Podcasts about philharmonia

British Conductor Tess Jackson is the Associate Conductor of the National Youth Orchestra. Originally a violinist, Tess was inspired to take up conducting aged just fourteen, eventually going on to study music at Cambridge University and then a Masters in Conducting at the Royal Academy of Music. Some highlights of the upcoming season include her symphonic debut with the Philharmonia, West Side Story at Volksoper Vienna, and she has recently been assisting Enrique Mazzola at the Lyric Opera Chicago.In this episode, Tess gives us an insight - through the eyes of an artist in the early days of her career - into the various roles a conductor can play; and how she had to challenge her own self-perception in order to find confidence as a very young conductor. She also talks about her recent debut at this year's Proms with the National Youth Orchestra, and the incredible role that the orchestra played in her own development when she herself was a member.-------------------Tess's links:WebsiteInstagram-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------This podcast is also available to listen to via The Violin Channel--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

American conductor Kellen Gray currently holds the position of Associate Artist with the Royal Scottish National Orchestra, the first of its kind, but leads a vibrant professional life on both sides of the Atlantic. Recent engagements include the Baltimore Symphony Orchestra and the Minnesota Orchestra, the English National Opera and the Philharmonia, and the Lafayette Symphony Orchestra in Indiana where he is Conductor and Artistic Director.One of the foremost experts and interpreters of the music of African-diasporic composers, Kellen is Assistant Editor and Conductor Liaison for the African Diasporic Music Project. He is also known for being an incredibly versatile artist, crediting the wealth of folk-music styles of the south-eastern United States as some of his earliest influences, which have led to a deep understanding and mastery of not just music that incorporates American folk idioms, but also other composers for whom folk music was important, such as Bartok, de Falla and Vaughan Williams.In this episode, Kellen takes us on his journey from violinist to beekeeper(!) to conductor, including the role that burnout played along the way. He also talks about the importance of diverse programming that is art-led; how despite having many supportive people around him there were times that, as a black conductor, he wasn't taken seriously; and how much the process of recording his two African American Voices albums with the RSNO meant to him.-------------------Kellen's links:WebsiteFacebookInstagram-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------This podcast is also available to listen to via The Violin Channel--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

I de känsliga förhandlingarna om vänskaps-, samarbets- och biståndspakten mellan Finland och Sovjetunionen 1948 fruktade finländarna att Finland skulle förlora sin självständighet i avtalet som länderna i Centraleuropa och Baltikum gjort.I delegationen ingick de två framgångsrika juristerna och politikerna Urho Kekkonen och JO Söderhjelm – den förste från ett småbrukarhem och den senare från den finlandssvenska akademiska eliten – som trots olikheterna samarbetade väl under förhandlingarna. Gemensamma hemligheter skapade ett starkt band mellan dem som bar genom det kalla kriget. Detta är ett betalt samarbete mellan Historia Nu och Svenska litteratursällskapet i Finland.I detta avsnitt av podden Historia Nu samtalar programledaren Urban Lindstedt med Henrik Meinander, professor i historia vid Helsingfors universitet utifrån böckerna Makten, marknaderna och presidenterna – En biografi om J.O. Söderhjelm av Esko Vuorisjärvi samt Kekkografi och andra politiska spånor av Henrik Meinander.Finland skulle under 1900-talet tvingas förhandla vid flera tillfällen med en hotfull granne där insatserna var Finlands självständighet. Här skulle två bemärkta jurister, som i sin ungdom stod långt ifrån varandra politiskt, framträda: den äktfinska Urho Kekkonen samt finlandssvensken JO Söderhjelm. Men bägge närmade sig varandra eftersom de tillhörde den så kallade fredsoppositionen under fortsättningskriget.Den svensksinnade J.O. Söderhjelm föddes 1898 i en känd akademisk familj och gjorde sig tidigt ett namn inom politiken. Han var en skämtsam sällskapsmänniska som samtidigt fick fiender för att han uppfattades som högdragen och formell. Han valdes till Svenska folkpartiets riksdagsman och satt i riksdagen i över 17 år. Han var justitieminister i sex olika regeringar mellan åren 1939 och 1966.Söderhjelm deltog i förhandlingar i Moskva, Berlin, London och Stockholm. Han spelade en central roll i förhandlingarna om nickelfyndigheterna i Petsamo under mellankrigsperioden 1940-1941 och var en av nyckelspelarna 1948 i förhandlingarna med Sovjet om VSB-pakten.Urho föddes den 3 september 1900 på en gård kallad Lepikko torp i Pielavesi. Fadern, Juho Kekkonen, hade avancerat från dräng och skogsarbetare till skogsarbetsledare och timmeragent. Modern, Emilia Pylvänäinen, var dotter till en hemmansägare. Urho Kekkonen kom att studera juridik. Hans ideologiska rötter fanns i den nationalistiska studentpolitiken i det nyligen självständiga Finland. Folkets enande, kampen för det finska språket och frågan om Östkarelen var också viktiga för honom och han drevs dessutom av ett rysshat.Kekkonen hörde till första generationens intelligentia från landsbygden. Han anslöt sig till Agrarförbundet 1933 och kandiderade till riksdagen. Kekkonen valdes in i riksdagen vid andra försöket 1936 och blev genast justitieminister i Kyösti Kallios regering. Kekkonen togs inte med i regeringen under vinterkriget.VSB-pakten skulle bli den karta som Finland navigerade i säkerhetspolitiken efter landets svåra erfarenheter under andra världskriget. Urho Kekkonen, som var president från 1956 fram till 1981, kom också att utnyttja pakten och sina kontakter inom den sovjetiska säkerhetstjänsten för att stärka sin egen maktposition.Bild: Ministrarna Urho Kekkonen och J.O. Söderhjelm vid förhandlingsbordet strax före vinterkrigets utbrott 1939. Museiverket, Historiska bildsamlingarna, CC BY 4.0Musik: Sibelius "Finlandia", OP. 26 av The Philharmonia orchestra; His Master's Voice 1948, Internet Archive, Public Domain.Klippare: Emanuel Lehtonen Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

