Podcasts about pianoforte

Paolo Alderighi e Stephanie Trick portano all'Istituto Italiano di Cultura di Sydney un concerto interamente dedicato alla musica italiana dagli anni '30 ai '50, arrangiati in chiave swing per pianoforte a quattro mani.

Richard Strauss (1864 - 1949) - Trio per pianoforte n. 1 in la maggiore1. Allegro moderato 00:012. Adagio 07:103. Menuetto: Allegretto 11:054. Allegro vivace 13:58 Odeon TrioKurt Guntner, violinoAngela May, violoncelloLeonard Hokanson, pianoforte

Jean Sibelius (1865 - 1957) - Trio in la minore con pianoforte “Havträsk trio”1.      Allegro maestoso2.      Andantino3.      Scherzo: Vivace4.      Rondò Jaakko Kuusisto, violinoMarko Ylönen, violoncelloFolke Gräsbeck, pianoforte

Gabriel Fauré (1845-1924) - Trio in re minore per violino, violoncello e pianoforte, op. 1201.      Allegro, ma non troppo2.      Andantino [05:46]3.      Allegro vivo [14:21] Priya Mitchell, violinoChristian Poltéra, violoncelloKathryn Stott, pianoforte

SONGS in this podcast episode: M1 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) M2 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20). M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40). M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55). M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06). M7 JESU, JOY OF MAN'S DESIRING, JS BACH, 1723, BWV 147 (2:56) M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) PROGRAM NOTES Johann Sebastian Bach was a German composer and organist from the late Baroque period. He was born in Eisenach, in what is now central Germany. Bach lived from 1685 to 1750, The Baroque period was a 150-year period in music, dating from 1600 to 1750. Baroque music is Western Classical Music that followed the Renaissance period. Baroque music features drama, ornamentation, major and minor tones, and was presented in new ways – – like the Opera, Concerto, and Sonata, Baroque composers included BACH, HANDEL, VIVALDI. M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27). Bach probably used the CLAVICHORD to compose most of his music. The Clavichord is small, lightweight and would not disturb people. The clavichord was very temperamental, because it required tuning before each play, just like a violin or guitar.  The keyboard instruments of the day were referred to as a general category: the “KLAVIER”….these included HARPSICHORD, CLAVICHORD, ORGAN and PIANOFORTE. Bach's favorite KLAVIER instrument was the LAUTENWERK or LUTE HARPSICHORD with animal gut strings.  The writing of music was in support of GOD and KINGS. Over time, Baroque Music evolved into what is today known as the modern Orchestra. Bach was a prolific composer, writing hundreds of pieces for solo instruments, particularly the organ. He also wrote pieces for orchestra and choir. Bach is MOST known for writing two or more  melodies or voices against each other. Also called point against point, or, Counterpoint. Bit Bucket A BWV catalog number is a unique identifier for musical works composed by Johann Sebastian Bach, standing for Bach-Werke-Verzeichnis (Bach Works Catalogue).  Today I will present 9 compositions, dating from 1710 to 1731, during the time Bach was about age 25 to 45. M1 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20) Our first piece — TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). an ORGAN COMPOSITION.     It is taken from a 1959 album of BACH ORGAN WORKS   . The movement is called ADAGIO ….which indicates “At Ease”, or “Slow and Stately”. Tempo is only 66-76 BPM. like the resting heart rate for many people. Great liner notes. HERE IS AN  excerpt from the liner notes on that album – – QUOTE “OUR BACH” said the obituary notice, “was the greatest organ and clavier player that ever lived”. Though it may seem strange to us now, Bach's genius during his life was recognized only as a master of the organ—not as a composer. It was actually over a hundred years after his death that his works revealed him as a unique and mighty composer. His reputation as an organist brought many invitations to test new organs and advise on the construction of them.  UNQUOTE As with most of his organ works , there is no autograph or manuscript score from Bach, his organ work manuscript copies are lost.  This song has a CONCERTO style and rhythm.  