Podcast appearances and mentions of Pierre Monteux

durée : 01:28:52 - Relax ! du lundi 12 mai 2025 - par : Lionel Esparza - Symbole de la direction française dans les années 1950-1960, mais moins populaire que Charles Munch ou Pierre Monteux, le chef Paul Paray fut un surdoué dont les disques méritent largement autant notre attention.

durée : 01:28:52 - Relax ! du lundi 12 mai 2025 - par : Lionel Esparza - Symbole de la direction française dans les années 1950-1960, mais moins populaire que Charles Munch ou Pierre Monteux, le chef Paul Paray fut un surdoué dont les disques méritent largement autant notre attention.

Today's episode is one of my Listeners' Favorites episodes, this one introduced by my wonderful friend Thom Baker. He had just written me about his enthusiasm for the Rosanna Carteri episode I posted in the fall of 2020 on the occasion of her death, just a few short weeks before her 90th birthday. Thom and I were both equally taken with this long-lived artist, who abandoned her performing career in 1966 when she was only 35 years old, brought her full-throated voice and impeccable artistry to operatic stages around the world for fifteen exceptional years. Carteri's was a lyric yet full-bodied voice with facility that allowed her to undertake soubrette parts as well as some spinto roles. I feature extended examples of her versatility over the course of that entire career, including excerpts from La traviata, La bohème, La rondine, Guglielmo Tell, Falstaff, L'elisir d'amore, Madama Butterfly, Roméo et Juliette, Otello, Pietro Mascagni's L'amico Fritz and Iris, Prokofiev's War and Peace (the final version of which she created in Florence in 1954), the premiere recording of Poulenc's Gloria and Gilbert Bécaud's Opéra d'Aran (which she premiered in Paris in 1962). These operas represent just a fraction of her repertoire, in which are featured, among others, Giuseppe di Stefano, Nicolai Gedda, Leonard Warren, Carlo Bergonzi, Ettore Bastianini, Ferruccio Tagliavini, Giuseppe Taddei, Cesare Valletti, and Giuseppe Gismondo and conductors Tullio Serafin, Pierre Monteux, Vittorio Gui, Georges Prêtre, Gabriele Santini, and Artur Rodzinski. In other words, the crème de la crème of the operatic firmament in the 1950s and 1960s, in which company Carteri most emphatically belonged. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Les producteurs français de bananes n'ont pas le sourire. Le prix qui leur est payé va baisser en 2024, après deux années de hausses. Les agriculteurs des Antilles sont à la peine face à la concurrence latino-américaine. Crise des vocations, rémunération trop faible, changement climatique et restrictions sanitaires jugées trop importantes : le ras-le-bol agricole touche aussi les Antilles françaises et leurs producteurs de bananes. « Nous sommes étouffés par les normes », estime un dirigeant de la filière, l'UGP-BAN (l'Union des groupements de producteurs de bananes de Guadeloupe et Martinique). Les deux archipels espèrent envoyer autour de 200 000 tonnes de bananes vers la métropole et le reste de l'Europe cette année. Un retour à des niveaux plus habituels, après une série de tempêtes et d'aléas climatiques en 2022-2023 qui, couplés aux effets dévastateurs d'un champignon, ont fait chuter cette production à 185 000 tonnes l'an dernier. La cercosporiose, le cauchemar des producteurs Ce champignon provoque une maladie, la cercosporiose noire. C'est le cauchemar des 500 producteurs français de bananes, car elle fait baisser les rendements et les revenus des agriculteurs. Ils se disent démunis pour y faire face depuis l'interdiction de l'épandage de pesticides par hélicoptère en 2014, en application d'une directive européenne. Aujourd'hui, les fongicides sont appliqués à pied, mais la filière cherche à obtenir l'autorisation d'utiliser des drones. En attendant, une variété hybride, plus résistante à ce champignon, a été testée. Faute de résultats probants, l'initiative a été abandonnée fin 2022. Les dirigeants de la filière banane française placent désormais leurs espoirs dans la recherche d'une autre variété, cette fois via des OGM nouvelle génération : les NGT. Une technique pour l'instant interdite dans l'Union européenne. À lire aussiLa banane française de plus en plus verteUn poids trop faible face aux exportateurs latino-américains Près de 90% des bananes de Guadeloupe et Martinique sont vendues en France métropolitaine. Cela correspond à 22% de la demande nationale. Pas assez pour peser réellement sur la fixation des prix, négociés de plus en plus souvent à l'échelle de plusieurs pays européens par les grandes enseignes de supermarchés. La caisse de 18,5 kg, payée autour de 15 euros l'an dernier, devrait ainsi perdre un euro en 2024. Lors des négociations menées fin 2023, la grande distribution a mis en avant la baisse du prix des transports transatlantiques et de celui de certains emballages ces derniers mois (des frais qui sont assumés par la filière banane). Autre élément d'explication : l'évolution du taux de change euro-dollar, qui a rendu les bananes d'Équateur ou encore du Costa Rica un peu moins chères pour les importateurs européens. « Les prix du marché européen dépendent de la banane dollar », la banane latino-américaine, constate Pierre Monteux, le directeur général de l'UGP-BAN. Baisse des droits de douane Les producteurs français, qui emploient près de 5000 personnes, ne s'y retrouvent pas. Ils s'estiment pénalisés par rapport à leurs concurrents internationaux, qui produisent plus, à moindre prix et sans être soumis aux mêmes normes qu'eux. Les agriculteurs antillais dénoncent aussi la baisse progressive, depuis une dizaine d'années, des droits de douane imposés par l'Union européenne aux bananes importées d'Amérique latine. À lire aussiFace à la concurrence, la banane française soigne son image

SynopsisThe short career of Charles Tomlinson Griffes is one of the more tragic “might-have-beens” of American music history. Griffes died at 35 in 1920 just as his music was being taken up by the major American orchestras of his day.As most American composers of his time, Griffes studied in Germany, and his early works were, not surprisingly, rather Germanic in tone. But beginning around 1911, he began composing works inspired by French impressionism and the art of Asia.The Boston Symphony, under Pierre Monteux, premiered his tone poem The Pleasure Dome of Kubla-Khan and the New York Symphony, under Walter Damrosch, his Poeme for flute and orchestra. On today's date in 1919, the Philadelphia Orchestra, under Leopold Stokowski, premiered four orchestral pieces: Nocturne, Bacchanale, Clouds and one of his best works, The White Peacock. The Philadelphia newspaper reviews of the premieres called Griffes' work “one of the hopeful intimations for the future of American music.”A severe bout of influenza left Griffes too weak to attend these Philadelphia premieres under Stokowski, and he died of a lung infection the following spring.Music Played in Today's ProgramCharles Tomlinson Griffes (1884-1920) The White Peacock; Dallas Symphony; Andrew Litton, cond. Dorian 90224

durée : 01:58:34 - Portraits de famille - par : Philippe Cassard - « Ils parlent ! Les voix des grands interprètes » Pierre Monteux et Arturo Toscanini en répétition, Wilhem Kempff francophile, Cziffra se souvient, Alfred Cortot enseigne, Benedetti-Michelangeli chante, Rubinstein cabotine. - réalisé par : Pierre Willer

Synopsis On today's date in 1912 Maurice Ravel's ballet Daphnis et Chloé received its first performance at the Théâtre du Châtelet in Paris, staged by Serge Diaghilev's Ballets Russes and choreographed by Michel Fokine. Some three years earlier, Diaghilev had approached Ravel about composing a ballet, and Ravel started working with Fokine on a scenario based on an old Greek pastoral romance about two lovers separated by pirates and reunited by the intervention of the god Pan. Ravel was a meticulous and slow worker, and his score for Daphnis et Chloé ended up taking three years to complete. By the time of its 1912 premiere, internal squabbles in the Diaghilev company and conceptual differences between composer and choreographer had dampened everyone's enthusiasm for the project. Even Diaghilev seemed to lose interest. In his memoirs, Pierre Monteux, the conductor of the first performance, recalled, "At first Diaghilev had been very enthusiastic with Ravel's magnificent score, but for some reason, which I have always thought was due to the weakness of the choreography, his fervor for Ravel and his music diminished to such a low pitch that it became difficult to work as we should have on the premiere." Monteux continued, "But all the musicians in the orchestra, and I might say all the musicians in Paris, knew that this was Maurice Ravel's greatest work." Music Played in Today's Program Maurice Ravel (1875 - 1937) Daphnis et Chloe London Symphony; Pierre Monteux, conductor. London 425 956

Synopsis Today's date marks the anniversary of one of the most famous – and notorious – premieres in the history of classical music, that of Stravinsky's Le sacre du printemps (The Rite of Spring), in Paris on May 29, 1913. From its first note – sounded by the bassoon at the extreme end of its highest register – Stravinsky's score signaled the start of something radically different. It's also remembered as the occasion of one of the most emotional reactions by any audience: Catcalls and insults were hurled between the composer's supporters and detractors, fistfights broke out, and finally the police were called. There were those, including Pierre Monteux, the conductor of the premiere, who felt the reactions were occasioned more by the dancing and the stage picture than by the music itself. Years later, when Monteux was asked what he thought of the original production, he confessed to everyone's amusement that he actually never saw it, because his eyes were glued to the score. “On hearing this near riot behind me,” he wrote, “I decided to keep the orchestra together at any cost ... I did, and we played it to the end absolutely as we had rehearsed it in the peace of an empty theatre.” Music Played in Today's Program Igor Stravinsky (1882 - 1971) The Rite of Spring Royal Concertgebouw Orchestra; Sir Georg Solti, conductor. London 436 469

Un día como hoy, 4 de abril: Nace: 1785: Bettina von Arnim, escritora alemana (f. 1859). 1873: Frida Uhl, escritora austríaca (f. 1943). 1875: Pierre Monteux, director de orquesta y músico francés (f. 1964). 1914: Marguerite Duras, novelista, guionista de cine y escritora francesa (f. 1996). 1932: Andrei Tarkovsky, cineasta soviético (f. 1986). 1954: Michel Camilo, pianista dominicano. 1965: Robert Downey Jr., actor estadounidense. 1979: Heath Ledger, actor australiano (f. 2008). Fallece: 1284: Alfonso X el Sabio, rey castellano (n. 1221). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Synopsis On today's date in 1948, Leonard Bernstein, age 29, conducted the Boston Symphony in the premiere of a new orchestral work by Harold Shapero, age 27. This was Shapero's “Symphony for Classical Orchestra,” a work modeled on Beethoven but sounding very much like one of the Neo-Classical scores of Igor Stravinsky. This was exactly what Shapero intended, but some found the music perplexing. Aaron Copland, for one, wrote: “Harold Shapero, it is safe to say, is at the same time the most gifted and baffling composer of his generation.” That comment by Copland, one should remember, came at a time when Shapero's generation included the likes of Barber, Bernstein, Menotti and Rorem. But Copland continued, “Stylistically, Shapero seems to feel a compulsion to fashion his music after some great model. He seems to be suffering from a hero-worship complex – or perhaps it is a freakish attack of false modesty.” “Copland was so original,” Shapero responded, “that he just couldn't understand anyone who wasn't.” Even so, Shapero's superbly crafted orchestral imitations suffered many decades of neglect. In the 1980s, however, conductor and composer Andre Previn fell in love with Shapero's Symphony, performing and recording it with the LA Philharmonic, and declared its Adagietto movement the most beautiful slow movement of any American symphony. Music Played in Today's Program Harold Shapero (b. 1920) Symphony for Classical Orchestra Los Angeles Philharmonic; André Previn, conductor New World 373 On This Day Births 1697 - German composer and flutist Johann Joachim Quantz, in Oberscheden, Hannover; 1861 - French-born American composer Charles Martin Loeffler, in Alsace; 1862 - German-born American composer and conductor, Walter Damrosch, in Breslau; Deaths 1963 - French composer Francis Poulenc, age 64, in Paris; Premieres 1724 - Bach: Sacred Cantata No. 81 ("Jesus schläft, was soll ich hoffen?") performed on the 4th Sunday after Epiphany as part of Bach's first annual Sacred Cantata cycle in Leipzig (1723/24); 1735 - Bach: Sacred Cantata No. 14 ("Wär Gott nicht mit uns diese Zeit") performed in Leipzig on the 4th Sunday after Epiphany; 1892 - Rachmaninoff: “Trio élégiaque” No. 1 in G minor (Gregorian date: Feb. 11); 1893 - Brahms: Fantasies for piano Nos. 1-3, from Op. 117 and Intermezzo No. 2, from Op. 117, in Vienna; 1917 - Zemlinsky: opera "A Floretine Tragedy," in Stuttgart at the Hoftheater; 1920 - Frederick Converse: Symphony in c, by the Boston Symphony, Pierre Monteux conducting; 1942 - Copland: Orchestral Suite from "Billy the Kid" ballet, by the Boston Symphony; 1948 - Harold Shapero: "Symphony for Classical Orchestra," by the Boston Symphony conducted by Leonard Bernstein; 1958 - Walton: "Partita" for orchestra, in Cleveland; 1959 - Hindemith: "Pittsburgh Symphony," by the Pittsburgh Symphony, conducted by the composer; 1970 - William Schuman: "In Praise of Shahn," in New York; 1985 - Libby Larsen: Symphony ("Water Music"), by the Minnesota Orchestra, Sir Neville Marriner conducting. Links and Resources On Harold Shapero

