Podcasts about Philharmonia Orchestra

Behzod Abduraimov's performances combine an immense depth of musicality with phenomenal technique and breath-taking delicacy. He performs with renowned orchestras worldwide including Philharmonia Orchestra, Los Angeles Philharmonic, Deutsches Symphonie-Orchester Berlin, San Francisco Symphony, The Cleveland Orchestra, Orchestre de Paris, Concertgebouworkest, Czech Philharmonic, Vienna Symphony Orchestra, NHK Symphony and Rundfunk-Sinfonieorchester Berlin (RSB). Regular festival appearances include Aspen, Verbier, Rheingau, La Roque Antheron, Lucerne and Ravello festivals. Behzod's second recording for Alpha Classics, featuring works by Ravel, Prokofiev, and Uzbek composer Dilorom Saidaminova, was released on 12 January 2024. The album was Gramophone' Editor's Choice in January 2024, and was included in Apple Music ‘10 Classical Albums You Must Hear This Month' of February 2024.  The year 2021 saw the highly successful release of his first recital album for Alpha Classics based on a program of Miniatures including Mussorgsky's Pictures at an Exhibition. In 2020, recordings included Rachmaninov's Rhapsody on a Theme of Paganini with Lucerne Symphony Orchestra under James Gaffigan, recorded on Rachmaninoff's own piano from Villa Senar for Sony Classical, and Rachmaninoff's Piano Concerto No.3 with Concertgebouworkest, for the RCO live label. Born in Tashkent, Uzbekistan, in 1990, Behzod began the piano at age five, as a pupil of Tamara Popovich at Uspensky State Central Lyceum in Tashkent.

durée : 01:28:45 - Santtu-Matias Rouvali, la clarté et l'imagination - par : Aurélie Moreau - Santtu-Matias Rouvali est chef principal du Philharmonia Orchestra et directeur musical de l'Orchestre Symphonique de Göteborg avec lequel il a gravé une remarquable intégrale des symphonies de Sibelius en plus de ses disques avec le Philharmonia.

Marin Alsop is a world-renowned conductor and the first woman to lead major orchestras internationally. The subject of the Emmy-nominated documentary "The Conductor” and formerly Music Director of the Baltimore Symphony Orchestra, she's Chief Conductor of the ORF Vienna Radio Symphony Orchestra and the Ravinia Festival, and Principal Guest Conductor of the Philharmonia Orchestra and the Philadelphia Orchestra. She has recorded 200+ titles and is the only conductor to receive a MacArthur Fellowship.In this episode, we explore:How giving people max autonomy drives performance How to balance elite talent with team cohesionTheories on talent selection to build top teamsThe "no shortcuts" practice philosophy This episode is great for anyone building teams. It offers powerful insights on creating excellence at scale, balancing autonomy with accountability, and fostering self-motivation. Enjoy this episode? Rate it and leave a review. It really helps others find the podcast.Learn more about Kristen and Irrational Labs ⁠here⁠.

L. van Beethoven: Sinfonia n. 9 in re minore, op. 125 "Corale" 1. Allegro ma non troppo, un poco maestoso2. Molto vivace-Presto3. Adagio molto e cantabile-Andante moderato4. Presto-Recitativo-Allegro assai-Allegro assai vivace-   Alla marcia-Andante maestoso-Allegro energico, sempre ben marcato-   Allegro ma non troppo-Prestissimo Elisabeth Schwarzkopf, sopranoMarga Höffgen, contraltoErnst Haefliger, tenorOtto Edelmann, bassChor der Gesellschaft der Musikfreunde WienPhilharmonia OrchestraHerbert von Karajan, conductor

Robert, Sammy & Eamonn chat through some tracks and things they're thinking about at the moment. Pentatonix, Jeremy Denk's book 'Every Good Boy Does Fine' - and the start of CHORAL CLINIC. Also Monteverdi & Bach. And Robert says 'Rinuccini gloss'. Read 'Every Good Boy Does Fine' by Jeremy Denk in Apple Books - https://apple.co/4hQkCGtExplore the music in this episode of Choral Chihuahua : Listen to 'Deluxe Edition' by Pentatonix on Apple Music - https://apple.co/4ht2Ed7; Listen to 'Sweet Torment' by I Fagiolini on Apple Music - https://apple.co/4aRUQ1W; Listen to 'Bach: Mass in B Minor' by Philharmonia Orchestra - https://apple.co/4hQps6x; Listen to 'Bach: Mass in B Minor' by The Sixteen on Apple Music - https://apple.co/4aRUQ1WSupport this show http://supporter.acast.com/choral-chihuahua. Hosted on Acast. See acast.com/privacy for more information.

Ursula Jones is “nothing short of a musical icon” – at least according to the Royal Philharmonic Society, who made her an honorary member last year at the age of 92. She has devoted her life to music, and has long championed the work of young performers – she gave Daniel Barenboim his first break as a conductor in London, when he was just 23. Ursula was born in Lucerne in 1932, where her father was one of the founders of the Lucerne Festival, so famous musicians, including the likes of Richard Strauss, were never far away. She came to London in 1954 and worked as a secretary for the Philharmonia Orchestra, moving on to co-found the English Chamber Orchestra in 1960. She married the eminent trumpet player Philip Jones, and later managed his Brass Ensemble. Music isn't her only fascination: she completed a doctorate in archaeology at the age of 60, and in 2021 she cycled 100km to raise money for the charity Brass for Africa. Ursula's choices include music by Britten, Mozart and Handel.

durée : 00:20:37 - Disques de légende du mercredi 08 janvier 2025 - Otto Klemperer dirige sur notre disque du jour la Symphonie n°2 en Do mineur de Gustav Mahler, surnommée "Résurrection", à la tête du Philharmonia Orchestra de Londres, un disque paru en 1963.

durée : 00:20:37 - Disques de légende du mercredi 08 janvier 2025 - Otto Klemperer dirige sur notre disque du jour la Symphonie n°2 en Do mineur de Gustav Mahler, surnommée "Résurrection", à la tête du Philharmonia Orchestra de Londres, un disque paru en 1963.

Ett ungt par begått brottet att fortsätta med sin kärleksyra efter den tillåtna årstiden. Paret åtalas och ställs inför de aderton i årstidskommissionen. Lyssna på alla avsnitt i Sveriges Radio Play. Kärlek är tillåten bara under sommarmånaderna och i augusti upphör licensen att gälla. Och den som har brutit mot årstidslagarna kan straffas med livstids djupfrysning!En liten anekdot om livets fåfänglighet skriven på beställning av Radioteatern 1951.Vår lilla sommar av Stig DagermanI rollerna: Eva – Jane Friedmann, Adamsson – Thommy Berggren, Gabrielsson – Karl-Magnus Thulstrup, Ordföranden – Nils Nygren, Åklagaren – Måns Westfelt, Höstman – Arne Nyberg, Magistern – Håkan Jahnberg, Carl-Hugo – Gunnar Uddén, Klubbe – Folke Walder, Kvinnorösten – Margita AhlinBerättaren – Herman AhlsellMusik som hörs i pjäsen: Petroucha av Igor Stravinskij med The Philharmonia Orchestra, dirigent: Efrem Kurtz och Stråkkvartett nr 6 av Béla Bartók med Vegh String Quartett.Ljud: Leif NordénInspicient och producent: Ingvar OhlssonRegi: Lars EngströmEn inspelning från Göteborg 1962.

