María Sanromá. As a musicologist, Campos Parsi wrote entries for music encyclopedias and served as the director of the IberoAmerican Center of Musical Documentation and as composer-in-residence at the University of Puerto Rico at Cayey, where died in 1998 at 75.Music Played in Today's ProgramHéctor Campos Parsi (1922-1998): Divertimento del Sur; Members of the Casals Festival Orchestra; Milton Katims, conductor; Smithsonian Folkways COOK-01061

„Meine Aufgabe sehe ich nicht darin, Musik auszudenken, sondern zu hören. Es geht darum, mein Ohr nicht zu stören beim Hören dessen, was außerhalb von mir passiert.“ Sagt der Komponist Alfred Schnittke. Diese Aussage gilt auch für sein Konzert für Klavier und Streicher von 1979. Anna Gourari hat das Werk aufgenommen und – an der Seite des Orchestra della Svizzera Italiana und Markus Poschner – mit Musik von Paul Hindemith verknüpft. SWR-Kritiker Christoph Vratz über ein ungewöhnlich zusammengestelltes, kontrastreiches Album, das er nicht zum Nebenbei-Hören empfiehlt.

durée : 01:28:14 - En pistes ! du mercredi 05 juin 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme de ce mercredi matin sur En pistes ! Les œuvres de Maurice Ravel, Boris Liatochinski, Alessandro Scarlatti, Paul Hindemith, Jacques Ibert, Jacques Duphly et Wolfgang Amadeus Mozart

durée : 00:05:13 - 125. Le Ragtime (wohltemperiert) de Paul Hindemith (1921) -

Jay begins this episode with Paul Hindemith, who in 1921 combined his interest in ragtime with his love of Bach. There is also a minuet by Ravel, glancing back at Haydn. There is a song by Zemlinsky, setting Langston Hughes. There are wonders and curiosities in this episode—which, by the way, has a sponsor: Michael Lohafer, who, as Jay says, is “a particular authority on Mozart.” Mr. Lohafer says, “My sponsorship is on behalf of all attentive listeners to Music for a While who enjoy the well-considered selections that always delight the ear.” Bach, Fugue in C minor from “The Well-Tempered Clavier,” Book 1 Hindemith, “Ragtime (Well-Tempered)” Ravel, “Menuet sur le nom d'Haydn” Schumann, “Faschingsschwank aus Wien” Zemlinsky, “Afrikanischer Tanz” from “Symphonische Gesänge” Liszt, “Canzonetta del Salvator Rosa” from “Années de pèlerinage, deuxième année: Italie” Vasks, Dolcissimo from “The Book” Prokofiev, Sonata No. 7, Precipitato Martinů, Fantasia for String Quartet, Oboe, Theremin, and Piano Gounod, “Ah! lève-toi, soleil!” from “Roméo et Juliette” Tchaikovsky-Pletnev, Pas de deux from “The Nutcracker”

durée : 01:28:18 - En pistes ! du vendredi 22 mars 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Nous terminons la semaine aux côtés de Nadia Boulanger, Francis Poulenc, Claude Debussy et Camille Saint-Saëns, puis nous voyagerons avec Franz Benda, Sergueï Rachmaninov, Johann Kuhnau et Paul Hindemith. En pistes !

El compositor Vsevolod Zaderatsky (1889-1952) pasará todo el episodio de hoy en los campos de trabajo esclavo del valle del río Kolimá, en Siberia. Allí es donde fue encarcelado poco después de haber recuperado el derecho a voto por su incansable trabajo en pro de la música y la ópera en Yaroslavl. Fue condenado a 10 años sin derecho a correspondencia, algo que equivalía a una condena a muerte, acusado de difundir música fascista. Con la Orquesta de Yaroslavl había hecho un concierto con música de Wagner y de Richard Strauss. En el campo de trabajo esclavo del Sevvolstlag NKVD compuso, escribiendo en impresos de telegramas y sin ningún instrumento en los alrededores, su obra más reconocida, los monumentales 24 Preludios y Fugas para piano, una obra pionera que conectaba la forma barroca predilecta de Johann Sebastian Bach con la música más moderna del siglo XX. Zaderatsky fue el primero en emplear esa forma en la modernidad, adelantándose a músicos tan relevantes como Dimitri Shostakovich o Paul Hindemith. Pese a ello, la obra de nusrtro moderno no influyó en sus colegas porque permaneció silenciada hasta hace menos de 10 años. Zaderatsky consiguió sobrevivir al archipiélago gulag gracias a su habilidad como contador de historias y tras dos años en el campo fue puesto en libertad, pero sin una forma clara de regresar al continnte, que es como llamaban los presos a la Rusia Occidental. De su retorno a Yaroslavl, hablaremos en el próximo capítulo.

