Podcast appearances and mentions of paul sacher

Pierre-Michel MengerCollège de FranceAnnée 2023-2024Sociologie du travail créateurColloque - Boulez : l'invention au pouvoir ? Les années 1975-1995 - (Re)penser le concept de recherche musicale : Boulez et la création de l'IrcamSession 4 : La musique en questionIntervenant :François-Xavier FéronChercheur, laboratoire Sciences et Technologies de la Musique et du Son, Ircam / CNRS / Sorbonne UniversitéLaura ZattraProfesseure titulaire d'histoire de la musique, Conservatoire d'UdineColloque organisé pour le centenaire de la naissance de Pierre Boulez par le Pr Pierre-Michel Menger, chaire Sociologie du travail créateur, et Nicolas Donin, professeur de musicologie à l'université de Genève.Avec le soutien de la Fondation du Collège de France et de son grand mécène LVMH.RésuméSollicité par le président Georges Pompidou, Pierre Boulez s'attelle en novembre 1970 à l'élaboration d'un projet visant à intégrer, dans le futur centre d'Art du plateau Beaubourg, un institut de recherche sur la musique. Au cours des trois années suivantes, Boulez fait des consultations et constitue l'équipe avec laquelle il va enrichir et consolider son projet. Le 7 mars 1974, celui-ci est dévoilé au public au cours d'une conférence de presse et à travers une brochure dans laquelle on peut lire: "Le musicien rêve d'un autre monde, mais ce monde, il ne pourra jamais en créer lui-même la technologie. Le scientifique, lui, peut accélérer l'avènement de ce monde s'il est capable de comprendre les lendemains que le musicien balbutie."Unir ces deux mondes dans une recherche commune est ainsi la raison d'être de l'Ircam. Mais en quoi le projet boulézien se démarque-t-il totalement de celui du Groupe de recherches musicales (GRM) ou de celui du Centre d'études de mathématique et automatique musicales (CEMAMu) ? Comment Boulez parvient-il à mettre en œuvre sa vision de la recherche musicale en promouvant l'interdisciplinarité et le travail collectif ? Comment certains aspects architecturaux, logistiques et organisationnels contribuent-ils à renforcer cette union entre scientifiques et musiciens ?Pour répondre à ces questions, nous nous intéresserons à la genèse de l'Ircam et à ses premières années d'existence, jusqu'à la tenue, en février 1983, du séminaire international intitulé "Le concept de recherche en musique". En nous basant sur l'étude des archives – le Fonds Pierre Boulez à la fondation Paul Sacher, les archives de l'Ircam et celles du Centre Pompidou – ainsi que sur les récits inédits collectés dans le cadre du projet RAMHO (Recherche et acoustique musicales en France : une histoire orale), nous analyserons les stratégies et actions que Boulez met en place à cette époque pour "remettre en question".

Pierre-Michel MengerCollège de FranceAnnée 2023-2024Sociologie du travail créateurColloque - Boulez : l'invention au pouvoir ? Les années 1975-1995 - Suivre Boulez dans ses archivesSession 2 : Boulez au prisme de l'archiveIntervenant :Alain GalliariMusicologue, secrétaire du Comité musical/Succession Pierre Boulez, auteur du catalogue de l'œuvre (Éditions de la Philharmonie de Paris, 2025)Colloque organisé pour le centenaire de la naissance de Pierre Boulez par le Pr Pierre-Michel Menger, chaire Sociologie du travail créateur, et Nicolas Donin, professeur de musicologie à l'université de Genève.Avec le soutien de la Fondation du Collège de France et de son grand mécène LVMH.RésuméEn 1986, Pierre Boulez signa un contrat de don de ses manuscrits musicaux avec le chef d'orchestre et mécène suisse Paul Sacher, ami de longue date. La collection fut la première pierre des fonds musicaux depuis lors conservés et enrichis par la Fondation Paul Sacher de Bâle. Classé et décrit par Robert Piencikowski, le fonds regroupe l'essentiel des manuscrits musicaux de Pierre Boulez (des esquisses aux mises au net), associés à d'autres documents. Il demeure la source première des études bouléziennes, avec les archives recueillies en 2017 par la BnF. D'autres collections patrimoniales conservent toutefois de par le monde des pièces moins repérées qui viennent compléter les fonds de Bâle et de Paris : aux États-Unis notamment (Morgan Library, Northwestern University Library), en Allemagne (Archives du SWR, Baden-Baden), ainsi qu'en France (Bibliothèque La Grange-Fleuret, bibliothèque musicale de Radio France, bibliothèque de l'Ensemble InterContemporain, Musée de la musique, et plusieurs fonds de la BnF, dont les archives Renaud-Barrault). Plusieurs manuscrits sont également présents de par le monde dans des collections privées. Le cercle s'élargit de beaucoup dès lors que l'intérêt se porte sur les autres activités du musicien, la direction d'orchestre notamment : les chercheur·ses intéressé·es par cet autre pan de la riche activité boulézienne ne pourront manquer d'aller questionner les archives des institutions qu'il a le plus fréquentées, à La Haye, Amsterdam ou Bruxelles, à Londres, New York, Los Angeles, Chicago ou Cleveland, ainsi qu'à Vienne, Salzbourg, Berlin, Bayreuth – et ailleurs encore. C'est un tableau de synthèse que tentera la communication proposée, en s'attachant d'abord à l'œuvre musicale de Pierre Boulez.