Víkingur Ólafsson is a world-renowned Icelandic pianist. Celebrated for his profound artistry and visionary programming, he has performed with premier orchestras such as the Los Angeles Philharmonic, Philharmonia Orchestra, and London Philharmonic Orchestra. In 2023, he performed his album of Johann Sebastian Bach's Goldberg Variations on a world tour, showcasing his musicianship across six continents, totaling 88 performances. Ólafsson's latest release, an EP entitled Continuum, is described as his “personal Bach diary,” a work that blends his innovative approach to classical music with the 18th century composer's iconic work. As a two-time recipient of the Opus Klassik Solo Recording of the Year, CoScan's International Nordic Person of the Year (2023), and Album of the Year at BBC Music Magazine Awards (2019), Ólafsson continues to captivate audiences worldwide. His upcoming tour dates can be found here.  ------ Thank you to the sponsors that fuel our podcast and our team: Athletic Nicotine https://www.athleticnicotine.com/tetra Use code 'TETRA' ------ Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ Vivo Barefoot http://vivobarefoot.com/tetra Use code 'TETRA25' ------ LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

durée : 00:15:38 - Le Disque classique du jour du mardi 24 décembre 2024 - Ces extraits de "La Belle au bois dormant" de Tchaïkovski, dirigés et arrangés par Santtu-Matias Rouvali, constituent un témoignage émouvant d'un grand concert du Philharmonia Orchestra au Royal Festival Hall en 2023. Il s'agit aussi du 2e disque numérique du label Philharmonia Records.

durée : 00:15:38 - Le Disque classique du jour du mardi 24 décembre 2024 - Ces extraits de "La Belle au bois dormant" de Tchaïkovski, dirigés et arrangés par Santtu-Matias Rouvali, constituent un témoignage émouvant d'un grand concert du Philharmonia Orchestra au Royal Festival Hall en 2023. Il s'agit aussi du 2e disque numérique du label Philharmonia Records.

Vanaf haar tweede wilde ze vioolspelen, op haar elfde vertrok ze moederziel alleen naar Engeland. Simone Lamsma (39), die ándere Nederlandse topvioliste, koerste van jongs af aan af op een wereldomspannende carrière. Nu ze in TivoliVredenburg een vierdelige residency oppakt, vonden Joris en Guido het hoog tijd voor een goed gesprek. Werd ze gepusht door haar ouders? Kwam het succes haar aanwaaien? En waarom haat ze gebakken lucht? Speellijst: * J.S. Bach, Allegro uit: Dubbelconcert in c-klein, Simone Lamsma en Candida Thompson (viool), Amsterdam Sinfonietta * John Williams, Theme from Schindler's List, Simone Lamsma (viool), Het Orkest van Nederland o.l.v. Jan Willem de Vriend * Franz Schubert, Impromptu opus 90 nr. 3, Ronald Brautigam (piano) * Richard Strauss, Im Abendrot, uit: 4 letzte Lieder, Lise Davidsen (sopraan), Philharmonia Orchestra o.l.v. Esa-Pekka Salonen * Einojuhani Rautavaara, Ascona, uit: Lost Landscapes, Simone Lamsma (viool), Malmö Symphony Orchestra o.l.v. Robert Treviño

"Straszna muzyka" 31.10.2024 r. 1. J.S.Bach - Wariacje Goldbergowskie, Aria i 25,26,27 Walter Abt, Jonathan Goldberg (Gitar Duo). 2. Krzysztof Komeda - Dziecko Rosemary, Mia Farrow. 3. Bernard Herrmann - Suita Psycho, Royal Philharmonic Orchestra, Elmer Bernstein. 4. Camille Saint-Saëns - Dance Macabre, Op.40, Philharmonia Orchestra, Charles Dutoit. 5. Charles Ives, Three Outdoor Scenes: Hallowe'en. 6. Krzysztof Penderecki - Da Natura Sonoris No. 1, Warsaw Philharmonic Orchestra, Antoni Wit. 7. John Williams - Jurasic Park - The Raptor Attack. 8. John Williams - Geisha - The Rooftops Of The Hanamachi. 9. Sting - Moon Over Bourbon Street - Live In Berlin/2010, Royal Philharmonic Concert Orchestra, Steven Mercurio.

Katherine Jenkins & Philharmonia Orchestra Meets Hip Hop - Pachelbel's Canon In D ( Blob66 Remix ) by alfreD oRtega roSa

This week on the Gramophone Podcast, Editor Martin Cullingford meets pianist Alexandra Dariescu who has recorded the piano concertos of Clara Schumann and Edvard Grieg for Signum with the Philharmonia Orchestra and conductor Tianyi Lu. Dariescu talks about her passion for Clara Schumann's concerto, and why she thinks it should be much more widely performed than it has been historically. 

Carlos Ferreira é Clarinete Principal numa das mais conhecidas orquestras mundiais, a Orchestre National de France, e é com esta orquestra que o jovem de 30 anos vai tocar na abertura dos Jogos Olímpicos de Paris, esta sexta-feira. É simplesmente “algo incrível”, resume o músico, que nos falou sobre a sua carreira iniciada aos cinco anos numa banda filarmónica do norte de Portugal e que tem passado pelas mais prestigiadas orquestras do planeta. Carlos Ferreira é Clarinete Principal na Orchestre National de France que, esta sexta-feira, vai tocar na abertura dos Jogos Olímpicos de Paris. É um concerto histórico para o clarinetista português multipremiado, que estudou em diferentes cidades europeias, entrou em algumas das mais prestigiadas orquestras do mundo e vive entre Lille e Paris.Carlos Ferreira foi academista da Orquestra Royal Concertgebouw, em Amesterdão, continuou o seu percurso orquestral na Orchestre Philharmonique de Monte Carlo e depois ocupou o lugar de Clarinete Principal na Orchestre National de Lille e também na Philharmonia Orchestra de Londres.Também tocou como solista com diversos ensembles e formações, como a Orquestra Filarmónica Portuguesa, a Transylvania State Philharmonic Orchestra, a Orchestre de Chambre de Genève, a Münchener Kammerorchester, a Münchener Rundfunkorchester, a Orchestre National de France e a Orquestra Sinfónica do Porto Casa da Música.Em 2022, Carlos Ferreira lançou o seu primeiro álbum intitulado “XX-XXI”, com obras para clarinete e piano, com o pianista e compositor Pedro Emanuel Pereira.Fomos falar com ele num parque de Paris, na véspera da cerimónia inaugural dos Jogos Olímpicos, um evento que se anuncia como “algo incrível”, resume o músico. Pela primeira vez fora de um estádio e ao longo de seis quilómetros no rio Sena e nas suas margens, o espectáculo está envolto em mistério e medidas de segurança, contando com a participação de artistas de todo o mundo e esperando-se cerca de 300.000 pessoas. Por outro lado, milhões vão poder assistir em directo pela televisão."Estamos muito entusiasmados com este evento. Pensamos que vai ser algo único na história dos Jogos Olímpicos", começa por contar o músico na entrevista que pode ouvir neste programa e em que ele percorre as principais etapas de uma carreira que começou ainda menino numa banda filarmónica do norte de Portugal.

durée : 00:18:55 - Beethoven : Triple Concerto - Nicola Benedetti, Sheku Kanneh-Mason, Benjamin Grosvenor - Trois anciens participants au concours BBC Young Musician unissent leurs forces pour enregistrer le Triple Concerto de Beethoven, aux côtés du Philharmonia Orchestra dirigé par Santtu-Matias Rouvali

French-German cellist Nicolas Altstaedt is one of the most sought after and versatile musicians today, performing repertoire spanning early music to the contemporary, as a soloist, conductor and artistic director. He's performed with the Philharmonia Orchestra, the Montreal Symphony Orchestra, and the London Philharmonic, to name only a few. His conducting has taken him to the Scottish Chamber Orchestra and the Budapest Festival Orchestra and more. As a chamber musician he's collaborated with Joshua Bell, Janine Jansen and Pekka Kuusisto, amongst many other, and has recorded 15 albums. In this conversation Nicolas enthusiastically talks about his craft and shares music from his contemporaries who inspire him most. He articulately describes the variations between the different ensembles with which he has collaborated. His energy and insights shine a fresh light into the works he performs. Nicolas Altstaedt is in Australia to guest direct the Australian Chamber Orchestra until 30 June.

