Podcasts about philharmonia baroque

Join the Cramer Quartet next week at Music Mountain Summer Festival Sunday, August 14, 2022 | 3:00 p.m. Gordon Hall 225 Music Mountain Rd Falls Village, CT >> Get Tickets Now Don't miss the WORLD PREMIERE of Alexandra du Bois' NEW String Quartet No. 6!Get TicketsFranz Joseph Haydn String Quartet in C Major, Opus 20, No. 2 Alexandra du Bois (b. 1981) String Quartet No. 6, strolling in the ultimate ***WORLD PREMIERE*** Franz Joseph Haydn String Quartet in G Major, Opus 76, No. 1We are thrilled to make our debut at the renowned and scenic Music Mountain Summer Festival next Sunday, August 14th, as the first ever period instrument string quartet in the Festival's 92-year history! For this concert, we will be joined by our longtime friend and collaborator cellist Ana Kim, who will be stepping in for Shirley Hunt. This past April, we launched Haydn: Dialogues, our ambitious multi-year cycle combining Haydn's 68 string quartets with sixteen new commissions by composers of marginalized identities, with the world premiere of Alexandra du Bois' String Quartet No. 6 strolling in the ultimate. Next week's performance unveils the new and significantly expanded version of the same work. We hope to see you there! >>GET TICKETS THE CRAMER QUARTET Jessica Park (she/her), violin Chiara Fasani Stauffer (she/her), violin Keats Dieffenbach (they/them), viola Ana Kim (she/her), cello The Cramer Quartet performs on period instruments with gut strings at A=430 Hz.Get to know cellist Ana Kim!Indiana-native Ana Kim is a cellist based in New York, who performs on modern and historical instruments with various ensembles including Philharmonia Baroque, American Classical, and Boston Baroque Orchestras. She has received a Doctorate at the University of Southern California and has studied Historical Performance at Juilliard.Please support our next Haydn: Dialogues commission from NYC-based composer inti figgis-vizueta. We will premiere inti's new work during the 2022-2023 season!Donate now

On this week’s episode of In Unison, we focus our discussion on a specific composition and its premiere performance:  the remarkable “Mass Observation” by composer https://www.tarikoregan.com/ (Tarik O’Regan), premiered in 2017 by the https://smtd.umich.edu/chamber-choir-and-percussion-ensemble-perform-world-premiere-of-mass-observation/ (University of Michigan Chamber Choir and Percussion Ensemble), under the direction of https://en.wikipedia.org/wiki/Jerry_Blackstone (Jerry Blackstone). http://www.inunisonpodcast.com/episodes/s02e09#transcript (Episode transcript) Music Excerpts https://open.spotify.com/track/4hFqtaxM6eDJvTUk4TQIGB?si=_sL3CAM8SICL7tixUnRkxQ (Mass Observation), by Tarik O’Regan, performed by the University of Michigan Chamber Choir and Percussion Ensemble under the direction of https://en.wikipedia.org/wiki/Jerry_Blackstone (Jerry Blackstone.) Episode references https://www.tarikoregan.com/ (Tarik O’Regan) “https://www.michigandaily.com/uncategorized/04darius-milhaud-preview03/ (Oresteian Trilogy),” by Darius Milhaud   http://www.massobs.org.uk/about/mass-observation-project (British Mass Observation Program) https://www.poetryfoundation.org/poets/kathleen-raine (Poet Kathleen Raine), “http://www.emmanuelmusic.org/notes_translations/translations_motets/t_o'regan_threshold.htm (Threshold of Night)” https://en.wikipedia.org/wiki/Panopticon (Panopticon) “https://www.wisemusicclassical.com/work/35453/The-Ecstasies-Above--Tarik-O'Regan/ (Ecstasies Above),” by http://www.tarikoregan.com (Tarik O’Regan) https://www.blackstonedoc.com/ (We Are the Music Makers) https://www.yaleclubdc.org/upcoming-events (Yale Club of D.C. Events) https://philharmonia.org/about/richard-egarr/ (Philharmonia Baroque & Richard Egarr) https://choralsinging.org/ (Choral Singing in America) (documentary) https://www.facebook.com/theslapbook/about/ (Slapslap) https://www.instagram.com/tanner_tanyeri/?hl=en (Tanner Tanyeri) Theme Song: https://music.apple.com/us/album/mr-puffy/1457011536?i=1457011549 (Mr. Puffy) by Avi Bortnik, arr. by Paul Kim. Performed by http://www.dynamicjazz.dk/ (Dynamic)

This week on New Classical Tracks, composer Caroline Shaw talks about her latest release with the Philharmonia Baroque Orchestra, featuring two new works.

Countertenor Aryeh Nussbaum Cohen sings the role of David in Philharmonia Baroque's 2020 recording of George Frideric Handel's oratorio SAUL. Still in his 20s, the young American musician is a rising star with numerous awards and ambitious projects already under his belt. He chatted with Suzanne about his path to becoming a professional musician.