Met de stichting van de moderne Turkse staat heeft Ataturk ook het muziekonderwijs willen hervormen. Daartoe werden in de jaren dertig Paul Hindemith en Béla Bartók uitgenodigd de Turkse staat van advies te dienen. Bartók concentreerde zich daarbij vooral op het volksmuziekonderzoek. De weerslag daarvan is tot op de dag van vandaag in veel Turkse […]

SynopsisOn today's date in 1941, Greek-born conductor Dimitri Mitropoulos led the Minneapolis Symphony in the premiere performance of a new symphony by German composer Paul Hindemith, who came to Minnesota for the performance.Mitropoulos was an ardent promoter of new music, but few of the contemporary works he programmed were welcomed by audiences or the critics with much enthusiasm. Hindemith's reputation as an atonal composer had preceded him, but, surprisingly, his new piece for Minneapolis was billed as a “Symphony in E-flat Major” and, much to the delight of all concerned, featured recognizable tunes.By chance, another famous composer, Sergei Rachmaninoff, was in Minneapolis that day, and was invited by Mitropoulos to attend the Hindemith premiere backstage, where he wouldn't be annoyed by autograph seekers. Rachmaninoff had a pessimistic view of modern music, but Mitropoulos was sure the famously dour Russian would like Hindemith's resolutely tonal new symphony. Rachmaninoff was positioned just off stage, and after the end of the symphony, which was received with great applause, Mitropoulos passed him as he left the stage. “Well?” Mitropoulos asked. “No goooood,” was Rachmaninoff's lugubrious response.Music Played in Today's ProgramPaul Hindemith (1895-1963) Symphony in E-flat; BBC Philharmonic; Yan Pascal Tortelier, cond. Chandos 9060

Episode 108 The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium, part 1 Playlist Oskar Sala, “Demonstration” from My Fascinating Instrument (1990 Erdenklang). Demonstration of the Mixtur-Trautonium by Sala, providing a sampling of the many various effects that he could create in real-time without magnetic tape tricks. In addition to the audio track, here is a terrific video from 1993 showing Sala playing the newer, fully transistorized version of the Mixtur-Trautonium in his home studio. Note the dexterity needed to press the little “tongues” of the instrument and press them from side to side to enable note expression. If you were only listening, you would assume that he was playing a keyboard. This view reveals why playing the instrument was quite different than any other. There are, of course, many other videos available showing Sala and his instrument over the years. But I thought this one illustrated the performance aspects of the Mixtur-Trautonium that make it a remarkable, and unique, electronic music instrument. 7:14. Paul Hindemith, Oskar Sala, “7 Triostücke Für 3 Trautonien (1930) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Oskar Sala of one of the very first concert pieces composed for the original Trautonium. This later performance from 1977 used the Mixtur-Trautonium and multi-tracking of Sala as he performed all three parts of this trio. In 1930, the other two players on the three Trautoniums were Paul Hindemith and Rudolph Schmidt. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 1:21. Paul Hindemith, Oskar Sala, “Konzertstück Für Trautonium Mit Begleitung Des Streichorchesters (1931) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Sala at the Mixtur-Trautonium. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 3:02. Harald Genzmer with Oskar Sala, “Konzert Für Trautonium Und Orchester” (1938-39) (excerpt) (1942 DGG). Early performance of this work for the Concert Trautonium, performed by Sala and composed by Genzmer. Performed by the Städtisches Orchester Berlin under the direction Helmuth Thierfelder. The complete work was in the vicinity of 30 minutes long. 7:00. Paul Hindemith, Oskar Sala, “Langsames Stück Und Rondo Für Trautonium” (1935) from Subharmonic Mixtures (1997 Erdenklang). A newer performance by Sala of this early work by Hindemith. Originally written for the Radio Trautonium, this version was performed on the Mixtur-Trautonium. This was recorded in 1985. 5:29. Oskar Sala, Großes Tanzorchester, Frank Fux, “Bezaubernde Melodien” (1941 Telefunken). This German popular music disc features an early solo by Sala using the Concert Trautonium. You can hear its distinctive melodies, reminiscent of a flute or clarinet, but clearly different. 2:56. Oskar Sala, “Poor Hansi” (1943). This animated short film included a singing canary, the voice of which was provided by Oskar Sala using the Concert Trautonium. The instrument also provided some miscellaneous sound effects such as the squeaking cage door. 3:04. Fritz Kreisler, Oskar Sala, “Scherzo im Stile von Carl Ditters von Dittersdorf” (1946) from Das Konzertrautonium Wandlungen (2011 Der Trautonist). Concert Trautonium, Oskar Sala; piano, Gerhard Schael. This recent recording (not Sala) was made in 2011 using the third incarnation of the Trautonium, the Concert Trautonium (1938). 3:29. Oskar Sala, “A Fleur D´eau ( In wechselndem Gefälle)” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:22. Oskar Sala, “Der Fluch Der Gelben Schlange” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:39. Oskar Sala, “Intro, The Birds” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). This UK collection features the electronic sounds created for the film by Oskar Sala on the Mixtur-Trautonium. Occationally, you may hear some ambient bird sounds in the soundtrack mix, but the truly eerie, intimidating bird sounds are those produced by Sala. An original “soundtrack” was never released at the time primarily because, despite the popularity of the movie, no music was orchestrated for the movie other than the eerie electronic music sounds of birds created by Oskar Sala. 1:33. Oskar Sala, “Bird's Attack/After Explosion” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 2:01. Oskar Sala, “The Crows Again/Annie Is Dead” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 0:35. Oskar Sala, “The End” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 4:26. Henrich Heine, Oskar Sala, excerpts from “Denk Ich An Deutschland - Eine Politische Reportage Über "Deutschland - Ein Wintermärchen" (1966 Electrola). Sala contributed music and sound effects made on the Mixtur-Trautonium for this drama production. 4:41. Oskar Sala, “Rede Des Toten Christus Vom Weltgebäude Herab, Dass Kein Gott Sei” (1986) from My Fascinating Instrument (1990 Erdenklang). Mixtur-Trautonium, Oskar Sala; narrator, Friedrich Schönfelder; words, Jean Paul (1797). 12:52. Opening background music: Oskar Sala, “Fantasie-Suite In Drei Sätzen Für Mixturtrautonium Solo” from My Fascinating Instrument (1990 Erdenklang). Composed, Performed on the Mixtur-Trautonium and produced by Oskar Sala. 10:38. Timeline of the Trautonium This timeline shows the evolution of the Trautonium and Mixtur-Trautonium, all played by Oskar Sala (1910-2002). 1929-30: Trautonium (Friedriech Trautwein). One manual. 1935: Radio-Trautonium. Two manuals, two pedals. 1938: Konzerttrautonium (Concert Trautonium, a portable model. Two manuals, two pedals. 1952: Mixturtrautonium (Mixtur-Trautonium). Two manuals, two pedals. 1988: Micro-Electronic Mixtur-Trautonium (transistorized model). Two manuals, two pedals. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