On this week's episode of ‘New Classical Tracks,' violinist Nicola Benedetti, pianist Benjamin Grosvenor and cellist Sheku Kanneh-Mason present their live performance of Beethoven's Triple Concerto on the latest album by the Philharmonia Orchestra. Listen now!

A passionate advocate for the bassoon, Amy Harman is much sought after as a soloist, chamber musician, teacher and communicator.   Amy was a professor at the Royal Academy of Music from 2013 to 2024 and gives masterclasses and coaches internationally. She was appointed professor of bassoon at the Robert Schumann Hochshule Düsseldorf in 2024, the first woman to hold such a position in Germany.  Aged 23 Amy was appointed solo bassoon of the Philharmonia Orchestra. Sought after as guest principal with leading orchestras in Europe including Paavo Järvi's EFO and the Mahler Chamber Orchestra, she is currently principal of Aurora Orchestra. She was selected by YCAT in 2014. Solo highlights include premiering Roxanna Panufnik's concerto for bassoon & string orchestra with the Royal Northern Sinfonia, Strauss's Concertino with the English Chamber Orchestra, Mozart's Concerto at the Festival Suoni dal Golfo in Lerici and appearing as a flying soloist at the world premiere of Stockhausen's Mittwoch aus Licht. Amy was the first bassoonist to perform a live broadcast solo recital for BBC radio 3. She performs recitals regularly in UK and Germany with her collaborator Tom Poster. Summary: Amy Harman shares her journey to becoming a bassoonist, including her early musical inspirations and her transition from playing the cello to the bassoon. She discusses her experiences with the Aurora Orchestra and their memorized performances, as shares some practice tips for listeners. Amy also talks about the importance of the Young Classical Artist Trust in shaping her career and the significance of being the first female bassoon professor in Germany, at the Robert Schumann Hochschule in Dusseldörf. In this conversation, Amy discusses the challenges facing the arts industry, particularly in the UK, and offers words of encouragement to young musicians. She emphasizes the importance of creating art and suggests pursuing a portfolio career, and shares her experience of balancing a busy career with being a mother of three. She also mentions upcoming projects she's excited about, including a performance of Elizabeth MacConkey's concertino and various chamber music festivals. Chapters   00:00 Introduction and Amy's Musical Background 07:24 Memorized Performances with the Aurora Orchestra 24:38 The Power of a Portfolio Career 30:35 Finding Inspiration in Different Genres 38:42 The Art of Memorizing Music ************************************ Find out more about Amy here. Amy's Instagram Host: Jo Anne Sukumaran, find out more here. Legends of Reed is sponsored by Barton Cane, enjoy free shipping with coupon code" legendsofreed", on their website. Opening credits: Concert recording of Amy Harman with Castalian Quartet - Cantator and Amanda (2011), by Roxanna Panufnik - courtesy of Young Classical Artist's Trust.Photo credit: Kaupo Kikas

Brooke Ligertwood, also known as Brooke Fraser, returns home to New Zealand to perform a one-off concert with the Auckland Philharmonia Orchestra.  Brooke sits down with Jack Tame at Roundhead Studios to discuss what she has been up to.  WATCH / LISTEN ABOVESee omnystudio.com/listener for privacy information.

SynopsisIt might seem odd to think of Max Bruch as a 20th-century composer. After all, his three greatest hits — his Violin Concerto No. 1, his Scottish Fantasy for violin and orchestra, and his setting of the Hebraic liturgical chant Kol Nidrei for cello and orchestra — were all written in the 19th century.But this archetypal German Romantic composer, who was born in 1838, lived to the ripe old age of 82, and kept producing new works up to the time of his death in 1920.One of these, a Concerto for Two Pianos, was commissioned by an American duo piano team, Ottilie and Rose Suttro, who premiered it with Leopold Stokowski and the Philadelphia Orchestra on today's date in 1916. The new work was well-received and its composer praised.But there is a somewhat ironic historical footnote to this successful premiere: It appears the Suttro Duo drastically revised and even rewrote parts of Bruch's score for their 1916 performance, unbeknown to the composer. It wouldn't be until 1971 that the concerto was performed as he had actually written it.Music Played in Today's ProgramMax Bruch (1838-1920) Concerto for Two Pianos; Güher and Süher Pekinel, pianos; Philharmonia Orchestra; Neville Marriner, cond. Chandos 9711

SynopsisThese days at symphony concerts, when a new piece of music is about to be played, it's not uncommon to overhear someone mutter, “Why do they have to program this new stuff, when there's so much Brahms and Tchaikovsky we'd rather hear?”Well, on today's date in 1881, the 40th season of the New York Philharmonic Society's concerts opened with a pair of new works: first the New York premiere of the Tragic Overture, by Johannes Brahms, and after that, the world premiere of the Second Piano Concerto, by Peter Ilyich Tchaikovsky. The soloist in the Tchaikovsky was Madeleine Schiller.Here's what the New York Times had to say the following morning: “The return of Madame Schiller to the stage is a welcome event, ... the only regret being that her efforts had not been devoted to a more interesting work, for, apart from the novelty, it cannot be said that the Tchaikovsky concerto possessed any great merit. There are older works, of which one never tires and which, interpreted by Madame Schiller ... would always be welcomed.”Ah, some things never change!Music Played in Today's ProgramJohannes Brahms (1833 – 1897) Tragic Overture; Chicago Symphony; Daniel Barenboim, cond. Erato 95192Peter Tchaikovsky (1840 – 1893) Piano Concerto No. 2; Barry Douglas, piano; Philharmonia Orchestra; Leonard Slatkin, cond. RCA/BMG 61633

SOMM Recordings is delighted to announce the label debut of the acclaimed British composer Howard Blake with a disc of his orchestral music to mark his 85th birthday.Blake himself is heard at the piano and conducting the Philharmonia Orchestra, with Paul Daniel also conducting the English Northern Philharmonia.Tracks Symphony No. 1: Impressions of a City, Op. 42/409 (1967, rev. 1990) (14:34)Concert Dances for piano and orchestra, Op. 432 (1992) I. Parade (0:55) II. Slow Ragtime (1:39) III. Jump (0:54) IV. Medium Rock (1:48) V. Folk Ballad (2:24) VI. Boogie (1:00) VII. Jazz Waltz (2:34) VIII. Cha-Cha (1:55) IX. Galop (0:53) The Court of Love, Op. 286 (1979) I. The Enchantress (Theme and Variations) (6:16) II. The Maiden and the Troubadour (Scherzo) (7:07) III. The Queen (Theme and Finale) (6:21) A Month in the Country, Op. 446 (1992) I. Larghetto (3:04) II. Alla marcia (1:21) III. Adagio (Elegy) (3:55) IV. Scherzando (1:36) V. Andante espressivo (3:11) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Aaron Williamon is Professor of Performance Science at the Royal College of Music in London and is joined in our conversation by Jason Evans, who is head of the brass faculty at the Royal College and also principal trumpet with the Philharmonia Orchestra. Together we tackle the subject of performance psychology and specifically, performance anxiety. This is a very far ranging, open, and revealing conversation. I think it will be of interest to student and professional alike.We begin our conversation with Jason talking about the road he traveled to become the youngest person to be appointed principal trumpet in a major UK orchestra and his experiences dealing with nerves during his early playing years. Aaron follows up by speaking about his research at the Royal College of Music and the projects he is currently working on. We end with Jason discussing the pressures of a high level performance job.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Love Ssega is the former frontman-songwriter of the Grammy-winning group, Clean Bandit. He's now a successful solo artist and producer working across disciplines, combining music and visual art to raise awareness of the climate crisis. He was a 2022 Arts Foundation Fellow for Music For Change and he's just finished a year as the Royal Festival Hall's Philharmonia Orchestra's artist in residence creating work that explores themes linking climate change and social justice. Beethoven's Ode to Joy has become an anthem of unity and protest. We couldn't be talking to anyone more knowledgeable about using music to reach hearts and minds. Here's Love Ssega's full interview with David. You can find all the music you hear in the interview here. Discover more about Love Ssega here.Listen to Episode 3 of Change Your Tune about Beethoven's Ode To Joy here. Change Your Tune is a Podcart production. Hosted on Acast. See acast.com/privacy for more information.