Matthew Curtis, Tenor, has performed around the world with internationally recognized choral ensemble such as Chanticleer, San Francisco Symphony Chorus, Philharmonia Baroque, American Bach Soloists, and the Rose Ensemble. He is now the voice and vision behind ChoralTracks.com, the highest quality rehearsal tracks on the market. Since it's founding in 2012, the ChoralTracks.com catalog has grown to near 10,000 pieces of music. Matthew works with hundreds of choirs and ACDA/NafME choir festivals. Join The Portfolio Composer community and support the creation of the platform on Patreon. Just $1/month to enable the creation of more great content to help you build your career! In this episode Matthew Curtis of Choral Tracks discusses how composers can find opportunities if they learn to look for them. Here's a demo recording Matthew created for me of my SATB w/piano and soloist piece, I Greet Thee. The text is by John Calvin. Topics discussed in this episode: Choral Tracks Seeing a need in the market Helping composers Recording all the parts Subscription services Learning the ropes of running a business Taking the non-traditional path Hard work pays off Getting laser focused More opportunities Know your market Marketing yourself & building a brand Work harder than anyone else Treat your work like you're running a business Save your money Website: choraltracks.com Recommended Listening: Franz Biebl, Ave Maria Help composers find the podcast by giving The Portfolio Composer a review on iTunes! This post contains affiliate links.

(Re-run: This program originally aired on April 22, 2011) The magnificent American mezzo soprano Lorraine Hunt Lieberson, who had strong ties to the Bay Area, and died at a young age in 2006, is beloved by classical music industry insiders, but isn't as well known to the broad public as she ought to be. Hard on the heels of the Philharmonia Baroque Orchestra's CD release of Hunt Lieberson's interpretations of Handel arias and Les Nuits D'ete by Berlioz recorded in the 1990s, Philharmonia Baroque's music director, Nicholas McGegan, joins VoiceBox host Chloe Veltman for a profile of this unforgettable vocalist. (Playlist)

Philharmonia Baroque Maestro Nicholas McGegan in conversation with Don Roth, Executive Director of the Mondavi Center at UC Davis.

Mondavi Center Pre-Performance Lecture: Philharmonia Baroque Orchestra with speaker Nicholas McGegan, conductor, Philharmonia Baroque Orchestra

Paul's argument in Romans uses forensic logic and a precise application of key verses from Genesis to stress that Abraham did not earn the righteousness that was credited to him by faith (cf. Gen 15:6). Our faith must be an obedient faith and our obedience must be in faith; believing for decades and learning from his prior failures, Abraham's faith grew to a point that he was willing to sacrifice his uniquely beloved son Isaac to follow God's commands. It is impossible to earn salvation, but an active faith that produces good works is necessary for one's salvation (cf. Jas 2:20). Abraham's spiritual pilgrimage took him from Ur in modern-day Iraq to Haran in modern-day Iran and then to the land of Canaan, the land of promise. Sojourning in tents for decades, this city-boy from Ur trusts in God more and more at every step of the journey. Abraham's witness should convict all believers to allow the Word of God, especially His promises, to dwell richly in them, leading them on a pilgrimage wherein they begin to lose their love of the world and become increasingly attached to the things of heaven (cf. Heb 11). Both the offering of Isaac and Melchizedek (my righteous king) the Prince of Salem (Prince of Peace) prefigure Christ. In reference to the former, Isaac must have been a teenager when he journeyed with his father to Moriah, and Rabbinical literature confirms that he willingly stretched out his arms to be bound on the altar. Just as Jews imagine their prayers being offered to God like Isaac's willingly spread and bound hands; Christians should ever be mindful that our prayers are offered to God through Christ's outstretched arms bound to the cross. Turning to the Book of Hebrews, the words of Genesis exactly foreshadow the crucifixion (11:17-19). Jacob's dream during his flight after stealing the birthright from his slothful brother Esau shows us that God is always with us wherever we travel (Gen 28:10). Jacob the con-man is humbled by an even craftier man, Laban who exploits him for 21 years. When Laban's daughters take the household gods upon their departure from Laban, it is a claim on the inheritance, not an effort to continue idolatry. Over time, Jacob realizes he must make peace with his brother Esau. In his weakness after losing the wrestling match to the Angel of God, Jacob finally surrenders everything to God and is renamed Israel. We then hear of Joseph, his beloved-son, who becomes a Christ-figure when he is hated because he tells the truth and will save his family by doing so. Genesis is ultimately about the relationship about God and man, and every Christian must recapitulate the spiritual dimension of each of these stories. Much has been said about the Fathers of the faith, but the Mothers of the faith are also strong characters throughout Genesis. When Peter praises the "reverent and chaste" behavior of women he uses Sarah as an example (1Pt 3:6), but Abraham's wife was no doormat! New Testament exhortations for women to be submissive must not be construed as a command for women to make themselves in victims, rather they are to be pillars of strength and obedience by virtue of their faith in God. Music: "Airs des Silvains" from the album "Rameau and Leclair" by Philharmonia Baroque. www.magnatune.com