Handel's Messiah, a timeless piece which remains one of the most celebrated oratorios globally, will once again be performed by the Philharmonia Choir of Cape Town on 29 & 31 March at Cape Town City Hall, in collaboration with the Cape Town Philharmonic Orchestra. Lester Kiewit speaks to Chad Hendricks, the visiting conductor who will be leading with the baton.See omnystudio.com/listener for privacy information.

https://elcamarotedelosmarx.blogspot.com.es/ https://t.me/CamaroteMarx Programa de radio de "El Camarote de los Marx" grabado el 8 de febrero... ...en el que recibimos con los brazos abiertos a nuestro querido Dani Maverick, conductor de los podcast 'En clave de Soundtrack' y 'Podcaster al desnudo'... ...y en el que hablamos de chicos guapos con categoría y de amiguetes herniados, de acabar películas y canciones descartadas, de polémicas recurrentes y cortinas de humo, de preguntas comprometidas, podcast de perros y hablar bajito, de cumpleaños, no muertes probables y muertes constatadas, de guapos aerodinámicos y programas especiales, de abonados a biografías y abarcar demasiado, de máquinas de matar, amantes italianas y momentos vitales, de remakes musicales y una gran puesta en escena, de tirarse a la piscina con miedo y un cementerio indio, de traducciones imposibles, niñas chinas y manifestaciones de adolescentes, de arenosos reestrenos y documentales premiados, de clarividencia, atentados fallidos y segundas oportunidades, del personal cine de Sofía Coppola y la distinta visión de un personaje, de situaciones comprometidas, agujeros del amor y preguntas personales, de truñacos anunciados, fórmulas en farmacias y físicos irradiados, de miedos infantiles y juegos conceptuales, de pelis de plancha con pasta y una pareja poco probable, de una situación inusual que se sale de madre y hablar de cosas importantes, de una utopía de hormigón, un interesante thriller francés y Momoa haciendo el burro, de estafas financieras y explicar las cosas de forma adecuada, de series que se cuecen poco a poco y aviones que se rompen por todos lados, de recuperar una serie de animación y que Jodie Foster se sale siempre, de un brindis antes de tiempo, no dejar que suene la música... y disfrutar enormemente de un programa en buena compañía. Estrenos de los que hablamos: Ferrari, El color púrpura, La piscina, Dune, Mientras seas tú, Madame Web, Bob Marley: One love, Priscilla. Críticas: Ferrari, La piscina, Los mercen4rios, Los guardianes de la fórmula, Orión y la oscuridad, Argylle, Sala de profesores, Cruzando el límite, Aquaman y el reino perdido, Las apariencias engañan. Series: Sangre y dinero, Los amos del aire, Batman: la serie animada, Philharmonia, True Detective: noche polar.

Giuseppe Verdi (1813 – 1901) - Overtures, Preludes and dancesLa forza del destino - OvertureLa traviata - Prelude to Act II vespri sicilliani - OvertureUn ballo in maschera - Prelude to Act 1Aida - Prelude to Act 1Nabucco - OvertureAida - DanzaAida - BallabileLa traviata - Prelude to Act IIIMacbeth - Ballet Music, Act IIIPhilharmonia OrchestraJacek Kaspszyk, conductor

A big, macro changing narrative is how consumers trust people more than brands these days. The influencer industry alone is expected to reach $21.1 Billion this year (2023). And arts organizations have a built-in influencer army at our fingertips — our artists — if we know how to active them.In this episode, Aubrey brings in David Taylor, who worked with the Philharmonia in London to do just this.We'll hear the case study of what they did, what worked and what didn't, and some unexpected results they saw as well.Get David's book, The Future of Classical Music - Part 1: A collection of articles, talks, and ideasSlover Linett research on classical music radio listenership discussed in the opening remarks here.

Jess meets up with Love Ssega to swap some of their favourite music. A founding songwriter and vocalist of Clean Bandit, Love Ssega is hugely in demand for his collaborative work across genres from pop to visual art. He is currently the Philharmonia's artist in residence. Ssega came with some truly epic Elgar played by Sheku Kanneh Mason, a serious ear worm of an opera chorus by Verdi, and introduced Jess to the incredible voice of Alice Smith (she's been listening to her on loop since). Meanwhile Jess played Ssega Vivaldi arranged by Max Richter, some 12th century vocal music by Hildegard von Bingen, and an elegy to the environment by Marvin Gaye. PLAYLIST: MAX RICHTER/VIVALDI: Spring 1 – from the Four Seasons Recomposed [Daniel Hope (violin), Zurich Chamber Orchestra] VERDI: Va pensiero – Chorus of the Hebrew Slaves (from Nabucco) [Chorus and Orchestra of Royal Opera House, London, Bernard Haitink (cond)] MARVIN GAYE: Mercy Mercy Me (The Ecology) ELGAR – Cello Concerto in E minor, op.85 – 1st mvt [Sheku Kanneh Mason (cello), London Symphony Orchestra, Simon Rattle (cond)] PETER GABRIEL: The Book of Love WILLIAM MATHIAS: Zodiac Trio, op.70 – 1st mvt ‘Pisces' [Dallas Triptych Players] HILDEGARD von BINGEN: Spiritus Sanctus Vivificans [Armonico Consort, Christopher Monks (dir) ALICE SMITH: Wednesday's Child

This week we review Klein's "Cave in the Wind" and Mason Bates with the Chicago Symphony Orchestra with "Philharmonia Fantastique - The Making of the Orchestra."

Sara Mohr-Pietsch talks to conductor Santtu-Matias Rouvali about his work with the Philharmonia, currently busy with his second season leading the London-based orchestra. He discusses the composers who challenge him when conducting, and tells why humour is so important in his music making. We take a look at the nature of national anthems and why they're so popular at sports events like the current football World Cup, with an expert on the subject, Dr Ruth Dockwray, associate professor of Popular Music at the University of Chester. Also, we talk to Mary Cohen, co-author of the book Music-Making in U.S. Prisons: Listening to Incarcerated Voices (Wilfrid Laurier University Press, November 2022); to Robin Harris from Finding Rhythms, an organization running song-writing workshops with prisoners in the UK; and to two former inmates who've benefited from these programmes as part of their process of rehabilitation back into society. And composer, vocalist and artistic director Laura Bowler, who's just been granted the 2022 Paul Hamlyn Foundation award, given to support artists in their future paths, talks about her projects about climate change and about violence against women, and why working on these subjects have impacted both her physical and mental health. Producer: Juan Carlos Jaramillo

durée : 00:22:17 - Disques de légende du vendredi 25 novembre 2022 - Ludwig van Beethoven, Wilhelm Furtwängler (direction), Philharmonia Orchestra, Edwin Fischer (piano)

durée : 01:58:43 - Relax ! du vendredi 25 novembre 2022 - par : Lionel Esparza - Retour sur quelques enregistrements, Brahms, Rameau, Scriabine… Disque de légende : Philharmonia orchestra : Birth of a legend.