SynopsisOn today's date in 1829, German composer Felix Mendelssohn was in London, participating in a gala concert to raise funds for the victims of a flood in Silesia. “Everyone who has attracted the slightest attention during the season will take part,” wrote Mendelssohn. “Many offers of good performers have had to be declined, as otherwise the concert will last till the next day!”Mendelssohn performed his Double Concerto in E Major for two pianos and orchestra, joined by his friend and fellow-composer/pianist Ignaz Moscheles. Mendessohn and Moscheles jointly prepared a special cadenza, and jokingly bet each other how long the audience would applaud it—Mendessohn predicting 10 minutes, and Mosceheles, more modestly, suggesting 5.In the Baroque age, Double Concertos were very popular, but by Mendelssohn's day they had become less common. In our time, Concertos for Two Pianos are even rarer. One of the most successful American Double Concertos was written between 1952 and 1953 by the American composer Quincy Porter. Also known as the “Concerto Concertante,” commissioned by the Louisville Orchestra. It proved to be one of the most popular of Porter's works, and even won the Pulitzer Prize for Music in 1954.Music Played in Today's ProgramFelix Mendelssohn (1809 - 1847) Double Concerto Güher and Süher Pekinel, pianos; Philharmonia Orchestra; Sir Neville Marriner, conductor. Chandos 9711Quincy Porter (1897 - 1966) Concerto for Two Pianos Joshua Pierce and Dorothy Jonas, duo pianists; Moravian Philharmonic; David Amos, conductor. Helcion 1044

Dr. Rebecca MacLeod is Professor of Music Education at the University of North Carolina Greensboro, where she directs the string education program and conducts the UNCG Sinfonia. She is the author of Teaching Strings in Today's Classroom and is published in Journal of Research in Music Education, International Journal of Music Education, Bulletin for the Council of Research in Music Education, Update: Applications of Research in Music Education, Journal of Music Teacher Education, String Research Journal, Psychology of Music, The Strad, American String Teachers Journal, and various state music education journals. She has served on the editorial boards of the Journal of Research in Music Education, the String Research Journal, and as guest reviewer for the International Journal of Research in Music Education. She is the recipient of the UNCG School of Music, Theatre and Dance Outstanding Teaching Award, the American String Teacher Association National Researcher Award, and the UNCG Junior Research Excellence Award. A passionate advocate for increasing access to string education to all students, Dr. MacLeod directs two community partnership programs that provide string instruction to underserved students: the Lillian Rauch Beginning Strings Program and the Peck Alumni Leadership Program. Students of these programs have performed for Dr. Maya Angelou, Dr. Gloria Ladsen-Billings, and the Sphinx Virtuosi. Her research on working with underserved populations, vibrato technique, music teacher education, and music perception has been presented at the International Conference of Music Perception and Cognition (Thessoloniki, Greece), Music Research and Human Behavior International Conference (Barcelona, Spain), International Society for Music Education (Glasgow, Scotland), Music Educators National Conference, National Association for Music Education National Conference, American String Teachers National Conference, Midwest Band and Orchestra Clinic, Society for Music Teacher Education, and music educators state conferences. Prior to joining the UNCG faculty, she taught elementary, middle, and high school orchestra in Hollidaysburg, Pennsylvania and was orchestra director and chair of music activities in Beaver, Pennsylvania. She was the assistant artistic director and conductor of the Tallahassee Symphony Youth Chamber Orchestra and Philharmonia Orchestra in Tallahassee, Florida. She has served on the American String Teachers Association National Board and is past president of the North Carolina ASTA chapter. She was a guest lecturer at Xi'an University and Shaoguan University (China) in summer 2016 and 2017. Dr. MacLeod received her undergraduate degree from Duquesne University and her MME and PhD from Florida State University. She is a frequent guest conductor and clinician throughout the United States and abroad. https://teachingstrings.online https://vpa.uncg.edu/home/directory/bio-rebeccamacleod/ ------- Your support is appreciated! If you are enjoying The Orchestra Teacher Podcast, please consider becoming a supporter for as little as 99 cents per month. I am working hard to bring on some amazing educators who will share ideas, tell their story, and offer some support for all of you. I have invested a lot of time in putting it all together and money purchase equipment that will help provide the best possible listening experience. Here is the link: https://anchor.fm/orchestrateacher/support Thank you for your continued support! If you have suggestions for podcast guests, please let me know by providing a name and contact information. --- Support this podcast: https://podcasters.spotify.com/pod/show/orchestrateacher/support

Synopsis The German composer Richard Strauss wrote his first song at age 6, and his last at age 84, a year before his death in 1949. Four of his last songs were for soprano and orchestra. These Four Last Songs, as they came to be known, were premiered in London, at the Royal Albert Hall, on today's date in 1950. Strauss had written to the great Norwegian soprano Kirsten Flagstad, suggesting "I would like to make it possible that [the songs] should be at your disposal for a world premiere ... with a first-class conductor and orchestra.” Flagstad did sing the premiere performances, with the first-rate Philharmonia Orchestra of London conducted by the legendary German conductor Wilhelm Furtwangler. In addition to those famous performers, credit for the realization of Strauss's request is also due to an unlikely and exotic patron of the arts, namely the Maharaja of Mysore, who put up a cash guarantee for the Strauss premiere. And since he could not be present himself, the Maharaja asked that the premiere be recorded and the discs shipped to him in Mysore. The Maharaja had wanted to be concert pianist, but the deaths of both his father and his uncle forced him to succeed to the throne in 1940 at the age of 21. In addition to underwriting the Strauss premiere, the young Maharaja championed the music of the Russian composer Nikolas Medtner, and, in 1945, the creation of the Philharmonia Orchestra of London as a recording ensemble for the enterprising EMI producer Walter Legge. In addition to Western classical music, the Maharaja was passionate about the court music of his native land, and, under the pen name of Shri Vidya, himself composed almost 100 works in the South Indian tradition. Music Played in Today's Program Richard Strauss (1864 - 1949) "Im Abendrot (At Twlight)," from "Four Last Songs" Jessye Norman, s; Leipzig Gewandhaus Orch; Kurt Masur, conductor. Philips CD 464 742

Hello! This week we're returning to one of our favourite topics covered in our very first episode when Geoff was closer to 40 than 50: universal basic income. Except this time it's not money for everyone - it's just for artists - and it raises some important questions about how we recognise the role that art plays in our economy, society and communities. Last year Ireland announced a three-year pilot in which 2,000 artists will receive 325€ a week. Is removing financial stress the key to unlocking creative freedom? Will it mean a wider group of people can access the arts? And what can we learn from our own history, including Mrs Thatcher's Enterprise Allowance Scheme. These are all big questions that we put to our guests: Eliza Easton, Noel Kelly and Love Ssega - formerly of Clean Bandit - a musician working across artistic boundaries.Plus: It's the big 5-0 for Geoff as he records a message to his future self...GuestsEliza Easton, Deputy Director, Creative Industries Policy and Evidence Centre (@ElizaEaston)Noel Kelly, CEO and Director, Visual Artists Ireland (@VisArtsIreland)Love Ssega, Musician and Artist in Residence, Philharmonia Orchestra at the Royal Festival Hall (@LoveSsega)More informationLearn more about the PEC, led by NestaLearn more about Visual Artists for Ireland, including more information about the Basic Income for the Arts SchemeSsega mentioned Ella Kissi-Debrah and her mother's fight to get air pollution on her death certificateWatch the film of Love Ssega's 'Where are we now?' performance at the National GalleryRead about Love Ssega and his residency at the Philharmonia Orchestra Come to the celebration at 6pm on 8th June at the Royal Festival Hall Hosted on Acast. See acast.com/privacy for more information.