durée : 00:28:43 - Avec Philippe Lalitte - par : Philippe Venturini - Créé le 29 mai 1913 au Théâtre des Champs-Élysées, Paris : "Le Sacre est une sorte de carte de visite avec laquelle les chefs d'orchestre peuvent démontrer leurs aptitudes artistiques personnelles." David Zinman, chef d'orchestre, assistant de Pierre Monteux. - réalisé par : Laurent Lefrançois

Synopsis It was on today's date in 1913 that Igor Stravinsky's ballet “The Rite of Spring” premiered at the Théâtre des Champs-Élysées in Paris, provoking catcalls and fisticuffs from some in the audience. Most scholars suggest it was the ungainly, deliberately primitive choreography of Vaslav Nijinsky, more than Stravinsky's score, that provoked the most negative response. Pierre Monteux's concert performance—without the dancing—at the Casino de Paris the following Spring marked the start of the score's success as pure music. On that occasion, Stravinsky was carried in triumph from the hall on the shoulders of his admirers. Shortly before his death in 1929, Sergei Diaghilev, who had commissioned Stravinsky's score, was enthusiastically quoting a review in the London Times that suggested (perhaps ironically) that the “Rite of Spring” would be for the 20th century what Beethoven's Ninth Symphony was for the 19th. Well, that has rather turned out to be the case, in fact, and by 2013, a piece of orchestral music that in 1913 was considered almost unplayable is routinely programmed as a classic orchestral showpiece. One New York Times critic even wrote “… now everybody knows “The Rite.” [It's] an audition piece that every music student practices, so that now any conservatory orchestra can give a fleet and spiffy performance of what used to stump their elders, and professional orchestras can play it in their sleep, and often do…” Music Played in Today's Program Igor Stravinsky — The Rite of Spring (Cleveland Orchestra; Pierre Boulez, cond.) DG 435 769 On This Day Births 1860 - Spanish composer Isaac Albéniz, in Camprodón; 1873 - Estonian composer Rudolf Tobias, in Kaina on Haiiumaa Island; 1897 - Austrian composer Eric Wolfgang Korngold, in Brno; 1922 - Greek composer Iannis Xenakis, in Braila, Roumania; 1948 - English composer Michael Berkley, in London; He is the son of English composer, Sir Lennox Berkeley (1903-89); Deaths 1910 - Russian composer Mily Balakirev, age 73, in St. Petersburg (Julian date: May 16); 1911 - British lyricist Sir William S. Gilbert (of "Gilbert & Sullivan" fame), age 74, from a heart attack after rescuing a drowning woman, at Harrow Weald, England; 1935 - Czech composer Josef Suk, age 61, in Benesov; 1951 - Czech composer Josef Bohuslav Foerster, age 91, in Vestec, near Stará Boleslav; Premieres 1901 - Paderewski: "Manru," in Dresden; Also staged at the Metropolitan Opera in 1902; 1905 - Scriabin: Symphony No. 3 ("'Divine Poem"), in Paris, Arthur Nikisch conducting; 1913 - Stravinsky: "Le Sacre du printemps" (The Rite of Spring), in Paris, by Diaghilev's Ballet Russe, Pierre Monteux conducting; 1954 - Cowell: Symphony No. 11 ("Seven Rituals"), by the Louisville Orchestra, Robert S. Whitney conducting; 1970 - Rautavaara: Piano Concerto, in Helsinki, with composer as soloist, and the Finnish Radio Symphony, Paavo Berglund conducting; Others 1873 - American premiere of Brahms's Serenade No. 1 in D, at Steinway Hall, by the New York Symphony, Theodore Thomas conducting; 1963 - The New York Philharmonic "Promenade" concert series is inaugurated. Links and Resources On Igor Stravinsky More on "The Rite of Spring" Video of recreated original 1913 choreography for "The Rite of Spring"

Say their names: In Uvalde: Nevaeh Bravo, Jackie Cazares, Makenna Lee Elrod, Jose Flores, Eliana Garcia, Irma Garcia, Uziyah Garcia, Amerie Jo Garza, Xavier Lopez, Jayce Luevanos, Tess Marie Mata, Miranda Mathis, Eva Mireles, Alithia Ramirez, Annabell Guadalupe Rodriguez, Maite Rodriguez, Alexandria Aniyah Rubio, Layla Salazar, Jailah Nicole Silguero, Eliahana Cruz Torres, Rojelio Torres. In Buffalo: Celestine Chaney, Roberta A. Drury, Andre Mackniel, Katherine Massey, Margus D. Morrison, Heyward Patterson, Aaron Salter, Geraldine Talley, Ruth Whitfield, Pearl Young. All gunned down by young men who should have had no access to an assault weapon in the first place. I have no meaningful response to such cruel slaughter. When I am in the most profound mourning, I turn to the composers whose music directly confronts that despair. Today that composer is Gustav Mahler. Since the victims were almost exclusively people of color, today for solace I turn to the extraordinary voices of women of color singing the music of Mahler. Roberta Alexander, Marian Anderson, Carol Brice, Oralia Dominguez, Jessye Norman, Florence Quivar, Shirley Verrett, Lucretia West provide balm for the depths of despair that we are all feeling right now. They are joined on the podium by some of the greatest conductors of the twentieth century: Leonard Bernstein, Christoph von Dohnányi, Bernard Haitink, Paul Kletzki, Hans Knappertsbusch, Erich Leinsdorf, Zubin Mehta, Pierre Monteux, Fritz Reiner, and Frieder Weissmann. This episode is also offered in memory of and in gratitude for the life of the great Lucretia West, who died on 21 February 2022 at the age of 99. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Synopsis While many great composers have also been great conductors, this can be the exception rather than the rule. On today's date in 1959, the American composer Ned Rorem tried his hand at conducting the premiere of one of his own compositions, a chamber suite entitled “Eleven Studies for Eleven Players.” Rorem recalled: “I learned that the first requisite to becoming a conductor is an inborn lust for absolute monarchy, and that I, alone among musicians, never got the bug. I was terrified. The first rehearsal was a model of how NOT to inspire confidence. I stood before the eleven players in all my virginal glory, and announced: ‘I've never conducted before, so if I give a wrong cue, do try to come in right anyway.'” Fortunately for Rorem, his eleven musicians were accomplished faculty at Buffalo University, and, despite his inexperience, Rorem certainly knew how his new piece should sound. Rorem's Suite incorporated a few bits recycled from music he had written for a successful Broadway hit—Tennessee Williams' “Suddenly Last Summer”—plus a bit from an unsuccessful play entitled “Motel” that never made it past a Boston tryout. Rorem's own tryout as a conductor convinced him to stick to composing, although he proved to be a fine piano accompanist for singers performing his own songs. As for “Eleven Studies for Eleven Players,” it's gone on to become one of Rorem's most-often performed chamber works. Music Played in Today's Program Ned Rorem (b. 1923) — Eleven Studies for Eleven Players (New York Chamber Ensemble; Stephen Rogers Radcliffe, cond.) Albany 175 On This Day Births 1866 - French composer Erik Alfred-Leslie Satie, in Honfleur; 1901 - German composer Werner Egk, in Auchsesheim, near Donauswörth; His original last name was Mayer, and it is said (although denied by the composer) that the he chose the acronym E-G-K because it stood for "ein grosser Komponist" ("a great composer"); 1923 - American composer Peter Mennin, in Erie, Pa.; Deaths 1935 - French composer Paul Dukas, age 69, in Paris; Premieres 1779 - Gluck: opera "Iphigénie en Tauride" (Iphigenia in Taurus), at the Paris Opéra; 1890 - Mascagni: "Cavalleria Rusticana," in Rome at the Teatro Costanzi; 1904 - Ravel: "Schéhérazade," in Paris, with vocalist Jane Hatto and Alfred Cortot, conducting; 1919 - Ravel: "Alborado del gracioso" (orchestral version), in Paris at Pasdeloup Concert; 1929 - Prokofiev: Symphony No. 3, in Paris, by the Orchestre Symphonique de Paris, with Pierre Monteux conducting; 1933 - Cowell: "Reel," for small orchestra, in New York; 1939 - Prokofiev: cantata "Alexander Nevsky," in Moscow; 1946 - Martin: "Petite Symphonie Concertante," in Zurich, Paul Sacher conducting; 1960 - Ned Rorem: "11 Studies for 11 Players," for chamber ensemble, at the State University of Buffalo (N.Y.), conducted by the composers; 1990 - Rautavaara: "Vincent," in Helsinki at the Finnish National Opera; 2000 - Michael Torke: "Corner in Manhattan," by the Minnesota Orchestra, Eiji Oue conducting; 2001 - Christopher Rouse: Clarinet Concerto, by the Chicago Symphony Orchestra conducted by Christoph Eschenbach, with Larry Combs the soloist; Others 1922 - Music of "The President's Own" reached homes across the nation when the first Marine Band radio program was broadcast; 1969 - Leonard Bernstein's last concert as Music Director of the New York Philharmonic, having conducted 939 concerts with the orchestra (831 as its Music Director); Bernstein conducted 36 world premieres with the orchestra; He continued to appear with the Philharmonic as an occasional guest conductor until his death in 1990; 1978 - Philips Electronics of The Netherlands announces a new digital sound reproduction system from flat, silver "Compact Discs." Links and Resources On Rorem NY Times feature on Rorem at 95

Hi there Classical Gabfest Listeners, this is Will, and I'm afraid we don't have a regular episode for you this week. Longtime listeners to the show will know that Tiffany and Kensho and I all met at the Pierre Monteux School, which is a summer music institute focused on orchestral conducting and playing. Unfortunately, earlier this week, the school's director, Michael Jinbo, died suddenly, and as Michael was a beloved teacher, mentor, and friend to all three of us, we decided not to produce an episode this week.As a brief tribute, I wanted to say a few words about our teacher:Maestro Jinbo was only the third-ever music director of the Monteux School in its 79-year history, succeeding his own teacher, Charles Bruck, and before him, Pierre Monteux himself, whom some of you may know was the conductor of the world premieres of The Rite of Spring and Daphnis and Chloé, and who performed Brahms' string quartets for Brahms himself, among many other accomplishments.Maestro Jinbo was proud of the school's tradition, but he was very much his own musician and a great musician at that. Maestro Jinbo was not a famous conductor, but he was famous among conductors. We marveled at his crystal-clear technique and his deeply felt, uncomplicated musicality, and I know for a fact that videos of his conducting (which he would never allow to be released) circulated privately among his admirers. In rehearsal, he was totally unfussy and to-the-point. He always preferred to show and rather than to tell, but whenever he did say something about the music, it was invariably insightful, witty, and inspiring.Of course, my co-hosts and I, and many, many others of his students will remember Michael for his abilities as a teacher. He combined uncompromising honesty with a deep care for each of his students as a human being, and he taught to each student individually. He didn't waste time and he went immediately for your weaknesses, not to demean you, but to strengthen you.Above all, Michael Jinbo taught us to be our true selves, both on and off the podium. He never tried to mold us in his own image, rather he helped us to strip away our excess baggage and taught us to honor the essential core that remained. And that's just about the greatest gift that any teacher can give you.It's hard to find recordings of Michael's work, but I did find a beautiful one on YouTube, in which Michael is leading the Nittany Valley Symphony of Pennsylvania, of which he was also music director for several decades. This is a recording of the “Meditation” from Jules Massenet's opera Thaïs, featuring violinist Max Zorin, which I offer as this week's mixtape suggestion. Rest in Peace, Michael.CLASSICAL MIXTAPEMassenet, Thaïs: “Meditation”Nittany Valley Symphony OrchestraMax Zorin, violinMichael Jinbo, conductor