Pierre-Michel MengerCollège de FranceAnnée 2023-2024Sociologie du travail créateurColloque - Boulez : l'invention au pouvoir ? Les années 1975-1995 - Spirals in the Harmonic and Formal Structure of RéponsSession 3 : Spirales, dérives, fragments : le style compositionnel des années 1980Intervenant :Catherine LosadaProfessor of Music Theory, University of CincinnattiColloque organisé pour le centenaire de la naissance de Pierre Boulez par le Pr Pierre-Michel Menger, chaire Sociologie du travail créateur, et Nicolas Donin, professeur de musicologie à l'université de Genève.Avec le soutien de la Fondation du Collège de France et de son grand mécène LVMH.RésuméA landmark work, Pierre Boulez's Répons (1980-82) was written to showcase the technological potential of IRCAM, the Parisian Institute for Research and Coordination in Acoustics/Music that Boulez founded in 1977. This piece, like many others, was considered a work-in-progress at the time of the composer's death in 2016. Existing associated scholarship for the most part builds on Boulez's commentary, which encompasses the five chords that generate the first two sections of the work and the concept of a spiral. On the aesthetic level, the spiral clearly illustrates the idea of a constantly evolving, unfinished work (DiPietro 2000), but Boulez's explanation of how it applies to the musical materials is somewhat vague "Répons is a set of variations in which the material is arranged is such a way that it revolves around itself" (Derrien 1988). In this paper, I will show how the model of a spiral is essential to the conception of this piece in two additional ways, one at a technical, pitch generation level, the other a larger formal level. In this way, I will elucidate interesting aspects of the harmonic structure of the piece, its overall form, and their relationship to Boulez's broader aesthetic outlook.The third version of Répons (1984) consists of an introduction, eight sections and a coda. An early version of the piece (1981) ended after the fourth section. My paper will comment on the evolving quality of Boulez's works by examining the relationship between section four and the immediately ensuing section—added in the following version (1982) (Jameux, 1989). The material for both sections is based on a chord that presents the SACHER hexagram in a precise registral disposition. Common to many of Boulez's later works, the use of this hexagram constitutes an homage to Boulez's benefactor, Paul Sacher. Although several sources note the importance of the hexagram for this piece, none explain its precise function. Boulez uses this chord as a basis for a fascinating technique (Example 1) that is related to, but distinct from techniques he used previously in his career, a spiral-like adaptation of a rotational array. The spiraling process creates precise registral invariances illustrated by the fixed boundary pitches and the arrows shown on the sketch. I will show how the array generates the instrumental material (discussed in Williams 1994, Tissier 2011) as well as the superimposed recorded material (the "wallpaper") for section four. Significantly, the material for the fifth section is based on a retrograde reworking of this material. This is the essence behind the formal concept of a spiral: a new, intensified cycling through materials that are related at a deep level. Finally, I will show how Boulez's application of this array creates a background pitch organization with a flexibility that successfully addresses the main challenge he sought to resolve in this piece: that of maintaining the vitality of live performance in a work that includes recorded materials (Boulez 1985). This was one of the most striking and influential aspects of this work.RéférencesBoulez, Pierre. 1985. "Pierre Boulez: Über Répons: ein Interview mit Josef Häusler." InTeilton. Schriftenreihe der Heinrich-Strobel-Stiftung des Südwestfunks. Ed. Josef Häusler. Kassel: Bärenreiter: 7-14.Boulez, Pierre. 2005. "The System and the Idea." In Pierre Boulez Music Lessons : The Collège de France Lectures. Ed. Jonathan Dunsby, Jonathan Goldman and Arnold Whittall. Chicago: University of Chicago Press. Originally published as "Le Système et l'idée." In InHarmoniques 1 (1986) : 62-104.Boulez, Pierre and Andrew Gerzso. 1988. "Computers in Music." Scientific American 258.4: 44-51.

Paul Sacher, Musikmäzen und Dirigent, bestellte das Werk bei Béla Bartók. Und dieser schrieb es rekordverdächtig rasch. Im Januar 1937 wurde es in Basel uraufgeführt und das Publikum war begeistert. Bald eroberte das Stück Europa. Heute ist es selten zu hören: zu aufwändig die Proben, zu speziell die Besetzung. Zwei Streichorchester sitzen links und rechts auf der Bühne, vorne in der Mitte steht das Klavier, dahinter Celesta und Harfe und ein Teil des Schlagzeuges, hinten weiteres Schlagwerk. Akustisch soll der Klang von Schlagwerk und Tasten wie ein Trichter wirken. Die Verbindung von Klarheit und Komplexität prägen das Werk – und das muss geübt sein: Paul Sacher gönnte sich und dem damaligen Basler Kammerorchester vor der Uraufführung 25 Proben. Heute setzt man dafür höchstens drei Proben an. Trotzdem gibt es ein paar tolle neuere Einspielungen. Annelis Berger hört sich mit ihren beiden Gästen, der Schlagzeugerin Louisa Marxen und dem Dirigenten Baldur Brönnimann, fünf Interpretationen des Werkes an.

durée : 00:25:02 - Paul Sacher, mécène bâlois - par : Anne-Charlotte Rémond - Il a commandé des oeuvres à Stravinsky, Bartok, Rostropovitch, Honegger, Frank Martin... Sa Fondation demeure un haut-lieu musical. Aujourd'hui, Musicopolis dresse un portrait de Paul Sacher (1906-1999), figure incontournable de la création musicale et dont la vie est intimement liée à Bâle. - réalisé par : Philippe Petit

SynopsisOn today's date in 1946, the octogenarian German composer Richard Strauss conducted the final rehearsal of his latest work, Metamorphosen, a study for 23 strings. Paul Sacher, the Swiss conductor and music patron, had commissioned the work and conducted the public premiere later that day in Zurich.Strauss had begun work on the piece on March 13, 1945, one day after the Vienna State Opera house had been bombed by the Allies. When the Nazis had come to power in 1933, Strauss was at first fêted as the greatest living German composer, but he soon fell out of favor. While his music was not banned, official Nazi support for Strauss eventually fell away, and the fact that Strauss' beloved daughter-in-law was Jewish meant increasing anxiety about her fate and that of his grandchildren as the Nazi's race laws tightened their noose.In a postwar memorandum, Strauss wrote, “The most terrible period of human history has come to an end, the 12-year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2,000 years of cultural evolution met its doom and irreplaceable monuments of architecture and works of art were destroyed.”Music Played in Today's ProgramRichard Strauss (1864-1949) Metamorphosen; Vienna Philharmonic; Simon Rattle, cond. EMI 56580

SynopsisThe publisher of Lou Harrison's Concerto for Violin and Percussion, which received its premiere performance on today's date in 1961 at New York's Carnegie Recital Hall, states with refreshing honesty that it is “not one of Harrison's most frequently performed works” and that “the highly rhythmic violin line is pleasantly contrasted by the exceptionally varied percussion ensemble.”Now, by an “exceptionally varied” percussion ensemble, it means in addition to conventional instruments, Harrison asks for tin cans, suspended brake drums, flowerpots, plumber's pipes, wind chimes and spring coils.Not surprisingly, it can be difficult to assemble the “heavy metal” called for in the score. For a 1965 performance, Harrison was forced to spend hours, as he put it, "chasing down pipe lengths and flower pots in hardware stores."But there was a method to his madness. Harrison was trying to imitate the sounds of the tuned bronze gongs of the traditional Indonesian gamelan orchestra by using distinctly American “found” materials. In performance, the setup seems downright humorous at first sight, but at first sound, it works. In fact, one suspects Harrison wants the audience to chuckle at first, but then be charmed.Music Played in Today's ProgramLou Harrison (1917-2003) Concerto for Violin and Percussion; Antonio Nunez, vn; Basel Percussion Ensemble; Paul Sacher, cond. Pan Classics 510 103

Béla Bartók verabschiedet sich mit seinem frühen Violinkonzert gleich doppelt: von seiner Geliebten Stefi Geyer, die nichts mehr von ihm wissen will - und von der Spätromantik. In dem 1908 vollendeten Werk kündigt sich ein radikaler stilistischer Wandel an. Von Michael Lohse.