Synopsis On today's date in 1928, a French musician and inventor named Maurice Martenot gave the first public demonstration of a new electronic instrument he had created which produced eerie-sounding tones reminiscent of the human voice, but without the human limitations of voice range or lung power. Martenot was also a savvy promoter of his new instrument, which he took on a world tour, with his sister serving as its first virtuoso performer. The instrument came to be called the “Ondes Martenot”—which translates into English as “Martenot Waves.” A number of 20th century composers were quite enthusiastic. Arthur Honegger suggested the Ondes Martenot might replace the contra-bassoon in symphony orchestras, writing: “The Ondes Martenot has power and a speed of utterance which is not to be compared with those gloomy stove-pipes looming up in orchestras.” Well, contra-bassoonists needn't worry: their stove-pipes still provide the low blows in most modern orchestras, but the Ondes Martenot does figure prominently in several major 20th century scores, including the monumental Turangalila Symphony of the French composer, Oliver Messiaen.And, following Martenot's death in 1981, the French even formed an official society with the grand title of “L'Association pour la Diffusion et le Développement des Ondes Martenot.” Music Played in Today's Program Olivier Messiaen (1908 – 1992) Turangalila Symphony Tristan Murail, Ondes Martenot; Philharmonia Orchestra; Esa-Pekka Salonen, conductor. Sony 53473

PETER BOYER is one of the most frequently performed American orchestral composers of his generation, joins Devin Patrick Hughes on One Symphony. He's conducted and been commissioned by ensembles around the world including the London Symphony Orchestra, the Philharmonia Orchestra, the London Philharmonic Orchestra, the Kennedy Center for the National Symphony Orchestra, the Boston Pops, Cincinnati Pops, and “The President's Own” United States Marine Band, along with the Philadelphia Orchestra, Cleveland Orchestra, Pittsburgh Symphony, Houston Symphony, Dallas Symphony, Nashville Symphony, and Hollywood Bowl Orchestra. Boyer's Grammy-nominated work Ellis Island: The Dream of America, has become one of the most performed American orchestral works of the last 15 years and was featured on PBS' Great Performances in 2018. In 2019, Boyer received the Ellis Island Medal of Honor, which is officially recognized by both Houses of Congress as one of the most prestigious American awards. Peter Boyer is active in the film and television music industry. He has contributed to more than 35 feature film scores from all the major movie studios and has composed scores for The History Channel and even arranged for the Academy Awards!   Thank you for joining us for on One Symphony. Thanks to Peter Boyer for sharing his music and insights, you can get more info at https://propulsivemusic.com. Works of his heard today include Fanfare, Hymn and Finale; Elegy, Balance of Power, and Ellis Island - the Dream of America. Thank you to all amazing performers featured on today's show including: Peter Boyer, the London Symphony Orchestra, Philharmonia Orchestra, the Staatskapelle Dresden, Rundfunkchor Leipzig, & Peter Schreier.  Thanks to the record labels Naxos and Universal International Music for making this episode possible. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show.  Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

Synopsis On today's date in 1900, Tosca, a new opera by Giacomo Puccini had its premiere at the Teatro Costanzi in Rome. Rome was, in fact, the opera's setting and those in the audience would have instantly recognized the real-life landmarks depicted on stage. Puccini composed Tosca at the height of the “verismo” or “realism” craze in opera. It might seem downright silly that a theatrical form as unreal and stylized as opera could ever be described as “realistic” – but the idea was to depict “a slice of real life” – even if that slice includes melodramatic characters like a sadistic, lecherous police chief and a beautiful opera diva he lusts for. To be as realistic as possible, Puccini visited Rome to listen to the early morning church bells from the ramparts of the Castel Sant'Angelo, the setting of his opera's third act and to consult with a Roman priest on the details of the liturgy for the Te Deum that concludes Act I. Some early audiences for Tosca thought Puccini had taken this realism thing way too far. One proper British reviewer wrote: “Those who were present were little prepared for the revolting effects produced by musically illustrating torture ... or the dying kicks of a murdered scoundrel.” Music Played in Today's Program Giacomo Puccini (1858 –1924) Tosca Soloists and Philharmonia Orchestra; Giuseppe Sinopoli, conductor. DG 431 775

Synopsis The American composer Ned Rorem liked to classify music as being either French or German – by “French” Rorem meant music that is sensuous, economical, and unabashedly superficial; by “German” Rorem meant music that strives to be brainy, complex, and impenetrably deep. On today's date the Boston Symphony gave the premiere performances of two important 20th century piano concertos. The first, by Francis Poulenc, had its premiere under the baton of Charles Munch in 1950, with the composer at the piano. Poulenc's Concerto is a light, entertaining with no pretension to profundity. It is quintessentially “French” according to Rorem's classification. The second Piano Concerto, by the American composer Elliott Carter, had its Boston premiere in 1967, conducted by Erich Leinsdorf, with soloist Jacob Lateiner. Carter's Concerto was written in Berlin in the mid-1960s when the Wall dividing that city was still new. Carter said he composed it in a studio near an American target range, and one commentator hears the sounds of machine guns in the work's second movement. Carter himself compared woodwind solos in the same movement to the advice given by three friends of the long-suffering Job in the Bible. Needless to say, Rorem would emphatically classify Carter's Concerto as “German” to the max! Music Played in Today's Program Francis Poulenc (1899 –1963) Piano Concerto Pascal Roge, piano; Philharmonia Orchestra; Charles Dutoit, conductor. London 436 546 Elliot Carter (b. 1908) Piano Concerto Ursula Oppens, piano; SWF Symphony; Michael Gielen, conductor. Arte Nova 27773

Synopsis On today's date in 1997, violinist Joshua Bell and the San Francisco Symphony gave the premiere performance of an 18-minute “Chaconne for Violin and Orchestra” by American composer John Corigliano. This music was a concert offshoot of Corigliano's film score for Francois Gerard's movie The Red Violin, but debuted months before the film itself was completed. Said Corigliano, “I was delighted when asked to compose the score for Francois Girard's new film. How could I turn down so interesting and fatalistic a journey through almost three centuries, beginning as it did in Cremona, home of history's greatest violin builders? I also welcomed the producer's offer to separately create a violin and orchestra concert piece, to be freely based on motives from the film. “I'd assumed that, as usual in film, I wouldn't be required to score it until it was completed, except for a number of on-camera "cues"… Then plans changed. Filming was pushed back. So the present ‘Chaconne' was built just on the materials I had; a good thing, as it turns out, because I now had the freedom, as well as the need, to explore these materials to a greater extent than I might have had I been expected to condense an hour's worth of music into a coherent single movement.” Music Played in Today's Program John Corigliano (b.1938) selections from The Red Violin Joshua Bell, violin; Philharmonia Orchestra; Esa-Pekka Salonen, conductor. Sony 63010