SynopsisIn London on today's date in 1938, the Ballet Russe of Monte Carlo presented a brand-new work by the German composer Paul Hindemith based on the life of Saint Francis of Assisi entitled Nobilissima Visione. The idea may have been suggested by Hindemith's wife, who had recently converted to Catholicism. The Hindemiths had visited the Church of Santa Croce in Florence were deeply impressed by its frescoes depicting scenes from the life of St. Francis.  Hindemith originally intended to incorporate melodies by the 14th century French composer Machaut into his ballet but ended up writing original themes in an archaic style. As a staged ballet or as a concert suite,  Nobilissima Visione proved to be one of Hindemith's most popular works.“My ballet is not an eye-catcher in the old style,” wrote Hindemith in 1938, “It is not exactly full of sparkling wit, but all the same it makes a fine impression, with all the trappings of success that a composer greedy for recognition could wish. Even the earthshaking impresario Sol Hurok was so impressed that he pressed me to his smart businessman's heart and is insisting on my conducting the piece myself in New York and surrounding villages.”Music Played in Today's ProgramPaul Hindemith (1895 - 1963) Nobilissima Visione San Francisco Symphony; Herbert Blomstedt, conductor. London 433 809On This DayBirths1896 - French composer Jean Rivier, in VillemombleDeaths1838 - German inventor of the metronome, Johann Nepomuk Maelzel, age 65, on board the brig Otis in the harbour of La Guiara, Venezuela, en route to Philadelphia; Beethoven's orchestral battle-symphony, "Wellington's Victory," was originally written for one of Maelzel's mechanical music-machinesPremieres1733 - Handel: oratorio "Athalia," in Oxford (Julian date: July 10)1938 - Hindemith: ballet, "St. Francis," at Covent Garden in London, with composer conducting (the suite titled "Nobilissima Visone" is drawn from this score)1971 - William Bolcom: “Frescoes” in Montreal, with Bruce Mather (piano and harmonium) and Pierrette LePage (piano and harpsichord);1983 - Thomas Oboe Lee: "Morango …almost a tango" for string quartet, at the Sanders Theater in Cambridge, Mass., by the Composers in Red Sneakers ensemble Links and Resources On Paul Hindemith

Synopsis On today's date in 1938, Matthias the Painter, an opera by the German composer Paul Hindemith, had its premiere performance in Zurich, Switzerland. This work had been scheduled to be premiered in 1934 at the Berlin Opera by the German conductor Wilhelm Furtwangler, but the newly-installed Nazi regime canceled the performance. In protest, Furtwangler performed a concert suite from Hindemith's opera at a Berlin Philharmonic concert, resulting in a loud pro-Hindemith demonstration on the part of the audience. The Nazi press responded with attacks on both Hindemith and Furtwangler. By the end of 1934 it was clear to all in Germany that the Nazis would brook no opposition when it came to cultural matters. So how had the quintessentially German Hindemith offended the new regime? In 1929 Hitler had attended the premiere of another Hindemith opera, titled News of the Day, and hated it – labeling it “degenerate.” Furthermore, Hindemith's wife and many of his closest musician friends were Jewish. Hindemith became persona non grata in Nazi Germany, and, shortly after the Zurich premiere of his new opera, he and his wife emigrated to the U.S., where he taught at Tanglewood and Yale, becoming an American citizen in 1946. Music Played in Today's Program Paul Hindemith (1895 - 1963) Mathis der Maler Bavarian Radio Chorus and Orchestra; Rafael Kubelik, conductor. EMI 55237

Konzerte im Museum, das legendäre Klassik Open Air und eine Oper von Paul Hindemith sind nur ein paar der Highlights, die sich Roland Böer, der neue Generalmusikdirektor am Staatstheater Nürnberg, für seine erste Spielzeit vorgenommen hat. Mit BR-KLASSIK hat er darüber gesprochen.