This week Seb and Verity chat to violinist supremo Millie Ashton.This is actually Millie's third appearance on the pod having popped up briefly in Cat Parker's episode and featured as part of the Ashton/Melhuish dynasty back in 2020.....a lot has changed for her since then, including graduating from GSMD after (gulp) 16 years!Millie chats about her days living a double life as a student by day, busy freelancer by evening and hard partying fresher by night! They also discuss taking the next step away from music college, guest leading the 2nd violins at the Philharmonia and how she approaches this role. Millie talks about her time at Prussia Cove on the highly prestigious chamber music course as well as her new found love of all things outdoors, wild swimming and finding time for other things away from music.She suffered with some horrific health issues right at the crux point in her studies and tells Seb and Verity all about that awful time and how she managed to get through it. It's fairly graphic and pretty shocking.....but lets just say, be thankful you can't see the photos!Millie is a truly incredible person who has achieved so much already at just 24 years old - and through some seriously challenging circumstances. This episode would make a very interesting and insightful listen for anyone studying or just finishing their studies at music college....as well as anyone else who likes a darned good catch with an old pal!You can follow Three In a Bar on Instagram @threeinabarpodhttps://www.instagram.com/threeinabarpod/We are on Twitter @threeinabarpod https://www.twitter.com/threeinabarpodAnything you'd like to share with us? Any guests you'd love to hear or anything you'd like us to do better? Drop us a line at hello@threeinabar.comSUPPORT THREE IN A BAR ON PATREONJoin our Members' Club for a bonus podcast feed plus many more rewards.Click here: https://www.patreon.com/threeinabar. Click here to join the Members' Club on Patreon! Hosted on Acast. See acast.com/privacy for more information.

The American composer Mason Bates wrote Philharmonia Fantastique to a commission from a host of major US orchestras (Chicago Symphony Orchestra, Dallas Symphony Orchestra, National Symphony Orchestra, Pittsburgh Symphony Orchestra, San Francisco Symphony and the American Youth Symphony). It was recorded for Sony Classical by the Chicago SO under Edwin Outwater and released earlier this year. Now an animated film by Academy Award-winning sound designer Gary Rydstrom, and featuring the work of Jim Capobianco, has been made using the same soundtrack. (It will be available from November 4 to rent or purchase in 4K and surround-sound on the AppleTV app and to stream on Apple Music.) Gramophone's Editor, Martin Cullingford, spoke to Mason Bates about the work and the new animated film. Gramophone Podcasts are made in association with Wigmore Hall, sponsors of the 2022 Chamber Award.   

Al concert da lentschatta d'avust a Sursaissa ha l'orchester da l'Opera Viva, la Philharmonia Opera Viva, er sunà l'otgavla sinfonia da Ludwig van Beethoven. Plinavant datti anc in schatg dal Gion Antoni Derungs Festival ch'è stà l'entschatta da settember a Cuira. Esther Hoppe suna il segund concert per violina da Gion Antoni Derungs. La violonista vegn accumpagnada da la Filharmonia da chombra dal Grischun.

The post Oct 6, 2022: North Idaho Philharmonia appeared first on KRFY Radio.

En lArtg musical datti ina part dal concert che lorchester sinfonic dal Festival Opera Viva ha dà lentschatta davust a Sursaissa. Gion Gieri Tuor dirigia lovra «Concerto per orchestra nr. 2» da Gion Antoni Derungs ed il concert per violina op. 77 da Johannes Brahms. Il solist è Vilmos Olah.

Nur noch 13 Tage, dann wird in St. Margarethen Premiere gefeiert. Und, es wird heuer wieder eng im Orchesterhaus bei Oper im Steinbruch St. Margarethen. Denn im Gebäude neben der Bühne nimmt nicht nur das gesamte Orchester Platz, sondern dort steht auch ein riesiger Chor: 68 Frauen und Männer des Philharmonia Chors Wien - sie singen heuer "Nabucco" von Guiseppe Verdi. Seit 2015 singt der Chor bei Oper im Steinbruch. Gründer und Chorleiter des Philharmonia Chor Wien ist Walter Zeh. Meine Kollegin Bettina Treiber hat mit ihm über die aktuelle Probenarbeit und Verdis "Nabucco" gesprochen:

Philharmonia Fantastique: The Making of the Orchestra is a 25-minute concerto for orchestra &animated film that flies through the instruments of the orchestra to explore the age-old connection between creativity and technology. PhilharmoniaFantastique is a collaboration between composer and DJ Mason Bates, Oscar-winning director and sound designer Gary Rydstrom, and animator Jim Capobianco. Guided by a magical Sprite, we see violin strings vibrate, brass valves slice the air, and drum heads resonate. Imaginatively blending traditional and modern animation styles, it is a kinetic and cutting edge guide to the orchestra. By the film's end, the orchestra overcomes its differences to demonstrate “unity from diversity” in a spectacular finalePurchase the music (without talk) at:Philharmonic Fantastique (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson).