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

Historically and traditionally, the arts have enjoyed the patronage of kings.We all know that culture broadens minds. It's an important basis by which society finds expression and happiness. So it is in the larger common good that culture has been encouraged. It binds a society and gives it an identity. And a personality. And sets up the basis for cultural interaction with other societies.People like kings patronise the arts to allow its exponents the freedom to live in their minds and pursue their muse. Musicians, dancers, artists, dramatists and storytellers have enjoyed the patronage of the palace.The Maharajas of Mysore—many of them—have pursued the arts themselves. The most notable among them being Jayachamarajendra Wadiyar—the last Maharaja of Mysore before his kingdom acceded to the Union of Indian states in 1947. He was a thinker, a published philosopher, a patron of the arts—but importantly, he, a patron without bias. While there is a rich legacy of Carnatic music patronised by him, Wadiyar fulfilled the last wish of legendary composer Richard Strauss. This is a little known fact.In 1950, he sponsored a performance at the Royal Albert Hall, by London's Philharmonia Orchestra led by German conductor Wilhelm Furtwängler and with soprano Kirsten Flagstad singing Strauss's final composition, Four Last Songs.The Maharaja was an accomplished musician too. Schooled in Carnatic and Western classical music, he tried to make meaning of the two forms and worked tirelessly to find a blend—later admitting that is was difficult. (As a musician, I want to say that unfortunately too many musicians have been pitiless in this pursuit.)Chronicling this unusual Maharaja is my guest today, Deepti Navaratna, author of an unconventionally structured biography of Wadiyar, titled The Maverick Maharaja.But as I researched her, I realised that she is unusual. By my reckoning, she is a wonderful Carnatic singer. And she is a neuroscientist, which means she is licensed to dissect brains in a laboratory.Scientific research is a linear and process driven discipline and conclusions are reached by goals and planned milestones. Surprises are often not welcome. The other side of her, is music. And the point of musical composition is to defy linearity while sticking to a framework of rules and conventions. The point of music is surprise.Maybe the two are connected. And maybe it takes a maverick to make the connection. Let's find out.ABOUT DEEPTI NAVARATNAA musician and neuroscientist, she served as the Regional Director, Indira Gandhi National Centre for the Arts. She directed the centre's research, academic and outreach activities at the intersection of arts and sciences. She is currently the TV Raman Pai Chair of Excellence and Professor of Humanities at the National Institute Of Advanced Studies, Bangalore.Buy The Maverick Maharaja: https://amzn.to/3ALLovEThe Mysore Anthem composed by the Maharaja of Mysore, JC Wadiyar and imagined by Dr Deepti Navaratna: https://youtu.be/axLDJ-HtQIcWHAT'S THAT WORD?!Co-host Pranati "Pea" Madhav joins Ramjee Chandran in "What's That Word?!",  where they discuss the word "MAVERICK".WANT TO BE ON THE SHOW?Reach us by mail: theliterarycity@explocity.com or simply, tlc@explocity.com.Or here: https://www.facebook.com/groups/theliterarycityOr here:  https://www.instagram.com/explocityblr/

In this episode, we look at the soundtrack of the 2020 movie of Jane Austen's Emma written by Isobel Waller-Bridge and David Schweitzer. We look at how each of the main characters are given both a theme and instrument and how these themes interweave with each other. We also explore the choreography of the music to match the comedy shown, as well as how the folk and classical music help tell the story through emotions, lyrics, as well as reflecting location and class. Music included in podcast: "Peter and the Wolf, Op 67, No. 3, The Duck" - Prokofiev: Peter and the Wolf - Saint-Saens: Carnival of the Animals, music by Sergei Prokofiev, performed by Czechoslovak Radio Symphony Orchestra & Ondrej Lenard, 1990 "Cosi Fan Tutte, K. 588: "Sento, Oh Dio, Che Questo Piede" - Mozart: Cosi Fan Tutte, music by Wolfgang Amadeus Mozart, performed by Frank Lopardo, Sir Georg Solti, Chamber Orchestra of Europe, Olaf Bar, Michele Pertusi, Renee Fleming, Anne Sofia von Otter & David Syrus, 1996 "Emma Woodhouse" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Emma and Mr. Knightley (A Kiss Before They Wed)" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Mr. Knightley" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Mr. Knightley Chases after Emma" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Mr. Knightley is Destroyed" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Badly Done, Emma" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Concerto No. 4 in G Major for Piano and Orchestra, Op. 58, II. Andante con moto" - Beethoven: Piano Concerto No. 4 in G major, Op. 58, music by Ludwig van Beethoven, performed by Glenn Gould, Leonard Bernstein & New York Philharmonic, 1961 "The Proposal (Under the Horse Chestnut Tree)" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "A Chill Draft about the Knees" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Harriet Smith" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Harriet Smith and Robert Martin Meet on the Road" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Walk to Mrs. Goddard's School" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Piano Trio No. 1 in B-flat major, Op. 99 D. 898, II. Andante un poco mosso" - Schubert: Piano Trios, music by Franz Schubert, performed by Frank Braley, Gautier Capucon & Renaud Capucon, 2007 "Harriet Smith and Robert Martin Meet in the Rain" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Frank Churchill Arrives at Hartfield" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Danse Macabre: Op. 40" - Saint-Saens: Danse Macabre, music by Camille Saint-Saens, performed by Philharmonia Orchestra & Charles Dutoit, 1981 "Christmas Dinner at the Westons" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Poor Miss Taylor" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "We Shall Have our Ball" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Emma is Bored" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Mrs. Elton Arrives at Hartfield" - Emma (Original Motion Picture Soundtrack), music by

Sonia Stevenson is Head of Music Patron, a new start-up connecting composers and patrons.Sonia grew up in St Andrews, Scotland. She studied at St Mary's Music School in Edinburgh and King's College London, where she gained a Bachelors of Music and Masters of Music. Her work has spanned many different aspects of the music business. In 2012 she founded her own festival, St Andrews Voices, dedicated to vocal and choral music. She has also worked as a Composer Agent, Project Consultant at Macbeth Media Relations, Artistic Director of Lichfield Festival, Promotion Manager at Faber Music, PA to the conductor Esa-Pekka Salonen, Artist Manager at Connaught Artists and Concerts Department Assistant at the Philharmonia Orchestra. From 2015-2020 she was on the board of the British Arts Festival Association. She is an oboist, singer, ballet dancer, and runner.Lean more about Lyte.Find more great podcasts from Osiris Media, the leading storyteller in music. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Sonia Stevenson is Head of Music Patron, a new start-up connecting composers and patrons.Sonia grew up in St Andrews, Scotland. She studied at St Mary's Music School in Edinburgh and King's College London, where she gained a Bachelors of Music and Masters of Music. Her work has spanned many different aspects of the music business. In 2012 she founded her own festival, St Andrews Voices, dedicated to vocal and choral music. She has also worked as a Composer Agent, Project Consultant at Macbeth Media Relations, Artistic Director of Lichfield Festival, Promotion Manager at Faber Music, PA to the conductor Esa-Pekka Salonen, Artist Manager at Connaught Artists and Concerts Department Assistant at the Philharmonia Orchestra. From 2015-2020 she was on the board of the British Arts Festival Association. She is an oboist, singer, ballet dancer, and runner.Lean more about Lyte.Find more great podcasts from Osiris Media, the leading storyteller in music. Hosted on Acast. See acast.com/privacy for more information.