We will hear the 2nd or ADAGIO movement. . It is all very calm and beautiful and pastoral and serene…until Bach pulls out all the stops in the last minute of this ADAGIO movement. He is really rocking the walls and windows of that church. Without any further adieu, here is TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). PLAY M2 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M2 MUSICAL CREDIT: This Bach organ work  was recorded on the Luneburg Organ at St. Johanniskirche, in the town of Luneburg, in northern Germany, the organist is Professor Michael Schneider. This LP was produced and released on the SOMERSET label here in the US in 1959 The album title is BACH The Majesty of the Luneburger Organ. M2 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) Our next piece is the most famous church cantata written in 1714 for THE FIRST SUNDAY IN ADVENT. NUN KOMM DER HEIDEN HEILAND or in English “NOW COME, SAVIOR OF THE HEATHANS” A HEATHAN is a person with no religion, i.e., a PAGAN. In this chorale, Jesus is asked to …  come and save the pagans.  In 1714, Bach would have been 29 years of age. It turns out that this song goes back almost two centuries before BACH's time.  It's based on a LUTERAN CHORALE with words written by Martin Luther for the 1523 first Advent Sunday.  For centuries, this was the first hymn for the first Sunday of ADVENT.  What I will play next is an arrangement for as modern symphony orchestra (the Philadelphia Orchestra) and it is definitely JS BACH heard in those phrases. But it is a large orchestra – – Conducted by Leopold Stokowski.  This is an extremely restrained, demure, and understated interpretation of a Bach piece the most restrained I have ever heard. The recording you will hear next is performed by the Philadelphia Orchestra, with conductor   Leopold Stokowski. This recording is on a Vinyl LP titled THE SOUND OF GENIUS, produced by COLUMBIA MASTERWORKS, in 1960. It was one of many records that were shipped by mail to members of the Columbia Record Club. My parents were enthusiastic members. A new disc would arrive in the mail every month, such as this LP of classical music. Without further delay here is NOW COME, SAVIOR OF THE HEATHANS PLAY M1 SHOW PLUG – SHOW PLUG – DON'T TOUCH THAT DIAL ! ! That was…M1 NOW COME, SAVIOR OF THE HEATHANS” MUSICAL CREDIT: Arranger and Composer JS Bach, sometime between the years 1708-1717 Performance: Philadelphia Orchestra, conducted by Leopold Stokowski. Album: The Sound of Genius Limited Edition LP (1960) Members Only ! Label: Columbia Master Works BIT BUCKET This piece also is based on a song listed in the ZAHN Lutheran chorales catalog. ZAHN 1174 M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40) The next three pieces are called TWO PART INVENTIONS, composed by JS Bach around 1720   The inventions were composed for use in instruction of Bach's oldest son WILHELM FRIEDEMANN BACH who was 12 years old. Today, these inventions are introduced to music students in school grades 4-7. Learning the Two-Part Invention requires ROTE learning, practicing over and over until the two hands work completely independently of one another. The inventions teach, among other things, the use of COUNTERPOINT. Bach is MOST known for writing two melodies against each other. Also called point against point, or, Counterpoint. That is the feature of these inventions, in each one there are TWO PARTS, left and right hand parts. COUNTERPOINT is found mostly in Bach's FUGUES and in his INVENTIONS. Perhaps a brief demonstration is in order. Here is an excerpt from one of Bach's inventions. FIRST the right-hand part or first point – the melody SECOND the left-hand part or second point – the bass line LAST both parts played in counterpoint. In some of Bach works, the roles reverse, The left hand plays the first point – the melody And the right hand plays the second point – the bass line Could you do this by crossing hands on the keyboard – yes, but, the roles are reversed, so no cross-hand playing. I will now play  WENDY CARLOS's rendition of three BACH TWO-PART INVENTIONS from her 1969 recording titled “SWITCHED ON BACH” .. I will play all three, back-to-back. Each one is short – – average length ONE MINUTE EACH! PLAY M3 PLAY M4 PLAY M5 Credits: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) And now….. PLAY M4 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M4 MUSICAL CREDIT: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55) PLAY M5 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M5 We heard three inventions – – Bach's 2-PART INVENTION in F MAJOR And the 2-PART INVENTION in B-FLAT MAJOR And the 2-PART INVENTION IN D MINOR Each invention is very different than the other. Not just a key change like the work title would suggest ! Bach stated that he wrote his inventions “to be models of composition” in other words, to enable the student to form ways of developing musical ideas and “acquire a strong taste of composition” Bach wrote the inventions, one for of the notes A to G and one for each minor and major key. Today these inventions are over 300 years old ! MUSICAL CREDIT: Composer JS Bach Estimated dates between 1720-1723 Performer – Wendy Carlos – early