Podcast appearances and mentions of pierre laurent aimard

Nous approfondissons le rôle du piano comme laboratoire musical à travers les divers courants du 20e siècle.

A 19. századi romantika 20. századba vezető útján kirándulhat, aki a Concerto Budapest február 15-i kamarakoncertjére látogat a Zeneakadémia Nagytermébe.Pierre-Laurent Aimard, a Keller Quartet és a Concerto Budapest szólistái közreműködésével a közönség nem csupán három meghatározó zeneszerző munkásságának egyedi keresztmetszetét ismerheti meg, hanem betekintést nyerhet a kamarazene formáinak és kifejezésmódjának radikális átalakulásába is két korszak határán.

durée : 00:02:55 - Le Bach du matin du vendredi 07 février 2025 - Notre Bach du matin est un Bach lyonnais. Nous écoutons le pianiste Pierre-Laurent Aimard dans un programme que l'on entendra ce dimanche 9 février à l'auditorium de Lyon.

durée : 00:02:55 - Le Bach du matin du vendredi 07 février 2025 - Notre Bach du matin est un Bach lyonnais. Nous écoutons le pianiste Pierre-Laurent Aimard dans un programme que l'on entendra ce dimanche 9 février à l'auditorium de Lyon.

durée : 01:28:34 - Pierre-Laurent Aimard, du grand répertoire à la création contemporaine - par : Aurélie Moreau - Pierre-Laurent Aimard a été entre autres pianiste soliste de l'Ensemble Intercontemporain pendant 18 ans, tout en continuant à jouer les auteurs du passé avec un même succès. Aujourd'hui : Dvořák, Debussy, Ligeti, Beethoven, Ravel et Messiaen.

Als Kind schlich Dana Grigorcea oft in die Seitenbühne der Oper in Bukarest, um dem Geschehen auf der Bühne möglichst nahe zu sein. Heute wirkt sie gerne als Statistin im Zürcher Opernhaus mit. Für die Autorin mehrerer preisgekrönter Bücher ist Musik und Literatur eng miteinander verbunden. Wer mit Dana Grigorcea über Oper spricht, wird schnell feststellen, dass sie viele Arien auswendig mitsingen kann. Seit sie in ihrer frühen Kindheit in der Oper eine Gegenwelt zum Alltag in der kommunistischen Diktatur gefunden hat, begleitet sie die gesungene Musik. In «Musik für einen Gast» spricht Dana Grigorcea darüber, weshalb sie die Oper für ihre Diversität liebt, warum sie sich in der Kunst mehr Mut zum Pathos wünschen würde und weshalb sie in ihren Erzählungen nach Leichtigkeit strebt – auch wenn es nicht einfach ist, sich als Mutter die künstlerischen Freiräume zuzugestehen. Die Musiktitel: 1. Gaetano Donizetti – Lucia di Lammermoor: Chi me frena in tal momento? (Sextett) Diana Damerau, Sopran / Joseph Calleja, Tenor / Münchner Opernchor / Jesús López-Cobos, Leitung 2. György Ligeti - Musica ricercata: 3. Allegro con spirito Pierre-Laurent Aimard, piano 3. Paolo Conte – Via con me 4. Pietro Mascagni – Cavalleria rusticana: Inneggiamo, il Signor non è morto Anita Rachvelishvili, Mezzosopran / Chicago Symphony Orchestra & Chorus / Riccardo Muti, Leitung 5. Nino Rota – La dolce vita: La dolce vita dei nobili - Music from the Film of Federico Fellini Das besprochene Buch: Dana Grigorcea – Das Gewicht eines Vogels beim Fliegen Penguin Verlag München

Dreieinhalb Stunden Konzert - zwei Pausen - ein Marathon zwischen Schönberg, Skrjabin, Brahms und Ravel: Für den Pianisten Pierre Laurent Aimard nicht nur der richtige Weg, um Schönberg zu seinem 150. Geburtstag zu gratulieren, sondern auch um Hör- und Konzert-Gewohnheiten aufzubrechen

Técnica de composición musical basada en el dodecafonismo de Arnold Schönberg. Mientras este aplica un principio serial a las alturas de las doce notas de la escala cromática, el serialismo amplía la aplicación de este fundamento a diferentes parámetros musicales como ritmo, intensidad y timbre._____Has escuchadoAll Set for Jazz Ensemble (1957) / Milton Babbitt. The Contemporary Chamber Ensemble; Arthur Weisberg, director. Nonesuch (1974)Gruppen: für drei Orchester. Werk Nr. 6 (1955-1957) / Karlheinz Stockhausen. Berliner Philharmoniker; Claudio Abbado, director. Deutsche Grammophon (1996)Scambi (1957) / Henri Pousseur. Sub Rosa (2002)Structures pour deux pianos. Livre II (1961) / Pierre Boulez. Pierre-Laurent Aimard y Florent Boffard, pianos. Deutsche Grammophon (1995)_____Selección bibliográficaBANDUR, Markus, Aesthetics of Total Serialism: Contemporary Research from Music to Architecture. Birkhauser Verlag, 2001BAZAYEV, Inessa y Christopher Segall (eds.), Analytical Approaches to 20th-Century Russian Music: Tonality, Modernism, Serialism. Routledge, 2020BENITEZ, Vincent, “Reconsidering Messiaen as Serialist”. Music Analysis, vol. 28, n.º 2-3 (2009), pp. 267-299*GALLOPE, Michael, “Why Was This Music Desirable? On a Critical Explanation of the Avant-Garde”. The Journal of Musicology, vol. 31, n.º 2 (2014), pp. 199-230*GRANT, M. J., Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. Cambridge University Press, 2008GULDBRANDSEN, Erling E., “Pierre Boulez in Interview, 1996 (II). Serialism Revisited”. Tempo, vol. 65, n.º 256 (2011), pp. 18-24*IDDON, Martin, The Cambridge Companion to Serialism. Cambridge University Press, 2023MCCARTHY, John y Joe Peter, Harmonic Grammar and Harmonic Serialism. Equinox Publishing, 2016MOORE, Allan F., “Serialism and Its Contradictions”. International Review of the Aesthetics and Sociology of Music, vol. 26, n.º 1 (1995), pp. 77-95*NEIDHÖFER, Christoph, “Inside Luciano Berio's Serialism”. Music Analysis, vol. 28, n.º 2-3 (2009), pp. 301-348*PERLE, George, Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg and Webern. University of California Press, 1991RAO, Nancy Yunwha, “Hearing Pentatonicism Through Serialism: Integrating Different Traditions in Chinese Contemporary Music”. Perspectives of New Music, vol. 40, n.º 2 (2002), pp. 190-231*ROIG-FRANCOLÍ, Miguel A., Understanding Post-Tonal Music. Routledge, 2021SMALLEY, Roger, “Serialism for Today”. Tempo, n.º 90 (1969), pp. 2-7*SMITH BRINDLE, Reginald, Serial Composition. Oxford University Press, 1968VANDER WEG, John D., Serial Music and Serialism: A Research and Information Guide. Routledge, 2000WHITTALL, Arnold, Serialism. Cambridge University Press, 2008* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

French pianist Pierre-Laurent Aimard is widely known as an authority figure in contemporary music, and also for shedding new light on music of the past. His international concert career has already spanned several decades, with an enormous discography to boot, all of which he has carried out alongside a dedicated commitment to teaching. In 1973, at the age of 16, he won first prize in the Messiaen Competition, and three years later was invited by Pierre Boulez to be the first solo pianist of the Ensemble Intercontemporain. In addition to Boulez, he has collaborated very closely with leading composers like Kurtag, Birtwhistle, Ligeti, and Messiaen, having given countless world premieres over the course of his career.In this episode, Pierre-Laurent talks about his new recording of Schubert Ländler, what he learned from Ligeti and Messiaen, what we expect from performers as members of an audience, and why he's not actually *that* taken with the piano world.-------------------Buy Pierre-Laurent's new release, 'Schubert: Ländler' here-------------------Pierre-Laurent's links:WebsiteInstagramX (formerly Twitter)Facebook-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------This podcast is also available to listen to via The Violin Channel--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