La France produit 200 000 tonnes de bananes par un an, une goutte d'eau sur le marché mondial. Face à une concurrence rude, la Guadeloupe et la Martinique cherchent à se démarquer, avec une étiquette de banane durable.  La banane n'est pas le meilleur élève en matière de bilan carbone et de bonnes pratiques environnementales. Mais la filière fait des efforts, en particulier celle de Guadeloupe et Martinique. Pour la banane française, c'est une question de survie si elle veut garder une place dans un marché de plus en plus concurrentiel, après une année 2021 compliquée. Les fruits des Antilles pâtissent des privilèges octroyés à la banane dollar, celle qui vient d'Amérique latine, qui bénéficie de conditions de mise sur le marché très favorables en Europe avec une baisse des droits de douane de 50% en dix ans. En parallèle, la grande distribution a changé de pratique : elle achète massivement, de manière plus centralisée, et a développé ses ventes en ligne. Un modèle dans lequel la banane française a du mal à exister. -75% de produits phytosanitaires en 15 ans La filière des Antilles a donc choisi de soigner son image. Et met en avant ses performances : -38% d'engrais et -75 % de produits phytosanitaires utilisés en 15 ans. Quant au bilan carbone, il a diminué de 14%. Il se monte aujourd'hui à 800 g d'émission de gaz à effet de serre par kilo de banane. Il reste supérieur à celui de la pomme qui est à 300 g, mais équivalent aux fraises d'Espagne, et beaucoup plus bas que celui des œufs et de la viande, dont le bilan carbone est notoirement mauvais. Pour ses progrès en matière de bilan carbone, la banane antillaise peut dire merci à la CMA/CGM son partenaire pour le transport. Car la compagnie, qui dispose aujourd'hui de 26 navires fonctionnant au GNL, a baissé de moitié sa contribution carbone – de 260 à 130 g par kilo de banane. À titre expérimental, un conteneur par semaine de banane antillaise voyage par ailleurs grâce à du biofuel.   La banane française subira aussi les effets de la guerre en Ukraine La banane française fait tout pour « résister », selon les mots employés par l'Union des groupements de producteurs de bananes de Guadeloupe et Martinique face à des prix qui en 2021 ont été au plus bas : 11,7 euros le prix moyen annuel du carton, contre 15 euros en 2016. Mais comme les autres bananes, elle souffre de la guerre en Ukraine. Les caisses non consommées se rajoutent au marché européen, qui fait office de marché d'ajustement. Avec le risque d'une nouvelle baisse des prix. Sur la durée, Pierre Monteux, le directeur de l'UGPBAN, craint un tsunami pour la filière, marqué par une nouvelle baisse des prix.

Un día como hoy, 4 de abril: Nace: 1785: Bettina von Arnim, escritora alemana (f. 1859). 1873: Frida Uhl, escritora austríaca (f. 1943). 1875: Pierre Monteux, director de orquesta y músico francés (f. 1964). 1914: Marguerite Duras, novelista, guionista de cine y escritora francesa (f. 1996). 1932: Andrei Tarkovsky, cineasta soviético (f. 1986). 1954: Michel Camilo, pianista dominicano. 1965: Robert Downey Jr., actor estadounidense. 1979: Heath Ledger, actor australiano (f. 2008). Fallece: 1284: Alfonso X el Sabio, rey castellano (n. 1221). Una producción de Sala Prisma Podcast. 2022

Synopsis Today we celebrate St. Patrick's Day in Boston (where else?), noting two musical premieres that occurred in that Celtic city. The first premiere was in March of 1922, when Pierre Monteux conducted the Boston Symphony in the premiere of three of the “Five Irish Fantasies” by the German-born American composer Charles Martin Loeffler. These were settings for solo voice and orchestra of poetry by William Butler Yeats, and, for their Boston premiere, the vocalist was none other than THE great Irish tenor, John McCormack.  The second premiere dates from 1947, when the Eire Society of Boston commissioned another American composer, Leroy Anderson, to write an “Irish Suite” for its annual Irish night at the Boston Pops. Anderson used six popular Irish tunes, ranging from the sentimental to the exuberant, for his suite… skillfully arranging them into an immediate hit and lasting success.   Arthur Fiedler conducted the premiere and the work soon became a staple item for St. Patrick's Day concerts in Boston and concert halls all across the United States. Music Played in Today's Program Charles Martin Loeffler (1861 - 1935) — Five Irish Fantasies (Neil Rosenshein, tenor; Indianapolis Symphony; John Nelson, cond.) New World 332 Leroy Anderson (1908 - 1975) — Irish Suite (Decca studio orchestra; Leroy Anderson, cond.) MCA 9815

Synopsis Following the successful premiere of his First Symphony in 1876, the New England composer John Knowles Paine finished a Second, which he gave a German subtitle: “Im Fruehling” or “In Springtime.” In 19th century America, “serious” music meant German music, and “serious” musicians like Paine all studied in Germany. Returning home, Paine became the first native-born American to win acceptance as a symphonic composer, and, accepting a teaching post at Harvard, became that school's first professor of music. On today's date in 1880, when Paine's “Spring” Symphony was premiered at Sanders Theater, the normally staid Bostonians went nuts. One critic who was present, recalled that “ladies waved their handkerchiefs, men shouted in approbation, and the highly respected John S. Dwight, arbiter in Boston of music criticism, stood in his seat frantically opening and shutting his umbrella as an expression of uncontrollable enthusiasm.” Paine's music remained tremendously popular in his own day. In 1883 George Henschel, then the conductor of the Boston Symphony, was sent the following poetic suggestion about his programming: Let no more Wagner themes thy bill enhance And give the native workers just one chance. Don't give that Dvorák symphony a-gain; If you would give us joy, oh give us Paine! Music Played in Today's Program John Knowles Paine (1839 - 1906) — Symphony No. 2 (New York Philharmonic; Zubin Mehta, cond.) New World 350 On This Day Births 1839 - American composer and organist Dudley Buck, in Hartford, Conn.; 1844 - Spanish composer and violinist Pablo de Sarasate, in Pamplona; 1892 - French composer Arthur Honegger, in Le Harve; 1903 - American composer and jazz cornetist Bix Beiderbecke, in Davenport, Iowa; Deaths 1832 - Italian-born composer Muzio Clementi, age 80, in Evesham, England; 1870 - Czech-born composer and pianist Ignaz Moscheles, age 75, in Leipzig; 1910 - German composer Carl Reinecke, age 85, in Leipzig; 1991 - American composer Elie Siegmeister, age 82, in Manhasset, N.Y.; Premieres 1785 - Mozart: Piano Concerto No. 21 in C, K. 467, at the Burgtheater in Vienna, with the composer as soloist; 1837 - Mercadante: opera "Il Giuramento" (The Oath), in Milan; 1875 - Goldmark: opera "Die Königin von Saba" (The Queen of Sheba), in Vienna at the Court Opera (Hofoper); 1877 - Borodin: Symphony No. 2, in St. Petersburg, by the Russian Musical Society, Eduard Nápravik conducting (Julian date: Feb. 26); 1880 - Paine: Symphony No. 2 ("Spring"), at Sanders Theater in Boston, by the Boston Philharmonic, Bernard Listermann conducting; The following day, the orchestra of the Harvard Musical Association performed the same work downtown at Boston's Musical Hall, with Carl Zerrahn conducting; 1888 - Franck: symphonic poem "Pysché," in Paris; 1912 - Gliere: Symphony No. 3 ("Ilya Murometz") in Moscow (Gregorian date: Mar. 23); 1916 - Granados: "Intermezzo & Epilogue," from "Goyescas," by the Philadelphia Orchestra, Leopold Stokowski conducting; 1922 - Loeffler: "Irish Fantasies" (Nos. 2, 3 & 5 only) for voice and orchestra, by the Boston Symphony, with Pierre Monteux conducting and tenor John McCormack the soloist; 1932 - Wallingford Riegger: "Dichotomy" for orchestra, in Berlin; 1952 - David Diamond: Quintet for clarinet and strings, at Town Hall in New York City, by clarinetist David Oppenheim, Nathan Gordon and Lillian Fuchs (violins), and Aaron Twerdowsky and Bernard Greenhouse (cellos); 1963 - Henze: opera "Il re cervo" (The Stag King), in Kassel at the Staatstheater; This is the 2nd version of Henze's opera "König Hirsch" which was first staged in an abridged version in Berlin on September 24, 1956; The complete original version of the opera was eventually staged in Stuttgart on May 7, 1985; 1964 - John Harbison: "Sinfonia," in Cambridge, Mass., with violinist Rose Mary Harbison and the Bach Society Orchestra of Harvard, Gregory Biss conducting; 1977 - John Harbison: "Diotima" for orchestra, in Boston, with the Boston Symphony, Joseph Silverstein conducting; Others 1937 - Frank Capra's film "The Lost Horizon" opens at the Four Stars Theater in Los Angeles, featuring a classic film score composed by Dmitri Tiomkin (and conducted by Max Steiner). Links and Resources On John Knowles Paine More on Paine at Harvard

Building a Library: Jeremy Sams recommends his favourite recording of Ravel's Daphnis and Chloe (complete ballet). Maurice Ravel described his ballet, Daphnis and Chloe as a choreographic symphony. The story concerns the love between the goatherd Daphnis and the shepherdess Chloé. Ravel began work in 1909 after a commission from Sergei Diaghilev and it was premiered in Paris by his Ballets Russes in 1912. The orchestra was conducted by Pierre Monteux, the choreography was by Michel Fokine, and Vaslav Nijinsky and Tamara Karsavina danced the parts of Daphnis and Chloé. With rich harmonies and lush orchestrations it is one of Ravel's most popular works.