prototype Moog Synthesizer Arranger and Recording Engineer – Wendy Carlos on MOOG SYNTHESIZER in 1968. Record and label:  Switched-On Bach, Columbia/CBS BIT BUCKET M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06) Next is Bach's “The Well-Tempered Clavier” written in 1722. He was 37. The title page to the Well-tempered Clavier song book reads : “The well-tempered Clavier, or Preludes and Fugues, through all the tones and semitones, both the [major] and [minor]. For the profit and use of the studious musical young…” Bach wrote these preludes and fugues in all keys in the chromatic scale … 12 major and 12 minor keys I have the version in D MAJOR. It's two sections – the prelude, and the fugue The Prelude is the introduction. LISTEN FOR the Stride Piano on the left hand !! It's a short 1:10. The Fugue is the second section. It's slower but with a more Bold left hand. Also short at 1:54. And now….PRELUDE & FUGUE No. 5 D-Major fromThe Well-Tempered Clavier PLAY M6 SHOW PLUG – DON'T TOUCH THAT DIAL !  That was…M6  PRELUDE & FUGUE No. 5 D-Major from The Well-Tempered Clavier MUSICAL CREDIT: Composer JS Bach and the autograph date is 1722 Pianist: Vasso Devetzi Label Festival Classique (1978) M7 JESU, JOY OF MAN'S DESIRING, JS BACH, 1723, BWV 147 (3:22) Our next song is Jesu, Joy of Man's Desiring This song was also composed by JS Bach in that same year of 1723 – – prolific at age 38. This was written for the Christian Feast of the Visitation- celebrated at the end of May in Western Christianity. The song is a Lutheran hymn. … a CANTATA and it has a CHORALE or chorus piece repeated twice within this cantata. There are many arrangements and versions because this song is one of Bach's most beautiful, well-known, and popular. The version we will hear next is arranged for SOLO PIANO. the pianist is Leon Fleisher. And Now, Here is Jesu, Joy of Man's Desiring – Bach       1723 PLAY M7 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M7  Jesu, Joy of Man's Desiring MUSICAL CREDIT: JS Bach composer 1723 Performance: Leon Fleisher – Pianist    (courtesy of EPIC records) Album  THE SOUND OF GENIUS VOLUME 3   Label Columbia, 1962   (3:22) M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) Here is another Chorale recording titled Chorale Prelude VACKET OFF “Wachet Auf”, which translates to SLEEPERS, WAKE! This hymn was transcribed from a Lutheran hymn written in 1599 by written by Phillippe Nicolai. This Cantata is truly a work from the middle ages. In 1731, Bach took this hymn and created a 7-movement cantata, we will hear the first movement or PRELUDE”.  This cantata is sung in church on the Trinity Sunday. Today this piece is very popular piece in general…it is POPULAR CLASSICAL MUSIC.    J.S. Bach wrote 46 of these cantatas for church, in all. ODD FACT  about this song… it was performed only once by Bach, in Leipzig that year. And now the FIRST MOVEMENT  from  VACKET OFF …the Prelude PLAY M8 SHOW PLUG – DON'T TOUCH THAT DIAL ! that was M4    The Chorale Prelude “Wachet Auf”, also known as SLEEPERS, WAKE! Song credits M4 Credits: Hymn by Phillippe Nicolai in 1599 Transcribed by JS Bach in 1731 Performance: Wendy Carlos – on an early prototype Moog Synthesizer Wendy Carlos arranger and recording engineer Album:  Switched-On Bach Label: Columbia/CBS, 1968 M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27) Our next AND LAST piece is from the Switched-On Bach album and s titled AIR ON A G-STRING. This title comes from Johann Sebastian Bach's Orchestral Suite No. 3 in D major,  written almost 300 years ago.   So what is the meaning of the song title Air on a G-String? Well, Bach composed this as an orchestral suite in 1730. 141 years later, August Wilhelm arranged the second movement for SOLO VIOLIN and he did something unique. He transposed the song down from D so that the entire piece could be played on one string of the violin, the G-String, which is the lowest register on that instrument. Here is an example of what this sounds like on the Violin G-String, thjs example with piano accompaniment—pardon the scratchy sound, is from an old 78 RPM disc in 1935. Play example  – Jacques Dumont (Violin) Bach Air On The G String with Andre Collard (piano) We went from Bach's orchestral piece, to Wilhelm's transcription for solo violin, to Wendy Carlos modern interpretation with her MOOG Synthesizer. Now here is Wendy Carlos' arrangement of Air on a G String, from her debut album, SWITCHED-ON BACH, in 1968. PLAY M9 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M9  MUSICAL CREDIT: Composer JS Bach 1730 Performance Wendy Carlos on early prototype MOOG SYNTHESIZER Arranger and Recording Engineer: Wendy Carlos  Album:  Switched-On Bach Label: Columbia/CBS, 1968 END OF PROGRAM VV-031