V Operi in baletu SNG Maribor bo nocoj slovesna premiera celovečernega baleta Faust koreografa in režiserja Edwarda Cluga. To bo največji baletni dogodek slovenskih umetnikov na mariborskem odru doslej. Clug je o večni aktualnosti tega dela povedal, da Faustov sindrom najbrž še nikoli doslej ni bil tako navzoč kot prav v naši sodobni družbi, ki se je pripravljena odpovedati svoji lastni identiteti oziroma lastni duši v zameno za večno mladost, navidezno lepoto ali za katero koli drugo človeško nečimrnost. To spoznanje je bilo tudi ključno za ustvarjalni proces baleta. V oddaji tudi o koncertu Komornega orkester Franza Liszta iz Budimpešte. V dvorani Union v Mariboru bo z madžarskim komornim orkestrom nastopil francoski klavirski virtuoz Pierre-Laurent Aimard.

In this episode, we discuss recordings of “L'Ame-Son” (Alpha) by Bruno Helstroffer & Chantal Santon Jeffery, “Bartók: Piano Concertos” (Pentatone) by Pierre-Laurent Aimard & The San Francisco Symphony / Esa-Pekka Salonen, “Stefan Heucke: Woodwind Sonatas” (GWK Records) by Daniela Koch, Kimiko Imani, GyuTae Ha, Ramón Ortega Quero, GyuTae Hae, Simon Degenkolbe, Tobias Haunhorst & Marceau Lefevre, “Woah!” (Self-Release) by Connor Stewart, “Overseas” (Via Veneto Jazz) by Claudio Giambruno, and “Swing Low” (Posi-Tone) by Michael Dease.   The Adult Music Podcast is featured in: Feedspot's 100 Best Jazz Podcasts   Episode 135 Deezer Playlist   Fair use disclaimer: Music sample clips are for commentary and educational purposes. We recommend that listeners listen to the complete recordings, all of which are available on streaming services in the links provided. We also suggest that if you enjoy the music, you consider purchasing the CDs or high-quality downloads to support the artists.   “L'Ame-Son” (Alpha) Bruno Helstroffer, Chantal Santon Jeffery https://open.spotify.com/album/5dK32Tk9Fe90EK8b5DZtkA https://music.apple.com/na/album/lâme-son/1694687461   “Bartók: Piano Concertos” (Pentatone) Pierre-Laurent Aimard, San Francisco Symphony / Esa-Pekka Salonen https://open.spotify.com/album/0DUmxOJ5k2LCyhXqA1iGCA https://music.apple.com/na/album/bartók-piano-concertos/1701187017   “Stefan Heucke: Woodwind Sonatas” (GWK Records) Daniela Koch, Kimiko Imani, GyuTae Ha, Ramón Ortega Quero, GyuTae Hae, Simon Degenkolbe, Tobias Haunhorst, Marceau Lefevre https://open.spotify.com/album/32NOhmTrTsBYs7VdjovH8N https://music.apple.com/na/album/stefan-heucke-woodwind-sonatas-op-114/1706813504   “Woah!” (Self-Release)  Connor Stewart https://open.spotify.com/album/3qGmeVy8eVEbnmC6Va1gaW https://music.apple.com/na/album/woah/1706728193   “Overseas” (Via Veneto Jazz) Claudio Giambruno https://open.spotify.com/album/39xQWx10Rxs793RxryqoXu https://music.apple.com/na/album/overseas/1705193608   “Swing Low” (Posi-Tone)  Michael Dease https://open.spotify.com/album/6P2zar1Wyz5caOpRY96TAd https://music.apple.com/na/search?term=Michael%20Dease   Be sure to check out: "Same Difference: 2 Jazz Fans, 1 Jazz Standard" Johnny Valenzuela and Tony Habra look at several versions of the same Jazz standard each week, play snippets from each version, discuss the history of the original and the different versions.  

Für Smalltalk ist er nicht zu haben – irgendwie verständlich bei einem, der sich schon als hochbegabtes, Klavier spielendes Kind für die Musik Olivier Messiaens begeistern konnte und den Messiaens Frau, die Pianistin Yvonne Loriod, mit zwölf Jahren nach einem Vorspiel in der Musikhochschule von Lyon vom Fleck weg in ihren Schülerkreis in Paris aufnahm. Zum Konzert: elbphilharmonie.de/de/programm/pierre-laurent-aimard-klavierabend/20234  Auf Pierre-Laurent Aimard trifft der so inflationär gebrauchte Begriff des Ausnahmekünstlers wirklich einmal zu. Wer außer ihm steckt so tief in der Klaviermusik der vergangenen 60, 70 Jahre, dass er mit den Größten dieser Kunst – Stockhausen, Boulez, Ligeti, Kurtág und anderen – über Jahre, manchmal Jahrzehnte hinweg eng zusammengearbeitet hat? Und wer ist gleichzeitig derart überzeugend im Repertoire von Bach über Mozart und Beethoven bis zu Schubert, Debussy und Bartók?

Der Pianist Pierre-Laurent Aimard ist als Verfechter neuer, zeitgenössischer Musik bekannt geworden. Peu-à-peu hat er inzwischen auch die Klassiker und sogar Musik von Bach in sein Repertoire aufgenommen. Einer seiner Schwerpunkte ist immer die klassische Moderne geblieben. Umso überraschender, dass er um viele Werke von Béla Bartók einen Bogen geschlagen hatte. Bis jetzt. Neu erschienen ist eine Aufnahme mit allen drei Klavierkonzerten Bartóks. An seiner Seite ein Dirigent, der sich ebenfalls immer wieder für die Musik des 20. und 21. Jahrhunderts stark macht: Esa-Pekka Salonen. Christoph Vratz über ein Gipfeltreffen zweier Spezialisten der Moderne?

‘Plezier & Etudes' Voor mijn Westerse oren zijn ze onnavolgbaar. Blijmakend en uitermate complex: de ritmische patronen uit de Afrikaanse muziektraditie. De componist György Ligeti liet zich inspireren door deze ritmen… Anoniem / trad. Yangisa Aka Pygmes (album: African Rhythms) Gyorgy Ligeti Etudes, boek 3; III. A bout de soufflé Pierre-Laurent Aimard, piano

Der französische Pianist Pierre-Laurent Aimard hat seit den 1980er Jahren eng mit György Ligeti zusammengearbeitet. Mit Kornelia Bittmann spricht er über Werdegang, Werk und Persönlichkeit des Komponisten, der in diesem Jahr 100 geworden wäre. Von Kornelia Bittmann.

durée : 01:00:09 - En pistes, contemporains ! du dimanche 20 novembre 2022 - par : Emilie Munera - Cette semaine chez les contemporains : l'album "Visions" de Tamara Stefanovich et Pierre-Laurent Aimard présentant un programme autour de l'enivrante Visions de l'amen pour deux pianos de Messiaen. Egalement, la musique d'Isang Yun, d'Uģis Prauliņš et de Paweł Łukaszewski. - réalisé par : Max James

durée : 00:10:29 - Visions - Tamara Stefanovich, Pierre-Laurent Aimard - Visions propose le retour de Tamara Stefanovich et Pierre-Laurent Aimard au Pentatone, présentant un programme autour de l'enivrante Visions de l'amen pour deux pianos de Messiaen.