Synopsis On this day in 1947, Pierre Monteux led the San Francisco Symphony in the premiere performance of the Second Symphony by American composer Roger Sessions. Prior to this work, Sessions had written in a more broadly accessible style, but this new symphony proved more dissonant and challenging. At the time, Sessions cautiously stated: “Tonality is complex and even problematical nowadays.” For their part, the San Francisco audiences found the new work both complex AND problematical. There was hardly any applause. Musical America's critic wrote that Sessions (quote): “seemed to express the epitome of all that is worst in the life and thinking of today.” Ouch!  Today, the Sessions Second doesn't sound ALL that challenging, but performances of this or any of his symphonies remain rare events. While Sessions' symphony was being panned in San Francisco, a new stage work by the expatriate German composer Kurt Weill opened to rave reviews in New York. Kurt Weill's “Street Scene” opened on Broadway on this same date in 1947. “[It's] the best contemporary musical production to grace any American stage,” enthused the “Musical America” critics. “We cannot imagine that an audience from any walk of life would not enjoy it. It has everything.” Music Played in Today's Program Roger Sessions (1896-1985) — Symphony No. 2 (San Francisco Symphony; Herbert Blomstedt, cond.) London 443 376 Kurt Weill (1900-1950) — Act 1 Intro, from Street Scene (Scottish Opera Orchestra; John Mauceri, cond.) London 433 371

This week Kiley takes on our first listener suggested topic! Thanks Hanna for bringing us on a wild underdog story with some good tunes to kick off this holiday season!Topic: Hector Berlioz and his Symphonie Fantastique, one of the most innovative symphonies of the 19th century. Music: "Another Day" by The Fisherman.  "Dream & Passions"..."A Ball"..."Scenes in the Country"..."March to the Scaffold"...and "Dream of the Witches' Sabbath"......by Hector Berlioz and as performed by  Pierre Monteux conducting the San Francisco Symphony Orchestra. Recorded in 1951. Transferred and restored from the original RCA Victor mono LP LM-1131. Transfer by Bob Varney. ( https://creativecommons.org/publicdomain/mark/1.0/ )Please Rate & Review us on Podchaser! You can find us on Facebook, Twitter, and visit our website at www.HalfwitPodcasts.com!  Reach out, say hello, or suggest a topic at HalfwitPod@gmail.com, or on this form!    Support the show (https://www.ko-fi.com/halfwithistory)

Synopsis On today's date in 1919, the eminent French conductor Pierre Monteux, led the Boston Symphony in the premiere performance of “The Pleasure Dome of Kubla Khan,” a new orchestral score written by the American composer Charles Tomlinson Griffes. This music was inspired by the famous Romantic poem of that name by Samuel Taylor Coleridge, but owes its exotic orchestral coloring to Griffes' interest in the music of Asia and the Pacific Rim. Although Griffes himself never traveled there, he knew someone who had: the influential Canadian soprano Eva Gauthier, famous for her avant-garde song recitals that included music by Stravinsky and Schoenberg, and her later association with Gershwin and Ravel. It was the well-traveled Gauthier who introduced Griffes to the musical traditions of Japan and Java. The 1919 Boston premiere of “Kubla Khan” was the highpoint of Griffes' career, and all the critics agreed a major new talent had arrived on the American music scene. Unfortunately, one month later, Griffes took ill and in a few months died from a severe lung infection. He was just 35 years old. How his music would have developed had Griffes lived remains one of the most intriguing “what might have beens” of American music. Music Played in Today's Program Charles Tomlinson Griffes (1884 - 1920) — The Pleasure Dome of Kubla Khan (Boston Symphony; Seiji Ozawa, cond.) New World 273 On This Day Births 1784 - Baptismal date of German composer and pianist Ferdinand Ries, in Bonn; 1829 - Russian composer and pianist Anton Rubinstein, in Vikhvatinets, Podolia (see Julian date: Nov. 16); Deaths 1972 - British composer Havergal Brian, age 96, in Shoreham-by-Sea; He composed 32 symphonies between 1919-1968 (most remained unperformed during his lifetime); Premieres 1723 - Bach: Sacred Cantata No. 61 ("Nun komm der Heiden Heiland" I) performed on the 1st Sunday in Advent as part of Bach's first annual Sacred Cantata cycle in Leipzig (1723/24); 1811 - Beethoven: Piano Concerto No. 5, by the Leipzig Gewandhaus Orchestra, Johann Philip Christian Schultz conducting, and Friedrich Schneider as the soloist; 1895 - Rimsky-Korsakov: opera “Christmas Eve,” in St. Petersburg (Gregorian date: Dec. 10); 1896 - Mussorgsky: opera “Boris Godunov” (Rimsky-Korsakov version), in St. Petersburg (Gregorian date: Dec. 10); 1909 - Rachmaninov: Piano Concerto No. 3, in Carnegie Hall, composer at piano, Walter Damrosch conducting New York Symphony Society Orchestra; 1919 - Charles Tomlinson Griffes: "The Pleasure Dome of Kublai Khan," Pierre Monteux conducting Boston Symphony Orchestra; 1930 - Hanson: Symphony No. 2 ("Romantic"), by the Boston Symphony, Serge Koussevitzky conducting; 1930 - Kodály: "Marosszék Dances," in Dresden; 1940 - Miaskovsky: Symphony No. 20, in Moscow; 1990 - Christopher Rouse: “Concerto per Corde” (Concerto for Strings), at Avery Fisher Hall in New York, by the American Symphony Orchestra, Catherine Comet conducting; Links and Resources On Charles Tomlinson Griffes

Episode 10: Thinking and Rethinking Orientalism In this episode, called “Thinking and Rethinking Orientalism,” we examine Orientalism as a particular version of the Western gaze that influenced many 19th century European painters. The Western or European gaze treats non-Western subjects as different and inferior, but also as exotic, mysterious, or enticing. After examining the orientalist visual tropes in paintings by Gérôme and Delacroix, we turn towards contemporary artists. Moroccan photographer Lalla Essaydi creates meaningful portraits of Muslim women that challenge perceptions of Arab female identity. Monir Shahroudy Farmanfarmaian was an Iranian artist whose works combine Eastern and Western influences into a unique sculptural style. We take a look at her series Fourth Family.   Sources + further reading: Edward W. Said. Orientalism. New York: Vintage Books, 1979. Nancy Demerdash. “Orientalism.” Smarthistory. https://smarthistory.org/orientalism Eugène Delacroix. The Death of Sardanapalus, 1827. Oil on canvas, 12 ft 10 in x 16 ft 3 in. (3.92 x 4.96 m), Musée du Louvre, Paris. https://collections.louvre.fr/ark:/53355/cl010065757 Kathryn Calley Galitz. “Romanticism.” Heilbrunn Timeline of Art History. https://www.metmuseum.org/toah/hd/roma/hd_roma.htm British Museum Blog. “How Did the Islamic World Influence Western Art?” British Museum Blog.  https://blog.britishmuseum.org/how-did-the-islamic-world-influence-western-art/ British Museum Blog. “An Introduction to Orientalist Painting.” British Museum Blog. https://blog.britishmuseum.org/an-introduction-to-orientalist-painting/. Jean Léon-Gérôme. The Slave Market, 1871. Oil on canvas, 59.7 x 74.9cm. Cincinnati Art Museum, Ohio. https://www.cincinnatiartmuseum.org/art/explore-the-collection?id=11295788 “Lalla Essaydi,” http://lallaessaydi.com/1.html “Monir Shahroudy Farmanfarmaian: Infinite Possibility. Mirror Works and Drawings, 1974–2014. Guggenheim Museum. https://www.guggenheim.org/exhibition/monir  Hussein Bicar. http://hbicar.com/biography.html   Abdul Qader Al Rais. http://admaf.org/artists/abdul-qader-al-rais Charles Hossein Zenderoudi. http://www.zenderoudi.com/english/artwork.html   Music Credits Amitchell125.  Beethoven. Opening of String Quartet No. 1. 1801. CC BY-SA 4.0 Rimsky-Korsakov. Scheherazade, Symphonic Suite, Op. 35. The San Francisco Symphony Orchestra conducted by Pierre Monteux. Violin solo by Naoum Blinder. CC0 1.0 JuliusH. Bandari - Persian Arabic Music - Khaliji Drum and Nay Flute. Pixabay license. Andrewfai. Enti w Ana arabic song OUD Cover. Pixabay license. Bagher Moazen. Struggle. We played a 10 second sample of this work. https://creativecommons.org/licenses/by-sa/3.0/legalcode   Credits Season 2 of Unboxing the Canon is produced by Professor Linda Steer for her course “Introduction to the History of Western Art” in the Department of Visual Arts at Brock University. Our sound designer, co-host and contributing researcher is Madeline Collins.  Brock University is located on the traditional lands of the Haudenosaunee and Anishinaabe peoples, many of whom continue to live and work here today. This territory is covered by the Upper Canada Treaties and is within the land protected by the Dish with One Spoon Wampum Agreement. Today this gathering place is home to many First Nations, Métis and Inuit peoples and acknowledging reminds us that our great standard of living is directly related to the resources and friendship of Indigenous people. Our logo was created by Cherie Michels. The theme song has been adapted from “Night in Venice” Kevin MacLeod and is licensed under Creative Commons Attribution International 4.0. Grants from the Humanities Research Institute and from Match of Minds at Brock University support the production of this podcast, which is produced as an open educational resource. Unboxing the Canon is archived in the Brock Digital Repository. Find it at https://dr.library.brocku.ca/handle/10464/14929   You can also find Unboxing the Canon on any of the main podcast apps. Please subscribe and rate our podcast. You can also find us on Twitter @CanonUnboxing and Instagram @unboxingthecanon or you can write to unboxingthecanon@gmail.com     

Synopsis On today’s date in 1969, Leonard Bernstein conducted his last concert as the Music Director of the New York Philharmonic. Bernstein had assumed that post in November of 1957, becoming the first American-born and trained conductor to do so. For sports fans, these were Bernstein’s “stats” as of May 17, 1969: He had conducted 939 concerts, more than anyone else in Philharmonic history. He had given 36 world premieres, 14 U.S. premieres, 15 New York City premieres and led more than 40 works never before performed by the orchestra. At Philharmonic concerts Bernstein conducted Vivaldi, Bach, and Handel, but also Babbitt, Cage, and Ligeti. He led the world premiere performance of the Second Symphony of Charles Ives and included other elder American composers like Carl Ruggles and Wallingford Riegger on Philharmonic programs, as well as works by his contemporaries, Ned Rorem and Lukas Foss, and his own compositions as well. Bernstein would continue to appear with the New York Philharmonic as its Laureate Conductor, and as a popular guest conductor with major orchestras around the world. His final concerts were with the Boston Symphony at Tanglewood in the summer of 1990. He died in October of that year. Music Played in Today's Program Leonard Bernstein (1918 – 1990) Symphony No. 2 (The Age of Anxiety) Marc-Andre Hamelin, piano; Ulster Orchestra; Dmitry Sitkovetsky, cond. Hyperion 67170 On This Day Births 1866 - French composer Erik Alfred-Leslie Satie, in Honfleur; 1901 - German composer Werner Egk, in Auchsesheim, near Donauswörth; His original last name was Mayer, and it is said (although denied by the composer) that the he chose the acronym E-G-K because it stood for "ein grosser Komponist" ("a great composer"); 1923 - American composer Peter Mennin, in Erie, Pa.; Deaths 1935 - French composer Paul Dukas, age 69, in Paris; Premieres 1779 - Gluck: opera "Iphigénie en Tauride" (Iphigenia in Taurus), at the Paris Opéra; 1890 - Mascagni: "Cavalleria Rusticana," in Rome at the Teatro Costanzi; 1904 - Ravel: "Schéhérazade," in Paris, with vocalist Jane Hatto and Alfred Cortot, conducting; 1919 - Ravel: "Alborado del gracioso" (orchestral version), in Paris at Pasdeloup Concert; 1929 - Prokofiev: Symphony No. 3, in Paris, by the Orchestre Symphonique de Paris, with Pierre Monteux conducting; 1933 - Cowell: "Reel," for small orchestra, in New York; 1939 - Prokofiev: cantata "Alexander Nevsky," in Moscow; 1946 - Martin: "Petite Symphonie Concertante," in Zurich, Paul Sacher conducting; 1960 - Ned Rorem: "11 Studies for 11 Players," for chamber ensemble, at the State University of Buffalo (N.Y.), conducted by the composers; 1990 - Rautavaara: "Vincent," in Helsinki at the Finnish National Opera; 2000 - Michael Torke: "Corner in Manhattan," by the Minnesota Orchestra, Eiji Oue conducting; 2001 - Christopher Rouse: Clarinet Concerto, by the Chicago Symphony Orchestra conducted by Christoph Eschenbach, with Larry Combs the soloist; Others 1922 - Music of "The President's Own" reached homes across the nation when the first Marine Band radio program was broadcast; 1969 - Leonard Bernstein's last concert as Music Director of the New York Philharmonic, having conducted 939 concerts with the orchestra (831 as its Music Director); Bernstein conducted 36 world premieres with the orchestra; He continued to appear with the Philharmonic as an occasional guest conductor until his death in 1990; 1978 - Philips Electronics of The Netherlands announces a new digital sound reproduction system from flat, silver "Compact Discs." Links and Resources On Bernstein