Ildebrando Pizzetti (1880 - 1968) - Sonata in la maggiore per violino e pianoforte 1.      Tempestoso2.      Preghiera per gli innocenti: Molto largo3.      Vivo e fresco Marco Rizzi, violinoAlessandro Maffei, pianoforte

Robert Schumann (1810 - 1856) - Quartetto per pianoforte in mi bemolle maggiore, op. 47 1.      Sostenuto assai - Allegro ma non troppo 2.      Scherzo: Molto vivace - Trio I - Trio II [8:40]3.      Andante cantabile [12:15]4.      Finale: Vivace [19:09] D. Kashimoto, violinoG. Karni, violaS. Gabetta, violoncelloN. Goerner, pianoforte

Antonin Dvorak (1841-1904) - Trio per pianoforte n. 1 in si bemolle maggiore, op. 21 (B.51) 1.      Allegro molto2.      Adagio molto e mesto [10:56]3.      Allegretto scherzando [19:23]4.      Finale. Allegro vivace [25:53] ATOS TrioAnnette von Hehn, violinoStefan Heinemeyer, violoncelloThomas Hoppe, pianoforte

Bedřich Smetana (1824 - 1884) - Trio in sol minore per pianoforte, op. 15 1.      Moderato assai2.      Allegro, ma non agitato 11:293.      Finale. Presto 20:05  Devich Trio Sarah Oates, violinoJasper Havelaar, violoncelloHanna Devich, pianoforte

Gabriel Fauré (1845 - 1924) - Quartetto in sol minore n. 2 per pianoforte, violino, viola e violoncello, Op. 45 1.      Allegro molto moderato (sol minore)2.      Allegro molto (do minore)3.      Adagio ma non troppo (mi bemolle maggiore)4.      Allegro molto (sol minore) Quartetto WertherAntonino Fiumara, pianoforteMisia Iannoni Sebastianini, violinoMartina Santarone, violaSimone Chiominto, violoncello

Ralph Vaughan Williams (1872-1958) – Sonata per violino e pianoforte in la minore (1954) 1.      Fantasia. Allegro giusto - 0:002.      Scherzo. Allegro furioso ma non troppo - 8:043.      Tema con variazioni. Andante - 13:05  Hugh Bean, violinoDavid Parkhouse, pianoforte

Aaron Copland (1900-1990) – Sonata per violino e pianoforte (1943) 1.      Andante semplice 2.      Lento 06:453.      Allegretto giusto 10:18 Natalia Moiseeva, violinoIvan Konev, pianoforte

Franz Schubert (1797 - 1828) - Quintetto per pianoforte in la maggiore "Forellen-quintett" (La trota), op. 114, D. 6671.      Allegro vivace 2.      Andante 3.      Scherzo. Presto 4.      Tema. Andantino 5.      Allegro giusto  Busch Trio Mathieu van Bellen, ViolinoNoga Shaham, Viola Ori Epstein, violoncello Naomi Shaham, contrabassoOmri Epstein, pianoforte  

Vincenzo Pandolfi è stato tra i cinque finalisti nella serie trasmessa da ABC "The Piano". La sua è una storia d'amore, per la musica e per Elaine: una storia che ha emozionato l'Australia.

Ludwig van Beethoven (1770 - 1827) – Quintetto per pianoforte e fiati in mi bemolle maggiore, op. 16 00:00    1. Grave – Allegro, ma non troppo 12:46    2. Andante cantabile 20:35    3. Rondo. Allegro, ma non troppo  Isaac Stern, violinoJaime Laredo, violaYo-Yo Ma, violoncelloEmanuel Ax, pianoforte

Franz Joseph Haydn (1732 - 1809) - Trio in do maggiore per pianoforte, violino e violoncello, op. 86 n. 1 Hob:XV:271.      Allegro2.      Andante 8:433.      Finale. Presto 13:42Hyo-Sun Lim, pianoforte Jonian Ilia Kadesha, violinoVashti Mimosa Hunter, violoncello

Ludwig van Beethoven (1770 - 1827) - 12 Variazioni in fa maggiore per violoncello e pianoforte, op. 66sul tema "Ein Madchen oder Weibchen" dall'opera "Die Zauberflote" di Wolfgang Amadeus Mozart Allegro Emanuel Ax, pianoforteYo-Yo Ma, violoncello