Parmi eux, citons Benjamin BRITTEN, Lily BOULANGER, Paul HINDEMITH et d'autres dont les extraits marqueront leur souvenir

Parmi eux, citons Benjamin BRITTEN, Lily BOULANGER, Paul HINDEMITH et d'autres dont les extraits marqueront leur souvenir

David Owen Norris chooses his favourite recording of William Walton's Viola Concerto. It was conductor Sir Thomas Beecham's suggestion that Walton should write a viola concerto for the virtuoso Lionel Tertis. But things did not go according to plan when Tertis sent back the music by return of post saying it was 'too modern'. So the 1929 premiere was given by Paul Hindemith (who had been sent the concerto by the BBC's Edward Clark) at the Queen's Hall, just around the corner from Broadcasting House. It was a success and Tertis, in the audience, relented. But although he subsequently played the concerto, Tertis continued to disparage it and was heard to say that Walton had 'murdered' the viola. Despite its inauspicious beginning, Walton's Viola Concerto has long been recognised as one of his most important early works and is well established a cornerstone of an albeit limited repertoire. Perhaps the root of its appeal is to be found in its dedication 'to Christabel', the lyrical melancholy and poetic longing at the concerto's heart reflecting Walton's unrequited passion for Christabel, Lady Aberconway.

Retrato de Paul Hindemith e da sua importância para a educação musical na TurquiaSee omnystudio.com/listener for privacy information.

Today's episode is a celebration of the Texas-born, German-assimilated soprano Helen Donath. Very few singers can boast of a career lasting more than 50 years which yielded such consistently superb vocalism and artistry. Donath began as a soubrette with lyric-coloratura capabilities which blossomed into a jugendlich dramatisch voice capable of successfully assuming roles in Wagner, Strauss, and Weber. Today's episode has two “gimmicks,” the first of which is that all of the selections are sung in German, even if they were originally set in French or Italian. The second gimmick is that strewn in amongst the other selections, there is a smattering of holiday-related material including works by Bach, Handel, Mozart, Humperdinck, and Pfitzner. Other composers heard include Otto Nicolai, Friedrich von Flotow, Paul Hindemith, as well as numerous examples of Donath's peerless Mozart singing and a generous helping of operettas by Lehár, Millöcker, and Johann Strauss II. Vocal guest stars are legion, and include Julia Varady, Siegfried Jerusalem, Anna Moffo, Peter Schreier, Edda Moser, Theo Adam, Werner Hollweg, and Günther Leib in performances conducted by Leonard Bernstein, Herbert von Karajan, Kurt Eichhorn, Rafael Kubelik, Herbert Blomstedt, Wolfgang Sawallisch, Bernhard Klee, Otmar Suitner, Hans Schmidt-Isserstedt, Gerd Albrecht, and Willi Boskovsky, as well as Klaus Donath, Helen's husband since 1965. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Paul Hindemith, Hans Rosbaud und Theodor W. Adorno haben eines gemeinsam, sie alle haben bei Bernhard Sekles gelernt. Ein Komponist der heutzutage mehr Bekanntheit verdient hat, meint Musikwissenschaftler und Komponist Timo Jouko Herrmann. Herrmann ist Autor des Booklets der CD-Ersteinspielung von Sekles Lieder, eine Aufnahme die anlässlich des 150. Geburtstages entstand.

Richard Schmitz berichtet über die Wiederaufnahme der Künstler-Oper von Paul Hindemith.

„Der ernste, schweigsame Brahms“ so staunten die Zeitgenossen, „norddeutsch, protestantisch und unweltlich wie dieser, schreibt Walzer? Ein Wort löst uns das Rätsel, es heißt: Wien.“ Im 19. Jahrhundert vergnügte sich das Wiener Bürgertum gerne beim walzerseligen Tanzen im Dreivierteltakt. Brahms lieferte dazu seinen eigenen Beitrag. Herbert Schuch und Gülru Ensari verschränken ihn mit den Walzern von Paul Hindemith.