Synopsis On today’s date in 1969, Leonard Bernstein conducted his last concert as the Music Director of the New York Philharmonic. Bernstein had assumed that post in November of 1957, becoming the first American-born and trained conductor to do so. For sports fans, these were Bernstein’s “stats” as of May 17, 1969: He had conducted 939 concerts, more than anyone else in Philharmonic history. He had given 36 world premieres, 14 U.S. premieres, 15 New York City premieres and led more than 40 works never before performed by the orchestra. At Philharmonic concerts Bernstein conducted Vivaldi, Bach, and Handel, but also Babbitt, Cage, and Ligeti. He led the world premiere performance of the Second Symphony of Charles Ives and included other elder American composers like Carl Ruggles and Wallingford Riegger on Philharmonic programs, as well as works by his contemporaries, Ned Rorem and Lukas Foss, and his own compositions as well. Bernstein would continue to appear with the New York Philharmonic as its Laureate Conductor, and as a popular guest conductor with major orchestras around the world. His final concerts were with the Boston Symphony at Tanglewood in the summer of 1990. He died in October of that year. Music Played in Today's Program Leonard Bernstein (1918 – 1990) Symphony No. 2 (The Age of Anxiety) Marc-Andre Hamelin, piano; Ulster Orchestra; Dmitry Sitkovetsky, cond. Hyperion 67170 On This Day Births 1866 - French composer Erik Alfred-Leslie Satie, in Honfleur; 1901 - German composer Werner Egk, in Auchsesheim, near Donauswörth; His original last name was Mayer, and it is said (although denied by the composer) that the he chose the acronym E-G-K because it stood for "ein grosser Komponist" ("a great composer"); 1923 - American composer Peter Mennin, in Erie, Pa.; Deaths 1935 - French composer Paul Dukas, age 69, in Paris; Premieres 1779 - Gluck: opera "Iphigénie en Tauride" (Iphigenia in Taurus), at the Paris Opéra; 1890 - Mascagni: "Cavalleria Rusticana," in Rome at the Teatro Costanzi; 1904 - Ravel: "Schéhérazade," in Paris, with vocalist Jane Hatto and Alfred Cortot, conducting; 1919 - Ravel: "Alborado del gracioso" (orchestral version), in Paris at Pasdeloup Concert; 1929 - Prokofiev: Symphony No. 3, in Paris, by the Orchestre Symphonique de Paris, with Pierre Monteux conducting; 1933 - Cowell: "Reel," for small orchestra, in New York; 1939 - Prokofiev: cantata "Alexander Nevsky," in Moscow; 1946 - Martin: "Petite Symphonie Concertante," in Zurich, Paul Sacher conducting; 1960 - Ned Rorem: "11 Studies for 11 Players," for chamber ensemble, at the State University of Buffalo (N.Y.), conducted by the composers; 1990 - Rautavaara: "Vincent," in Helsinki at the Finnish National Opera; 2000 - Michael Torke: "Corner in Manhattan," by the Minnesota Orchestra, Eiji Oue conducting; 2001 - Christopher Rouse: Clarinet Concerto, by the Chicago Symphony Orchestra conducted by Christoph Eschenbach, with Larry Combs the soloist; Others 1922 - Music of "The President's Own" reached homes across the nation when the first Marine Band radio program was broadcast; 1969 - Leonard Bernstein's last concert as Music Director of the New York Philharmonic, having conducted 939 concerts with the orchestra (831 as its Music Director); Bernstein conducted 36 world premieres with the orchestra; He continued to appear with the Philharmonic as an occasional guest conductor until his death in 1990; 1978 - Philips Electronics of The Netherlands announces a new digital sound reproduction system from flat, silver "Compact Discs." Links and Resources On Bernstein

Synopsis Crossword puzzle solvers know the three-letter answer to the clue “Composer Brian” is: E-N-O. But even fans of this British composer, performer, and producer might not know his full name, which is Brian Peter George St John le Baptiste de la Salle Eno. Brian Eno was born in Suffolk, England, on today’s date in 1948. He studied painting and music, and in his early 20s played synthesizer with the glam rock band Roxy Music before embarking on a solo career. In 1978, he released an album entitled “Music for Airports,” which was, quite literally, meant as calming music that could be played in airports, since Eno was so annoyed by the inane, perky muzak he usually heard there. Eno coined the term “ambient music” to describe his album, whose release coincided with the early days of minimalist movement, itself a reaction to music deemed too complex and complicated. “I was quite sick of music that was overstuffed,” said Eno, commenting, “In the late ’60s and early ’70s, recording went from two track to four track to eight track to 16 track to 32 track, and music got more and more grandiose, sometimes with good effect, but quite often not.” Music Played in Today's Program Brian Eno (b. 1948) — Music for Airports (Brian Eno, synthesizers)Polydor 2310 647 On This Day Births 1567 - Baptismal date of Italian composer Claudio Monteverdi, in Cremona; 1808 - Irish composer Michael William Balfe, in Dublin; 1908 - Swedish composer Lars-Erik Larsson, in Akarp (near Lund); 1941 - American composer and pianist Richard Wilson, in Cleveland; Premieres 1913 - Debussy: ballet "Jeux" (Games), at the Théâtre des Champs-Elysées by the Ballet Russe, Pierre Monteux conducting; 1920 - Stravinsky: ballet "Pulcinella," by Ballet Russe; at the Paris Opéra, with Ernest Ansermet conducting; 1939 - Douglas Moore: opera "The Devil and Daniel Webster," in New York City; 1949 - Hindemith: Concerto for Winds, Harp and Orchestra, in New York; 1949 - Randall Thompson: Symphony No. 3, Columbia University, in New York, Thor Johnson conducting; 1958 - Cage: Piano Concerto, in New York City; 1960 - Shostakovich: String Quartet No. 7, in Leningrad, by the Beethoven Quartet; 1972 - Rochberg: String Quartet No. 3, at Tully Hall in New York City, by the Concord Quartet; 1992 - Stephen Paulus: "Air on Seurat (The Grand Canal)", for cello and piano, at the National Cello Competition at Arizona State University in Phoenix, Ariz.; 1993 - Steve Reich: opera "The Cave," in Vienna at the Wiener Festspielhaus; Others 1750 - First documented report of an audience standing during the "Hallelujah" chorus of Handel's "Messiah"; On May 1 and 15 in 1750, "Messiah" had been performed as a benefit for the Foundling Hospital charity (Gregorian dates: May 12 and 26, respectively).

Synopsis Crossword puzzle solvers know the three-letter answer to the clue “Composer Brian” is: E-N-O. But even fans of this British composer, performer, and producer might not know his full name, which is Brian Peter George St John le Baptiste de la Salle Eno. Brian Eno was born in Suffolk, England, on today’s date in 1948. He studied painting and music, and in his early 20s played synthesizer with the glam rock band Roxy Music before embarking on a solo career. In 1978, he released an album entitled “Music for Airports,” which was, quite literally, meant as calming music that could be played in airports, since Eno was so annoyed by the inane, perky muzak he usually heard there. Eno coined the term “ambient music” to describe his album, whose release coincided with the early days of minimalist movement, itself a reaction to music deemed too complex and complicated. “I was quite sick of music that was overstuffed,” said Eno, commenting, “In the late ’60s and early ’70s, recording went from two track to four track to eight track to 16 track to 32 track, and music got more and more grandiose, sometimes with good effect, but quite often not.” Music Played in Today's Program Brian Eno (b. 1948) — Music for Airports (Brian Eno, synthesizers)Polydor 2310 647 On This Day Births 1567 - Baptismal date of Italian composer Claudio Monteverdi, in Cremona; 1808 - Irish composer Michael William Balfe, in Dublin; 1908 - Swedish composer Lars-Erik Larsson, in Akarp (near Lund); 1941 - American composer and pianist Richard Wilson, in Cleveland; Premieres 1913 - Debussy: ballet "Jeux" (Games), at the Théâtre des Champs-Elysées by the Ballet Russe, Pierre Monteux conducting; 1920 - Stravinsky: ballet "Pulcinella," by Ballet Russe; at the Paris Opéra, with Ernest Ansermet conducting; 1939 - Douglas Moore: opera "The Devil and Daniel Webster," in New York City; 1949 - Hindemith: Concerto for Winds, Harp and Orchestra, in New York; 1949 - Randall Thompson: Symphony No. 3, Columbia University, in New York, Thor Johnson conducting; 1958 - Cage: Piano Concerto, in New York City; 1960 - Shostakovich: String Quartet No. 7, in Leningrad, by the Beethoven Quartet; 1972 - Rochberg: String Quartet No. 3, at Tully Hall in New York City, by the Concord Quartet; 1992 - Stephen Paulus: "Air on Seurat (The Grand Canal)", for cello and piano, at the National Cello Competition at Arizona State University in Phoenix, Ariz.; 1993 - Steve Reich: opera "The Cave," in Vienna at the Wiener Festspielhaus; Others 1750 - First documented report of an audience standing during the "Hallelujah" chorus of Handel's "Messiah"; On May 1 and 15 in 1750, "Messiah" had been performed as a benefit for the Foundling Hospital charity (Gregorian dates: May 12 and 26, respectively).

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Synopsis OK – say you were paid to listen to and promote hundreds of new classical recordings every month and travel the world to broker new deals for a major record company. The question is, “What would you do in your spare time?” Well, if you’re a composer, the answer is easy: write your OWN music, of course. Sean Hickey’s “day job” is being the Senior Vice-President for Sales and Business Development at Naxos of America, but who also finds time to create his own chamber and orchestral works. On today’s date in 2007, for example, his Clarinet Concerto received its premiere performance at Symphony Space in New York City, with David Gould as soloist with the Metro Chamber Orchestra. It’s gone on to be his most-performed orchestra work, and, in keeping with Hickey’s globe-trotting, has been recorded in the Russian Federation by another virtuoso clarinetist, Alexander Fiterstein with the St. Petersburg State Academic Symphony. The work also incorporates fragments of folk tunes from Scotland as part of the creative mix. Why Scottish themes? “They have a timeless quality of most great folk music, “says Hickey. “In the concerto’s cadenza, a fiddle tune leads headlong into a rapturous close.” Music Played in Today's Program Sean Hickey — Concerto for Clarinet and Orchestra (Alexander Fiterstein, cl; St. Petersburg Academic Symphony; Vladimir Lande, cond.)Delos 3448 On This Day Births 1899 - American composer and teacher Randall Thompson, in New York; 1933 - American composer and pianist Easley Blackwood, in Indianapolis; Premieres 1845 - Lortzing: opera "Undine," in Magdeburg at the Stadttheater; 1889 - Puccini: opera "Edgar," in Milan at the Teatro alla Scala; 1917 - Debussy: Sonata No. 2 for flute,viola, and harp, at a concert of the Société Musicale Indépendante in Paris, by the trio of Manouvirier (flute), Jarecki (viola), and Jamet (harp); 1918 - Prokofiev: Symphony No. 1 ("Classical"), in Petrograd, by the former Court Orchestra with the composer conducting; 1922 - Frederick Converse: Symphony No. 2, by the Boston Symphony, Pierre Monteux conducting; 1924 - Youmans: musical "No, No Nanette," in Detroit; After stops in Chicago and London, the musical opened on Broadway on Sept. 16, 1925; 1937 - Copland: a play-opera for high school "The Second Hurricane," at the Grand Street Playhouse in New York City, with soloists from the Professional Children's School, members of the Henry Street Settlement adult chorus, and the Seward High School student chorus, with Lehman Engle conducting and Orson Welles directing the staged production; One professional adult actor, Joseph Cotton, also participated (He was paid $10); 1939 - Leonard Bernstein's first appearance as a conductor, leading his own incidental score to "The Birds" at Harvard; 1942 - Bernstein: Clarinet Sonata, in Boston, with clarinetist David Glazer and the composer at the piano; 1948 - Vaughan Williams: Symphony No. 6, at Royal Albert Hall in London, by the BBC Symphony, Sir Adrian Boult conducting; 1973 - Bliss: "Variations" for orchestra, in London, with Leopold Stokowski conducting; 1985 - Morton Feldman: "For Philip Guston," for chamber ensemble, in New York; 1988 - Bernstein: "Missa brevis," in Atlanta by the Atlanta Symphony Chorus conducted by Robert Shaw; Others 1749 - Against Handel's wishes, in advance of its official premiere scheduled for April 27, a public rehearsal of Handel's "Music for the Royal Fireworks" at Vauxhall Gardens takes place; Reports suggest 12,000 attended, causing traffic jams on London Bridge (Gregorian date: May 2); 1829 - Mendelssohn, age 20, arrives in London for his first visit. 1863 - American premiere of J.S. Bach's Concerto for Two Claviers and Orchestra No.2 in C Major, at Dodworth's Hall in New York during a Mason-Thomas chamber music "Soiree,"with Henry C. Timm and William Mason performing on two pianos. Links and Resources More on Sean Hickey at Vox Novus