Francis Poulenc (1899-1963) - Sestetto, FP 100 (1932/1939)1.      Allegro vivace: Trés Vite et emporté2.      Divertissement: Andantino [07:28]3.      Finale: Prestissimo (to trés lent) [12:05] Francis Poulenc, pianofortePhiladelphia Woodwind QuintetSol Schoenbach, fagottoAnthony Gigliotti, clarinettoRobert Cole, flautoMason Jones, cornoJohn De Lancie, oboe

César Franck (1822-1890) - Sonata in A major for Violin and Piano (1886)1.      Allegretto ben moderato 2.      Allegro 06:243.      Ben moderato: Recitative-Fantasia 15:014.      Allegretto poco mosso 22:45 Kaja Danczowska, violino Krystian Zimerman, pianoforte 

Louise Farrenc (1804–1875) - Sonata for violin and piano no.1 in C minor op.37 (1848)1.      Largo. Allegro 2.      Poco Adagio  07:103.      Finale. Allegro vivace  13:17 Linos EnsembleWinfried Rademacher, violinoKonstanze Eickhorst, pianoforte

Anton Arensky (1861–1906) - Trio con pianoforte n. 1 in Re minore, op. 321.      Allegro moderato 2.      Scherzo - Allegro molto 08:513.      Elegia - Adagio 14:224.      Finale - Allegro non troppo 19:55Jascha Heifetz, ViolinoLeonard Pennario, PianoforteGregor Piatigorsky, Violoncello

Robert Schumann (1810 - 1856) - Tre Romanze per violino e pianoforte, op. 941.      Nicht schnell: Moderato 00:002.      Einfach, innig: Semplice, affetuoso 3:083.      Nicht schnell: Moderato 7:17 Joshua Bell, violín Yuja Wang, piano

Sergej Rachmaninov (1873 - 1943) - Trio elegiaco n. 2 in re minore per pianoforte, violino e violoncello, op. 91.      Moderato2.      Quasi variazione – Andante 20:483.      Allegro risoluto 44:49Leonid Kogan, violinoFyodor Luzanov, violoncello Evgeny Svetlanov, pianoforte

Gabriel Fauré (1845 - 1924) - Quartetto in sol minore n. 2 per pianoforte, violino, viola e violoncello, Op. 451.      Allegro molto moderato (sol minore)2.      Allegro molto (do minore)3.      Adagio ma non troppo (mi bemolle maggiore)4.      Allegro molto (sol minore) Quartetto Werther Antonino Fiumara, pianoforteMisia Iannoni Sebastianini, violino Martina Santarone, viola Simone Chiominto, violoncello

Ludwig van Beethoven (1770 - 1827) - Sonata per violoncello e pianoforte n. 3 in la maggiore, op. 691.      Allegro ma non tanto2.      Scherzo. Allegro molto (la minore)3.      Adagio cantabile (mi maggiore) - Allegro vivace Mstislav Rostropovich, violoncello Sviatoslav Richter, pianoforte

XIX Konkurs Chopinowski przeszedł do historii. W Warszawie wystąpiło 84 pianistów z 19 krajów. W ciągu 15 dni przesłuchań usłyszeliśmy niemal 102 godziny muzyki Chopina. Zaglądamy za kulisy, komentujemy ostateczny werdykt, podsumujemy poziom zmagań i opowiadamy o (filmowym) życiu po życiu warszawskiego turnieju. Goście: Aleksander Laskowski - rzecznik Narodowego Instytutu Fryderyka Chopina), Karol Radziwonowicz - pianista, pedagog, komentator oraz Jakub Piątek - reżyser kręconego w trakcie Konkursu serialu "Pianoforte" - premiera 2027.