Synopsis While many great composers have also been great conductors, this can be the exception rather than the rule. On today's date in 1959, the American composer Ned Rorem tried his hand at conducting the premiere of one of his own compositions, a chamber suite entitled “Eleven Studies for Eleven Players.” Rorem recalled: “I learned that the first requisite to becoming a conductor is an inborn lust for absolute monarchy, and that I, alone among musicians, never got the bug. I was terrified. The first rehearsal was a model of how NOT to inspire confidence. I stood before the eleven players in all my virginal glory, and announced: ‘I've never conducted before, so if I give a wrong cue, do try to come in right anyway.'” Fortunately for Rorem, his eleven musicians were accomplished faculty at Buffalo University, and, despite his inexperience, Rorem certainly knew how his new piece should sound. Rorem's Suite incorporated a few bits recycled from music he had written for a successful Broadway hit—Tennessee Williams' “Suddenly Last Summer”—plus a bit from an unsuccessful play entitled “Motel” that never made it past a Boston tryout. Rorem's own tryout as a conductor convinced him to stick to composing, although he proved to be a fine piano accompanist for singers performing his own songs. As for “Eleven Studies for Eleven Players,” it's gone on to become one of Rorem's most-often performed chamber works. Music Played in Today's Program Ned Rorem (b. 1923) — Eleven Studies for Eleven Players (New York Chamber Ensemble; Stephen Rogers Radcliffe, cond.) Albany 175 On This Day Births 1866 - French composer Erik Alfred-Leslie Satie, in Honfleur; 1901 - German composer Werner Egk, in Auchsesheim, near Donauswörth; His original last name was Mayer, and it is said (although denied by the composer) that the he chose the acronym E-G-K because it stood for "ein grosser Komponist" ("a great composer"); 1923 - American composer Peter Mennin, in Erie, Pa.; Deaths 1935 - French composer Paul Dukas, age 69, in Paris; Premieres 1779 - Gluck: opera "Iphigénie en Tauride" (Iphigenia in Taurus), at the Paris Opéra; 1890 - Mascagni: "Cavalleria Rusticana," in Rome at the Teatro Costanzi; 1904 - Ravel: "Schéhérazade," in Paris, with vocalist Jane Hatto and Alfred Cortot, conducting; 1919 - Ravel: "Alborado del gracioso" (orchestral version), in Paris at Pasdeloup Concert; 1929 - Prokofiev: Symphony No. 3, in Paris, by the Orchestre Symphonique de Paris, with Pierre Monteux conducting; 1933 - Cowell: "Reel," for small orchestra, in New York; 1939 - Prokofiev: cantata "Alexander Nevsky," in Moscow; 1946 - Martin: "Petite Symphonie Concertante," in Zurich, Paul Sacher conducting; 1960 - Ned Rorem: "11 Studies for 11 Players," for chamber ensemble, at the State University of Buffalo (N.Y.), conducted by the composers; 1990 - Rautavaara: "Vincent," in Helsinki at the Finnish National Opera; 2000 - Michael Torke: "Corner in Manhattan," by the Minnesota Orchestra, Eiji Oue conducting; 2001 - Christopher Rouse: Clarinet Concerto, by the Chicago Symphony Orchestra conducted by Christoph Eschenbach, with Larry Combs the soloist; Others 1922 - Music of "The President's Own" reached homes across the nation when the first Marine Band radio program was broadcast; 1969 - Leonard Bernstein's last concert as Music Director of the New York Philharmonic, having conducted 939 concerts with the orchestra (831 as its Music Director); Bernstein conducted 36 world premieres with the orchestra; He continued to appear with the Philharmonic as an occasional guest conductor until his death in 1990; 1978 - Philips Electronics of The Netherlands announces a new digital sound reproduction system from flat, silver "Compact Discs." Links and Resources On Rorem NY Times feature on Rorem at 95

Paul Sacher, Musikmäzen und Dirigent, bestellte das Werk bei Béla Bartók. Und dieser schrieb es rekordverdächtig rasch. Im Januar 1937 wurde es in Basel uraufgeführt und das Publikum war begeistert. Bald eroberte das Stück Europa. Heute ist es selten zu hören: zu aufwändig die Proben, zu speziell die Besetzung. Zwei Streichorchester sitzen links und rechts auf der Bühne, vorne in der Mitte steht das Klavier, dahinter Celesta und Harfe und ein Teil des Schlagzeuges, hinten weiteres Schlagwerk. Akustisch soll der Klang von Schlagwerk und Tasten wie ein Trichter wirken. Die Verbindung von Klarheit und Komplexität prägen das Werk – und das muss geübt sein: Paul Sacher gönnte sich und dem damaligen Basler Kammerorchester vor der Uraufführung 25 Proben. Heute setzt man dafür höchstens drei Proben an. Trotzdem gibt es ein paar tolle neuere Einspielungen. Annelis Berger hört sich mit ihren beiden Gästen, der Schlagzeugerin Louisa Marxen und dem Dirigenten Baldur Brönnimann, fünf Interpretationen des Werkes an.