Synopsis OK – say you were paid to listen to and promote hundreds of new classical recordings every month and travel the world to broker new deals for a major record company. The question is, “What would you do in your spare time?” Well, if you’re a composer, the answer is easy: write your OWN music, of course. Sean Hickey’s “day job” is being the Senior Vice-President for Sales and Business Development at Naxos of America, but who also finds time to create his own chamber and orchestral works. On today’s date in 2007, for example, his Clarinet Concerto received its premiere performance at Symphony Space in New York City, with David Gould as soloist with the Metro Chamber Orchestra. It’s gone on to be his most-performed orchestra work, and, in keeping with Hickey’s globe-trotting, has been recorded in the Russian Federation by another virtuoso clarinetist, Alexander Fiterstein with the St. Petersburg State Academic Symphony. The work also incorporates fragments of folk tunes from Scotland as part of the creative mix. Why Scottish themes? “They have a timeless quality of most great folk music, “says Hickey. “In the concerto’s cadenza, a fiddle tune leads headlong into a rapturous close.” Music Played in Today's Program Sean Hickey — Concerto for Clarinet and Orchestra (Alexander Fiterstein, cl; St. Petersburg Academic Symphony; Vladimir Lande, cond.)Delos 3448 On This Day Births 1899 - American composer and teacher Randall Thompson, in New York; 1933 - American composer and pianist Easley Blackwood, in Indianapolis; Premieres 1845 - Lortzing: opera "Undine," in Magdeburg at the Stadttheater; 1889 - Puccini: opera "Edgar," in Milan at the Teatro alla Scala; 1917 - Debussy: Sonata No. 2 for flute,viola, and harp, at a concert of the Société Musicale Indépendante in Paris, by the trio of Manouvirier (flute), Jarecki (viola), and Jamet (harp); 1918 - Prokofiev: Symphony No. 1 ("Classical"), in Petrograd, by the former Court Orchestra with the composer conducting; 1922 - Frederick Converse: Symphony No. 2, by the Boston Symphony, Pierre Monteux conducting; 1924 - Youmans: musical "No, No Nanette," in Detroit; After stops in Chicago and London, the musical opened on Broadway on Sept. 16, 1925; 1937 - Copland: a play-opera for high school "The Second Hurricane," at the Grand Street Playhouse in New York City, with soloists from the Professional Children's School, members of the Henry Street Settlement adult chorus, and the Seward High School student chorus, with Lehman Engle conducting and Orson Welles directing the staged production; One professional adult actor, Joseph Cotton, also participated (He was paid $10); 1939 - Leonard Bernstein's first appearance as a conductor, leading his own incidental score to "The Birds" at Harvard; 1942 - Bernstein: Clarinet Sonata, in Boston, with clarinetist David Glazer and the composer at the piano; 1948 - Vaughan Williams: Symphony No. 6, at Royal Albert Hall in London, by the BBC Symphony, Sir Adrian Boult conducting; 1973 - Bliss: "Variations" for orchestra, in London, with Leopold Stokowski conducting; 1985 - Morton Feldman: "For Philip Guston," for chamber ensemble, in New York; 1988 - Bernstein: "Missa brevis," in Atlanta by the Atlanta Symphony Chorus conducted by Robert Shaw; Others 1749 - Against Handel's wishes, in advance of its official premiere scheduled for April 27, a public rehearsal of Handel's "Music for the Royal Fireworks" at Vauxhall Gardens takes place; Reports suggest 12,000 attended, causing traffic jams on London Bridge (Gregorian date: May 2); 1829 - Mendelssohn, age 20, arrives in London for his first visit. 1863 - American premiere of J.S. Bach's Concerto for Two Claviers and Orchestra No.2 in C Major, at Dodworth's Hall in New York during a Mason-Thomas chamber music "Soiree,"with Henry C. Timm and William Mason performing on two pianos. Links and Resources On Theodore Thomas Concert-going then and now

Un día como hoy, 4 de abril: Nace: 1785: Bettina von Arnim, escritora alemana (f. 1859). 1873: Frida Uhl, escritora austríaca (f. 1943). 1875: Pierre Monteux, director de orquesta y músico francés (f. 1964). 1914: Marguerite Duras, novelista, guionista de cine y escritora francesa (f. 1996). 1932: Andrei Tarkovsky, cineasta soviético (f. 1986). 1954: Michel Camilo, pianista dominicano. 1965: Robert Downey Jr., actor estadounidense. 1979: Heath Ledger, actor australiano (f. 2008). Fallece: 1284: Alfonso X el Sabio, rey castellano (n. 1221). Una producción de Sala Prisma Podcast. 2021

Een aflevering in de serie “In Stukken”. Lex Bohlmeijer praat met Jurjen Hempel (dirigent van o.a. de Opéra de Toulon) en Ward Koopmans (altviolist in Symfonie Orkest Bellitoni) over Le Sacre du Printemps van Igor Stravinsky. Ze zijn alle drie groot liefhebber van deze balletmuziek. Het ballet geeft een prehistorische wereld weer. Een jonge maagd is uitverkoren om zich dood te dansen, als offer aan de zonnegod. We staan zo stil bij het begin van de lente en de herdenking aanstaande dinsdag. Dan is het namelijk 50 jaar geleden dat de grote Russische componist overleed in New York. De première van Le Sacre du Printemps (1913) behoort tot de meest gedenkwaardige schandalen uit de muziekgeschiedenis. De oudste opname die te horen is, onder leiding van Pierre Monteux, werd gemaakt in 1929. Maar ook recente opnamen passeren de revue.

durée : 01:59:16 - Relax ! du vendredi 26 février 2021 - par : Lionel Esparza - On écoute le dernier volume de la Discothèque idéale du magazine Diapason, consacré ce mois-ci aux œuvres lyriques, orchestrales et aux transcriptions de Claude Debussy, dans les interprétations de grands chefs debussystes tels que Charles Munch, D. E. Inghelbrecht, Fritz Reiner ou Pierre Monteux... - réalisé par : Antoine Courtin

durée : 01:58:03 - Relax ! du jeudi 21 janvier 2021 - par : Lionel Esparza - Portrait de la violoniste Julia Fischer, à l'occasion de son concert ce soir à l'Auditorium de Radio France, un concert sans public mais en direct sur notre antenne. Et notre disque de légende est la version de "La Mer" de Claude Debussy par Pierre Monteux et l'Orchestre symphonique de Boston. - réalisé par : Antoine Courtin

durée : 00:17:23 - Disques de légende du jeudi 21 janvier 2021 - Le chef d'orchestre Pierre Monteux et l'Orchestre symphonique de Boston enregistrent "La Mer" et les "Nocturnes" de Claude Debussy en 1954 et 1955, pour le label RCA. Un disque émouvant, où le chef d'orchestre donne sa vision d'une musique qu'il a vu naître cinquante ans plus tôt...

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

The short career of Charles Tomlinson Griffes is one of the more tragic “might-have-beens” of American music history. Griffes died at 35 years old, in 1920, just as his music was being taken up by the major American orchestras of his day. As most American composers of his time, Griffes studied in Germany, and his early works were, not surprisingly, rather Germanic in tone. But beginning around 1911, Griffes began composing works inspired by French impressionism and the art of Asia. The Boston Symphony under Pierre Monteux premiered his tone-poem “The Pleasure Dome of Kubla-Khan,” and the New York Symphony under Walter Damrosch his “Poeme” for flute and orchestra. On today’s date in 1919, the Philadelphia Orchestra under Leopold Stokowski premiered four orchestral pieces: “Nocturne,” “Bacchanale,” “Clouds,” and one of his best works, entitled “The White Peacock.” The Philadelphia newspaper reviews of the premieres called Griffes’ work, “one of the hopeful intimations for the future of American music.” A severe bout of influenza left Griffes too weak to attend these Philadelphia premieres under Stokowski, and he died of a lung infection the following spring.

The short career of Charles Tomlinson Griffes is one of the more tragic “might-have-beens” of American music history. Griffes died at 35 years old, in 1920, just as his music was being taken up by the major American orchestras of his day. As most American composers of his time, Griffes studied in Germany, and his early works were, not surprisingly, rather Germanic in tone. But beginning around 1911, Griffes began composing works inspired by French impressionism and the art of Asia. The Boston Symphony under Pierre Monteux premiered his tone-poem “The Pleasure Dome of Kubla-Khan,” and the New York Symphony under Walter Damrosch his “Poeme” for flute and orchestra. On today’s date in 1919, the Philadelphia Orchestra under Leopold Stokowski premiered four orchestral pieces: “Nocturne,” “Bacchanale,” “Clouds,” and one of his best works, entitled “The White Peacock.” The Philadelphia newspaper reviews of the premieres called Griffes’ work, “one of the hopeful intimations for the future of American music.” A severe bout of influenza left Griffes too weak to attend these Philadelphia premieres under Stokowski, and he died of a lung infection the following spring.

durée : 01:58:09 - Paul Paray - par : Christian Merlin - Moins connu que Charles Munch ou Pierre Monteux, Paul Paray n’en fut pas moins un des meilleurs chefs français, mélange rare d’exactitude et d’énergie qui lui ouvrit les portes d’une carrière américaine aujourd’hui trop oubliée. - réalisé par : Marie Grout

I had been planning a 90th birthday tribute to this extraordinary artist in December, but alas, the great Rosanna Carteri departed this earth a week ago today, just a few weeks short of that landmark celebration. But let us celebrate today nonetheless, that this long-lived artist, who abandoned her performing career in 1966 when she was only 35 years old, brought her full-throated voice and impeccable artistry to operatic stages around the world for fifteen exceptional years. Carteri’s was a lyric yet full-bodied voice with facility that allowed her to undertake soubrette parts as well as some spinto roles. I feature extended examples of her versatility over the course of that entire career, including excerpts from La traviata, La bohème, La rondine, Guglielmo Tell, Falstaff, L’elisir d’amore, Madama Butterfly, Roméo et Juliette, Otello, Pietro Mascagni’s L’amico Fritz and Iris, Prokofiev’s War and Peace (the final version of which she created in Florence in 1954), the premiere recording of Poulenc’s Gloria and Gilbert Bécaud’s Opéra d’Aran (which she premiered in Paris in 1962). These operas represent just a fraction of her repertoire, in which are featured, among others, Giuseppe di Stefano, Nicolai Gedda, Leonard Warren, Carlo Bergonzi, Ettore Bastianini, Ferruccio Tagliavini, Giuseppe Taddei, Cesare Valletti, and Giuseppe Gismondo and conductors Tullio Serafin, Pierre Monteux, Vittorio Gui, Georges Prêtre, Gabriele Santini, and Artur Rodzinski. In other words, the crème de la crème of the operatic firmament in the 1950s and 1960s, in which company Carteri most emphatically belonged. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available, including a new extra episode further exploring today’s topic.

durée : 01:58:44 - La deux-centième : Ils parlent ! Les voix des grands interprètes - par : Philippe Cassard - « Ils parlent ! Les voix des grands interprètes » Pierre Monteux et Arturo Toscanini en répétition, Wilhem Kempff francophile, Cziffra se souvient, Alfred Cortot enseigne, Benedetti-Michelangeli chante, Rubinstein cabotine. - réalisé par : Pierre Willer

durée : 00:57:53 - Disques de légende du mardi 06 octobre 2020 - Une version d'anthologie ! En 1959, Pierre Monteux et l'Orchestre symphonique de Londres enregistrent pour Decca le ballet "Daphnis et Chloé" de Maurice Ravel, presque cinquante ans après que le chef d'orchestre l'ait dirigé pour la première fois lors de sa création au Théâtre des Champs Elysées.