French conductor Chloé van Soeterstède is one of the very prestigious Dudamel Fellows this season with the Los Angeles Philharmonic. She's working with Gustavo Dudamel, but also with other conducting legends like Michael Tilson Thomas and Zubin Mehta. It's quite an honor for a young conductor to have this experience and really helps set them up for future success as a music director of a major orchestra. I spoke with Chloé on the Classical Post podcast where we explore her new experience as a Dudamel Fellow, but also how she created her own London-based orchestra—Arch Sinfonia—which celebrates their 10th anniversary this year. Comprised of excellent players from other London ensembles like the great Philharmonia and the London Philharmonic, this dynamic organization is named after the idea of building metaphorical bridges—like an “arch” connecting things. In this case, Arch Sinfonia is building unique connections between the audience and the orchestra—even having audience members sit amidst the players, such as right in front of the timpani. The audience even votes at the end of each concert to shape the next concert program. This type of real dialogue has bode well for Chloé and her team, and provides an interesting idea for future discussion. We also speak of how female conductors among the top 25 American orchestras are extremely rare. And, how she just might be on the cusp of something great now that she's working at the highest level. For some fun lifestyle recommendations in this podcast, you'll hear of Chloé's love of silky sleeping masks, Pad Thai in London restaurants, and a propensity for modern art. — Classical Post explores the intersection of classical music, style, and wellness, diving into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok.

In this episode I'm talking to Award Winning TV, Film and Theatre composer and sound designer Isobel Waller-Bridge. In this episode of Sync Music Matters Isobel reveals how she finds musical inspiration in anything but music. In fact when talking about inspiration, she references people like Francis Bacon, Tilda Swinton and Anne Carson.  But Isobel also shares her love for composers like Ennio Moriccone, Danny Elfman, Gustav Mahler and Wendy Carlos amongst others.  We also dig into the prevalence of drone based music in modern film score and her love for it... as well as Detroit Techno.  We go under the skin with her work on the Netflix series Munich: The Edge of War as well as her recent project with the Philharmonia as part of their climate change season.  We also talk about her electronic score for Vita and Virginia and how the instructions from director Chanya Button were “lazers and no piano!” Isobel Waller-Bridge Credits Isobel Waller-Bridge's recent TV soundtracks include, Emma, Black Mirror - Rachel Jack and Ashley Too, Vanity Fair, Vita & Virginia, The Split and Fleabag. And recent theatre credits include Woyzeck at the Old Vic and Knives in Hens at the Donmar Warehouse Isobel's eclectic scores move seamlessly between sweeping orchestral and analogue electronica, often blurring the lines between music and sound design. She won Best Composer at Underwire Film Festival and winner of Best Sound Designer at Off West End Theatre Awards Film Scores by Isobel Waller Bridge Munich - The Edge of War OST Emma OST Vita and Virginia OST Have a listen to some of the music that has inspired Isobel Waller-Bridge George Benjamin Silvina Milstein Let it Be - The Beatles  Emma   Atonement -  Ennio Moriccone PJ Harvey Danny Elfman Danny Elfman - Edward Scissorhands (OST) The Social Network  Thomas Newman - American Beauty OST Hans Zimmer - Dune OST  Daniel Avery  John Hopkins Bernard Hermman - Taxi Driver OST Hildur Guðnadóttir - Joker (OST)  Mica Levy - Monos  Jóhann Jóhannsson - Sicario OST Jóhann Jóhannsson - Arrival (Original Motion Picture Soundtrack) John Williams - E.T. The Extra Terrestrial  Wendy Carlos - The Shining  Wendy Carlos - Clockwork Orange Snow White and the Seven Dwarfs 

No magazine artes desta semana descobrimos a programação da temporada França-Portugal 2022, apresentada esta terça-feira, 18 de Janeiro, na Torre Eiffel em Paris e no Palácio Nacional da Ajuda, em Lisboa. A temporada cruzada França-Portugal 2022 arranca dia 12 de Fevereiro com um concerto da pianista portuguesa Maria João Pires, acompanhada pela orquestra da Fundação Calouste Gubenkian, na Philharmonia de Paris. A temporada vai passar em mais de 130 cidades francesas e portuguesas, conta com 200 projectos e mais de 450 eventos. Uma programação cruzada que vai deixar marcos e criar novas ligações entre os dois países, explica o presidente da temporada Emmanuel Demarcy-Mota.

During our Musicians' Injury Awareness Week, we interviewed Soft Tissue Therapist and Injury Rehabilitation specialist, Anil Umer about his experience of injury, as someone who has both suffered from one personally and treated others. We thank Anil for his openness and his wisdom!Anil is a freelance cellist, Injury Rehabilitation Specialist and Soft Tissue Therapist. He works both privately and in clinic, and has treated professional musicians, dancers and Olympic athletes. Having had to temporarily quit performing due to a shoulder injury, he has a passionate interest in helping people overcome chronic musculoskeletal issues. Anil Studied at Oxford University and was awarded a full postgraduate scholarship to the Royal Academy of Music where he was the winner of numerous awards, including the Philharmonia's Martin Musical Scholarship and the Countess of Munster Postgraduate Award. A committed ensemble musician, Anil now performs with the Morello Quartet.Follow us on instagram!Our websiteBuy our stickersOr buy us a coffee!

Chabad menorah lighting event, Barbados independence, Ghislaine Maxwell trial, UI Jazz and Philharmonia concerts, and Illini Volleyball makes NCAA tournament Hosted by Tori Gellman Stories by Justin Malone, Laszlo Toth, Jane Knight, Owen Henderson, and Jackson Janes Music by Boxout Support this podcast

Last week was our Musicians' Injury Awareness Week and we were absolutely blown away by all the support and love we received before, during and after it. Included in the week was Becca's interview with the lovely Bob Hughes about his journey will Focal Dystonia. Bob said so many amazing things that couldn't be squeezed into just a 20 minute mini-episode, so we're releasing the whole interview today! Thank you Bob!Born in Wales, Bob studied the Bass trombone from 1976 at the RAM with Harold Nash and was the winner of the Sydney Langston Brass Prize. Bob's first job was with the BBC Scottish Symphony at the age of twenty. He then went on to play with the Royal Scottish National Orchestra, The Philharmonia and the London Symphony Orchestra. Bob has made multiple recordings with these orchestras including soundtracks for blockbuster films such as Star Wars, Harry Potter and Braveheart. He has toured extensively throughout Europe, Americas and Asia. Bob began teaching Bass Trombone at the Academy in 1989 and many of his students hold orchestral positions in the UK. Bob was president of the British trombone society from 2006 -2010 and there is a biannual competition named after him - The Bob Hughes Bass Trombone Competition.Follow us on instagram!Our websiteBuy our stickersOr buy us a coffee!