It's been a busy week for European politics, European protests, and European wallabies. In the midst of the madness, we caught up with Kateřina Šafaříková of Czech news outlet Seznam Zprávy, who filled us in on the Czech Republic's recent parliamentary elections. Is the probable next Prime Minister, Andrej Babiš, likely to be an Orbán-esque thorn in the EU's side, or does he just kinda wanna text with Macron? Kateřina shares her thoughts. We also catch up on the protests that Georgia's democratic opposition has been staging against the country's government in Tbilisi and a grassroots victory in Lithuania. If you're moved to learn more about what's going on in Georgia, check out our interview with Anna Gvarishvili in the episode “Is this the end of Georgia's European dream?” You can also follow some of the initiatives and journalists Wojciech recommends: Project 64 https://x.com/64project_ George Melashivili https://x.com/geomel_ge Marika Mikiashvili https://x.com/Mikiashvili_M Anna Gvarishvili https://x.com/AnnaGvarishvili You can discover more of Kateřina Šafaříková's work over here or follow her on Instagram here. This week's Inspiration Station recommendations are the documentary Pianoforte and the book Dream Count by Chimamanda Ngozie Adichie, courtesy of Patreon member Pia.  Brace yourselves if you decide you do indeed want to hear the now former Lithuanian minister for culture singing on an episode of the Voice. This podcast was brought to you in cooperation with Euranet Plus, the leading radio network for EU news. But it's contributions from listeners that truly make it all possible—we could not continue to make the show without you! If you like what we do, you can chip in to help us cover our production costs at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/europeanspodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (in many different currencies), or you can gift a donation to a superfan. We'd also love it if you could tell two friends about this podcast. We think two feels like a reasonable number. 00:00:47 Bentornato! 00:04:08 Good Week: Lithuania's cultural sector 00:15:15 Bad Week: Georgian democratic opposition  00:28:11 Interview: Journalist Kateřina Šafaříková on last week's Czech elections 00:47:34 The Inspiration Station: The documentary Pianoforte and the book Dream Count by Chimamanda Ngozie Adichie 00:52:40 Happy Ending: Massive Der Spiegel wallaby scoop! Producers: Morgan Childs and Wojciech Oleksiak Mixing and mastering: Wojciech Oleksiak

Felix Mendelssohn-Bartholdy (1809-1847) - Trio n. 2 in do minore per violino, violoncello e pianoforte, op. 661.      Allegro energico e con fuoco2.      Andante espressivo3.      Scherzo: Molto allegro quasi presto4.      Finale: Allegro appassionatoChristel Lee, violino Jonathan Roozemann, violoncello Yekwon Sunwoo, pianoforte

Jak i kiedy rozpoznać małego geniusza muzycznego. Dlaczego, żeby być dobrym muzykiem trzeba dobrze znać życie. Po co kształcić pianistę, gdy wiadomo, że nie będzie wirtuozem. Dlaczego Szopen grał delikatnie. Jak jury ocenia muzyków. Kto na kim zarabia podczas konkursów muzycznych. O zwycięzcach, którzy nie wygrali. O różnicy między muzykowaniem, a uprawianiem zawodu muzyka. Oraz o niepoważnym słuchaniu muzyki poważnej. // Jakub Dera // pianista, pedagog, animator kulturalny -------- Wesprzyj nas. Pomożesz tworzyć podcast i zmienisz świat: - abonament, czyli duża wdzięczność: www.patronite.pl/drugawersja - kawka w podziękowaniu za odcinek: www.buycoffee.to/drugawersja -------- My na www: www.drugawersja.pl  My na Spotify: https://spoti.fi/3MWjX9v My na fejsie: www.facebook.com/drugawersja My na YT: https://www.youtube.com/@podcast_poznanski My na insta: www.instagram.com/druga.wersja My na tiktoku: https://www.tiktok.com/@drugawersja

Il 10 agosto dalle 21 alle 2 di notte piazzale della Vittoria si trasforma in un  palcoscenico a luci spente. Aisha Ruggieri, al pianoforte a coda, eseguirà brani di Sting, Nirvana, Duke Ellington, Doors, Red Hot Chili Peppers,  Bill Evans, Miles Davis e Led Zeppelin. Mentre il Gruppo Astrofili Vicentini accompagnerà i presenti in un viaggio tra le stelle.

Francis Jean Marcel Poulenc (1899 - 1963) – Sonata per clarinetto e pianoforte, FP 1841.       Allegro tristamente (Allegretto - Très calme - Tempo allegretto)2.       Romanza (Très calme) 05:393.       Allegro con fuoco (Très animé) 09:56Michel Portal, clarinettoJacques Février, pianoforte

Francis Jean Marcel Poulenc (1899 – 1963) - Sonata per clarinetto e pianoforte FP1841.       Allegro tristamente (Allegretto - Très calme - Tempo allegretto)2.       Romanza (Très calme)3.       Allegro con fuoco (Très animé) Karl Leister, clarinettoJames Levine, pianoforte

George Enescu (1881-1955) - Quartetto per pianoforte, violino, viola e violoncello n. 1 in re maggiore op. 16 1.       Allegro moderato2.       Andante mesto 15:573.       Vivace 30:00 Maria Fotino, Daniel Podlovschi, Alexandru Rădulescu, Ion Fotino