Im Alter von 12 Jahren lernte Pierre-Laurent Aimard den Komponisten Olivier Messiaen kennen, wenig später hat er bei dessen zweiter Ehefrau studiert. Das Werk von Messiaen begleitet ihn demzufolge sein ganzes Leben lang.

Für den Bonner Fabian Müller wird das Recital am 10. November ein Heimspiel. Der junge Pianist hat u. a. bei Pierre-Laurent Aimard und Tamara Stefanovich an der Musikhochschule in Köln studiert und spricht von der Kölner Philharmonie als sein Wohnzimmer. Mit seinen 32 Jahren hat er bereits eine Professur inne, dirigiert und komponiert gern und kuratiert darüber hinaus als künstlerischer Leiter das Festival »Bonner Zwischentöne«. Als aktueller Gesprächspartner im Podcast der Kölner Philharmonie verrät Fabian Müller u. a., warum er die ganz normalen Tage liebt, an denen nicht so viel los ist und weshalb die Auftritte auf den Konzertpodien die beste Droge für ihn sind. Schon im Alter von vier Jahren zeigte sich das Talent des Bonners, der 2017 beim Internationalen ARD-Musikwettbewerb in München für Aufsehen sorgte, als er gleich fünf Preise erhielt, darunter den Publikumspreis. https://www.koelner-philharmonie.de/de/programm/fabian-muller/2776

WQXR's Artist Propulsion Lab is the station's program to support emerging and mid-career artists by providing them with opportunities to perform and commission work, and to take advantage of the station's platforms, like this podcast. Starting today, and continuing every other Thursday, join this year's class of artists as they explore a topic important to them. In this episode, violinist and composer Layale Chaker is joined by composer and pianist Fabian Alamazan, and paleobotanist David Lentz, of the University of Cincinnati, for a conversation about music and environmental stewardship, moderated by New Sounds' John Schaefer.  Featured Recordings: "The Songs of the Forgotten" composed and performed by Fabian Almazan. Available at Bandcamp "Le Courlis cendré," from Catalogue d'oiseaux by Olivier Messaien, performed by Pierre-Laurent Aimard. Available at Pentatone "Tingo Maria," from Milagros by Gabriela Lena Frank, performed by the Willamette Valley Chamber Music Festival. Available from Bright Shiny Things

Wer große Klavierzyklen schreibt, muss sich messen lassen. Natürlich an Bach, am Wohltemperierten Klavier, oder auch an Beethoven und den 32 Klaviersonaten. Aber gerade mit Blick auf Bach hat sich immer wieder die Frage gestellt: Wie gläubig muss man sein, um so eine spirituelle Musik zu schreiben. Olivier Messiaen sagte selbst in einem Interview, er sei gläubig, er sei Katholik, und als solcher beschäftige er sich mir Fragen wie Unsterblichkeit und Auferstehung. Und daher, so erklärt Messiaen weiter, versuche er über das göttliche Geheimnis oder das Mysterium Christi komponierend zu meditieren. Und das macht er auch in den »Vingt regards sur l'Enfant Jésus«, die Pierre-Laurent Aimard am 23. Januar 2022 in der Kölner Philharmonie aufführt. https://www.koelner-philharmonie.de/de/programm/pierre-laurent-aimard/2181 Foto Pierre-Laurent Aimard ©Julia Wesely

Eine CD von Pierre-Laurent Aimard - vorgestellt auf NDR Kultur.

Synopsis If imitation is the sincerest form of flattery, then composers must really have a thing about birds. For centuries, composers have imitated bird song. Vivaldi's “Goldfinch” concerto for flute is one of the best-known examples from the 18th century, and there are a flock of other examples. On today's date in 1953, at the Donaueschingen Music Festival in Germany, one of the most famous 20th century examples of “music for the birds” had its premiere performance. This was a piece by the French composer Olivier Messiaen for piano and orchestra, entitled “Le Réveil des Oiseaux,” or “The Awakening of the Birds.” The musical themes for this work were all based on Messiaen's precise notation of the songs of 38 different French birds. The piece's structure progresses from midnight to midday, with the birds' actual “awakening” occurring precisely at 4 a.m. at the first light of a spring day. Messiaen's interest in bird songs and nature was as deep as his religious faith. As he put it:  “I give bird songs to those who dwell in cities and have never heard them, make rhythms for those who know only military marches or jazz, and paint colors for those who see none." Music Played in Today's Program Antonio Vivaldi (1678 - 1741) — Flute Concerto, R. 428 (Goldfinch) (Patrick Gallois, flute; Orpheus Orchestra) DG 437 839 Olivier Messiaen (1908 – 1992) — Le Reveil des oiseaux (Pierre-Laurent Aimard, piano; Cleveland Orchestra; Pierre Boulez, cond.) DG 453 478

Mit 12 Jahren wurde der Pianist Pierre-Laurent Aimard Schüler von Yvonne Loriod, der Frau von Olivier Messiaen. Jetzt spielt der Franzose selbst Musik von Messiaen, zusammen mit den Bamberger Symphonikern: eine Klangwolke für Klavier, kleines Orchester und - Vogelstimmen.

“As a child, music felt very natural for me. I didn't feel I needed to put any effort into learning the piano. I wanted to find all the musical information that was there. What was the purpose of studying the piano? Suddenly the whole thing became so creative. I felt that the sound is something malleable and you can have an infinite number of possibilities and ways of phrasing and expressing, so that opened a whole new area of possibilities and I found this just fascinating.”Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

“As a child, music felt very natural for me. I didn't feel I needed to put any effort into learning the piano. I wanted to find all the musical information that was there. What was the purpose of studying the piano? Suddenly the whole thing became so creative. I felt that the sound is something malleable and you can have an infinite number of possibilities and ways of phrasing and expressing, so that opened a whole new area of possibilities and I found this just fascinating.”Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou· www.creativeprocess.info

Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

durée : 00:14:22 - Disques de légende du jeudi 20 mai 2021 - Une légende du XXème siècle ! En 1995, le pianiste Pierre-Laurent Aimard enregistre les deux grands cycles d'œuvres pour piano de György Ligeti pour le label Sony, dans le cadre d'une grande intégrale des œuvres du compositeur hongrois. Un témoignage de première main, passionnant et incontournable.

durée : 00:58:45 - Les Cours du Collège de France - par : Merryl Moneghetti - Comment l’interprète contribue-t-il à la création ? s'interroge le pianiste Pierre-Laurent Aimard. - réalisation : Olivier Guérin - invités : Pierre-Laurent Aimard Pianiste, professeur de musique

Studies began life as an aid in the struggle to master the piano within the human limitations of two hands and ten fingers. But from being the bane of many a pianist's life and a means of selling more pianos, these arid technical exercises flowered into some of the greatest music written for piano from Chopin, though Debussy to György Ligeti. And in Conlon Nancarrow's studies for player piano, they even inspired the greatest set of keyboard works beyond any human ability. To find out how and why studies evolved to transcend their original function, Tom Service is joined by musicologist Katy Hamilton and talks to Pierre-Laurent Aimard who worked closely with Ligeti on his extraordinary series of studies, widely regarded as some of the greatest piano music of the 20th century. David Papp (producer)

durée : 00:25:20 - Sarah Nemtanu, violoniste (3/5) - par : Judith Chaine - La violoniste Sarah Nemtanu intègre à 16 ans la classe de Gérard Poulet au CNSM de Paris. Elle se passionne aussi pour les cours de musique de chambre avec Pierre-Laurent Aimard. Après avoir passé quelques concours internationaux, elle devient à 21 ans violon solo de l'Orchestre national de France. - réalisé par : Lionel Quantin