Die deutsch-chilenische Künstlerin Josefine Göhmann ist als klassisch ausgebildete Sopranistin in vielen Epochen unterwegs. Für ihr Debütalbum "réBelles! Portraits Lyriques" hat sie sich von musealen Räumen inspirieren lassen und vor allem von der Frage, wie Frauen im 20. Jahrhundert gesehen wurden oder sich selbst sahen. So hat Josefine Göhmann gemeinsam mit dem Pianisten Mario Häring ein Programm erarbeitet, das einem Museumsbesuch ähnelt: Mal taucht darin die Frau als Verführerin auf, mal als Heldin, mal als unschuldiges Wesen. Die passenden Liedvertonungen fand das Duo bei Komponisten wie Arnold Schönberg, Kurt Weill oder Paul Hindemith, aber auch bei Lili Boulanger, Arthur Honegger und Richard Strauss. Herausgekommen ist eine anregende und inspirierende Mischung, die Josefine Göhmann als ein „ästhethisches Angebot zum Diskurs um die Weiblichkeit“ sieht. Mit ihrem Duopartner Mario Häring präsentiert sie bei NDR Kultur à la carte EXTRA eine Auswahl dieser lyrischen Frauen-Portraits. Das Video des ganzen Livekonzerts gibt es anschließend auf ndr.de/extra.

After two weeks without them, Anna and Krista are back with the long-awaited review of Paul Hindemith's Cardillac. There's something interesting about this review, and it's a first for the ladies. Find out what that is as you listen to the story behind the opera, and listen as they talk about their childhood feels being wrung out by their two dedicaitons. Bonus content: advice from a real-life student loan servicer!

Oskar SalaPiece Played - Diagram - Five Short Pieces for TrautoniumGerman inventor/composer Oskar Sala is best known for his role in developing the Trautonium: one of the earliest electronic instruments and a contemporary of the French Ondes Martenot and Russian theremin. While the Trautonium would eventually be viewed as a relic of electronic music's past, the instrument's tonal quality and expressive capabilities remain sadly unparalleled in the technology that followed. Nearly 70 years after its creation, its legacy seemed highly uncertain, as Sala was the only one capable of playing it.Born in Berlin in 1910, Oskar Sala was introduced to the Trautonium in 1929. That year, while studying under composer Paul Hindemith, Sala attended a demonstration of the instrument given by its inventor, Friedrich Trautwein. The student soon began working alongside Trautwein, undergoing a crash course in electronics to develop the prototype into an acceptable model. The new instrument was unveiled at a christening performance of Hindemith's "Trio Pieces for Three Trautonia" at the music academy in Berlin. Resembling a simultaneously archaic/futuristic version of the piano, the Trautonium replaces keys with two wires that run the length of the keyboard. These wires, hovering above metal rails, are what the musician plays, altering the subsequent tones via a multitude of dials and switches. The initial, overwhelming success of the instrument is rather surprising given the political environment of the time. Nazi Germany had begun the ethnic and cultural cleansing that would drive many artists (including Hindemith) out of the country. Not only did Sala's Trautonium escape being squelched, the government actually provided funding for additional models including the Radio Trautonium (showcased across German airwaves on a weekly program), the Volks-Trautonium (a failed attempt at a household model), and the portable Concert-Trautonium, which Sala took on tour.Following the Second World War, with Trautwein having all but relinquished control of the instrument, Sala developed the Mixture-Trautonium, a revised model which gave the musician the ability to produce musical undertones. The 1950s found Sala busy composing, producing works for television ads and feature films, and performing with fellow Hindemith student Harald Genzmer on the new model. Yet Sala's general failure to collaborate with his electronic music contemporaries probably contributed to his relative obscurity. He did, however, receive his 15 minutes of fame. In 1961, unsatisfied with the effects sound technicians turned up for his film The Birds, director Alfred Hitchcock enlisted Sala's help. Pleased with the results, Hitchcock turned over the film's score (a non-musical construction) to the composer. In the electronic boom that followed in the 1970s, the Trautonium attracted attention from Krautrock acts Tangerine Dream and Kraftwerk. In 1987 Sala was honored with the Filmband in Gold for his soundtrack work. As the century drew to a close, Sala (approaching his 90th birthday) spent his days diligently practicing, composing, and experimenting on the Mixture-Trautonium from a studio near his home. A staggering 600-plus reels of tape are said to exist in the composer's personal vault. In the late 1990s, Germany's Fax label issued two collections of Sala performances: My Fascinating Instrument (1995) and Subharmonic Mixtures (1997). ~ Nathan BushTrautoniumhttps://www.youtube.com/watch?v=Mzc3d_qcNYsRick Estrin awards2013 Blues Music Award best instrumentalist harmonica 1994 Blues Muisc AwardSong of the year My Next Ex-wife2020 Blues Music Award Instrumentalist harmonicaRick Estrin and the NightcatsMembersRick Estrin Harmonica,...