Johannes Brahms (1833-1897) - Trio in si maggiore per archi e pianoforte, op. 81.       Allegro con brio 2.       Scherzo. Allegro molto [15:13] 3.       Adagio [21:49]4.       Finale. Allegro [31:03] Augustin Dumay, violinoJian Wang, violoncelloMaria João Pires, pianoforte

Wolfgang Amadeus Mozart (1756 - 1791) - Quintetto per pianoforte e fiati in mi bemolle maggiore, K 4521.       Largo - Allegro moderato2.       Larghetto [10:11]3.       Rondo. Allegretto [19:47] Alfred Brendel, pianoforteHeinz Holliger, oboeEduard Brunner, clarinettoHermann Baumann, cornoKlaus Thunemann, fagotto

Robert Schumann (1810 - 1856) - Quintetto in mi bemolle maggiore per pianoforte e archi, op. 441.       Allegro brillante 2.       In Modo d'una Marcia. Un poco largamente [09:02]3.       Scherzo. Molto vivace - Trio 1 e 2 [18:08]4.       Allegro, ma non troppo [22:34] Martha Argerich, pianoforteDora Schwarzberg, violinoLucia Hall, violinoNobuko Imai, violaMischa Maisky, violoncello

Wolfgang Amadeus Mozart (1756 - 1791) - Sonata n. 27 in sol maggiore per violino e pianoforte, K1 379 1.       Adagio – Allegro 2.       Tema (Andantino cantabile) – Var. I-V – Tema (Allegretto) [11:38]David Fyodorovich Oistrakh, ViolinoPaul Badura-Skoda, Pianoforte

Per approfondire gli argomenti della puntata: Altre pillole dall'età contemporanea : https://www.youtube.com/watch?v=vfSB5rwk8to&list=PLpMrMjMIcOklAamXwkzlub85zjR3Eh74B&index=1 Learn more about your ad choices. Visit megaphone.fm/adchoices

In this recap, we're discussing Volume Two, Chapters 1-8 of Emma by Jane Austen. In this episode, we'll explore the arrival of some intriguing new characters to Highbury that shake up Emma's carefully curated social circle. We'll also explore Emma's complex relationships, including her aversion to a certain reserved newcomer and her budding friendship with a charming gentleman. Plus, we'll uncover how Emma's imagination runs wild with romantic theories that may or may not have any basis in reality.  As a reminder, we've historically shared these “big book readalong” recap series in our patreon community, but to celebrate five years of podcasting, we're sharing it on the public feed! We're so excited to have all of you reading with us. To grab our reading schedule, go to our instagram page @novelpairingspod for our pinned post or subscribe to our free weekly substack newsletter where you'll get reminders and announcements.

W najnowszym odcinku PopCulture in brief: Nowa powieść Andrzeja Sapkowskiego: „Wiedźmin. Rozdroże kruków” Znamy Słowo Roku 2024 według  Oxford University Press Polski dokument "Pianoforte" zdobył międzynarodową nagrodę Emmy W PopCulture in Brief przedstawiamy tygodniowe podsumowanie wydarzeń ze świata popkultury. Znajdziesz tu informacje o premierach filmów, seriali, książek, gier i albumów muzycznych. Chcesz mieć najważniejsze wiadomości o gospodarce, nowych technologiach, marketingu i zmianach na świecie zebrane w jednym miejscu? Zasubskrybuj kanał Jarosław Kuźniar in Brief ► https://bit.ly/J-Kuzniar-inBrief Uwielbiasz podcasty? Słuchać, tworzyć, produkować, wszystko naraz? Zapisz się na newsletter Voice House o świecie podcastingu ► https://bit.ly/newsletterVoiceHouse Masz pomysł na rozmowę? Napisz ► office@voicehouse.co

durée : 00:59:33 - Touché coulé - par : Nathalie Piolé -

durée : 00:59:36 - invités : Bojan Z & Baptiste Trotignon "PianoForte" - par : Nicolas Pommaret - Le groupe PianoForte, composé des talentueux pianistes Pierre de Bethmann, Bojan Z, Eric Legnini et Baptiste Trotignon, annonce la sortie d'un premier album tant attendu. Parution chez Artwork / PIAS.

durée : 00:59:36 - invités : Bojan Z & Baptiste Trotignon "PianoForte" - par : Nicolas Pommaret - Le groupe PianoForte, composé des talentueux pianistes Pierre de Bethmann, Bojan Z, Eric Legnini et Baptiste Trotignon, annonce la sortie d'un premier album tant attendu. Parution chez Artwork / PIAS.