The first masterful 11 Chapters of Genesis set the stage for a drama between God and man peerless among all other written literature. One must not overlook the importance of God's covenant in Genesis. A covenant has two parts: it establishes a deeply personal relationship and defines the specific points on which that relationship depends. The personal name of God, Yahweh, appears throughout Torah whenever it is in reference to a divine covenant. Through God's great mercy, the initial fault of Adam brings the great promises of the proto-evangelium: "I will put enmity between you and the woman, and between your offspring and hers; He will strike at your head while you strike at His heel" (cf. Gen 3:15). These early narratives of Genesis are often foolishly dismissed as mere children's stories, but they contain deep eternal truths. The narrative of Cain and Abel shows the depth of sin's destruction and a foreshadowing of Christ: the sacrificer who himself is sacrificed (cf. Gen 4). God's abhorrence of sin, righteousness and redemption through water come to the forefront in the story of Noah (cf. Gen 6-7). The Tower of Babel shows men's aspirations to the heights of life on their own terms; God confuses their purpose to bring about His purpose (cf. Gen 11). Genesis 10:18-28 reveals an often overlooked and historically misinterpreted passage that is developed throughout the rest of the book of Genesis. It contains the prophesy of how Canaan is to willfully sin as did his father Ham and how these sins will bind Canaan's posterity, the Amorites, in slavery. Noah juxtaposes his cursing of Canaan with his promise to Shem when he says "Blessed be the Lord, the God of Shem!" (Gen 10:25). The descendants of Shem will become the Semitic peoples, the forerunners of monotheistic religion. Noah also prophesies that the Japhethites (Europeans and Asians) will one day come to dwell in the tents of the Semites and learn their religion. Starting in Genesis 12 we see that God, the divine father of every human family, chooses a particular family to be the origin of His chosen people. Despite the fact that his earthly father was an idolater, his Heavenly Father calls Abram into covenant and to be the father of our faith. Paul expounds the fatherhood of our faith when he writes, "Abraham believed God and it was reckoned to him for righteousness" (Rom 4:3). His constant belief in God opens him up to receive God's gift, His transformation into a creature of righteousness, inasmuch as he places complete trust in God. Music: “Airs des Silvains? from the album “Rameau and Leclair? by Philharmonia Baroque.  www.magnatune.com

In this podcast: 1. Philharmonia Baroque, 2. Gonzalo X Ruiz, 3. Philharmonia Baroque, 4. Orinda, 5. Philharmonia Baroque, 6. Orinda, 7. Phoebe Carrai, 8. Gonzalo X Ruiz, 9. Phoebe Carrai, 10. American Baroque, 11. Philharmonia Baroque, 12. Philharmonia Baroque, 13. Philharmonia Baroque

In this podcast: 1. Philharmonia Baroque, 2. Philharmonia Baroque, 3. Phoebe Carrai, 4. Philharmonia Baroque, 5. Phoebe Carrai, 6. Gonzalo X Ruiz, 7. Philharmonia Baroque, 8. Phoebe Carrai, 9. Philharmonia Baroque, 10. American Baroque, 11. Philharmonia Baroque, 12. Hanneke van Proosdij, 13. Philharmonia Baroque, 14. American Baroque

In this podcast: 1. Phoebe Carrai, 2. Philharmonia Baroque, 3. Philharmonia Baroque, 4. Gonzalo X Ruiz, 5. Philharmonia Baroque, 6. Gonzalo X Ruiz, 7. Philharmonia Baroque, 8. Gonzalo X Ruiz, 9. Philharmonia Baroque, 10. Tanya Tomkins and Eric Zivian

In this podcast: 1. The Sarasa Ensemble, 2. John Williams, 3. Todd Levy and Elena Abend, 4. Laurel Zucker, 5. Philharmonia Baroque, 6. SCD, 7. The Sarasa Ensemble, 8. Daniel Ben Pienaar, 9. Philharmonia Baroque, 10. Kenji Williams, 11. Richard Savino, 12. Wadsworth and Sampson, 13. Laurel Zucker, 14. Leon McCawley

In this podcast: 1. Christopher of the Wolves, 2. Les Filles de Sainte Colombe, 3. Philharmonia Baroque, 4. Farallon Recorder Quartet, 5. Kenji Williams, 6. DJ Markitos, 7. Philharmonia Baroque, 8. Philharmonia Baroque, 9. The Sarasa Ensemble, 10. Belief Systems, 11. Christopher of the Wolves, 12. Hanneke van Proosdij, 13. Sonnerie