Synopsis In 1926, the German composer Paul Hindemith was the director of that year's Donaueschingen Music Festival, which, since its inception in 1921, had quickly established itself as an important showcase for new and progressive music. For the 1926 Festival, Hindemith decided to spotlight a genre of music overlooked by many composers, namely music for wind bands, and contributed a work of his own, entitled “Concert Piece for Wind Orchestra,” which premiered on today's date in 1926 and was published as his Opus 41. The critics of the day opined that the music was interesting, but lamented that such talented composers would waste their time writing for bands. In his book “Winds of Change,” a history of band music and its reception, Dr. Frank Battisti explains: “In 1926, serious works for band were of no interest to German and Austrian band directors, who preferred to continue performing the standard repertory of transcriptions, arrangements, and marches. Critics, after hearing these works, remained convinced that the wind band would never become a medium of artistic musical expression.” With the passage of time, and a dramatic change in the attitudes of band director and critics alike towards concert music for bands, Hindemith's 1926 concert programming seems downright prophetic. Music Played in Today's Program Paul Hindemith (1895-1963) – Concert Music for Winds, Op. 41 (Eastman Wind Ensemble; Donald Hunsberger, cond.) CBS MK-44916

durée : 01:58:21 - Été Classique Matin du vendredi 15 juillet 2022 - par : Jean-Baptiste Urbain - Mais aussi Jean-Christian Bach, Suzanne Ciani, Johann Nepomuk Hummel, Carl Friedrich Abel, Emilie Mayer, Carlos Gardel, Laurent Lefrançois, Paul Hindemith, Mozart... - réalisé par : Arnaud Chappatte

Die Begleitumstände rund um Paul Hindemiths «Mathis der Maler» sind eine eigene, längere Geschichte, bekannt geworden unter dem Schlagwort «Der Fall Hindemith».  1933, die Nationalsozialisten sind gerade in Deutschland an die Macht gekommen, ist Paul Hindemith mit dem Stoff zu «Mathis der Maler» beschäftigt, woraus eine Oper entstehen soll.  Schon ganz früh ist Hindemith mit seiner modernen Musiksprache eine Zielscheibe der Nazis, gebrandmarkt als sogenannter «Kulturbolschewist». Wilhelm Furtwängler setzt sich für Hindemith ein, bestellt beim Komponisten eine Sinfonie. Und Hindemith schreibt sie ihm aus Material der Oper, wie die Oper genannt «Mathis der Maler». Aus der politischen Verstrickung entsteht «Der Fall Hindemith» (der dann auch zu einem «Fall Furtwängler» wird). Doch neben den politischen Implikationen ist diese Sinfonie vor allem auch eine wunderbare Musik. Sehr sinnlich im Klang, wie man das bei Hindemith nicht unbedingt erwarten würde, vielleicht ja auch wegen der Wahl des Sujets. Denn mit «Mathis der Maler» ist Matthias Grünewald gemeint, den Erschaffer des bekannten Isenheimer Altars, den man heute im Museum in Colmar bestaunen kann. Ungewöhnlich ausdrucksstark mit kräftigen Farben werden hier drei Szenen gezeigt, die Hindemith auch die Anregung gegeben haben für die drei Sätze der Sinfonie: Ein Konzert gespielt von Engeln, die Grablegung Christi und die Versuchungen des heiligen Antonius. In der Sendung kommen fünf bzw. sechs Interpretationen dieses gewichtigen Werkes von Paul Hindemith zur Sprache. Erstausstrahlung: 22.06.20

Five principal players from the CYSO present wind quintet music by Paul Taffanel, Carl Nielsen, and Paul Hindemith. The post CYSO Jubilee Woodwind Quintet with Taki Salameh, 18, composer appeared first on WFMT.

Die lustige Oper „Neues vom Tage“ ist heute eher unbekannt, dabei war sie bei ihrer Uraufführung 1929 in der Kroll-Oper unter der Leitung des erfolgreichen jüdischen Dirigenten Otto Klemperer der absolute Knaller-Gesprächsstoff. Im Tanz gab es das schon vorher, man denke an Josephine Baker oder Stravinskys Sacre du Printemps, aber in der Oper sah man erstmals eine explizit nackte Sängerin in einer Badewannenszene, was auch in der Oper selbst für Schlagzeilen sorgt. Der Einfluss der Presse und auch das Prinzip - wie mache ich aus talentlosen Menschen eine Big-Brother Show wird hier bereits vorgeführt. So visionär war dieser Gedanke, dass der Führer selbst not amused war und Hindemith später wegen dieser komischen Oper auf der Liste der verfemten Komponisten landete. Die 100 Minuten Musik in Spielfilmlänge ist ein irrer Mix aus Zitaten und reicher Instrumentierung, höchst anspruchsvoll zu spielen, aber mit dem Text zusammen ein hochkomisches Stück.  Hier der Link zu meiner Einführung in die Operette/Spieloper https://www.podbean.com/ew/pb-yqt7v-890ba9 Aufführungen Neues vom Tage am Musiktheater im Revier in Gelsenkirchen 7.5.-25.6.2022 https://musiktheater-im-revier.de/de/performance/2021-22/neues-vom-tage  

Storie made in Italy con ver@nica Note musicali in jazz... e non solo con il maestro Fabrizio Bosso e la gentile partecipazione di Andrea Lucchi Dal jazz alla classica concertistica, e opere da camera: esperienze che si confrontano trovando connessioni e spazi di fusione. Visioni e aneddoti dal racconto dei due maestri e straordinari musicisti: uno strumento potente ed meravigliosamente espressivo la tromba e le sue interpretazioni. e alla fine un anteprima: il finale del Primo Movimento della Sonata per Tromba e Pianoforte di Paul Hindemith, uno dei brani che farà parte del nuovo disco "Duo" con Andrea Lucchi e Sofìa Adinolfi Storie contenuti importanti linguaggi semplici da un'idea di Ver@nica diritti riservati