A Música da Casa apresenta esta semana dois concertos no âmbito do ciclo  "Música para o Natal". Já amanhã (22.12, às 19:30), o aclamado pianista Pierre Laurent Aimard apresenta, em vésperas de Natal, uma meditação sobre a infância de Jesus, em 20 andamentos. Na 4ª feira (23.12, às 19:30), a Orquestra Barroca junta-se a elementos do Coro Casa da Música em "O Natal de Charpentier", com direcção de Laurence Cummings.  locução: Sónia Borges · produção e sonoplastia: Miguel Sousa 

Wolfgang Amadeus  MOZART - L'Ouverture de Don Giovanni . L'Orchestre baroque de Fribourg sous la direction de René Jacobs . HMC 90196466 . Ludwig van  BEETHOVEN - 2 lieder op 83 . Olaf Bäf & Geoffrey Parsons. DECCA 475 6011. Ludwig van  BEETHOVEN - Le Troisième mouvement du Triple concerto en ut majeur opus 56 . Pierre-Laurent Aimard, Thomas Zehetmair, Clemens Hagen et le Chamber Orchestra of Europe sous la direction de Nikolaus Harnoncourt . Warner 256460602-2.

durée : 01:58:16 - Le Bach du dimanche du dimanche 20 septembre 2020 - par : Corinne Schneider - Au programme de cette 131e émission : un zoom sur l’intégralité des Motets BWV 225-230 par l’Ensemble Pygmalion de Raphaël Pichon (nouveauté Harmonia Mundi, en avant-première, sortie le 25 sept.) puis l’actualité des concerts avec Pierre-Laurent Aimard, Hugo Reyne, Renaud Capuçon et David Fray. - réalisé par : Olivier Guérin

C'est au duo Eidos qu'il revient d'ouvrir la 8e saison de "Puisque vous avez du talent". Un duo formé par la flûtiste Géraldine Clément et le pianiste Thomas Walbroeck, tous deux nés en Belgique, il y a 29 ans. Géraldine Clément étudie la flûte moderne chez Myriam Graulus à Gand, puis chez Carlos Bruneel à Bruxelles, puis entreprend un Master de flûte ancienne auprès de Frank Theuns. Quant à Thomas Walbroeck, c'est à Liège qu'il se forme, avec Etienne Rappe. Il bénéficiera également de l'enseignement du grand Pierre-Laurent Aimard. Il se tourne ensuite, -à l'instar de Géraldine Clément-, vers l'étude de la Musique ancienne, avec la claveciniste Marie-Anne Dachy, et la pianofortiste Claire Chevalier. Un parcours académique qui les entraîne très naturellement à pratiquer simultanément la Musique Ancienne, sur instruments d'époque, et le répertoire plus tardif, sur leurs homologues modernes. Il y a 12 ans, la flûtiste Géraldine Clément et le pianiste Thomas Walbroeck commencent à jouer en duo. A cette époque, les deux musiciens n'ont pas encore entamé leurs études de Musique ancienne. Ils se tournent dès lors logiquement d'abord vers le très riche et lumineux répertoire des 19 et 20e siècles. Mais dès l'entame de leur cycle de Musique ancienne, Géraldine et Thomas sont titillés par l'envie d'explorer le vaste répertoire baroque, pour traverso (ndlr. : la flûte baroque) et clavecin. Et puis un matin, l'idée se fait jour : " Et si nous proposions au public de nos concerts, de voyager d'une époque à l'autre, en utilisant tour à tour les instruments historiques et leurs homologues modernes ? " : Le concept du duo Eidos était né ! La flûtiste Géraldine Clément qui nous confiera que " la dynamique qui consiste à faire entendre, et à faire dialoguer des répertoires baroques et 20e siècle sur les instruments appropriés à chaque époque apporte beaucoup de fraîcheur à l'auditeur, et également de la fraîcheur au concept même du concert ! " Le pianiste Thomas Walbroeck soulignera pour sa part que " le choix de jouer des instruments historiques, liés à l'époque de chacune de ces oeuvres, fait vivre ces musiques dans leur contexte. Le choix de l'instrument est capital ". Et Géraldine Clément de renchérir : " Lorsqu'on choisit le bon instrument, par exemple la flûte baroque (ndlr.: et le clavecin) de l'époque de la Sonate de Jean-Marie Leclair que l'on joue, tout prend du sens, on comprend immédiatement mieux cette musique" C'est le concept même d'interprétations historiquement informées qui est ici décrit par nos invités. Jouer de cette façon, c'est tout un état d'esprit, c'est tout simplement une culture à part entière. Et le duo Eïdos de nous rappeler " que jouer historiquement informé, c'est bien davantage que jouer sur des instruments historiques. Cette démarche consiste aussi à tenter de trouver la partition la plus appropriée : par exemple, retrouver si possible le manuscrit original, mais aussi à échanger avec des experts, à écouter quantité de versions de la musique qu'on a choisi d'interpréter... Toute cette collecte d'informations nourrit notre interprétation. Cela étant dit, cette information n'entrave en rien notre liberté artistique. A un moment, l'on fait un choix d'interprétation. Ce dernier correspond à la synthèse de ces différentes informations " On le comprend, le duo Eidos est curieux de tout, et aussi musicologue. Une rigueur, une sagacité, une recherche et une curiosité qui donnent à leurs interprétations une profondeur et un relief palpables. Qu'il s'agisse de musique baroque, ou de répertoire du 20e siècle, les sonorités sont belles, voluptueuses et habitées par la passion du duo Eïdos : jouer informé, certes, mais avec sa personnalité. La sincérité et l'intégrité sont également deux valeurs cardinales de ce duo Eidos qui parvient à réunir tout ce que l'on aime : une technique pleinement maîtrisée, et une intelligence artistiques toutes dévouées au texte...

Joachim Mischke Hamburg „Ich liebe Qualität“. Und weil dieses Wort auch mit Quälen zu tun hat, ist Pierre-Laurent Aimard seit Jahrzehnten einer jener sehr wenigen Pianisten, denen man so ziemlich alles zutraut – oder wohl eher: zumutet. Er hat unter anderem mit Pierre Boulez, György Ligeti oder Karlheinz Stockhausen Erfahrungen gesammelt und fürs Leben gelernt. Wie Aimard alle 18 Ligeti-Etüden in der Elbphilharmonie bewältigte, die zum Schwersten überhaupt zählen, war oberhalb von Sensation und auch wegen der enormen körperlichen Anstrengung ein Kraftakt. Aimard gilt als der Mann für die ganz großen Aufgaben, die Bandbreite reicht vom Barock bis ins musikalische Jetzt, aber noch lieber, bis weit ins Morgen.

The second ‘stretto' fugue: “Contrapunctus 6, in the French Style” now gives us the theme flying at two different speeds in both directions. We see the theme overlapped, coming both inverted and ‘rectus', and now at 1x AND 2x speeds! Where will Bach go from here?! Topics covered: What does it mean to play in the ‘French style?' What does ‘diminution' mean? Pianists mentioned: Zoltán Kocsis, Tatiana Nikolayeva, Pierre-Laurent Aimard, Harpsichordists (organists) mentioned: Helmut Walcha, Davitt Moroney, Robert Hill, Gustav Leonhardt, Isolde Ahlgrimm,   Follow Evan on Instagram for even more content about Bach: www.instagram.com/WTFBach -- Find a playlist of the music here: https://open.spotify.com/playlist/1Ha250UDFktGqZjpt1hk7L?si=fIqZwtTUQJmzB9SYwskeYA   Support us: https://www.patreon.com/wtfbach https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach -- Suggestions? Want Evan to analyze a specific piece of Bach? Have other questions for Evan about music or anything at all? Write us: bach@wtfbach.com

Rolando Wiltgeno „Orbitos rezonansai“ atlieka Liuksemburgo ansamblis „Europos solistai“. Įrašas iš Liuksemburgo. Orkestro „Basel Sinfonietta“ koncertas festivalyje „ZeitRäume“ Bazelyje. Diriguoja Baldur Brönnimann. Programoje Toru Takemitsu „Jūros link“, Katharinos Rosenberger „Reinas“ ir Johno Lutherio Adamso „Tapti vandenynu“. Pierre-Laurent Aimard (fortepijonas) ir Šveicarijos itališkojo orkestro ansamblis atlieka Olivier Messiaeno „Egzotiški paukščiai“. Įrašas iš festivalio „Askonos muzikos savaitės“. Ved. Marius Šinkūnas.