Den franske dirigent Pierre Monteux uropførte i 1911 Stravinskijs ballet Petrusjka og i 1912 Ravels ballet Daphnis & Chloé. Han var en nær bekendt af både Ravel, Stravinskij og Debussy, og højt op i alderen forblev han en førende repræsentant for deres værker. Derfor kan man på optagelser helt op fra stereotiden høre Monteux' autoritative fortolkninger af den skelsættende musik, han præsenterede i begyndelsen af 1900-tallet.Ravel: Daphnis & Chloé.(Koncert i Amsterdam, 23. juni 1955).Ravel: Shéhérazade. Victoria de los Angeles, sopran.Concertgebouw Orkestret.Dirigent: Pierre Monteux.(Koncert i Amsterdam, 20. november 1963).Stravinskij: Petrusjka.Concertgebouw Orkestret.Dirigent: Pierre Monteux.(Koncert i Amsterdam, 1960). Vært: Celine Haastrup. www.dr.dk/p2koncerten

durée : 00:24:41 - Pierre Monteux dirige la Symphonie Fantastique d'Hector Berlioz - L’œuvre fétiche de Charles Munch ! En novembre 1954, le chef d'orchestre français enregistre la Symphonie fantastique d'Hector Berlioz avec l'Orchestre symphonique de Boston, dont il est à l'époque le directeur musical. C'est l'une des sept versions de l’œuvre qu'il enregistrera au disque.

On today's date in 1912 Maurice Ravel's ballet "Daphnis et Chloé" received its first performance at the Théâtre du Châtelet in Paris, staged by Serge Diaghilev's Ballets Russes and choreographed by Michel Fokine. Some three years earlier, Diaghilev had approached Ravel about composing a ballet, and Ravel started working with Fokine on a scenario based on an old Greek pastoral romance about two lovers separated by pirates and reunited by the intervention of the god Pan. Ravel was a meticulous and slow worker, and his score for "Daphnis et Chloé" ended up taking three years to complete. By the time of its 1912 premiere, internal squabbles in the Diaghilev company and conceptual differences between composer and choreographer had dampened everyone's enthusiasm for the project. Even Diaghilev seemed to lose interest. In his memoirs, Pierre Monteux, the conductor of the first performance, recalled, "At first Diaghilev had been very enthusiastic with Ravel's magnificent score, but for some reason, which I have always thought was due to the weakness of the choreography, his fervor for Ravel and his music diminished to such a low pitch that it became difficult to work as we should have on the premiere." Monteux continued, "But all the musicians in the orchestra, and I might say all the musicians in Paris, knew that this was Maurice Ravel's greatest work."

On today's date in 1912 Maurice Ravel's ballet "Daphnis et Chloé" received its first performance at the Théâtre du Châtelet in Paris, staged by Serge Diaghilev's Ballets Russes and choreographed by Michel Fokine. Some three years earlier, Diaghilev had approached Ravel about composing a ballet, and Ravel started working with Fokine on a scenario based on an old Greek pastoral romance about two lovers separated by pirates and reunited by the intervention of the god Pan. Ravel was a meticulous and slow worker, and his score for "Daphnis et Chloé" ended up taking three years to complete. By the time of its 1912 premiere, internal squabbles in the Diaghilev company and conceptual differences between composer and choreographer had dampened everyone's enthusiasm for the project. Even Diaghilev seemed to lose interest. In his memoirs, Pierre Monteux, the conductor of the first performance, recalled, "At first Diaghilev had been very enthusiastic with Ravel's magnificent score, but for some reason, which I have always thought was due to the weakness of the choreography, his fervor for Ravel and his music diminished to such a low pitch that it became difficult to work as we should have on the premiere." Monteux continued, "But all the musicians in the orchestra, and I might say all the musicians in Paris, knew that this was Maurice Ravel's greatest work."

Today's date marks the anniversary of one of the most famous—and notorious—premieres in the history of classical music, that of Stravinsky's "Le sacre du printemps" (The Rite of Spring), in Paris on May 29, 1913. From its first note—sounded by the bassoon at the extreme end of its highest register—Stravinsky's score signaled the start of something radically different. It's also remembered as the occasion of one of the most emotional reactions by any audience: As the music got under way, catcalls and insults were hurled between the composer's supporters and detractors, fistfights broke out, and finally the police were called. There were those, including Pierre Monteux, the conductor of the premiere, who felt the reactions were occasioned more by the dancing and the stage picture than by the music itself, and indeed "The Rite of Spring" has since fared far better in the concert hall than as a ballet. Years later, when Monteux was asked what he thought of the original production, he confessed to everyone's amusement that he actually never saw it, because his eyes were glued to the score. "On hearing this near riot behind me," he wrote, "I decided to keep the orchestra together at any cost, in case of a lull in the hubbub. I did, and we played it to the end absolutely as we had rehearsed it in the peace of an empty theatre."

Today's date marks the anniversary of one of the most famous—and notorious—premieres in the history of classical music, that of Stravinsky's "Le sacre du printemps" (The Rite of Spring), in Paris on May 29, 1913. From its first note—sounded by the bassoon at the extreme end of its highest register—Stravinsky's score signaled the start of something radically different. It's also remembered as the occasion of one of the most emotional reactions by any audience: As the music got under way, catcalls and insults were hurled between the composer's supporters and detractors, fistfights broke out, and finally the police were called. There were those, including Pierre Monteux, the conductor of the premiere, who felt the reactions were occasioned more by the dancing and the stage picture than by the music itself, and indeed "The Rite of Spring" has since fared far better in the concert hall than as a ballet. Years later, when Monteux was asked what he thought of the original production, he confessed to everyone's amusement that he actually never saw it, because his eyes were glued to the score. "On hearing this near riot behind me," he wrote, "I decided to keep the orchestra together at any cost, in case of a lull in the hubbub. I did, and we played it to the end absolutely as we had rehearsed it in the peace of an empty theatre."

durée : 01:58:58 - Relax ! du lundi 28 octobre 2019 - par : Lionel Esparza - Nous parcourons les disques d'un coffret consacré aux enregistrements du chef d'orchestre Pierre Monteux (1875-1964), qui contient notamment l'intégrale de ses enregistrements avec le London Symphony Orchestra, et quelques raretés. - réalisé par : Antoine Courtin

durée : 00:27:59 - Pierre Monteux, chef d'orchestre (5/5) - Musique = Clapping de Steve Reich Voix = Coco Bonnier

durée : 00:28:31 - Pierre Monteux, chef d'orchestre (4/5) - Musique = Clapping de Steve Reich Voix = Coco Bonnier

For episode 666, a collection of evil music., including: Sinful Blues, Hard Time Killing Floor, Oh I'm Evil, Witches' Sabbath, Pretty Polly, Me and the Devil and It Ain't Necessarily So. Performers include: Maxine Sullivan, Robert Johnson, Skip James, Ella Fitzgerald, Una Mae Carlise, Pierre Monteux, Dock Boggs, Bessie Smith and Count Basie.

Pianist Jerome Lowenthal's active solo and teaching career has shaped the pianistic landscape of today!  It is such a pleasure to welcome this legendary musician to the show!  Through his incredible story, Jerome talks to us about how the varied sources of influence he was exposed to as a young musician lead him to search within himself and find his own artistic voice, how he helps students do the same today, and he gives out wonderful wisdom and advice for young musicians. There's so much to learn and so much inspiration to be found through his story and I hope you love this conversation with Jerome Lowenthal!     NEW ON THE WEBSITE: A Resources page! You can find my favorite websites, cds, as well as the other podcasts I like to listen to and the amazing books recommended by my podcast guests! Visit www.mindoverfinger.com/resources!   Sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY! Click HERE or visit www.mindoverfinger.com!   MORE ABOUT JEROME: Websites: https://www.juilliard.edu/music/faculty/lowenthal-jerome https://www.musicacademy.org/profile/jerome-lowenthal/   YouTube videos: CLICK HERE   Jerome Lowenthal is an American classical pianist. He is chair of the piano department at the Juilliard School in New York.  Additionally, Lowenthal is on the faculty at Music Academy of the West in Santa Barbara, California. Lowenthal was born in Philadelphia. He made his debut as a solo pianist at the age of 13 with the Philadelphia Orchestra. Returning to the United States from Jerusalem in 1963, he made his debut with the New York Philharmonic, playing Bartók's Piano Concerto No. 2. Since then, he has performed with famous conductors such as Daniel Barenboim, Seiji Ozawa, Michael Tilson Thomas, Yuri Temirkanov, Leonard Slatkin, Leonard Bernstein, Eugene Ormandy, Pierre Monteux, Josef Krips,[3] and Leopold Stokowski. He has played sonatas with Itzhak Perlman, piano duos with Ronit Amir, and with Ursula Oppens,[4] as well as quintets with the Lark Quartet, Avalon Quartet, and Shanghai Quartet. His studies included lessons with Olga Samaroff in Philadelphia, William Kapell and Eduard Steuermann at the Juilliard School in New York, and Alfred Cortot at the École Normale de Musique de Paris in Paris, France. A prizewinner at Queen Elisabeth Music Competition in Brussels (1960) and Busoni Competition, he is a frequent judge in international piano competitions. He is recognized as a specialist of Franz Liszt, Pyotr Tchaikovsky, Béla Bartók, and more generally of virtuoso and late romantic music. His recordings include piano concertos by Liszt with the Vancouver Symphony Orchestra and the complete Tchaikovsky concerto cycle with the London Symphony Orchestra. He has an extensive repertoire, including 59 performed piano concerti. He is the dedicatee of many new works, such as Ned Rorem's Piano Concerto (No. 3) in Six Movements, and has unearthed some rare romantic piano works, such as the Liszt Third Piano Concerto edited by his former student Jay Rosenblatt.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

durée : 00:27:59 - Pierre Monteux, chef d'orchestre (5/5) - Musique = Clapping de Steve Reich Voix = Coco Bonnier

durée : 00:28:31 - Pierre Monteux, chef d'orchestre (4/5) - Musique = Clapping de Steve Reich Voix = Coco Bonnier

durée : 00:29:09 - Pierre Monteux, chef d'orchestre (3/5) - Musique = Clapping de Steve Reich Voix = Coco Bonnier

durée : 00:27:01 - Pierre Monteux, chef d'orchestre (2/5) - Musique = Clapping de Steve Reich Voix = Coco Bonnier

durée : 00:26:45 - Pierre Monteux, chef d'orchestre (1/5) - Musique = Clapping de Steve Reich Voix = Coco Bonnier

durée : 01:58:58 - Relax ! du lundi 28 octobre 2019 - par : Lionel Esparza - Nous parcourons les disques d'un coffret consacré aux enregistrements du chef d'orchestre Pierre Monteux (1875-1964), qui contient notamment l'intégrale de ses enregistrements avec le London Symphony Orchestra, et quelques raretés. - réalisé par : Antoine Courtin

durée : 00:58:47 - Nikolaus Harnoncourt, chef d'orchestre (2/5) - Une heure pour écouter des enregistrements d'André Previn en parallèle à ceux de son maître Pierre Monteux dans la musique de Debussy, Brahms, Vaughan Williams et Mozart).