It's the inaugural Musicians' Injury Awareness Week, and today's injury story comes from Bob Hughes. A sufferer of focal dystonia, Bob shares with us what it was like to go through such an experience whilst still working and teaching. He talks about the difficulty in trying to find out what exactly was wrong, his trips to see various dystonia specialists, and the support he received from those around him. Born in Wales, Bob studied the Bass trombone from 1976 at the RAM with Harold Nash and was the winner of the Sydney Langston Brass Prize. Bob's first job was with the BBC Scottish Symphony at the age of twenty. He then went on to play with the Royal Scottish National Orchestra, The Philharmonia and the London Symphony Orchestra.Bob has made multiple recordings with these orchestras including soundtracks for blockbuster films such as Star Wars, Harry Potter and Braveheart. He has toured extensively throughout Europe, Americas and Asia.Bob began teaching Bass Trombone at the Academy in 1989 and many of his students hold orchestral positions in the UK. Bob was president of the British trombone society from 2006 - 2010 and there is a biannual competition named after him - The Bob Hughes Bass Trombone Competition.Share your injury stories using the hashtag #MIAW2021 and tag us! The more discussion, the merrier. Follow us on Instagram: https://www.instagram.com/tmdtapodcast/ (@tmdtapodcast)Follow us on Facebook: https://www.facebook.com/tmdtapodcastCheck out our website: https://thingsmusiciansdonttalkabout.com

Gramophone's Artist of the Year for 2019, Víkingur Ólafsson, has recorded three critically acclaimed albums for DG, and now he adds a fourth entitled 'Mozart & Contemporaries' which gathers music by CPE Bach, Galuppi, Cimarosa and Haydn around the great Wolfgang Amadeus. James Jolly caught up by video call with the pianist at his home in Iceland just a few days after Ólafsson's triumphant debut at the BBC Proms where he joined the Philharmonia and Paavo Järvi in concertos by JS Bach and Mozart.

With the voting open for the 2021 Orchestra of the Year Award, Copenhagen-based music journalist and broadcaster Andrew Mellor joins Gramophone's Editor in Chief, James Jolly, to talk about ensembles from the UK, Italy, Germany and Canada. This is the only award chosen by our readers and an international audience of music-lovers. Visit our Gramophone Awards 2021for the list of the ten nominated orchestras and to vote. But before you do, listen to the ensembles on ten specially curated playlists on Gramophone on Apple Music in lossless audio. Gramophone Podcasts are presented in association with Wigmore Hall.

Kim's  career has taken her from Broadway to the West End to the international concert stage, resulting in a most unusual career path unmatched by any other singer. She continues to specialize in musical theatre, bringing the classic American songbook to leading music venues across the world, both in symphony settings and recital.  She has sung at La Scala in Milan, La Fenice in Venice, the Teatro di San Carlo in Naples, the Accademia Nazionale Santa Cecilia in Rome, the Théâtre du Châtelet and the Opéra Comique in Paris, Concertgebauw in Amsterdam, Carnegie (Weill) Recital Hall in New York, the Musikverein, Konzerthaus and Volksoper in Vienna, the Berliner Philharmonie, the Teatro Nacional de São Carlos in Lisbon, the Snape Maltings Concert Hall in Aldeburgh, and the Mariinsky Theatre in St. Petersburg, not to mention multiple appearances in London at the Wigmore Hall, the Royal Albert Hall, the Barbican, the Royal Festival Hall, the Queen Elizabeth Hall, the Purcell Rooms, Cadogan Hall, and the Linbury Studios at the Royal Opera House, and elsewhere, from Reykjavik, Helsinki, Leipzig and Kaiserslautern, to Athens, Essen, Gothenburg and Bremen, to Tel Aviv, Jerusalem, Hong Kong, Malta, Montpellier, and Moscow, giving her a unique platform among interpreters of the musical theatre repertoire.She has had the pleasure of singing with many of the world's greatest symphony orchestras, ranging from the Berlin Philharmonic and City of Birmingham Symphony Orchestras conducted by Sir Simon Rattle, with whom she has recorded Leonard Bernstein's Wonderful Town in a version that then was repeated as a BBC Proms concert, and as the New Year's Eve Gala in Berlin, to the London Symphony Orchestra, the London Philharmonic Orchestra, the Philharmonia and London Sinfonietta, the Liverpool Philharmonic, the Northern Sinfonia, the Leipzig Gewandhaus, the Orchestre National de Lyon, the Orchestre de Picardie, the Orchestra della Toscana, the Hong Kong Philharmonic, the Toronto and Winnipeg Symphonies, and many, many more. Kim has formed several lasting musical partnerships over the years, leading to both concert and recording opportunities. Conductor/music historian John McGlinn brought her to EMI Classics, which led to several recordings and a personal recording contract, as well as many symphony concerts across America and Europe. With conductor John Wilson, she has explored the world of film music across the UK in concert, including the very popular MGM and Rodgers and Hammerstein Proms concerts, and several solo evenings. Her ongoing recital partnership with conductor/pianist Wayne Marshall has taken the pair to many of the great concert venues in Europe, both as recitalists and in full symphony settings.  Other conductors she has appeared with include Kristjan Jarvi, , Leonard Slatkin, Marin Alsop, Yutaka Sado, Keith Lockhart, Ulf Schirmer, John Axelrod, Kevin Farrell, Carl Davis and Richard Hickox, to name a few.Critically acclaimed for playing “Annie Oakley” in Annie Get Your Gun at London's Prince of Wales Theatre, for which she earned a Olivier Award nomination for Best Actress in a Musical, and for her role as “The Old Lady” in Robert Carsen's productions of Candide at La Scala and the Théâtre du Châtelet, she has also won a Helen Hayes Award for her work in Side by Side by Sondheim. She also starred as “Sally Adams” in Call Me Madam at the Goodspeed Opera House, singing the role of “The Old Lady” in Candide at Chicago's Ravinia Festival, and co-starring with Joseph Fiennes and Charles Edwards in Happy Days in the Art World at NYU's Skirball Center in New York.Kim's Broadway credits include starring as “Lucy”, opposite Sting, in the 3 Penny Opera directed by John Dexter, and appearing in the original Broadway cast of 1982 Best Musical Tony winner Nine, first as Francesca, then taking over the leading role of Claudia. Other Broadway original cast credits include The First, Baby and Star