È il momento di “Note sulle note”, diciassettesima puntata del programma musicale settimanale, nel quale annoto per voi piccoli appunti prima di lasciarvi ai brani scelti, che di puntata in puntata andiamo a conoscere. Questa puntata tratterà la musica antica: si intende un genere di musica colta composta in Europa tra il Medioevo ed il Rinascimento. Con questo termine viene intesa anche la musica del 1700 e della prima metà dell'800. Insomma avete capito come copra un arco di secoli non ben definito, sciorinando comunque una produzione molto vasta ed eterogenea; si è inteso questo nome a partire della seconda metà dell'800. La musica antica si distingue da quella classica perché la sua esecuzione si basa sull'impiego di strumenti musicali storici e su di una ricerca musicologica che attinge direttamente da fonti originali. Il primo centro di insegnamento e ricerca consacrato alla musica antica fu la “Schola Cantorum Basilensis”, nel 1933, fondata da Paul Sacher e dal violinista August Wenzinger, mentre nel 1946 fu fondata in Inghilterra la “Galpin Society”, dedicata allo studio degli strumenti antichi. Se siete appassionati, cultori, interessati allo studio di questo genere musicale e volete affinarvi nella musica antica, non dovete andare lontano: il Conservatorio “Benedetto Marcello” è fra quelli italiani con il maggior numero di discipline afferenti a questo genere, con discipline come il Clavicembalo (che come cattedra iniziò già nel 1954), la Viola da Gamba, il Liuto, il Flauto Dolce Barocco, il Violino Barocco, il Canto Rinascimentale e Barocco. Abbiamo eccellenti docenti di questa musica colta, che vi guideranno sapientemente nel vostro percorso. Ascolteremo per clavicembalo la sonata in re minore di Domenico Scarlatti, eseguita da Scott Ross. Poi, di Carlos De Seixas: la Toccata in sol minore eseguita da Gianandrea Pauletta. Passiamo al liuto barocco; di Leopold Weiss: Fuga, suonata da Yair Avidor. Sempre di Weiss ecco la Sonata in la maggiore: Ciaccona, eseguita da Nigel North. Siamo arrivati alla Viola da gamba con Marin Marais - Le Grand Ballet, suonata da Flore Seube ed Emmanuel Rousson al clavicembalo. Sempre di Marin Marais ascolteremo: Rondeau Le Bijou, suonata da Lina Manrique (viola da gamba) e Francesco Corti al cembalo. Per gli appassionati di Flauto Barocco ascolteremo di Joan Sebastian Bach - The Allemande from the Partita in la minore; al flauto Kate Clarc. Di seguito Hotteterre: Suite Pour la Flute; al flauto barocco Laura Rònai, alla viola e al clavicembalo: Eduardo Antonello. Passiamo al Violino Barocco: di Joan Sebastian Bach: Allemanda, dalla Partita in re minore per violino solo, suonata da Attilio Motzo. Dulcis in fundo, il Canto rinascimentale barocco del 1400: ascolteremo Quam Pulchra Es. Infine, di Pierluigi Palestrina: 8 madrigali spirituali a 5 voci (le Vergini di Petrarca - parte prima). Buon ascolto da Lorella Turchetto Michieli. --- Support this podcast: https://anchor.fm/radio-nostra/support

durée : 00:25:11 - Les Grands entretiens - par : Judith Chaine - De sa passion pour Béla Bartók à sa rencontre avec Paul Sacher, nous suivons Paul van Nevel au Conservatoire de Maastricht et à la Schola Cantorum de Bâle...

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

Synopsis On today’s date in 1969, Leonard Bernstein conducted his last concert as the Music Director of the New York Philharmonic. Bernstein had assumed that post in November of 1957, becoming the first American-born and trained conductor to do so. For sports fans, these were Bernstein’s “stats” as of May 17, 1969: He had conducted 939 concerts, more than anyone else in Philharmonic history. He had given 36 world premieres, 14 U.S. premieres, 15 New York City premieres and led more than 40 works never before performed by the orchestra. At Philharmonic concerts Bernstein conducted Vivaldi, Bach, and Handel, but also Babbitt, Cage, and Ligeti. He led the world premiere performance of the Second Symphony of Charles Ives and included other elder American composers like Carl Ruggles and Wallingford Riegger on Philharmonic programs, as well as works by his contemporaries, Ned Rorem and Lukas Foss, and his own compositions as well. Bernstein would continue to appear with the New York Philharmonic as its Laureate Conductor, and as a popular guest conductor with major orchestras around the world. His final concerts were with the Boston Symphony at Tanglewood in the summer of 1990. He died in October of that year. Music Played in Today's Program Leonard Bernstein (1918 – 1990) Symphony No. 2 (The Age of Anxiety) Marc-Andre Hamelin, piano; Ulster Orchestra; Dmitry Sitkovetsky, cond. Hyperion 67170 On This Day Births 1866 - French composer Erik Alfred-Leslie Satie, in Honfleur; 1901 - German composer Werner Egk, in Auchsesheim, near Donauswörth; His original last name was Mayer, and it is said (although denied by the composer) that the he chose the acronym E-G-K because it stood for "ein grosser Komponist" ("a great composer"); 1923 - American composer Peter Mennin, in Erie, Pa.; Deaths 1935 - French composer Paul Dukas, age 69, in Paris; Premieres 1779 - Gluck: opera "Iphigénie en Tauride" (Iphigenia in Taurus), at the Paris Opéra; 1890 - Mascagni: "Cavalleria Rusticana," in Rome at the Teatro Costanzi; 1904 - Ravel: "Schéhérazade," in Paris, with vocalist Jane Hatto and Alfred Cortot, conducting; 1919 - Ravel: "Alborado del gracioso" (orchestral version), in Paris at Pasdeloup Concert; 1929 - Prokofiev: Symphony No. 3, in Paris, by the Orchestre Symphonique de Paris, with Pierre Monteux conducting; 1933 - Cowell: "Reel," for small orchestra, in New York; 1939 - Prokofiev: cantata "Alexander Nevsky," in Moscow; 1946 - Martin: "Petite Symphonie Concertante," in Zurich, Paul Sacher conducting; 1960 - Ned Rorem: "11 Studies for 11 Players," for chamber ensemble, at the State University of Buffalo (N.Y.), conducted by the composers; 1990 - Rautavaara: "Vincent," in Helsinki at the Finnish National Opera; 2000 - Michael Torke: "Corner in Manhattan," by the Minnesota Orchestra, Eiji Oue conducting; 2001 - Christopher Rouse: Clarinet Concerto, by the Chicago Symphony Orchestra conducted by Christoph Eschenbach, with Larry Combs the soloist; Others 1922 - Music of "The President's Own" reached homes across the nation when the first Marine Band radio program was broadcast; 1969 - Leonard Bernstein's last concert as Music Director of the New York Philharmonic, having conducted 939 concerts with the orchestra (831 as its Music Director); Bernstein conducted 36 world premieres with the orchestra; He continued to appear with the Philharmonic as an occasional guest conductor until his death in 1990; 1978 - Philips Electronics of The Netherlands announces a new digital sound reproduction system from flat, silver "Compact Discs." Links and Resources On Bernstein