Elena Modena"La voce che noi siamo"Canto, ascolto, presenzaGabrielli Editoriwww.gabriellieditori.itElena Modena, studiosa di Ildegarda di Bingen, propone un ampio percorso intitolato alla ricerca vocale, per l'armonizzazione e il benessere psicofisico.«Sì, il suono è in me: ri‑suono dunque sono, vocalizzo dunque ho un nome, un volto, un'identità. Il suono può informare a nuovo la vita, vivificandola oltre il pensabile, svelando ciò che noto non era ancora – l'essere che prima ignoravo – per comprenderne il ritmico divenire in un altrettanto puntuale susseguirsi di qui e ora.» Fare spazio alla voce nell'aprirsi alla vita non è solo un istinto primario. La voce individua il soggetto nei suoi diversi aspetti costitutivi e caratteriali, nelle risposte riflesse e intenzionali, nelle sfumature emozionali. Tuttavia, in ambito relazionale, formativo, sociale, questo imprescindibile mezzo espressivo e comunicativo, strumento eletto di conoscenza e consapevolezza, non è sempre adeguatamente considerato. Acquisire familiarità con il vocalico, in particolare tramite la voce cantata, potenzia l'ascolto e porta a scoprire aspetti latenti se non inediti di noi stessi coltivando il dialogo tra psiche, corpo, mente. Quando è vissuto come autentica manifestazione in essere, quando diventa tema e oggetto di dedizione, il suono cantato è fonte di benessere psicofisico che si trasforma in energia spendibile nel quotidiano, nella relazione intra e interpersonale, di portata generale.Elena Modena laureata in Lettere con menzione di stampa, diplomata in Pianoforte, Clavicembalo, Organo, Composizione, Prepolifonia, Metodo Funzionale della Voce, da oltre vent'anni si dedica alla ricerca sul suono vocale. Referente progettuale del Centro Studi Claviere, Vittorio Veneto (TV), Cultrice della materia all'Università Ca' Foscari, Venezia, ha pubblicato saggi di carattere musicale per Aracne, Pazzini, Zecchini. Voce e strumentista di InUnum ensemble, da sempre in collaborazione con Ilario Gregoletto, si produce nel repertorio sacro monodico e polifonico di antica tradizione occidentale. Membro in organico della Cappella Marciana, Basilica di san Marco in Venezia, ha inciso per Rivoalto, Tactus, CSC, Concerto, Amadeus, CVoice.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

L'infanzia da esule istriana in una famiglia che si ritrovò in miseria a quell'incontro che le ha cambiato la vita con Phillip, assieme al quale emigrò in Australia. La seconda parte della storia della vita di Fiorella de Boos-Smith.

Larry Mantle and LAist film critics Wade Major and Andy Klein review this weekend's new movie releases in theaters, streaming, and on demand platforms — in three minutes or less!

Known in his lifetime as ‘the north German Schubert', Carl Loewe (1796–1869) is remembered today chiefly as a composer of songs and ballads. Yet there is a considerable body of piano music that is strikingly innovative in content, expression and harmony, containing the germs of ideas later taken up by composers such as Wagner and Liszt. Loewe was unquestionably a brilliantly original talent, a major figure in ushering in the Romantic era – with the remarkable Four Fantasies of 1854 heard here ‘documenting' in music the contemporary emigration of German families to the United States. This third volume of Linda Nicholson's survey of his piano music on historical instruments concludes its first-ever complete recording on any kind of piano.TracksVier Phantasien, Op. 137 (1854) (36:55) I. Der Abschied des Auswanderers vom Vaterland (8:58) II. Meerfahrt des Auswanderers (12:09) III. Die Prairie (11:03) IV. Die neue Heimath des Auswanderers (4:54) Der barmherzige Bruder, Op. 28 – Eine Tondichtung für das Pianoforte (1830)* (5:28) Andante con moto (5:28)Grande Sonate Élégique, Op. 32 (1819-34) (22:04) I. Grave con moto – Allegro (7:20) II. Andante (3:32) III. Presto (3:48) IV. Finale: Presto con fuoco – Allegro (7:24) Three Lieder transcribed for piano solo by Linda Nicholson* (5:10) Sehnsucht, Op. 9, Heft III, No. 5 (1816 or 1818) (1:54) Die schlanke Wasserlile (1847) (1:35) Stille Liebe (1850) (1:41) *First Recordings@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.