For many years, the humble, plastic and mass-produced recorder has been a mainstay of music education. The first instrument put into the hands of thousands of 20th-century primary school children across the world, creating lifelong musical memories, some good, some bad. That's all now under threat from a small, stringed imposter: the ukulele. A recent survey of children who play a musical instrument found that the proportion playing the recorder has collapsed from 52% in 1997 to just 15% in 2020. Ukelele playing since 2014 is up by 15%. Recorders appear in paintings as early as the 15th century and have long been associated with angels and amateurs as well as children. Henry VIII was a big fan – ‘exercising himselfe dailie in … plaieing at the recorders'; and on hearing one in 1668 Samuel Pepys said it was ‘so sweet that it ravished me ; and indeed, in a word, did wrap up my soul so that it made me really sick, just as I have formerly been when in love with my wife'. He bought himself one six weeks later. An understated presence in the history of classical music nevertheless, the recorder has been utilised by composers from Henry Purcell and Handel, to Paul Hindemith and Luciano Berio. So, what next for the recorder and can it survive all those ukuleles? Tom Service investigates… Producer: Ruth Thomson

Synopsis In 1940, the choreographer Léonide Massine, approached composer Paul Hindemith, with the idea of having him arrange pieces by the 19th century Romantic composer Carl Maria von Weber into a ballet score.  At first Hindemith was intrigued, but Massine wanted straight arrangements and Hindemith wanted to write something original in the spirit of Weber, so the ballet idea was scrapped. Oh well, what Hindemith finally did come up with turned out to be one of his most successful and popular orchestral works, a piece entitled “Symphonic Metamorphosis of Themes by Carl Maria von Weber,” which received its premiere performance on today's date in 1944 at a New York Philharmonic concert conducted by Artur Rodzinski.Now, Hindemith had a reputation for being serious and rather “Germanic,” so The New York Times critic had a little fun with that image of the composer, writing:“Sometimes [Hindemith's] counterpoint has been as busy and energetic as the works of an automobile – and as meaningless. Sometimes it has been thick and overstuffed in its style. This metamorphosis employs counterpoint as a matter only incidental to the gay development of ideas, and there is sunshine in every nook and cranny of the transparent, debonair score.” Music Played in Today's Program Paul Hindemith (1895 - 1963) – Symphonic Metamorphosis (San Francisco Symphony, Herbert Blomstedt, cond.) London/Decca 421523)

It's time for my third annual Christmas show! Can you believe that Countermelody has been around that long already? This year I am reviving last year's theme, Christmas-themed art songs, but with all-new material this time around as sung by some of my very favorite singers, including Elly Ameling, Teresa Berganza, Norman Bailey, Irmgard Seefried, Lois Marshall, Benjamin Luxon, Jennie Tourel, Jorma Hynninen, Janet Baker, Peter Schreier, Sarah Walker, and many, many more. It's an absolutely chock-full episode which focuses upon seasonal songs by Hugo Wolf, Joaquín Nin, Richard Strauss, Peter Warlock, Paul Hindemith, Peter Cornelius, Joaquín Rodrigo, and Maurice Ravel, among others. Attention is devoted to many of the characters in the original Christmas story: the Virgin Mary, the Shepherds, the Magi, and the Baby Jesus himself, while also not neglecting songs that address the less joyous aspects of the holiday season. I guarantee that your spirits will be uplifted, however, when Lotte Lehmann “drops in” to recite two of the poems from Rainer Maria Rilke's Marienleben cycle. In addition, the episode begins with a tribute to Justino Díaz, who this past week received a Kennedy Center Honor. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

We pikken vandaag de draad op waar we hem vorige week hebben laten liggen, namelijk bij Paul Hindemith.   In het laatste oorlogsjaar voltooide Hinde­mith zijn Tweede Strijkkwartet. Merkwaardig genoeg is in deze compositie geen spoor te bekennen van de verwoestende oorlog die voor zoveel jongemannen zo traumatisch is geweest. En dan te bedenken dat […]

After leading orchestras in Bournemouth, Baltimore and São Paulo, Marin Alsop became Chief Conductor of the ORF Vienna Radio Symphony Orchestra in 2019. Her inaugural concert in Vienna's Konzerthaus featured music by Paul Hindemith, Christopher Rouse and Lera Auerbach, making a strong statement about where her musical sympathies lay. From that opening concert, recorded live, comes a new album from Naxos of Hindemith's Mathis der Maler Symphony and one-act opera Sancta Susanna, supplemented by a studio recording of three dances from another of the one-act operas, Nusch-Nuschi.  James Jolly caught up with the American conductor to talk Hindemith, her vision for her new tenure in Austria and how the pandemic has reset many perceptions about the 'core' repertoire and how things might change in the future.