Synopsis On today’s date in 1969, Leonard Bernstein conducted his last concert as the Music Director of the New York Philharmonic. Bernstein had assumed that post in November of 1957, becoming the first American-born and trained conductor to do so. For sports fans, these were Bernstein’s “stats” as of May 17, 1969: He had conducted 939 concerts, more than anyone else in Philharmonic history. He had given 36 world premieres, 14 U.S. premieres, 15 New York City premieres and led more than 40 works never before performed by the orchestra. At Philharmonic concerts Bernstein conducted Vivaldi, Bach, and Handel, but also Babbitt, Cage, and Ligeti. He led the world premiere performance of the Second Symphony of Charles Ives and included other elder American composers like Carl Ruggles and Wallingford Riegger on Philharmonic programs, as well as works by his contemporaries, Ned Rorem and Lukas Foss, and his own compositions as well. Bernstein would continue to appear with the New York Philharmonic as its Laureate Conductor, and as a popular guest conductor with major orchestras around the world. His final concerts were with the Boston Symphony at Tanglewood in the summer of 1990. He died in October of that year. Music Played in Today's Program Leonard Bernstein (1918 – 1990) Symphony No. 2 (The Age of Anxiety) Marc-Andre Hamelin, piano; Ulster Orchestra; Dmitry Sitkovetsky, cond. Hyperion 67170 On This Day Births 1866 - French composer Erik Alfred-Leslie Satie, in Honfleur; 1901 - German composer Werner Egk, in Auchsesheim, near Donauswörth; His original last name was Mayer, and it is said (although denied by the composer) that the he chose the acronym E-G-K because it stood for "ein grosser Komponist" ("a great composer"); 1923 - American composer Peter Mennin, in Erie, Pa.; Deaths 1935 - French composer Paul Dukas, age 69, in Paris; Premieres 1779 - Gluck: opera "Iphigénie en Tauride" (Iphigenia in Taurus), at the Paris Opéra; 1890 - Mascagni: "Cavalleria Rusticana," in Rome at the Teatro Costanzi; 1904 - Ravel: "Schéhérazade," in Paris, with vocalist Jane Hatto and Alfred Cortot, conducting; 1919 - Ravel: "Alborado del gracioso" (orchestral version), in Paris at Pasdeloup Concert; 1929 - Prokofiev: Symphony No. 3, in Paris, by the Orchestre Symphonique de Paris, with Pierre Monteux conducting; 1933 - Cowell: "Reel," for small orchestra, in New York; 1939 - Prokofiev: cantata "Alexander Nevsky," in Moscow; 1946 - Martin: "Petite Symphonie Concertante," in Zurich, Paul Sacher conducting; 1960 - Ned Rorem: "11 Studies for 11 Players," for chamber ensemble, at the State University of Buffalo (N.Y.), conducted by the composers; 1990 - Rautavaara: "Vincent," in Helsinki at the Finnish National Opera; 2000 - Michael Torke: "Corner in Manhattan," by the Minnesota Orchestra, Eiji Oue conducting; 2001 - Christopher Rouse: Clarinet Concerto, by the Chicago Symphony Orchestra conducted by Christoph Eschenbach, with Larry Combs the soloist; Others 1922 - Music of "The President's Own" reached homes across the nation when the first Marine Band radio program was broadcast; 1969 - Leonard Bernstein's last concert as Music Director of the New York Philharmonic, having conducted 939 concerts with the orchestra (831 as its Music Director); Bernstein conducted 36 world premieres with the orchestra; He continued to appear with the Philharmonic as an occasional guest conductor until his death in 1990; 1978 - Philips Electronics of The Netherlands announces a new digital sound reproduction system from flat, silver "Compact Discs." Links and Resources On Bernstein

Synopsis Today’s date marks two anniversaries in the life of American composer, teacher, and organist Leo Sowerby, who lived from 1895 to 1968. Sowerby was born on May 1st in Grand Rapids, Michigan, and on his 32nd birthday in 1927, was hired as the permanent organist and choirmaster at St. James’ Church in Chicago, where he remained for the next 35 years. Sowerby wrote hundreds of pieces of church music for organ and chorus, plus chamber and symphonic works, which are only recently receiving proper attention. It’s not that Sowerby was neglected during his lifetime–he won many awards, including a Pulitzer Prize in 1946–but many seemed “put off” by both his unabashedly Romantic style and his unprepossessing physical appearance. The younger American composer Ned Rorem, who took theory lessons from Sowerby, puts it this way: “Leo Sowerby was … of my parents’ generation, a bachelor, reddish-complexioned and milky skinned, chain smoker of Fatima cigarettes, unglamorous and non-mysterious, likable with a perpetual worried frown, overweight and wearing rimless glasses, earthy, practical, interested in others even when they were talentless; a stickler for basic training, Sowerby was the first composer I knew and the last thing a composer was supposed to resemble.” Music Played in Today's Program Leo Sowerby (1895 – 1968) Classic Concerto David Mulbury, organ; Fairfield Orchestra; John Welsh, cond. Naxos 8.559028 On This Day Births 1582 - Early Italian opera composer Marco da Gagliano, in Gagliano; 1602 - Baptism of English madrigal composer William Lawes, in Salisbury ; He was the younger brother of the more famous English composer Henry Lawes (1696-1662); 1872 - Swedish violinist and composer Hugo Alfvén in Stockholm; 1895 - American organist and composer Leo Sowerby, in Grand Rapids, Mich.; 1899 - Icelandic composer Jón Leifs, in Sólheimar; Deaths 1904 - Czech composer Antonin Dvorák, age 62, in Prague; 1978 - Soviet composer Aram Khachaturian, age 74, in Moscow; Premieres 1786 - Mozart: "The Marriage of Figaro" in Vienna at the Old Burgtheater; 1886 - Franck: "Symphonic Variations" for piano and orchestra, in Paris; 1909 - Rachmaninoff: "The Isle of the Dead," in Moscow, conducted by the composer (Julian date: April 18); 1925 - Piston: Three Pieces for flute, clarinet, and bassoon (his first published work), at the École Normale in Paris, by the Blanquart-Coste-Dherin trio; 1939 - Barber: "The Virgin Martyrs," with students from the Curtis Institute of Music on a CBS Radio broadcast, with the composer conducting; 1971 - Dave Brubeck: oratorio "Truth Has Fallen," at the opening of the Center for the Arts in Midland, Mich.; 1987 - Harrison Birtwistle: "Endless Parade" for trumpet, vibraphone and strings, in Zurich (Switzerland) by the Collegium Musicum conducted by Paul Sacher, with trumpeter Hakan Hardenberger; 2002 - Jennifer Higdon: "Blue Cathedral," by the Curtis Institute Symphony conducted by Robert Spano, commissioned to celebrate the 75th anniversary of the Curtis Institute of Music; 2003 - Lukas Foss: Concertino ("Passacaglia, Bachanalia, Passacaglia") for vocal soloists, chorus and orchestra, by the New York Choral Artists and the New York Philharmonic, Kurt Masur conducting; Others 1761 - Franz Joseph Haydn begins his 30-year tenure as Second-Kapellmeister at Prince Esterhazy's estate in Eisenstadt; In 1766, Haydn succeeded the much older composer Gregor Joseph Werner as First-Kapellmeister; 1825 - first documented American performance of Haydn's Symphony No. 100 ("Military") at Boylston Hall in Boston, at a benefit concert for Haydn's former pupil, Johann Christian Gottlieb Graupner (1767-1836); 1837 - American premiere of Rossini's opera "Semiramide" in New Orleans; 1938 - The German Reichsmusikkammer (Imperial Ministry of Music) forbids Aryan music instructors to teach pupils of Jewish extraction. Links and Resources On Sowerby An essay "Leo Sowerby at 100"