Video and transcript: https://cms.mit.edu/video-sandra-rodriguez-creating-interacting-virtual-entities-vr-ai-human-experiences/ Drawing from recent creative experiences Chomsky vs Chomsky (Sundance 2021) and Future Rites (Creative XR, UK-Can Immersive Exchange, Philharmonia, IDFA DocLab Forum), Director Sandra Rodriguez (Canada) explores how artificial intelligence (AI) and human creativity meet at a crucial junction, to create compelling virtual worlds and characters that invite interaction, discovery and play. Between technology and carefully crafted storytelling, it is the human imagination that remains at the core of any immersion. Sandra Rodriguez, Ph.D., is a creative director (interactive, VR, XR, AI), producer and a sociologist of new media technology. For the last four years, she was founder and head of the Creative Reality Lab at EyeSteelFilm (Emmy-award company based in Montreal), where she explored futures of non-fiction storytelling in VR/AR/AI. Her work as creative director and producer (DoNotTrack, DeprogrammedVR, Big Picture, ManicVR, Chomsky vs. Chomsky: First Encounter) have garnered multiple awards, including a Peabody (DoNotTrack, 2016), best immersive experience (IDFA DocLab 2016; Leipzig DokNeuland 2018, Numix 2018), best storytelling (UNVR and World Economic Forum tour 2018), and the first Golden Nica award given to a VR project at Ars Electronica (2019). Her most recent works span from immersive dance performance, multi-user XR theater and large scale installation, but always explore the sparks that fly at the crossroads of AI, VR, and human creativity. Rodriguez is also a lecturer at the MIT CMS/W since 2017, where she leads the course HackingXR, MIT’s first course on VR and immersive media production. Her experience combines immersive know-how, award-winning productions and human-centered design.

Tom Service takes a look at the influence of horn player Dennis Brain in his centenary year - We hear from two of today's leading horn players Ben Goldscheider, who is releasing an album centred around Brain's legacy, and Sarah Willis who talks us through some iconic Dennis Brain recordings. Plus we speak to retired horn player Andrew McGavin, who played second horn to Dennis in the Philharmonia in the 1950s, for some first hand memories of the legend that was Dennis Brain. As live music venues start to open their doors to audiences with the easing of COVID restrictions we take a look at the issues surrounding physical access for disabled and neurodiverse audiences. We speak to Susanne Bull, founder of 'Attitude is Everything', Andrew Miller co-founder of the UK Disability Arts Alliance, #WeShallNotBeRemoved and audience ambassador Vivien Wilkinson about the issues and also the potential for a hybrid form of concert going that includes live streaming. As part of Mental Health Awareness Week writers Horatio Clare and Stephen Johnson reflect on how music, literature, art and nature have helped them through some of the darkest times imaginable, and Alex Smalley updates us on the results of The University of Exeter's Virtual Nature Experiment. Composer Gerard McBurney and Ann McKay from the BBC Symphony orchestra pay tribute to composer Anthony Payne. Producer: Martin Webb

durée : 00:12:29 - Disques de légende du lundi 26 avril 2021 - Entre septembre 1963 et avril 1964, le chef d'orchestre italien Carlo Maria Giulini enregistre pour EMI le célèbre Requiem de Gisueppe Verdi, avec l'Orchestre et le Chœur Philharmonia, et en solistes un quatuor légendaire : Elisabeth Schwarzkopf, Christa Ludwig, Nicolai Gedda et Nicolai Ghiaurov.

This episode is all about tempo in music. How to define and interpret it? Who decides on the tempo : composer or performer? Do we practise with or without metronome?  You will learn about 4 main ways how composers express their will and how subjective it can be. Host: Olga Jegunova https://www.olgajegunova.com/ Editor: Matylda Dymek  Visual design: Christopher Moehring  Music excerpts used in this episode: F. Händel - Water music. Minuet. The English Bach Festival orchestra, Christopher Hirons J.S.Bach - Aria from Goldberg variations. Glen Gould (1981) J.S.Bach - Aria from Goldberg variations. Murray Perahia  W. A. Mozart - Symphony No 41 in C major, Allegro vivace. Zubin Mehta & Wiener Philharmoniker W.A.Mozart - Piano concerto No 21 in C major K.467. Vladimir Ashkenazy & Philharmonia orchestra  S. Barber - Adagio for strings Op. 11. & Sergiù Celibidache & Munich Philharmonic Orchestra

Penderecki in Memoriam Podcast is produced and hosted by Max Horowitz, Crossover Media. Interview with Antoni Wit conducted by Raymond Bisha, Senior VP of Marketing at Naxos. This podcast is created by Anna Perzanowska and Klaudia Ofwona Draber, and presented by Polish Cultural Institute New York. Penderecki in Memoriam Podcast unveils a multifaceted portrait of Krzysztof Penderecki, with commentary from musicians, colleagues, radio programmers, and writers who lend insight and memories of Poland's greatest modern composer. This podcast is part of Penderecki in Memoriam Worldwide project, honoring the life and legacy of the great composer. Thank you to project partners DUX, NAXOS, Ludwig van Beethoven Association, and Schott EAM for sharing Krzysztof Penderecki's music with the world. Antoni Wit is one of the most highly regarded Polish conductors and a champion of Polish music. A top prizewinner at the Herbert von Karajan International Conducting Competition in 1971 and an assistant to Karajan at the Easter Festival in Salzburg, he subsequently worked with all of the leading orchestras in Poland (including the National Polish Radio Symphony Orchestra) before taking up the position of general and artistic director of the Warsaw Philharmonic in 2001 for twelve years until the end of the 2012–13 season. He was music director of the Orquesta Sinfónica de Navarra in Spain between 2013 and 2018, and he is currently conductor laureate of the Kraków Philharmonic in Poland. In 2015 he was awarded the French Légion d'honneur. Antoni Wit has enjoyed an international career with major orchestras throughout Europe, America and the Far East. Past highlights have included the Berliner Philharmoniker, the Staatskapelle Dresden, the Tonhalle-Orchester Zürich, the Filarmonica della Scala, the Accademia Nazionale di Santa Cecilia, Rome, the Royal Philharmonic, the Philharmonia and the BBC Symphony Orchestras as well as the Orchestre symphonique de Montréal, the China Philharmonic Orchestra and the Cleveland Orchestra among others. For more information visit: https://www.naxos.com/person/Antoni_Wit/32182.htm Musical pieces in this podcast courtesy of NAXOS: Open and Close, Clarinet Quartet, Symphony #8, Polish Requiem, and St. Luke Passion.