PROGRAM NOTES In today's VINYL VIBRATIONS podcast, we explore Odd Meters. First, a quick primer on meter.  If you are a musician… bear with me if you will…Rhythm is the arrangement of sounds in time. ...Meter places time into groupings, called measures or bars. The meter signature, also known as the time signature, is noted as two numbers stacked one above the other….like a fraction. For example: 4/4. On top-----The number of beats in a bar or measure. And on bottom----the type of note that represents one beat, most commonly it is a quarter note. Two most common time signatures are 3/4 three-four for three quarternotes per measure 4/4 four-four ….for four quarternotes per measure We find 3/4 time in the waltz, a simple 1-2-3 dance step, it's a simple signature comprised of 3 quarter notes.   And 4/4 time can be found throughout pop, rock, country, even the classics, its a simple "even" signature comprised of 4 quarter notes. In today's podcast we will hear ODD METERS starting with… 1 "The Rite of Spring”.  Part II (The Sacrifice) "Sacrificial Dance", Igor Stravinsky 2 "Take Five", Dave Brubeck Quartet, album Time Out 3 "Toads of the Short Forest" Frank Zappa and the Mothers of Invention, album Weasles Ripped My Flesh 4 "Money"  Pink Floyd, album  The Dark Side of the Moon 5 "Good Morning, Good Morning", album Sgt. Pepper's Lonely Hearts Club Band - The Beatles 6 "Living in the Past", Jethro Tull, stand-alone single M1 The Rite of Spring”.  Part II (The Sacrifice) Sacrificial Dance by Igor Stravinsky  Experts have said that the ballet The Rite of Spring, composed in 1913, changed music forever. It is famous for causing a riot in 1913 at its premiere in Paris. This is because the music and dancing was so different than anything people had heard before. The energy, rhythms and colorful sounds are amazing, even a century later. Igor Stravinsky was one of the first to introduce odd meters into western classical music in his “The Rite of Spring”. Rite of Spring is an example of THE ABSENCE OF A PREDICTABLE METRE or REFUSAL TO ADHERE TO TRADITIONAL METRE. At the time, "traditional" meant Ballet dance with 3/4 metre, a demure orchestra supporting, building, mirroring, the dance choreography. Instead, Rite of Spring demonstrates the uses of pulses and rhythms in music and dance.  This is a complete departure from the norm.  Dancers beat the pulse of music with their feet and arms. Dancers gather and disperse like the rhythmic formations in the music. The rhythm is blatant and out front. To create further tension (and frustration to the 1913 audience), the dance rhythm breaks from the music rhythm, in the last movement - Sacrificial Dance.  The style of music is that there is no consistent downbeat. This arrangement was an outrage !! No consistent time ! Not done before. The Rite of Spring was premiered on Thursday, May 29, 1913 in Paris and was conducted by Pierre Monteux. The intensely rhythmic score and primitive stage performance shocked the audience ---as Nijinsky's choreography was a radical departure from classical ballet.  The audience began to boo loudly. There were loud arguments in the audience followed by shouts and fistfights in the aisles. Unrest turned into a riot. The Paris police arrived …but even so, chaos reigned for the remainder of the performance. Music critic Abigail Wagner described it well - "The1913 audience’s shock at hearing Rite was akin to that of someone who has only read verse in iambic pentameter, reading a prose novel for the first  time". This is the climactic final of The Rite of Spring, the closing episode of the Sacrificial Dance from The Rite of Spring”.   Igor Stravinsky  M2 Take Five, Dave Brubeck Quartet Album Time Out. Recorded in New York at Columbia Records in 1959 American Jazz pianist born 1920. Brubeck had studied with the French composer Darius Milhaud, who in turn had been strongly influenced by Stravinsky,

I programmet diskuteras Ravels Daphnis et Chloé, Monteverdis Mariavesper, pianomusik av Bartók och Jonas Kaufmann som sjunger Mahler. Johan har träffat Paavo Järvi. I panelen Camilla Lundberg, Edward Klingspor och Johanna Paulsson som tillsammans med programledaren Johan Korssell betygsätter nyutkomna inspelningar. Referensen Mahler Johan refererar till och jämför med en inspelning av Mahlers Das Lied von der Erde med Otto Klemperer på pulten framför solisterna Christa Ludwig och Fritz Wunderlich samt med Philharmonia och New Philharmonia Orchestra. Inspelningen gjordes på EMI 1967. Andra i programmet nämnda eller rekommenderade inspelningar: Ravels balett Daphnis et Chloé  i komplett utförande med Londons symfoniorkester ledd av Pierre Monteux och inspelad på Decca; Bostons symfoniorkester dirigerad av Charles Münch på RCA samt med Bostons symfoniorkester under Bernard Haitink på skivmärket Philips. Monteverdis Mariavesper med Concerto Vocale, Nederländska kammarkören och kammarorkestern allt under René Jacobs på Harmonia Mundi; Les Arts Florissants kör och orkester under William Christie på Erato. Bartóks pianomusik med Zoltan Kocsis på Hungaroton; Béla Bartók själv på Hungaroton; György Sandor på Musical Concepts samt med Martha Argerich och Stephen Kovacevich på DG. Mahlers Das Lied von der Erde med Janet Baker och James King samt Concertgebouworkestern ledda av Bernard Haitink på Philips samt med James King och Dieter Fischer-Dieskau ackompanjerade av Wiens filharmoniker och dirigerade av Leonard Bernstein på Decca.  Svepet Johan sveper över en box med 7 CD där Vladimir Jurowskij dirigerar Londons filharmoniker i Tjajkovskijs symfonier, Francesca da Rimini och Stråkserenaden. Utgiven på egna märket LPO.

I programmet diskuteras bl.a. Gli Incogniti som spelar Pachelbel, Ensemble Musikfabriks samtida tolkningar samt Schuberts Stråkkvintett med Ebène-kvartetten m.fl. Dessutom Sjostakovitj i mindre skala. FRANZ SCHUBERT Stråkkvintett C-dur samt sånger Ebène-kvartetten m.fl. Matthias Goerne, baryton Erato 0825646487615SCHERBEN Musik av Jonathan Harvey, Enno Poppe, Kaija Saariaho och Emmanuel Nunes Ensemble Musikfabrik m.fl. Wergo WER 6862 2JOHANN PACHELBEL Un orage davril, sviter och arior m.m. Hans Jörg Mammel, tenor Gli Incogniti Amandine Beyer, dirigent Harmonia Mundi HMC 902238DANCE MACABRE Musik av bl. a. Saint-Saëns, Dukas och Balakirev Montréals symfoniorkester Kent Nagano, dirigent Decca 483 0396I mindre skala Alexander Freudenthal och Johanna Paulsson serverar Sjostakovitj i större och mindre format.Andra i programmet nämnda eller rekommenderade inspelningar: Dukas Trollkarlens lärling med Berlins filharmoniker under James Levines ledarskap inspelad på DG; Lamoureux-orkestern under Jean Martinons ledning på BnF Collection samt med Londons symfoniorkester dirigerad av Pierre Monteux på Youtube. Gli Incogniti framför musik av Corelli, Vivaldi och Couperin Schuberts Stråkkvintett med Alban Berg-kvartetten och cellisten Heinrich Schiff på EMI. Svepet Johan sveper över en CD med Bernd Alois Zimmermanns Sinfonie in einem Satz framförd av Västtyska radions symfoniorkester, Köln allt under ledning av Peter Hirsch. Inspelad på Wergo.

With Lew Smoley, Dennis Rooney, and Sedgwick Clark

Pierre Monteux conducts Offenbach's opera from 1955 with a cast headed by Richard Tucker and including Martial Singher, Roberta Peters, Rise Stevens, Lucine Amara,Mildred Miller, Norman Scott (Crespel), Alessio de Paolis (comic tenor roles), Clifford Harvuot (Schlemil), and Sandra Warfield (Mother's voice.)

Rosanna Carteri is, for me, an example of a "lost art" in opera. She possesses the emotion, the attention to word and phrase, the beauty of voice, and all the elements that I honestly feel are so rare in these days. I am not intending to denigrate anyone, but you "cognoscenti" by now (with slight prejudice from me)  might understand what I mean. I hope you enjoy this soprano as I do  (71 min.) Rosanna Carteri (born 14 December 1930) was an Italian soprano primarily active in the 1950s through the mid-1960s. Rosanna Carteri was born in Verona but was raised in Padua. She studied with Cusinati and started singing in concert at the age of twelve. She won a RAI singing contest in 1948 which led to her operatic debut at the Baths of Caracalla in Rome as Elsa in Lohengrin in 1949, aged only 19. She made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La Bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Arena di Verona as Mimi in 1958, Covent Garden as Tosca in 1960, Opéra de Paris in 1961 as Violetta in La Traviata. Carteri made a few recordings for Cetra early in her career, in such operas as Guglielmo Tell, La Bohème and Suor Angelica. She recorded La Traviata for RCA Victor with Cesare Valletti and Leonard Warren under the direction of Pierre Monteux. She participated in several television productions for RAI such as Le nozze di Figaro, La Traviata, Otello, and Falstaff. Carteri also participated in the creation of some contemporary works such as Ifegenia by Ildebrando Pizzetti in 1950, Proserpine e le straniero by Juan José Castro in 1952, Calzare d'argento again by Pizzetti in 1961 and Il mercante di Venizia by Mario Castelnuovo-Tedesco also in 1961. Retirement Carteri decided to retire from singing in the mid-1960s while still only in her thirties to devote herself to her family.

  That great lady, Helen Traubel, in scenes from live performances of Wagner material.Included is a scene from act 3 Walkure with Herbert Janssen from 1944 under George Szell. Then we have some Gotterdamerung scenes under Fritz Stiedry from 1951, with Set Svanholm,Janssen, and Dezso Ernster. This is followed by  a Liebestod from San Francisco 1951 under Pierre Monteux. I conclude with the Immolation Scene under Bruno Walter from Hollywood, 1947.  (69 min.)          I also must mention her enjoyable TV appearances with the beloved Jimmy Durante, a close friend of my mother for many years. How many artists can go from Brunnhilde to Durante???

Rosanna Carteri, one of the most emotional divas in my experience, is heard in material from Adriana, Lodoletta,Turandot, Mme.Butterfly (w.Carlo Bergonzi), Suor Angelica, La Traviata, La Boheme (w.Giuseppe Taddei). Bio to follow   (69 min.) Rosanna Carteri (born December 14, 1930) was an Italian soprano primarily active in the 1950s through the mid-1960s. Rosanna Carteri was born in Verona and studied with Cusinati and started singing in concert at the age of twelve. She won a RAI singing contest in 1948 which led to her operatic debut at the Baths of Caracalla in Rome as Elsa in Lohengrin in 1949, aged only 19. She made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La Bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Arena di Verona as Mimi in 1958, Covent Garden as Tosca in 1960, Opéra de Paris in 1961 as Violetta in La Traviata. Carteri made a few recordings for Cetra early in her career, such as Matilde in Guglielmo Tell, opposite Giuseppe Taddei, La Bohème with Ferruccio Tagliavini and Suor Angelica. She also recorded La Traviata for RCA Victor with Cesare Valletti and Leonard Warren under the direction of Pierre Monteux. She participated in several television productions for RAI such as Le nozze di Figaro, La Traviata, Otello and Falstaff. Carteri also participated in the creation of some contemporary works such as Ifegenia by Ildebrando Pizzetti in 1950, Proserpine e le straniero by Juan Jose Castro in 1952, Calzare d'argento again by Pizzetti in 1961 and Il mercante di Venizia by Mario Castelnuovo-Tedesco also in 1961. Rosanna Carteri decided to retire from singing in the mid-1960s while still only in her thirties to devote herself to her family.