Synopsis Today’s date marks two anniversaries in the life of American composer, teacher, and organist Leo Sowerby, who lived from 1895 to 1968. Sowerby was born on May 1st in Grand Rapids, Michigan, and on his 32nd birthday in 1927, was hired as the permanent organist and choirmaster at St. James’ Church in Chicago, where he remained for the next 35 years. Sowerby wrote hundreds of pieces of church music for organ and chorus, plus chamber and symphonic works, which are only recently receiving proper attention. It’s not that Sowerby was neglected during his lifetime–he won many awards, including a Pulitzer Prize in 1946–but many seemed “put off” by both his unabashedly Romantic style and his unprepossessing physical appearance. The younger American composer Ned Rorem, who took theory lessons from Sowerby, puts it this way: “Leo Sowerby was … of my parents’ generation, a bachelor, reddish-complexioned and milky skinned, chain smoker of Fatima cigarettes, unglamorous and non-mysterious, likable with a perpetual worried frown, overweight and wearing rimless glasses, earthy, practical, interested in others even when they were talentless; a stickler for basic training, Sowerby was the first composer I knew and the last thing a composer was supposed to resemble.” Music Played in Today's Program Leo Sowerby (1895 – 1968) Classic Concerto David Mulbury, organ; Fairfield Orchestra; John Welsh, cond. Naxos 8.559028 On This Day Births 1582 - Early Italian opera composer Marco da Gagliano, in Gagliano; 1602 - Baptism of English madrigal composer William Lawes, in Salisbury ; He was the younger brother of the more famous English composer Henry Lawes (1696-1662); 1872 - Swedish violinist and composer Hugo Alfvén in Stockholm; 1895 - American organist and composer Leo Sowerby, in Grand Rapids, Mich.; 1899 - Icelandic composer Jón Leifs, in Sólheimar; Deaths 1904 - Czech composer Antonin Dvorák, age 62, in Prague; 1978 - Soviet composer Aram Khachaturian, age 74, in Moscow; Premieres 1786 - Mozart: "The Marriage of Figaro" in Vienna at the Old Burgtheater; 1886 - Franck: "Symphonic Variations" for piano and orchestra, in Paris; 1909 - Rachmaninoff: "The Isle of the Dead," in Moscow, conducted by the composer (Julian date: April 18); 1925 - Piston: Three Pieces for flute, clarinet, and bassoon (his first published work), at the École Normale in Paris, by the Blanquart-Coste-Dherin trio; 1939 - Barber: "The Virgin Martyrs," with students from the Curtis Institute of Music on a CBS Radio broadcast, with the composer conducting; 1971 - Dave Brubeck: oratorio "Truth Has Fallen," at the opening of the Center for the Arts in Midland, Mich.; 1987 - Harrison Birtwistle: "Endless Parade" for trumpet, vibraphone and strings, in Zurich (Switzerland) by the Collegium Musicum conducted by Paul Sacher, with trumpeter Hakan Hardenberger; 2002 - Jennifer Higdon: "Blue Cathedral," by the Curtis Institute Symphony conducted by Robert Spano, commissioned to celebrate the 75th anniversary of the Curtis Institute of Music; 2003 - Lukas Foss: Concertino ("Passacaglia, Bachanalia, Passacaglia") for vocal soloists, chorus and orchestra, by the New York Choral Artists and the New York Philharmonic, Kurt Masur conducting; Others 1761 - Franz Joseph Haydn begins his 30-year tenure as Second-Kapellmeister at Prince Esterhazy's estate in Eisenstadt; In 1766, Haydn succeeded the much older composer Gregor Joseph Werner as First-Kapellmeister; 1825 - first documented American performance of Haydn's Symphony No. 100 ("Military") at Boylston Hall in Boston, at a benefit concert for Haydn's former pupil, Johann Christian Gottlieb Graupner (1767-1836); 1837 - American premiere of Rossini's opera "Semiramide" in New Orleans; 1938 - The German Reichsmusikkammer (Imperial Ministry of Music) forbids Aryan music instructors to teach pupils of Jewish extraction. Links and Resources On Sowerby An essay "Leo Sowerby at 100"

Das Archiv der Paul Sacher Stiftung ist europaweit einzigartig und das renommierteste Archiv für die Musik des 20. und 21. Jahrhunderts. Ein Streifzug durch die klimatisierten, gesicherten Räume und Tresore, wo in säurefreien Mappen unschätzbare Dokumente für die Ewigkeit konserviert werden. «Ich hatte gar keine Wahl!» Mit diesen Worten kommentierte Paul Sacher seinen Eintritt in den Verwaltungsrat des Basler Pharmakonzerns Hoffmann-La Roche nach seiner Heirat mit Maja Hoffmann-Stehlin, der Witwe des Mehrheitsaktionärs. Jahre und Millionen später hatte er die Wahl. Und er wählte klug und nachhaltig, wurde der berühmteste Mäzen der Schweiz und vergab über zweihundert Kompositionsaufträge an mehr als sechzig Komponisten, darunter Béla Bartók, Arthur Honegger oder Hans Werner Henze und Bohuslav Martin?. Mit seinem Orchester, dem Basler Kammerorchester, führte er die Werke auf, die bis heute zum Kanon der Moderne gehören. Dieses Erbe galt und gilt es zu bewahren. So wurde in den 70er Jahren die Paul Sacher Stiftung gegründet – und ein paar Jahre später das Paul Sacher Archiv. Erstausstrahlung: 16.3.2018

Zenélő szintek a műsor, hogyan lehet a hétvégén ismert zenészek leveleit, naplóit vagy jegyzeteit idézni meg. Ezeken keresztül nem csak hozzájuk, hanem ahhoz a korhoz is közelebb kerülünk ahol ők éltek és alkottak. Műsorvezető: Bősze Ádám

Die Australierin Lesley Stephenson lernte während ihres Jus-Studiums in Sydney den Schweizer Musikmäzen und Dirigenten Paul Sacher kennen. Diese Begegnung führte dazu, dass sie in die Schweiz kam und hier Gesang studierte. Nach einigen Jahren als Berufssängerin, musste sie sich wegen eines Unfalls aber neu orientieren. Heute ist Lesley Stephenson Berufsrednerin und Rhetorik-Trainerin und hat mehrmals die Europameisterschaften im Rahmen von Toastmasters gewonnen. Aber was genau ist ein Keynote Speaker? Das erklärt Lesley Stephenson in Musik für einen Gast bei Eva Oertle. Und sie erzählt, warum ausgerechnet sie die Biografie von Paul Sacher schrieb, wie sie zur Projektleiterin einer NGO in Äthiopien wurde und was sie an Puccinis Oper Turandot fasziniert. Erstsendung: 5. Juli 2020