Welcome to Bittersweet Symphony, a podcast about the bitter, sweet and bittersweet memories and experiences of classical musicians during the pandemic. Hosted and produced by me, Cliodhna Ryan, a violinist, it's an intimate and heart-warming exploration of the human spirit. My guest in episode eleven is Steve Kelly, percussionist with the RTE Concert Orchestra since 2010. He shares his bitter memory of the Guinness Jazz Festival being cancelled, the sweet experience of being able to support his wife as she devoted herself to her art practice and the bittersweet of returning to work. Stephen Kelly is the sub-principal percussionist with the RTÉ Concert Orchestra and he has lectured in percussion at the MTU Cork School of Music since 2004. He has performed with the Philharmonia Orchestra, Irish Chamber Orchestra, Ulster Orchestra, National Symphony Orchestra of Ireland, City of London Sinfonia, Crash Ensemble and many more. Equally as at home driving a big band from behind the drum kit, tinging a triangle in an orchestra or educating future professional percussionists, Stephen manages to make a living playing music, which in his words “certainly beats working.” This interview was recorded in August 2021. GET IN TOUCH WITH STEVE KELLY/LINKS Twitter RTE Concert Orchestra on Instagram Deirdre Frost on Instagram Deirdre's website GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony CREDITS Thumbnail Art || Colm MacAthlaoith Writers || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Patrick Stefan Groenland

Alan Cumming's wide-ranging career on stage includes playing Hamlet, starring opposite Daniel Radcliffe in Samuel Beckett's Endgame and – perhaps most notably - taking the role of the Emcee in the musical Cabaret in London and New York to great acclaim: his 1998 Broadway performance won seven awards, including a Tony. He's also appeared in films including GoldenEye and Stanley Kubrick's Eyes Wide Shut, and in the TV series The Good Wife. Alan was born in Perthshire in 1965. His father was a forester and the family moved to the Panmure estate on the east coast of Scotland. Encouraged by his English teacher, Alan grew up loving drama at school but his childhood was blighted by his violent and abusive father. He worked for the publisher DC Thomson as a sub-editor before going to the Royal Scottish Academy of Music and Drama. There he launched his performing career with fellow student Forbes Masson: together they were Victor and Barry, a comedy and music double-act. They drew on these characters for their BBC TV sit-com The High Life, based around a fictional Scottish airline. Alan has published a novel and three memoirs: his 2014 autobiography Not My Father's Son detailed his very difficult relationship with his father, both in his early years and later in his life. In 2022 Alan is developing a solo dance-theatre work, focusing on the personal history of the Scottish poet Robert Burns, which he will perform in Scotland and New York. He's now also the co-owner of a bar, Club Cumming, in Manhattan. DISC ONE: Dignity by Deacon Blue DISC TWO: L'Amour Looks Something Like You by Kate Bush DISC THREE: Barcelona by Freddie Mercury & Montserrat Caballé DISC FOUR: I'm Gonna Be (500 Miles) by The Proclaimers DISC FIVE: Whenever Wherever Whatever by Maxwell DISC SIX: Give Me Back My Heart by Dollar DISC SEVEN: Catalani: La Wally : Ebben? ne andrò lontana Act 1 by Maria Callas and Philharmonia Orchestra, conducted by Tullio Serafin DISC EIGHT: These Are My Mountains by Peter Morrison BOOK CHOICE: Desert Gardening for Beginners: How to grow vegetables, flowers, and herbs in an Arid Climate by Cathy Cromell, Linda A. Guy, Lucy K. Bradley LUXURY ITEM: Marijuana seeds CASTAWAY'S FAVOURITE: Give Me Back My Heart by Dollar Presenter Lauren Laverne Producer Sarah Taylor

Jess Gillam and violinist Esther Abrami swap playlists, including a French-inspired movie score by Rachel Portman, Paris meets Beirut in jazz form by trumpeter Ibrahim Maalouf, a gorgeous Motown tribute to Otis Redding, and a classic French chanson reimagined by the one and only Jarvis Cocker. Playlist: Jonny Greenwood - House of Woodcock (from the Phantom Threads OST) Mendelssohn - Violin Concerto in E minor, op.64 - 2nd mvt [Yehudi Menuhin (violin), Philharmonia Orchestra, Efrem Kurtz (conductor)] Jarvis Cocker - Aline Faure - Chanson d'amour, op.27 no.1 [Barbara Bonney (soprano), Warren Jones (piano)] William Bell - Tribute to a King Rachel Portman - Main title from 'Chocolat' Christian Sinding - Rustle of Spring, op.32 no.3 [Christian Ihle Hadland (piano)] Ibrahim Maalouf - Lily will Soon Be a Woman (live)

Synopsis When your instrument is nicknamed “the burping bedpost,” it's hard to get respect in refined circles. So it's understandable that the bassoon section of, say, a major London orchestra might indulge in a bit of day-dreaming in which a gang of hot-rodding motorcycling bassoonists blow into town and take over a concert hall. And guess what? That is EXACTLY the scenario of a piece written for Britain's Philharmonia Orchestra by the American composer Michael Daughtery. “Hell's Angels” is a concerto for bassoon quartet that received its premiere in London on today's date in 1999, with Daughtery commenting: “I find the bassoon to be an instrument with great expressive and timbral possibilities, ranging from low and raucous rumbling to plaintive high intensity.” Daugherty often takes inspiration from icons of American pop culture, so it's not surprising that he should choose “Hell's Angels” for inspiration. After all, he writes: “the bassoon is similar in size and shape to the drag pipes found on Harley Davidson motorcycles … When the noise-curbing mufflers are illegally removed from the drag pipes, they create a deafening roar. I have removed the traditional mufflers on the bassoon repertoire in order to compose [my] concerto for bassoon quartet and orchestra. Music Played in Today's Program Michael Daugherty (b. 1954) — Hell's Angels (Oregon Symphony; James DePreist, cond.) Delos 3291 On This Day Births 1834 - German composer, pianist and organist Julius Ruebke, in Hausneindorf, near Quedlinburg; 1878 - Austrian composer Franz Schrecker, in Monaco; 1895 - French-born American composer, painter and mystical philosopher Dane Rudhyar, in Paris; Premieres 1731 - Bach: "St. Mark Passion" (S. 247, now lost) performed in Leipzig at Vespers on Good Friday; 1748 - Handel: oratorio "Alexander Balus" in London at the Covent Garden Theater; The event possibly included the premiere of Handel's "Concerto a due cori" No. 1 as well (Gregorian date: April 3); 1783 - Mozart: Piano Concerto No. 13 and final version of Symphony No. 35 ("Haffner"), at the Vienna Burgtheater, with composer as piano soloist and conductor; An earlier version of the symphony was performed in Salzburg at private concerts arranged by the wealthy Haffner family in the summer of 1782; 1792 - Haydn: Symphony No. 94 ("Surprise"), conducted by the composer, at the Hanover-Square Concert Rooms in London; 1828 - Beethoven: String Quartet in F, Op. 135 (posthumously, and almost one year to the day after the composer's death on March 26, 1827), in Vienna, by the Schuppanzigh Quartet; 1886 - Tchaikovsky: "Manfred" Symphony (after Byron), in Moscow (Julian date: Mar. 11); 1912 - Gliere: Symphony No. 3 ("Ilya Murometz") in Moscow (Julian date: Mar. 10); 1917 - Bloch: "Trois poèmes juifs" (Three Jewish Poems), in Boston, with the composer conducting; 1923 - de Falla: opera "El retrablo de maese Pedro" (Master Peter's Puppet Show) (concert version), in Seville at the Teatro San Fernando; 1935 - Barber: "Music for a Scene from Shelley," by the New York Philharmonic; 1939 - Bartók: Violin Concerto No. 2, by the Amsterdam Concertgebouw Orchestra, Willem Mengelberg conducting and Zoltán Székely as the soloist; A live recording of this premiere performance has been issued on both LP and CD; 1944 - Cowell: "Hymn and Fuguing Tune" No. 2 for strings, in New York on a WEAF radio broadcast featuring Henri Nosco and his Concert Orchestra; The first concert hall performance took place at Town Hall in New York on October 8, 1944, with the Daniel Saidenburg Little Symphony; 1945 - Copland (and 9 other composers): "Variations on a Theme by Eugene Goosens," by the Cincinnati Symphony; 1946 - Marc Blitzstein: "Airbourne Symphony," in New York City; 1962 - Irving Fine: "Symphony 1962" by the Boston Symphony, Charles Munch conducting; 1969 - Gene Gutchë: "Genghis Khan," by American Symphony Orchestra, Leopold Stokowski conducting; 1999 - James MacMillan: "Cumnock Fair" for piano and strings, at Cumnock Academy by members of the Scottish Chamber Orchestra; Others 1703 - Antonio Vivaldi becomes a Roman Catholic priest at age 25; 1721 - Handel completes the composition of Act 3 of "Muzio Scevola," as part of a "competition" arranged by the directors of the Royal Academy of Music to settle the rivalry between their three house composers (Filippo Amadei composed Act 1, Giovanni Bononcinni Act 2, and Handel Act 3); Handel was deemed the victor in this "contest" (Gregorian date: April 3); 1729 - J.S. Bach visits Coethen to perform funeral music for his former employer, Prince Leopold; 1743 - London premiere of what is billed as "A New Sacred Oratorio" by Handel(Gregorian date: April 3); This was his "Messiah" which had its first performance in Dublin the previous year; Links and Resources On Michael Daugherty