Prancūzų pianizmo korifėjus, atliekantis daugiausia modernų šiuolaikinį repertuarą. Laidos autoriai ir vedėjai Šarūnas Nakas ir Mindaugas Urbaitis.

This week, live performances and interviews with baritone Roderick Williams, pianist Pierre-Laurent Aimard, the Pavel Haas Quartet and folk legends Peter Knight and John Spiers.

Drawing influences from sources as diverse as Virginia Woolf, fractal geometry, and the theater, discovery is the catalyst for composer Katherine Balch's creativity, and her music is a deeply personal expression of the wonderment she feels in experiencing the new. Thomasina Coverly, a precocious 13-year-old character in Tom Stoppard’s play Arcadia, breezes through her geometry exercises, but she is disappointed by the limitations of traditional geometry to map an equation for an apple leaf, so she invents a new geometric system to map the intricacies of nature. Katherine Balch’s New Geometry is inspired by the awe and drive for discovery that Thomasina feels when she sees the apple leaf, and the music explodes that image onto a rich canvas of sound. In this episode, Balch shares how her deep love of Arcadia and science become a piece of music, and we also hear from physicist Matthew Deady about the natural phenomena that come to vivid life in New Geometry. Actors Hannah Mitchell and Lee Osorio contribute readings of segments from Arcadia. Music in this episode: — Katherine Balch: New Geometry (2015, rev. 2017) — Contemporaneous — Katherine Balch: from Responding to the Waves (2017): I. Chrysalis — Michiko Theurer, violin — Keith Jarrett: from The Köln Concert (1975): Part IIb — Brad Mehldau: Anything Goes (2004) — György Ligeti: Étude 14: Coloana infinita (1994) — Pierre-Laurent Aimard, piano — Katherine Balch: Thread Unfurled (2016) — Zach Sheets, flute & Wei-Han Wu, piano — Katherine Balch: from Phrases (2017): III. and IV. — Departure Duo — Franz Schubert: 36 Originaltänze, D 365, Op. 9, "Erste Walzer": No. 2 in A-flat, "Trauerwalzer" or "Sehnsuchtswalzer" — Paolo Bordoni, piano — Thomas Adès: from Asyla (1997): III. Ecstasio — City of Birmingham Symphony Orchestra & Simon Rattle, conductor — Katherine Balch: Leaf Catalogue (2015) — Yale Philharmonia & Heejung Park, conductor — Katherine Balch: With Each Breathing (2015) — FLUX Quartet — Per Nørgård: from Voyage Into the Golden Screen (1968): II. — Copenhagen Philharmonic & Giordano Bellincampi, conductor — Katherine Balch: off hesperus (2017) — Christophe Desjardins, viola — Johann Sebastian Bach: from Partita for Violin No. 2 (1720): Ciaccona, with Just Intonation — Josh Modney, violin

Panelen uppskattar violinisten Victoria Mullovas sträva Arvo Pärt-tolkning, men blir oense om Herbert Blomstedts gåtfullt gudomliga version av Stenhammar. Dessutom Birgit-bonanza med en ny livebox. STENHAMMAR BLOMSTEDT Symfoni nr 2 och serenad i f-dur av Wilhelm Stenhammar Göteborgs symfoniorkester Herbert Blomstedt, dirigent BIS- 2424 Betyg: 4 ARVO PÄRT VICTORIA MULLOVA PAAVO JÄRVI Musik av Arvo Pärt Victoria Mullova, violin Estlands nationella symfoniorkester Paavo Järvi, dirigent Onyx 4201 Betyg: 4 OLIVIER MESSIAEN CATALOGUE DOISEAUX Musik av Olivier Messiaen, « Fågelkatalogen » Pierre-Laurent Aimard, piano Pentatone PTC 5186 670 Betyg: 5 Veckans val: La Nilssons stora livebox Birgit Nilssonåret 2018 går mot sitt slut och Musikrevyn djupdyker i Sonys nya storbox av liveinspelningar med världssopranen från Västra Karup. P2:s Hans Häggström har lyssnat på 12 kompletta operor på sammanlagt 31 cd-skivor. Referensen: Stenhammars andra symfoni Vi jämför Herbert Blomstedts och Göteborgssymfonikernas aktuella tolkning av Stenhammars andra symfoni med Stig Westerbergs version tillsammans med Stockholmsfilharmonikerna inspelad 1986.

Aad van Nieuwkerk verkent iedere zaterdag en zondag tussen 23.00 en 24.00 uur de grenzen van de klassieke muziek. Met nieuwe releases, concerttips, reportages, actuele ontwikkelingen in de muziekwereld, een vaste plek voor jong talent, en natuurlijk: adembenemende muziek! Gemaakt in nauwe samenwerking met het televisieprogramma Vrije Geluiden. Met muziek van Paul Taffanel en Georges Barrère, gespeeld door Egbert Jan Louwerse [fluit], Henry Kelder [piano]; Léa Freire en Heitor Villa-Lobos door Francesca Anderegg [viool] en Erika Ribeiro [piano]; George Frideric Handel door Emma Kirkby; Olivier Messiaen door Pierre-Laurent Aimard; Arnold Schönberg door het Eric Ericson Chamber Choir; en Ernst Reijseger.

Als "Lichtgestalt und internationale Schlüsselfigur im Musikleben unserer Zeit" wurde Pierre-Laurent Aimard bezeichnet. Neben seinen Einsatz für die Zeitgenössische Musik widmet sich der Pianist auch immer wieder den alten Meistern. Nun ist er mit Bachs Goldberg-Variationen zu erleben.

“As a child, music felt very natural for me. I didn't feel I needed to put any effort into learning the piano. I wanted to find all the musical information that was there. What was the purpose of studying the piano? Suddenly the whole thing became so creative. I felt that the sound is something malleable and you can have an infinite number of possibilities and ways of phrasing and expressing, so that opened a whole new area of possibilities and I found this just fascinating.”Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou· www.creativeprocess.info