Paul Hindemith stand einst auf Augenhöhe mit Strawinsky, Bartók und Schönberg, ein international erfolgreicher Komponist, ein einflussreicher Lehrer. Die Nachwelt hat das etwas relativiert; insbesondere der späte Hindemith gilt mit seiner Vorliebe für Handwerk, Tonalität und Kontrapunkt inzwischen als ziemlich bieder. Aber stimmt dieses Vorurteil? Und was passiert, wenn sich ein Weltstar wie die Klarinettistin Sharon Kam Hindemiths Musik annimmt?

Salomé y Julián visitan un parque futurista. Les llama la atención una atracción sobre exoplanetas que se llama la Misión Kepler. Se interesan por saber quién fue Kepler y así se encuentran con la vida y obra de Johannes Kepler y las pasiones que lo motivaron en su quehacer científico. El relato muestra que Kepler fue un hombre de su tiempo que debió enfrentar grandes desafíos. Sus teorías siguen vigentes y por eso la Nasa le rinde homenaje al poner su nombre a una misión de gran actualidad como es el estudio de exoplanetas. Créditos: Se agradece a la Dra. Beatriz Londoño Flórez la escritura de este relato. Dirección Actoral - Orlando Cajamarca Castro. Teatro Esquina Latina, Cali. En la locución: Darling Silva - Salomé, Luis David Ávila - Julián. Grabación - Juan Manuel Calderón Se agradece a Orlando Cajamarca Castro, director del Teatro Esquina Latina de Cali, la lectura crítica de los relatos, al técnico de grabación y a las actrices y actores que hicieron la locución de este episodio. Dirección: Ana Cecilia Agudelo Henao Producción sonora: Gecko Gómez Cubides y César Augusto Molina Diagramación: Sebastián Narváez Díaz Investigación y Presentación: Beatriz Londoño Flórez Literatura consultada: Arthur Koestler. Los Sonámbulos. Hutchinson & Co. Ltd., London, 1959. Traducción al español de Alberto Luis Bixio. Editorial Hueders. Primera edición 2017. Wilson Curtis. How Did Kepler Discover His First Two Laws?. Scientific America. Vol 226. No. 3. Páginas 93-106. 1972 Héctor Zenil. Lo que cabe en el espacio. CopIt-arXives. ISBN 978-0-9831172-0-9. 2011. Carl Sagan. Capítulo: La armonía de los mundos, de la serie Cosmos. Link de Youtube: https://www.youtube.com/watch?v=nXbjYjroMJI&list=PLouxPjMdTbjGTH38tv7ZpAo1uhRs6onMp&index=9&t=1519s Paul Hindemith. Die Hatmonie der Welt (Munich 1957). La armonía del mundo. Esta obra musical está basada en la vida de Kepler.

We're going to put on our Indiana Jones outfit and travel the globe searching for the Green Man. We were surprised by how global the Green Man motif is. He's a superstar from Scotland to Egypt to Mesopotamia to Thailand, and everywhere in between. We'll travel around the world and put a pin in each stop along the way. The Fantastically Terrible Character or creature this week is Melusine. Melusine is a feminine water spirit that resembles a mermaid. You've probably seen her on the logo of a little coffee shop called Starbucks. She's popular in the folklore of northern France. She's a good wife and mother, but give her one day to be by herself. It's not much to ask is it? When her husband decides one day to see what she does alone on her day of rest, he sees that she's transformed into something that makes mermaids seem normal. MUSIC ♪♪ - Collegium Musicum Of Yale University School Of Music Volume by Paul Hindemith https://bit.ly/3xXfqdf - Mysterious Atmosphere Music by Spanac https://bit.ly/2TrADNj - Beyond the Warriors Guifrog https://bit.ly/2UyQF8J - Sehgah by Asghar Bahari https://bit.ly/3rp2TNj =^._.^= ∫ Read GHOST METAL, our FREE sci-fi/horror comic on Webtoon: bit.ly/3jZ3z6N​ LINKS ★ For links to everything we mention on the show, visit: www.7robots.com/podcast/​​​​​​ ★ We turned this podcast into a documentary (2 day delay): www.youtube.com/7Robotsinc (⌐■_■)ノ♪♬ Script & music by Suzy Dias

Ben and comedian/violist Isabel Hagen (Good Timing with Isabel Hagen podcast) get into the life, times and trials of early 20th century German composer/musician Paul Hindemith.

Confira os destaques do caderno Na Quarentena desta segunda-feira (30/11/20)See omnystudio.com/listener for privacy information.

Mark and Mark talk about Paul Hindemith's incidental music to the Christmas fairy tale, nutcracker-like, Tuttifantchen.

'I like it, carry on', said Joseph Goebbels, after listening to the trautonium, invented in Berlin. It was used first in classical music in the early 1930s. Paul Hindemith composed pieces for it. For decades it was played by one man only, Oskar Sala. Thomas Pappon spoke to him in 1997, and to Peter Pichler, who still performs on the trautonium.Picture: Alfred Hitchcock observes Oskar Sala playing the trautonium in the latter's studio, Berlin, in 1962. Credit: Heinz Koester/ Ullstein Bild via Getty Images