In this week's episode of Blink Opera, we join our very own Music Director, Maestro Arthur Fagen, for an in-depth look into the music of The Barber of Seville. Blinks are built to give you an introduction to operas told from the artists who actually perform them and know them intimately. So, let's listen to the highlights, unpack the plot, and hear about performance anecdotes in a time-efficient and fun way! Recordings: Rossini: Vesselina Kasarova - Rossini Arias and Duets; Munich Radio Orchestra; Arthur Fagen; Sony Classical Rossini: The Barber of Seville; Philharmonia Orchestra & Chorus; Alceo Galliera; EMI

Hello and welcome to Bittersweet Symphony, a podcast where classical musicians share the bitter, the sweet and the bittersweet of life when the concert halls shut their doors and the music stopped. I'm Cliodhna Ryan, violinist, member of the Irish Chamber Orchestra and freelancer. In this episode, I'm chatting to Cormac Ó hAodáin, principal horn with the RTE Concert Orchestra. He shares the bitter experience of his Mum being ill, becoming a carer overnight, and the burnout that followed. His sweet memory is of regular meetups on Zoom with a community of musicians and composers, facilitated by the Contemporary Music Centre in Dublin. His bittersweet is while isolation was challenging, he felt equipped to handle it after a decade of living alone. Between 1993-1996, Cormac represented Ireland in the European Union Youth Orchestra, working with such eminent maestros as Carlo Maria Giulini, Bernard Haitink, Mstislav Rostropovich and Vladimir Ashkenazy. In 1997 he joined the Royal Philharmonic Orchestra and in 1999 became a member of the Philharmonia Orchestra. Cormac moved back to Ireland in 2009 to join the RTÉ Concert Orchestra as principal horn. Since his return to Ireland, he has established the Cassiopeia Wind Quintet and joined the teaching staff of the Royal Irish Academy of Music. He is currently doing a Masters in Conducting at TU Dublin, under the mentorship of David Brophy. CREDITS Thumbnail Art || Colm MacAthlaoith Songwriters || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Patrick Stefan Groenland GET IN TOUCH WITH CORMAC/LINKS Cassiopeia Winds Contemporary Music Centre Norah Walsh GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony

Howard Blake OBE FRAM is a composer, conductor, and pianist whose career has spanned more than 50 years and produced more than 650 works. Blake's most successful work is his soundtrack for Channel 4's 1982 film The Snowman, which includes the song "Walking in the Air". He is increasingly recognised for his classical works including concertos, oratorios, ballets, operas and many instrumental pieces.Missing music, Blake played the piano in pubs and clubs for a couple of years until being discovered and signed by EMI to make a solo album and work as a session musician on many recordings. This led to work as an arranger and a composer, employment that gradually became his full-time occupation.In the late 1960s, on the recommendation of Bernard Herrmann, Blake began working as a keyboard player and arranger with veteran screen composer Laurie Johnson on music for the hit ITV television series The Avengers. During the program's sixth and final season in 1968–1969, Johnson was commissioned to write the soundtrack music for the feature film Hot Millions; to enable him to work on the film score, Johnson recruited Blake to take over composing duties for him, and Blake composed the incidental music for ten complete episodes of that series. In 1970, shortly after the series finished, he lived in a beach hut in Cornwall for about two months, "to get away from it all".Over an active career he has written numerous film scores, including The Duellists with Sir Ridley Scott and David Puttnam, which gained the Special Jury Award at the Cannes Festival in 1977; A Month in the Country with Kenneth Branagh and Colin Firth, which gained him the British Film Institute Anthony Asquith Award for musical excellence in 1989; and The Snowman, which was nominated for an Oscar after its first screening on Channel 4 in 1982, and has won many other prizes internationally. From this, his famous song "Walking in the Air", for which he also wrote the lyrics, was the success that launched Aled Jones in 1985 (although Jones only recorded the song three years after the release of the film, while the song on the soundtrack is sung by the St Paul's chorister Peter Auty. Blake's concert version of The Snowman for narrator and orchestra is now performed worldwide, as is the full-length ballet of the same name, launched in 1997, which in 2013 celebrated its 16th consecutive Christmas season for Sadler's Wells at the Peacock Theatre in London.In 1980, Blake was commissioned to write an orchestral music score for Flash Gordon, in collaboration with Queen. He was given only 10 days to produce the results, and after completion fell ill with pneumonia brought on by exhaustion. He recovered, and he and Queen were jointly nominated for a BAFTA Award. It was, however, a disappointment to him that the makers of Flash Gordon did not use much of his score.Blake has composed many concert works, including the Piano Concerto commissioned by the Philharmonia Orchestra for the 30th birthday of Princess Diana in 1991, in which he also featured as soloist; the Violin Concerto to celebrate the centenary of the City of Leeds in 1993; the cantata to celebrate the 50th Anniversary of the United Nations in 1995, performed in the presence of the Royal Family in Westminster Hall; and the large-scale choral/orchestral work Benedictus, championed by Sir David Willcocks and the Bach Choir, which was given its London premiere in Westminster Cathedral in 1989 with Cardinal Basil Hume as narrator, and which has been widely performed ever since. See acast.com/privacy for privacy and opt-out information.

Cyrus Reynolds is a Los Angeles-based composer that leans heavily towards the cinematic and dramatic. His vivid style is the result of a background in contemporary orchestration and cutting-edge sound design. He has collaborated with artists such as Novo Amor and S. Cary of Bon Iver and he is just getting started. A classically trained composer, Cyrus holds a Master of Arts from London's prestigious Royal Academy of Music. His radical approach to sound design has led to features by artists such as Kanye + Chance the Rapper (Waves), Justin Timberlake (Morning Light), Rihanna (Needed Me) & Coldplay (Ghost Stories). At the heart of his sound is the orchestra, most recently working with the Philharmonia Orchestra and the London Contemporary Orchestra at historic Abbey Road for his 2018 album, Love In A Perfect Vacuum.In 2019, he was awarded the Royal Academy of Music's coveted honor of Associate (ARAM) for his contributions to his field.HOLOCENE MagazineCyrus Reynolds IGRob Auchincloss IGSHOW NOTES:see more Hosted on Acast. See acast.com/privacy for more information.

Dream was a series of 10 live performances over 8 days that used motion captured actors who had virtual embodiments set within an immersive storyworld of Shakespeare's Midsummer Night's Dream powered by the Unreal Engine. This project was a research & development initiative funded by the United Kingdom's Audience of the Future initiative that involves the Royal Shakespeare Company, Marshmallow Laser Feast, Philharmonia Orchestra, and the Manchester Film Festival.