这期节目的内容包括姜文新片《邪不压正》的观后讨论、2018爱丁堡艺术节的文化土豆精选，以及上海、北京两地的夏秋文艺生活推荐。节目中提到的作品信息：姜文电影《邪不压正》https://movie.douban.com/subject/26366496/张北海小说《侠隐》https://book.douban.com/subject/2079345/姜文电影《鬼子来了》https://movie.douban.com/subject/1291858/###2018爱丁堡艺术节精选 - EdFringe 部分###脱欧歌舞表演 Jonny Woo’s All Star Brexit Cabarethttps://tickets.edfringe.com/whats-on/jonny-woo-s-all-star-brexit-cabaret18+话剧 Ulster American by David Irelandhttps://www.traverse.co.uk/whats-on/event-detail/1468/ulster-american.aspx文艺复新#metoo法庭话剧 It’s true, it’s true, it’s truehttps://tickets.edfringe.com/whats-on/it-s-true-it-s-true-it-s-true加拿大冰上街舞演出 Vertical Influenceshttps://tickets.edfringe.com/whats-on/vertical-influencesPussy Riot 演出https://festival18.summerhall.co.uk/event/pussy-riot-riot-days/做衣服的话剧 Dressedhttps://tickets.edfringe.com/whats-on/dressed###2018爱丁堡艺术节精选 - 国际艺术节部分###现代舞 Autobiography by Wayne Mcgregor (基因图谱）https://www.eif.co.uk/whats-on/2018/autobiography手指微缩话剧 Cold Bloodhttps://www.eif.co.uk/whats-on/2018/coldblood钢琴家 Pierre Laurent-Aimard 演出https://www.eif.co.uk/whats-on/2018/aimardhttps://www.eif.co.uk/whats-on/2018/canyonshttps://www.eif.co.uk/whats-on/2018/aimard-stefanovich杜拉斯话剧《绝症》https://www.eif.co.uk/whats-on/2018/maladie话剧《等待戈多》by Druidhttps://www.eif.co.uk/whats-on/2018/godot###夏秋文艺生活推介-上海###8月23-26日上海京剧院的“京武会”系列https://mp.weixin.qq.com/s/1dv2yio-0e9JUWcDtQnN_g上海大剧院，有几场声乐演出：9月8-9日，英国男高音Ian Bostridge，舞台版《冬之旅》Winterreisehttps://mp.weixin.qq.com/s/krYtd-ifEeP0qWQ-B4EEjQ9月14-16日，德国埃尔福特剧院Erfurt Theater与上海歌剧院演出华格纳的《漂泊的荷兰人》Der fliegende Hollanderhttps://mp.weixin.qq.com/s/y_tWxIA27L2K2D107rfcFwhttps://mp.weixin.qq.com/s/VrM0s4UJ44qd0t7E2EZ-7A9月25日，和慧独唱音乐会http://store.o2o.wepiao.com/index.php?r=item/detail&storeid=1703052123&onlineid=2d20215b170582b45befd83fc8e9e076上海交响乐团两场演出：12月2日假声男高音Franco Fagioli法焦利与威尼斯巴洛克乐团http://www.shsymphony.com/item-index-id-1212.html2019.05.03-04 钢琴家Martha Argerich阿格里奇http://www.shsymphony.com/item-index-id-1595.html See acast.com/privacy for privacy and opt-out information.

Tom Klaassen is op vakantie! Maarrrrr... hij liet een stapel nieuwe CD's en fijne tips voor ons achter. Dit weekend bijvoorbeeld een concert van Pierre-Laurent Aimard, die de Catalogue d'Oiseaux van Messiaen speelt in het Muziekgebouw aan 't IJ.

Pierre-Laurent Aimard ist ein Kämpfer für die zeitgenössische Musik Zahlreiche Stücke hat er uraufgeführt, viele davon sind ihm gewidmet. Für Ligeti war er schlicht "der beste Pianist" - der seine Musik besser kenne als er selbst. Am 9. September wird der diesjährige Ernst von Siemens-Musikpreisträger 60 Jahre alt.

Am 22. und 23. Juni spielen Chor und Symphonierchester des BR "La Transfiguration de Notre-Seigneur Jésus-Christ" von Olivier Messiaen. BR-KLASSIK-Redakteur Bernhard Neuhoff hat mit dem Pianisten Pierre-Laurent Aimard über den Komponisten und das gewaltige Orchesterwerk gesprochen.

Pierre-Laurent Aimard ist der Empfänger des Ernst von Siemens Musikkpreises 2017. Am 2. Juni findet die Preisverleihung statt. Im Interview mit BR-KLASSIK verrät Aimard, was der Preis für ihn bedeutet und warum er sich ohne tägliches Lernen nicht ausgefüllt fühlt.

Das Konzerthaus Berlin veranstaltet vom 27. April bis 7. Mai eine "Hommage an Alfred Brendel" - eine besondere Ehre für den 86jährigen Pianisten. Der Österreicher durfte das Programm selbst mitgestalten, unter anderen werden Kit Armstrong, Herbert Blomstedt, die Wiener Philharmoniker, Paul Lewis, Pierre-Laurent Aimard und Lisa Batiashvili auftreten. Maria Ossowski konnte Alfred Brendel zum Gespräch treffen.

Für drei Tage ist Pierre-Laurent Aimard zu Gast in München. Der Pianist, der dafür bekannt ist, jedes Stück bis ins kleinste Detail zu analysieren, verrät im Interview mit BR-KLASSIK, warum Ravels Klavierkonzerte ein Paar bilden und welches davon schwieriger ist. Interview mit BR-KLASSIK spricht der Pianist über die Besonderheiten dieser Werke.

Pianist Pierre-Laurent Aimard, Principal Conductor and Artistic Director Esa-Pekka Salonen and Tom Service discuss Stravinsky, Ligeti and Ravel ahead of the Philharmonia's recent concert on Sunday 19th February. The Salonen/Aimard Inspirations series continues this Thursday 23rd Feb at the Southbank Centre's Royal Festival Hall, with a programme including Beethoven's 5th Piano Concerto, 'Emperor', and the London première of Tansy Davies's 'Forest', a concerto for four horns. www.philharmonia.co.uk/concerts/1390…and_beethoven

Sean Rafferty talks to violinist Anne-Sophie Mutter, conductor Marin Alsop and pianists Mitsuko Uchida, the Labèque sisters and Tamara Stefanovich with Pierre-Laurent Aimard.

Er hat sie alle gekannt: Pierre Boulez, Olivier Messiaen, Karlheinz Stockhausen, György Ligeti. Zahlreiche Stücke hat er uraufgeführt, viele davon sind ihm gewidmet. Für Ligeti war er schlicht "der beste Pianist", der seine Musik besser kenne als er selbst. Der diesjährige Ernst von Siemens Musikpreis geht an Pierre-Laurent Aimard, das hat die Ernst von Siemens Musikstiftung am Donnerstag bekanntgegeben. Ein Porträt von Kristin Amme.

Nov. 7, 2014. David Plylar subjectivity in Bach, Beethoven, and Brahms in conjunction with a performance by pianist Pierre-Laurent Aimard of works by the composers. Speaker Biography: David Plylar is a composer, pianist and music specialist in the music division of the Library of Congress. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7580

Für das diesjährirge Aldeburg-Festival hat sich Pierre-Laurent Aimard, Pianist und Künstlerischer Leiter, etwas Besonderes einfallen lassen: Messiaens "Catalogue D'Oiseaux". Das Werk wird allerdings nicht am Stück, sondern über einen ganzen Tag und auf unterschiedliche Spielstätten verteilt, dargeboten - als Musiknaturereignis.

Tate Modern opens its new £260m extension to the iconic former power station on London's South Bank on Friday. Architect Amanda Levete, who has remodelled the V&A, and the art critic Andrea Rose visit the Switch House to discuss the opportunities the new space offers for international and female artists.Pianist Pierre-Laurent Aimard is performing Messiaen's two-hour celebration of birdsong, Catalogue d'Oiseaux, at the Aldeburgh Festival this Sunday from dawn to dusk. We join him in front of the piano for a tour of the different bird calls in the piece and he reveals how Messiaen's personal connection to nature informed his work. Emma Cline discusses her debut novel The Girls which is tipped to be the summer bestseller. It follows teenager Evie Boyd who gets caught up in cult that will eventually lead to murder, in a narrative loosely based on the Manson murders of the '60s. As the publishers Penguin prepare to relaunch their series Modern Poets for the first time this century, Samira takes soundings on the state of contemporary poetry with the series editor Donald Futers. Presenter Samira Ahmed Producer Dymphna Flynn.