On today’s date in 1946, the octogenarian German composer Richard Strauss conducted the final rehearsal of his latest work, a study for 23 strings entitled “Metamorphosen.” Paul Sacher, the Swiss conductor and music patron, had commissioned “Metamorphosen,” and conducted the public premiere later that day in Zurich. Strauss had begun work on this piece on March 13, 1945, one day after the Vienna State Opera house had been bombed by the Allies. When the Nazis had come to power in 1933, Strauss was at first fêted as the greatest living German composer, but he soon fell out of favor. While his music was not banned, official Nazi support for Strauss eventually fell away, and the fact that Strauss’ beloved daughter-in-law was Jewish meant increasingly anxiety about her fate and that of the Strauss grandchildren as the Nazi’s race laws tightened their noose. In a post-war memorandum Strauss wrote, “The most terrible period of human history has come to an end, the 12-year reign of bestiality, ignorance, and anti-culture under the greatest criminals, during which Germany’s 2000 years of cultural evolution met its doom and irreplaceable monuments of architecture and works of art were destroyed.”

On today’s date in 1946, the octogenarian German composer Richard Strauss conducted the final rehearsal of his latest work, a study for 23 strings entitled “Metamorphosen.” Paul Sacher, the Swiss conductor and music patron, had commissioned “Metamorphosen,” and conducted the public premiere later that day in Zurich. Strauss had begun work on this piece on March 13, 1945, one day after the Vienna State Opera house had been bombed by the Allies. When the Nazis had come to power in 1933, Strauss was at first fêted as the greatest living German composer, but he soon fell out of favor. While his music was not banned, official Nazi support for Strauss eventually fell away, and the fact that Strauss’ beloved daughter-in-law was Jewish meant increasingly anxiety about her fate and that of the Strauss grandchildren as the Nazi’s race laws tightened their noose. In a post-war memorandum Strauss wrote, “The most terrible period of human history has come to an end, the 12-year reign of bestiality, ignorance, and anti-culture under the greatest criminals, during which Germany’s 2000 years of cultural evolution met its doom and irreplaceable monuments of architecture and works of art were destroyed.”

Die Sendung Musik für einen Gast ist Kult. Schon in den 60er- und 70er-Jahren interviewte die legendäre Moderatorin Roswitha Schmalenbach Persönlichkeiten aus Politik, Wirtschaft und Kultur. Passend zum Musiksommer wiederholen wir vier historische Gespräche mit Musikerpersönlichkeiten.. Der Basler Paul Sacher war Dirigent und einer der wichtigsten Schweizer Musikmäzene. Er hat das international renommierte Institut für Alte Musik, die Schola Cantorum Basiliensis, mitbegründet. Sacher war aber auch ein wichtiger Förderer der Musik des 20. Jahrhunderts und hat viele Kompositionsaufträge erteilt u.a. an Komponisten wie Bela Bartok oder Igor Stravinsky. 1967 war Paul Sacher Gast bei Roswitha Schmalenbach und berichtete dort über seine Liebe zur Literatur und zur Musik. Er erzählte aber auch, was es mit fliegenden Tellern auf sich hat und warum das Trommeln für ihn das Schönste an Basel ist. Zur Biografie von Paul Sacher von Lesley Stephenson: "Symphonie der Träume - Das Leben von Paul Sacher" https://ruefferundrub.ch/buecher/biografie/item/164-symphonie-der-traeume

durée : 00:25:02 - Paul Sacher, mécène bâlois - par : Anne-Charlotte Rémond - Il a commandé des oeuvres à Stravinsky, Bartok, Rostropovitch, Honegger, Frank Martin... Sa Fondation demeure un haut-lieu musical. Aujourd'hui, Musicopolis dresse un portrait de Paul Sacher (1906-1999), figure incontournable de la création musicale et dont la vie est intimement liée à Bâle. - réalisé par : Philippe Petit

收听提示 1、如何面对宠物的离开？ 2、什么样的音乐可以影响人的一生？ 3、最极致的音乐会体验什么样？ 4、在音乐里如何表达死亡？ 本集相关 琉森音乐节 琉森音乐节（Lucerne Festival）是欧洲主要的音乐节之一，举办地位于瑞士中部的城市琉森。自1938年由当时著名的指挥家托斯卡尼尼创立以来，已有六十多年的历史，经历多位著名的指挥家（包括福特万格勒、卡拉扬、库贝利克、Paul Sacher、克劳迪奥·阿巴多)。2014年初阿巴多逝世后琉森音乐节宣布暂时由拉脱维亚指挥家尼尔森斯负责音乐节。2015年8月琉森管弦乐团宣布意大利指挥家里卡多·夏伊为新任音乐总监。 克劳迪奥·阿巴多 克劳迪奥·阿巴多（Claudio Abbado，1933年6月26日－2014年1月20日），出生于意大利米兰，世界著名指挥家。阿巴多的才华早就引起卡拉扬的注意及赏识，他在世时曾经说："当今年轻一辈的指挥家中，就属阿巴多和梅塔最优秀"。2007年9月，阿巴多由于其医生的建议，宣布停止参与所有的指挥活动。但两个月后，他又在意大利的博洛尼亚指挥了。 卡拉扬 赫伯特·冯·卡拉扬（1908年4月5日－1989年7月16日)，出生于萨尔茨堡，是一位奥地利指挥家、键盘乐器演奏家和导演。 卡拉扬在指挥舞台上活跃60年。他带领过欧洲众多顶尖的乐团，并且曾和柏林爱乐乐团有过长达34年的合作关系。他热衷于录音和导演，为后人留下了大量的音像资料，包括众多的管弦乐，歌剧录音和歌剧电影，涵括从巴洛克，到后浪漫主义欧洲作曲家，甚至部分现代乐派的作品。其中一些作品，如贝多芬的交响曲还被多次录制。卡拉扬在音乐界享有盛誉，甚至在华文世界被人称为"指挥帝王"。 古斯塔夫·马勒 古斯塔夫·马勒（1860年7月7日－1911年5月18日），奥地利作曲家、指挥家。作为作曲家，他是19世纪德奥传统和20世纪早期的现代主义音乐之间承前启后的桥梁。马勒之后，十二音和无调性音乐等先锋理念崛起，传统调性音乐的辉煌时代走向终结。他的指挥成就在生前就已得到广泛认可，但他所创作的音乐一度被忽视，在纳粹德国时期甚至因其犹太身份而被禁止，直至第二次世界大战后才因指挥家伯恩斯坦等人的推广而得到复兴，其音乐价值方为人所周知。到如今，马勒的音乐甚为频繁地被演出，亦有无数其作品之录音发行。 相关链接 阿巴多09年琉森马九最后五分钟+长达两分钟的观众寂静 https://m.bilibili.com/video/av41258808 本集推荐 马勒第九号交响曲 | 焦元溥《一听就懂的古典音乐史》 本集问答 该不该帮宠物安乐死？ 上集回顾 中国人该有怎样的品德？ 《八分》每周三、周五晚8点更新 欢迎留言和我们互动