Here is the new episode of The Interview Series on the MULTI-MEDIA MEN podcast network, where the show is related to all things Movies, Music, and Entertainment! Here on this new episode, host Bryan Kluger from Boomstick Comics, High Def Digest, and Screen Rant, join in on the fun. Our Feature Presentation this episode is a wonderful talk with composer/musician - BENJAMIN WALLFISCH! About Benjamin Wallfisch: Composer of Andy Muschietti's IT and IT Chapter 2, David F. Sandberg's SHAZAM!, Leigh Whannell's THE INVISIBLE MAN and co-composer of Denis Villeneuve's BLADE RUNNER: 2049 (with Hans Zimmer), Benjamin Wallfisch has worked on over 75 feature films and received Golden Globe, BAFTA, 2x GRAMMY and EMMY nominations for his work.  He is currently scoring Simon McQuoid's MORTAL KOMBAT for New Line/Warner Bros and was recently nominated as 'Film Composer of the Year' in the World Soundtrack Awards for the second consecutive year. To date, the movies he has scored have made over $2.5 billion in worldwide box office receipts, and in 2019 Variety inducted him into their ‘Billion Dollar Composer' series in recognition of this. Other recent projects include Academy Award Best Picture nominee HIDDEN FIGURES, directed by Ted Melfi (in collaboration with Pharrell Williams and Hans Zimmer) and David F. Sandberg's box office hits ANNABELLE: CREATION and LIGHTS OUT. On the invitation of Zimmer, he wrote 'Variation 15', based on Elgar's 'Enigma' Variations, for Christopher Nolan's DUNKIRK. In recent years, Benjamin has also scored Gore Verbinski's A CURE FOR WELLNESS, the Steven Spielberg produced the short film AUSCHWITZ, directed by James Moll, KING OF THIEVES, starring Michael Caine and directed by James Marsh; and Steven Knight's SERENITY, starring Matthew McConaughey and Anne Hathaway. He also recently completed scoring HOSTILE PLANET, a six-part series for National Geographic. With over 25 albums of his music released to date on labels including Deutsche Grammophon and Epic Records, Benjamin has performed live in over 100 concerts worldwide, leading orchestras such as the London Philharmonic, Philharmonia, Los Angeles Philharmonic, Los Angeles Chamber Orchestra, and the Sydney Symphony at venues including the Hollywood Bowl, Sydney Opera House, and Royal Festival Hall. He has collaborated, recorded, and performed his music with artists including Lang Lang, Herbie Hancock, and Yuja Wang, and has over 50 concert music commissions to his name. He has also collaborated three times with Pharrell Williams, including a live performance at the 2015 GRAMMY Awards, and recently partnered with Adele, arranging her 2017 GRAMMY performance of George Michael's 'Fast Love'. A member of the BAFTA® Academy since 2009, Benjamin was appointed an Associate of the Royal Academy of Music, London in 2014. In 2017, he was invited to join the Academy of Motion Picture Arts and Sciences.   Benjamin and I start the show with origin stories, how he got into music and playing piano and his transition from classical to film composing was accomplished. We move onto his work in horror films, his friendship with Hans Zimmer, and even talk about his grandmother, who has an incredible journey and tale of music and history. Then, of course, we get into the fun questions. Enjoy the show! VISIT BENJAMIN WALLFISCH HERE And don't forget to visit iTunes , Stitcher , I Heart Radio, and Spotify to subscribe to our podcast. You can also email us at mybloodypodcast@gmail.com. Enjoy the show and see you next week! Thank you for listening. https://boomstickcomics.com/wp-content/uploads/2021/03/ben-wallfisch.mp3

A nosy trombonist (Melissa Brown) chats to other brass professionals about their careers, how they got there and what music they'd happily put in the bin. In this episode Bob Hughes tells us about his action-packed career as a bass trombonist (with the BBCSO, RSNO, Philharmonia, LSO), his experience with focal dystonia, and about how he has a competition named after him! All episodes recorded during COVID-19 lockdown via video call programmes. There are occasional technical glitches - please bear with us! Facebook: Bold as Brass Podcast Instagram: @boldasbrasspodcast Show artwork: Stuart Crane Music credit: Upbeat Forever by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5011-upbeat-forever License: http://creativecommons.org/licenses/by/4.0/

We’ve been discussing bias in AI on the programme for more than a year now but what is the actual cost of it? KPMG is publishing a report, commissioned by the fintech company Finastra, which examines the size of global consumer lending markets and the potential impact of algorithmic bias in money lending decisions. Amber Sappington, Head of Data & Analytics at Finastra, discusses the potential problems and why there’s an urgency for the industry to acknowledge the problem and act on it. Problematic Smartphone Use ‘Smartphone addiction’ has been in the news, following the publication of a new study by the Institute of Psychiatry, Psychology & Neuroscience Library at King’s in London. However, ‘Smartphone addiction’ is not a recognised medical condition. Gareth speaks with Dr Nicky Kalk, one of the authors of the study, about problematic smartphone use, and if it will be recognised as an illness. Virtually Shakespeare The Royal Shakespeare Company, the Philharmonia and Epic Games are amongst 15 organisations who are premiering a new live performance of “Dream” (which was inspired by A Midsummer Night’s Dream) using motion capture to tell the story of Puck. The aim is to create a shared live experience between a remote audience and a group of physical performers where the live audience can directly influence the world of the actors. Unlike a regular live stream, audiences will play an active role in world-building and the wider storytelling experience, as they would in any gaming environment. Reporter Hannah Fisher has more. The programme is presented by Gareth Mitchell with expert commentary by Ghislaine Boddington. Studio Manager: John Boland Producers: Emil Petrie and Ania Lichtarowicz Image: Young woman uses digital tablet on virtual visual screen at night Credit: dowell/Moment/Getty Images