Britain's Aldeburgh music festival was founded after the second world war by the composer Benjamin Britten and the singer Peter Pears. Britten used to take “composing walks”, drawing inspiration from the birdsong he heard in the surrounding countryside and this year, birdsong forms the centrepiece of the festival, as artistic director Pierre-Laurent Aimard, and chief executive Roger Wright, told FT critic Hannah Nepil Music: Biber, Sonata Representativa: II. Nightingale, Romanesca; Williams, The Lark Ascending, Hugh Bean; Messiaen, Catalogue d'oiseaux / Book 3 - 6. L'Alouette Lulu, Pierre-Laurent-Aimard See acast.com/privacy for privacy and opt-out information.

Delve into Stravinsky’s Les Noces with pianists Pierre-Laurent Aimard and Tamara Stefanovich. This striking piece features the rare sight of four pianos on stage, played alongside percussionists and singers to create a unique spectacle. In this short film Pierre-Laurent and Tamara explain why they think Les Noces is the most exciting composition for piano today, with other surprising insights along the way. 

In recent years composers have become interested in the fact that the performers can do things on stage other than just play their instrument: stomp their feet, clap, play simple percussion, and even sing. We'll feature a variety of pieces from composers who ask musicians (who are not trained singers) to vocalize and supplement their playing. Hosted by Seth Boustead Produced by Jesse McQuarters Leonard Bernstein: “Mambo” fr. West Side Story Simon Bolivar Youth Orchestra of Venezuela/Dudamel Frederic Rzewski: De Profundis, section 1 & 2 Milton Schlosser, p. Valentin Silvestrov: Drama Sonate for Violin and Piano Cornelius Duffalo, v. Jenny Lin, p. Tom Johnson: Counting Duets Tim Munro, vocals Joseph Hallman: imagined landscapes: six Lovecraftian elsewheres Inscape/Richard Scerbo Martin Bresnick: Willie's Way (excerpt) Lisa Moore, p. Huang Ruo: Drama Theater No. 4, To the 4 Corners, Scene II (excerpt) FIRE/Ruo Steve Reich: Clapping Music (excerpt) Pierre Laurent Aimard, hand claps

‘A sort of musical fungus attached to the walls of semi-detached houses in the provinces’ is how celebrated conductor and fount of bons mots Sir Thomas Beecham once described the upright piano. In ‘U is for Upright’ there’s one attached to the wall in the childhood home of concert pianist Jonathan Biss, another played by Pierre-Laurent Aimard in a pizzeria which becomes an unlikely Youtube hit, and a third in a London pub which helps oil the wheels of a convivial evening.

Which great pianists would be worth queuing for? Piano fans queued around the block in 1965, to see the return of Vladimir Horowitz, one of the century's most celebrated pianists, after a twelve year break from live performance. And in the age of internet booking, piano audiences are no less passionate, dedicated and sometimes frenzied. Richard Sisson, Erica Worth, Eddy Smith, Jonathan Biss, Stephen Hough, Pierre-Laurent Aimard and Angela Hewitt discuss the role of a good audience in creating a great performance.

Competitions are a vital part of many classical pianists' careers. They are a testing ground, and a way to get noticed in a crowded field. But are they an exciting way to make a name as a young musician, a necessary evil, or are they in fact not necessary at all? Featuring Stephen Hough, Lucy Parham, Angela Hewitt and Pierre Laurent Aimard.

In his Notations, Pierre Boulez composed twelve short piano miniatures that contain a cosmos of sound and potentiality. After decades at the helm of the avant-garde, Boulez has set to work unlocking those inner possibilities through thoughtful orchestration and elaboration. Hosted by Seth Boustead Produced by Jesse McQuarters Olivier Messaien: Vingt regards sur l'enfant Jésus, Mvt. II, Peter Serkin, Piano Anton Von Webern: Variations for Piano, Op. 27, Mvt. III, Peter Serkin, Piano Pierre Boulez: Twelve Notations for Piano, Pierre-Laurent Aimard, Piano Luigi Nono: Il Canto Sospeso Karlheinz Stockhausen: Klavierstücke, Mvt. III,Herbert Henk, Piano Boulez: Notations for Orchestra, I-IV Vienna Philharmonic; Claudio Abbado, conductor Boulez: Notations for Orchestra, IV, VIILyon National Orchestra; David Robertson, conductor

Andrew Marr discusses the work of the 'Godfather' of new music Pierre Boulez. The French pianist Pierre-Laurent Aimard explains the joy of his compositions, which are in a state of permanent revolution. The writer Peter Conrad pits Verdi against Wagner to ask whether it's possible to love both composers, or does taste, nationality and ideology still get in the way. With a very English temperament Simon Jenkins romps through the history of England in a bid to answer why the nation lost America, avoided a French revolution and gradually lost its world supremacy. And the Welsh National Poet, Gillian Clarke, talks about her country's literary heritage.Producer: Katy Hickman.

We’re featuring an interview with double bassist Jiri Slavik on Contrabass Conversations this week. Jiri is an extremely accomplished bassist in both jazz and classical styles, as you can see from his biography below, and he gave a truly mesmerizing performance at the 2009 International Society of Bassists Convention. This interview took place just as Jiri was about to leave for Europe, and I feel fortunate to have gotten the chance to chat with him on his first visit to the United States! After the interview, we feature a track titled “Coesistenza” from Jiri’s album Repose. This track also features pianist Fred Thomas (iTunes link).  About Jiri: Jiri Slavik was born in Havirov, Czech Republic, into a teacher’s family with a strong musical tradition. As a child he played the violin, which he exchanged for the double bass around age 13. A year later he moved to Rome, Italy, where he attended St Stephen’s School and eventually also the Santa Cecilia Conservatoire (Massimo Giorgi’s double bass class). In the summer of 2004 he graduated from both of these institutions, always with the highest attainable marks (the seven-year long double bass course at the conservatoire took him three years to finish). After having been offered a full scholarship from the Royal Academy of Music, Jiri moved to London, UK, to pursue his studies, first in classical double bass with Duncan McTier, later on in jazz composition with Barak Schmool. After three years he finished the four years long programme with “First Class Honours”. Since August 2007 he lives as a freelance musician and a composer in Paris, France. He has attended masterclasses under the direction of jazz celebrities such as Dave Holland, Jeff „Tain“ Watts, Larry Grenadier, Jeff Ballard, Kenny Wheeler or contemporary music authorities like Pierre Laurent-Aimard or Peter Maxwell Davies. During his years at the Academy he was the first double bassist of the Concert Orchestra under the direction of Colin Davis or a chosen soloist at the Paganini Festival (2006). With the Ensemble Orchestral de Paris he played Bach’s St Matthew Passion in the Notre Dame or performed in the Théâtre des Champs-Elyseés. As a soloist he has appeared in the Santa Cecilia hall of the auditorium Parco della Musica in Rome or in a program of the Czech Television Koncert na kurtech. With pianist Fred Thomas he made two live recordings for the Czech Radio, as well as the album Repose (F-IRE label, London). His music is in an independant German film production “Oury Jalloh” (www.ouryjalloh-derfilm.de), which won the German Human Rights Film prize, category amateur film, for 2008.