收听提示 1、如何面对宠物的离开？ 2、什么样的音乐可以影响人的一生？ 3、最极致的音乐会体验什么样？ 4、在音乐里如何表达死亡？ 本集相关 琉森音乐节 琉森音乐节（Lucerne Festival）是欧洲主要的音乐节之一，举办地位于瑞士中部的城市琉森。自1938年由当时著名的指挥家托斯卡尼尼创立以来，已有六十多年的历史，经历多位著名的指挥家（包括福特万格勒、卡拉扬、库贝利克、Paul Sacher、克劳迪奥·阿巴多)。2014年初阿巴多逝世后琉森音乐节宣布暂时由拉脱维亚指挥家尼尔森斯负责音乐节。2015年8月琉森管弦乐团宣布意大利指挥家里卡多·夏伊为新任音乐总监。 克劳迪奥·阿巴多 克劳迪奥·阿巴多（Claudio Abbado，1933年6月26日－2014年1月20日），出生于意大利米兰，世界著名指挥家。阿巴多的才华早就引起卡拉扬的注意及赏识，他在世时曾经说："当今年轻一辈的指挥家中，就属阿巴多和梅塔最优秀"。2007年9月，阿巴多由于其医生的建议，宣布停止参与所有的指挥活动。但两个月后，他又在意大利的博洛尼亚指挥了。 卡拉扬 赫伯特·冯·卡拉扬（1908年4月5日－1989年7月16日)，出生于萨尔茨堡，是一位奥地利指挥家、键盘乐器演奏家和导演。 卡拉扬在指挥舞台上活跃60年。他带领过欧洲众多顶尖的乐团，并且曾和柏林爱乐乐团有过长达34年的合作关系。他热衷于录音和导演，为后人留下了大量的音像资料，包括众多的管弦乐，歌剧录音和歌剧电影，涵括从巴洛克，到后浪漫主义欧洲作曲家，甚至部分现代乐派的作品。其中一些作品，如贝多芬的交响曲还被多次录制。卡拉扬在音乐界享有盛誉，甚至在华文世界被人称为"指挥帝王"。 古斯塔夫·马勒 古斯塔夫·马勒（1860年7月7日－1911年5月18日），奥地利作曲家、指挥家。作为作曲家，他是19世纪德奥传统和20世纪早期的现代主义音乐之间承前启后的桥梁。马勒之后，十二音和无调性音乐等先锋理念崛起，传统调性音乐的辉煌时代走向终结。他的指挥成就在生前就已得到广泛认可，但他所创作的音乐一度被忽视，在纳粹德国时期甚至因其犹太身份而被禁止，直至第二次世界大战后才因指挥家伯恩斯坦等人的推广而得到复兴，其音乐价值方为人所周知。到如今，马勒的音乐甚为频繁地被演出，亦有无数其作品之录音发行。 相关链接 阿巴多09年琉森马九最后五分钟+长达两分钟的观众寂静 https://m.bilibili.com/video/av41258808 本集推荐 马勒第九号交响曲 | 焦元溥《一听就懂的古典音乐史》 本集问答 该不该帮宠物安乐死？ 上集回顾 中国人该有怎样的品德？ 《八分》每周三、周五晚8点更新 欢迎留言和我们互动

Dialogamos con el musicólogo Daniel Moro Vallina acerca de su última publicación, el libro titulado "El compositor Carmelo Bernaola (1929-2002). Una trayectoria en la vanguardia musical española", publicado por la Universidad del País Vasco, en colaboración con Musikene (Centro Superior de Música del País Vasco) y Eresbil (Archivo Vasco de la Música) hace sólo unos meses. Daniel Moro es doctor en Musicología por la Universidad de Oviedo y estudió piano en el Conservatorio Superior de Música del Principado de Asturias. Ha realizado estancias de investigación en la Universidad de Bolonia y la Fundación Paul Sacher de Basilea, y es docente en la Universidad Internacional de La Rioja desde 2015. Carmelo Bernaola, compositor frecuentemente adscrito a la llamada "Generación del 51" -discutida categoría analítica sobre la cual también reflexionamos en nuestra conversación, pues la cuestión es abordada en el trabajo que presentamos-, recibió enseñanzas de figuras como Sergiu Celibidache, Gofredo Petrassi y Bruno Maderna. También dialogamos sobre su recepción del lenguaje propio de las vanguardias musicales de la posguerra europea, especialmente sobre la incorporación de la aleatoriedad dentro del proceso compositivo (su "música flexible"). Ocupan igualmente la atención de nuestro diálogo temas como la proyección pública de la figura del compositor, o diversos aspectos de su marcada personalidad. El libro de Daniel Moro sobre Bernaola es resultado de una investigación doctoral dirigida por el gran especialista en las vanguardias españolas del XX, Ángel Medina -catedrático de la Universidad de Oviedo, y maestro de varias generaciones de musicólogos-. El enfoque biográfico se funde en estas páginas con valiosas aportaciones analíticas de la obra del autor nacido en Vizcaya. El estudio tampoco rehúye consideraciones acerca de las relaciones entre Bernaola y el régimen franquista, superando en este sentido a otras aportaciones bibliográficas anteriores. Todos estos temas, así como la fundamental dimensión pedagógica de la obra del compositor, figuran en una conversación jalonada por audiciones representativas de la música de Bernaola, comenzando por la popular sintonía que compuso para el programa televisivo "La clave", y pasando por obras tan señeras como "Superficie nº 1" (1961), "Morfología Sonora" (1963), "Argia Ezta Ikusten" (1972) o "Superposiciones variables" (1976). Escuchar audio

This UBVO seminar was presented by Paul Sacher, the Chief R&D Officer for MEND, on 3 November 2009

Il 26 maggio 1999 muore a Basilea Paul Sacher. Massimo Acanfora Torrefranca lo racconta a WikiMusic

Das Werk war ein Geburtstagsgeschenk. Paul Sacher, Dirigent und Gründer des Basler Kammerorchester hatte sich zu dessen 10. Geburtstag 1936 ein neues Werk von Béla Bartók gewünscht.