durée : 01:58:26 - En pistes ! du vendredi 26 février 2021 - par : Emilie Munera - Au programme également, une Danse Polovtsienne de Borodine par le BBC Symphony Chorus et le Philharmonia orchestra dirigés Geoffrey Simon, l'Angleterre de Parry et Elgar par le Südwestdeutsches Kammerorchester Pforzheim dirigé par Douglas Bostock, Bach par Jeffrey McFadden... - réalisé par : Lionel Quantin

durée : 01:58:12 - En pistes ! du lundi 15 février 2021 - par : Rodolphe Bruneau Boulmier - Au menu du jour également : les Dances Symphoniques de Rachmaninov au programme du nouvel opus de Yannick Nézet-Seguin ; le Vertavo Quartet réunit Rossini et Sibelius autour du genre du quatuor ; direction les steppes de l'Asie centrale avec le Philharmonia orchestra et Geoffrey Simon... - réalisé par : Olivier Guérin

Sam and Tim are joined by the Classical PopUps players for a live edition of the podcast. Tchaikovsky's classic ballet and the 1950s Ellington/Strayhorn remix both get the analysis treatment. There's plenty of trivia along the way, along with a few giggles – and some Philharmonia gin. Merry Christmas!

Originally from Australia, Jeremy Watt spent 16 years freelancing through the UK and Europe, including stints as guest principal in Spanish, Norwegian and UK orchestras. Jeremy worked extensively with the UK’s finest ensembles, including the Philharmonia and London Symphony Orchestras.  In 2018, Jeremy obtained a permanent position with the City of Birmingham Symphony Orchestra. During the pandemic, Jeremy carved out time from his frenetic schedule of pandemic-induced childcare to record himself playing all the parts of Colin Brumby’s Suite for Four Basses.  This turned out to be a surprisingly satisfying musical outlet for him. We talk about this pandemic project, Jeremy’s background, the twists and turns of his career, what it’s like auditioning after 16 years of freelancing, and much more. Enjoy, and be sure to check out Jeremy’s website and his recording of the Brumby Suite!   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Check out my Beginner's Classical Bass course, available exclusively from Discover Double Bass!   Thank you to our sponsors!   Dorico - Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism. It is easy enough for anyone to learn, yet has hundreds of advanced notations, features, options and sounds to satisfy even the most demanding professionals.  With its streamlined, natural user interface, students and those with less experience in scoring can compose and arrange straight into Dorico, making learning the language of music notation much faster and more intuitive. Editing and making changes — such as instrument, time signature or key — are straightforward, with the notation instantly and correctly adapting to include them, reinforcing the learning outcome.   Ear Trumpet Labs - They make hand-built mics out of Portland, OR and they have an excellent mic for upright bass called Nadine. The Nadine is a condenser mic with a clear natural sound and incredible feedback rejection. This mic is a completely new design -- the head mounts in between the strings above the tailpiece with a rubber grommet, and the body securely straps to the tailpiece with velcro elastic. A 14-inch Mogami cable connects the two parts making it easy to place on any bass. It’s durable and holds up to the demanding needs of the instrument while offering excellent sound quality. Ear Trumpet Labs is offering a free t-shirt just for Contrabass listeners with the purchase of a mic, just visit EarTrumpetLabs.com/contrabass to claim yours and check out the Nadine!   Practizma - The Practizma practice journal is packed with research based strategies to turn your ho-hum practice into extraordinary practice.  Develop your curiosity, discipline, creativity, daring, tenacity and zen.  Take a journey with four elements each week: goal setting, reflection prompt, action challenge, and journal pages to track your practice.  Curious? Download the introductory chapter of the journal for free - this gives you an idea of what it's all about.   Modacity - Are you a practice-savvy musician? Get Modacity – the music practice app that organizes, focuses, and tracks your progress.  Recorder… metronome… tone generator… timer… note taking… Do away with the random assortment of music practice apps in your arsenal. Modacity™ combines all the tools you need into one easy to use, music practice tool.  Organize, focus, and reflect on your practice – motivating you to increase retention in less time.  Modacity has a special offer for Contrabass Conversations listeners that includes lifetime access to the app.     Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging theme music by Eric Hochberg

durée : 00:58:08 - Herbert von Karajan, les années Philharmonia - par : Aurélie Moreau - Homme de légende, Herbert von Karajan est l'interprète qui a laissé l'empreinte la plus profonde sur la seconde moitié du XXe siècle, tant il a su faire évoluer son art et l'adapter au moyen de communication de son temps. - réalisé par : Louise Loubrieu, Céline Parfenoff

An audience of hundreds were set to fill the Auckland Town Hall last night. That plan came to an abrupt halt when news of the mystery case of Covid-19 broke, just a few hours before the performance by the Auckland Philharmonia Orchestra was set to begin. Instead, the orchestra played to an empty room, in a performance that was seen only by livestream. Geraint Martin is the chairman of the Auckland Philharmonia Orchestra.

durée : 00:12:43 - Tchaïkovsky : Le lac des cygnes - Philharmonia orchestra, Santtu-Matias Rouvali - Santtu-Matias Rouvali, un chef qui fait beaucoup parler de lui. Le finlandais de 35 ans qui vient d'être nommé chef du Philharmonia de Londres enregistre ici son premier disque avec cet orchestre, en version de concert.

Mark and Mark discuss the nature of irresolvable desire and the famous "Tristan Chord" in Wagner's Prelude with the assistance of Wilhlem Fürtwangler and the Philharmonia's 1955 recording.

Mark and Matthew listen to The Philharmonia's 1957 recording of the first movement of Mahler's 4th symphony, conducted by Paul Kletzki, discovering the tension between the grace, beauty and simplicity of its dancelike themes and the metronomic insistence of its accompanying motives.