We’re continuing our chat with Cincinnati Symphony principal bassist Owen Lee today on Contrabass Conversations. Check out the first segment of this conversation on episode 55 of the program. Owen played for the New World Symphony and the Houston Symphony prior to his appointment with the Cincinnati Symphony, and it was a real pleasure to do this interview along with Contrabass Conversations regular collaborator John Grillo. John, Owen, and I chat about Owen’s experiences recording his solo CD, key selection for the Bach Suites and his use of solo tuning for the recording, his performances of the less popular but extremely engaging Bottesini Concerto No. 1, performing the Tubin Concerto with orchestra, the Harbison Bass Concerto project (which Owen performed with the Cincinnati Symphony), and his practicing habits and exercises. We also feature the first movement from the Cello Suite No. 5 by Johann Sebastian Bach from Owen’s Boston Records CD, plus listener feedback, bass news, and a link of the week. Find Owen Lee on Twitter here. Enjoy!   About Owen: Described as “a true virtuoso” by legendary pianist Gary Graffman and praised by The New York Times for his “deft and virtuosic solo performance” at his New York debut at Alice Tully Hall, double bassist Owen Lee has earned acclaim as a soloist, chamber musician and since 1996, at the age of 26, as Principal Bass of the Cincinnati Symphony Orchestra. Mr. Lee is heard regularly as a soloist with orchestras including the Cincinnati Symphony Orchestra under the direction of Paavo Järvi and Jesús López-Cobos, the Scottish Chamber Orchestra under John Harbison, and the New World Symphony under Michael Tilson-Thomas in Miami and on tour to New York’s Lincoln Center. During the 2006-07 season, Mr. Lee and the Cincinnati Symphony Orchestra, along with a consortium of other soloists and orchestras, will present the world premiere of John Harbison’s Concerto for Bass Viol and Orchestra. Mr. Lee’s prizes in competitions include First Prize at the 1995 International Society of Bassists Competition and Fourth Prize at the 1992 Irving M. Klein International String Competition in San Francisco. He has been presented in recitals throughout the United States, and in Geneva. For the Boston Records label, he has recorded the Misek Sonata No. 2 and Bach Unaccompanied Suites No. 3 and No. 5. American Record Guide praised this disc for its “tasteful phrasing, polish and verve” while The Strad wrote “Owen Lee is a fine player with strong musical ideas. A dark and austere sound is produced for Suite No. 5 and the architecture of each suite is carefully considered and shaped. I look forward to his next recording.” Mr. Lee’s extensive international chamber music experience includes three summers as the bassist of the Marlboro Festival. While there, he performed extensively with such artists as Richard Stoltzman, Midori, Nobuko Imai, Bruno Canino, Pierre-Laurent Aimard, and members of the Beaux Arts Trio, Guarneri Quartet and Juilliard Quartet. He also collaborated with composers Gyorgy Kurtag, Leon Kirchner and Richard Danielpour preparing performances of those composers’ works. Mr. Lee has also performed with the Tokyo String Quartet on tour to Mexico, John Browning, Anne-Marie McDermott, Jaime Laredo, Ida Kavafian, Steven Tenenbom, Peter Wiley, Eugenia Zukerman, the Bravo! Vail Valley Music Festival, San Diego’s Mainly Mozart Festival, Ojai California Festival, Chamber Music L.A. Festival, Tanglewood Festival, Texas Music Festival, and on tour throughout China. With the Rossetti String Quartet he performed the world premiere of Melinda Wagner’s Concertino at the 2005 Bravo! Vail Festival. Mr. Lee was born in Berkeley, California in 1969 to Chinese parents. He began playing bass at age 15 after previous study of the piano. A graduate of the University of Southern California, Mr. Lee’s principal teachers were Dennis Trembly, Edwin Barker and Paul Ellison. Prior to his appointment in Cincinnati, Mr. Lee was a member of the Houston Symphony under Christoph Eschenbach. In addition to his position with the Cincinnati Symphony Orchestra, Mr. Lee serves as Principal Bass of the Shanghai Festival Orchestra. Owen is married to CiCi Lee. He enjoys bicycling, snowboarding, cigars, auto repair and playing drums and writing songs with his rock band Toe (Eric Bates, CSO 2nd Assistant Concertmaster is Toe’s guitarist and lead singer, and Ted Nelson, CSO cellist is Toe’s bassist).  

We’re speaking with Cincinnati Symphony principal bassist Owen Lee today on Contrabass Conversations. Owen played for the New World Symphony and the Houston Symphony prior to his appointment with the Cincinnati Symphony, and it was a real pleasure to do this interview along with Contrabass Conversations regular collaborator John Grillo. Find Owen Lee on Twitter here. Enjoy!  About Owen: Described as “a true virtuoso” by legendary pianist Gary Graffman and praised by The New York Times for his “deft and virtuosic solo performance” at his New York debut at Alice Tully Hall, double bassist Owen Lee has earned acclaim as a soloist, chamber musician and since 1996, at the age of 26, as Principal Bass of the Cincinnati Symphony Orchestra. Mr. Lee is heard regularly as a soloist with orchestras including the Cincinnati Symphony Orchestra under the direction of Paavo Järvi and Jesús López-Cobos, the Scottish Chamber Orchestra under John Harbison, and the New World Symphony under Michael Tilson-Thomas in Miami and on tour to New York’s Lincoln Center. During the 2006-07 season, Mr. Lee and the Cincinnati Symphony Orchestra, along with a consortium of other soloists and orchestras, will present the world premiere of John Harbison’s Concerto for Bass Viol and Orchestra. Mr. Lee’s prizes in competitions include First Prize at the 1995 International Society of Bassists Competition and Fourth Prize at the 1992 Irving M. Klein International String Competition in San Francisco. He has been presented in recitals throughout the United States, and in Geneva. For the Boston Records label, he has recorded the Misek Sonata No. 2 and Bach Unaccompanied Suites No. 3 and No. 5. American Record Guide praised this disc for its “tasteful phrasing, polish and verve” while The Strad wrote “Owen Lee is a fine player with strong musical ideas. A dark and austere sound is produced for Suite No. 5 and the architecture of each suite is carefully considered and shaped. I look forward to his next recording.” Mr. Lee’s extensive international chamber music experience includes three summers as the bassist of the Marlboro Festival. While there, he performed extensively with such artists as Richard Stoltzman, Midori, Nobuko Imai, Bruno Canino, Pierre-Laurent Aimard, and members of the Beaux Arts Trio, Guarneri Quartet and Juilliard Quartet. He also collaborated with composers Gyorgy Kurtag, Leon Kirchner and Richard Danielpour preparing performances of those composers’ works. Mr. Lee has also performed with the Tokyo String Quartet on tour to Mexico, John Browning, Anne-Marie McDermott, Jaime Laredo, Ida Kavafian, Steven Tenenbom, Peter Wiley, Eugenia Zukerman, the Bravo! Vail Valley Music Festival, San Diego’s Mainly Mozart Festival, Ojai California Festival, Chamber Music L.A. Festival, Tanglewood Festival, Texas Music Festival, and on tour throughout China. With the Rossetti String Quartet he performed the world premiere of Melinda Wagner’s Concertino at the 2005 Bravo! Vail Festival. Mr. Lee was born in Berkeley, California in 1969 to Chinese parents. He began playing bass at age 15 after previous study of the piano. A graduate of the University of Southern California, Mr. Lee’s principal teachers were Dennis Trembly, Edwin Barker and Paul Ellison. Prior to his appointment in Cincinnati, Mr. Lee was a member of the Houston Symphony under Christoph Eschenbach. In addition to his position with the Cincinnati Symphony Orchestra, Mr. Lee serves as Principal Bass of the Shanghai Festival Orchestra. Owen is married to CiCi Lee. He enjoys bicycling, snowboarding, cigars, auto repair and playing drums and writing songs with his rock band Toe (Eric Bates, CSO 2nd Assistant Concertmaster is Toe’s guitarist and lead singer, and Ted Nelson, CSO cellist is Toe’s bassist).