POPULARITY
4 episodes with Robert Levin
4 episodes with Robert Levin
2 episodes with Robert Levin
4 episodes with Robert Levin
2 episodes with Robert Levin
2 episodes with Robert Levin
2 episodes with Robert Levin
4 episodes with Robert Levin
3 episodes with Robert Levin
#391 This episode of Millionaire University, hosted by Erik Fisher, he chats with Robert Levin, Co-Founder and Chairman of Work Better Now. They chat about Robert's personal journey from CPA to media company founder, to the visionary behind Work Better Now, the strategic benefits of sourcing talent from Latin America and how it aligns with US work culture and time zones, successful empowerment of remote assistants, the essential nature of AI in today's business operations, and secrets to effective time management and delegation skills that will free you from being the bottleneck of your business. (Original Air Date - 4/26/24) What we discuss with Robert: + The transformative experience of hiring a virtual assistant + The strategic advantages of sourcing talent from Latin America + The importance of prioritizing time and effective time management for business owners + Steps for business owners to take to start delegating tasks + Creating job descriptions and handbooks for new remote assistants + Examples of various roles and functions that a remote assistant can fulfill + Importance of onboarding and training assistants properly + Sharing of the hosts' own experiences and hesitations with delegation Links and resources from this episode: Work Better Now Thank you, Robert! Thank you Robert for sponsoring today's show and if you'd like to connect with Robert on LinkedIn click here! For more information go to MillionaireUniversity.com To get access to our FREE Business Training course go to MillionaireUniversity.com/training. And follow us on: Instagram Facebook Tik Tok Youtube Twitter To get exclusive offers mentioned in this episode and to support the show, visit millionaireuniversity.com/sponsors. EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/millionaire. Try it risk-free now with a 30-day money-back guarantee! Want to hear from more incredible entrepreneurs? Check out all of our interviews here! Learn more about your ad choices. Visit megaphone.fm/adchoices
Is your business really built to scale?Most entrepreneurs dream of growing fast… but here's the truth: speed alone won't get you to sustainable success.This insight from business growth expert Robert Levin says it all…Scaling isn't just about getting bigger—it's about getting better, stronger, and more profitable in the long run.And more and more entrepreneurs are learning this the HARD way after chasing growth at all costs…These failures are due to poor scaling decisions…Expanding too quickly. Hiring too fast. Investing in the wrong areas.And guess what?The businesses that took a strategic, execution-focused approach lasted 3x longer.Robert said it best…“Sustainable success isn't about ideas—it's about executing the right ones at the right time.” So how do you make sure you're scaling the right way?We'll dive deep into this (and so much more) in this episode of the DealQuest Podcast! The BIGGEST scaling mistakes (and how to avoid them) How to grow without overextending your team, resources, or cash flow The #1 growth strategy that keeps businesses thriving for the long haul And much moreIf you're serious about scaling sustainably and profitably… • • •FOR MORE ON THIS EPISODE:https://www.coreykupfer.com/blog/robertlevin• • • FOR MORE ON ROBERT LEVINRobert Levin's LinkedInCIS Ventures, LLCFOR MORE ON COREY KUPFERhttps://www.linkedin.com/in/coreykupfer/http://coreykupfer.com/ Corey Kupfer is an expert strategist, negotiator, and dealmaker. He has more than 35 years of professional deal-making and negotiating experience. Corey is a successful entrepreneur, attorney, consultant, author, and professional speaker. He is deeply passionate about deal-driven growth. He is also the creator and host of the DealQuest Podcast.Get deal-ready with the DealQuest Podcast with Corey Kupfer, where like-minded entrepreneurs and business leaders converge, share insights and challenges, and success stories. Equip yourself with the tools, resources, and support necessary to navigate the complex yet rewarding world of dealmaking. Dive into the world of deal-driven growth today!
Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a unique and distinguished career as a soloist, chamber musician, educator, author and broadcaster.As a concerto soloist he appears regularly with the world's leading orchestras and conductors, including the Berlin Philharmonic, National Symphony Orchestra Washington, London Philharmonic and Zurich Tonhalle orchestras. He gives recitals every season in major musical centres, and plays with many of the world's foremost chamber orchestras, including the Australian, Mahler, Norwegian, Scottish, Zurich and St Paul Chamber Orchestras, as well as period-instrument ensembles such as the Orchestra of the Age of Enlightenment and Philharmonia Baroque Orchestra. Unusually, he also directs chamber orchestras from the cello in classical programmes.Recent and upcoming highlights include performances with the Gewandhausorchester Leipzig, Vienna Philharmonic Orchestra at the Salzburg Mozartwoche; the US premiere of Thomas Adès's Lieux retrouvés with the Los Angeles Philharmonic, following world and UK premieres in Lucerne and at the BBC Proms, and a further performance of the work in Amsterdam with the Britten Sinfonia, conducted by the composer; Prokofiev's Concerto Op. 58 with the London Philharmonic Orchestra under Vladimir Jurowski, in London and at the Dresden Music Festival; and Haydn's C major Concerto with the Orchestra of the Age of Enlightenment under Adam Fischer.As a chamber musician, he has curated series for many of the world's most famous festivals and venues, including the Wigmore Hall, the 92nd St Y in New York, and the Salzburg Festival. These specially devised programmes have included ‘In the Shadow of War', a major four-part series for the Wigmore Hall to mark the centenary of the First World War and the 75th anniversary of the Second World War; explorations of Czech music; the teacher-pupil line of Saint-Saëns, Fauré and Ravel; the affinity of the cello and the human voice; varied aspects of Robert Schumann's life and music; and the music of Sergei Taneyev (teacher of Steven's grandfather, Julius Isserlis) and his students. For these concerts Steven is joined by a regular group of friends which includes the violinists Joshua Bell, Isabelle Faust, Pamela Frank, and Janine Jansen, violist Tabea Zimmermann, and pianists Jeremy Denk, Stephen Hough, Alexander Melnikov, Olli Mustonen, Connie Shih, and Dénes Várjon.He also takes a strong interest in authentic performance. This season's projects include a recording of the Chopin Cello Sonata and other works with Dénes Várjon for Hyperion, using ones of Chopin's own piano; and a recital of Russian sonatas with Olli Mustonen. In recital, he gives frequent concerts with harpsichord and fortepiano. Recent seasons have featured a special performance with Sir Andras Schiff at the Beethovenhaus in Bonn, using Beethoven's own cello; and performances and recordings (selected for the Deutsche SchallplattenPreis) of Beethoven's complete music for cello and piano with Robert Levin, using original or replica fortepianos from the early nineteenth century. With harpsichordist Richard Egarr, he has performed and recorded the viola da gamba sonatas of J.S. Bach as well as sonatas by Handel and Scarlatti. This season, they tour together in the US.He is also a keen exponent of contemporary music and has premiered many new works including John Tavener's The Protecting Veil (as well as several other pieces by Tavener), Thomas Adès's Lieux retrouvés, Stephen Hough's Sonata for Cello and Piano, Left Hand (Les Adieux), Wolfgang Rihm's Concerto in One Movement, David Matthews' Concerto in Azzurro, and For Steven and Hilary's Jig by György Kurtág. In 2016, he gave the UK premiere of Olli Mustonen's of Frei, aber einsam for solo cello at the Wigmore Hall.
Episode 80. The professional careers of many impressive people have spanned some combination of investing (or private equity), operating (and/or founding a business) and advising. But when and how do we consider the right balance and the right time for each?In this episode of the Lifetime at Work podcast, host Greg Martin interviews Robert Levin, an M&A expert and founder of CIS Ventures. Levin shares his journey from working in various industries and founding companies to transitioning into private equity. They discuss Levin's extensive experience, covering topics like the evolution of private equity, the opportunities in lower middle market businesses, raising capital, advisory roles, and the key differences between being an operator and investor. Levin also gives advice on how to navigate the intricacies of raising capital, the importance of having the right team, and strategic thinking, particularly in leveraging emerging technologies like AI. The episode provides valuable insights for entrepreneurs, investors, and business operators looking to understand the complexities and opportunities within the private equity landscape.00:00 Introduction to Lifetime at Work Podcast00:23 Meet Robert Levin: From Founder to Private Equity01:20 Robert's Early Life and Career Beginnings04:01 Transition to Private Equity and Advisory Work05:07 Understanding the Private Equity Landscape10:12 Private Equity's Impact on Various Industries13:27 Comparing Roles: Operator vs. Private Equity Investor20:10 Future Opportunities in Private Equity28:57 Challenges in Matching Investors and Businesses29:43 Early Stage Struggles and Investor Expectations31:22 Importance of People in Business Success34:17 Recruiting vs. Hiring: Building the Right Team37:15 Raising Capital: Strategies and Advice44:53 Interviewing Investors: A Crucial Skill49:43 Final Thoughts and Contact Information
Nommée parmi les meilleurs musiciens en-dessous de 30 ans selon la CBC, la pianiste Chloé Dumoulin est appréciée pour son jeu sensible, sa sonorité colorée et sa grande fougue. Elle jouit d'une carrière internationale, qui l'a amenée à jouer au Canada, aux États-Unis, en Europe, et en Chine, où elle a récemment fait sa première tournée solo en Asie. Elle a fait ses débuts à la Maison symphonique de Montréal sous la direction de Jacques Lacombe en 2021 et s'est produite comme soliste avec l'Orchestre Métropolitain en 2016. Lauréate du 3e grand prix du Concours Prix d'Europe 2024, Chloé est également récipiendaire d'un prix de la Fondation Sylva-Gelber, de la Fondation du Conservatoire, la Fondation Desjardins, les Fonds AIDA des Jeunesses musicales du Canada et la Worshipful Glass Sellers Company. Chloé Dumoulin a assuré la première partie de nombreux orchestres tels que l'Orchestre symphonique de Montréal et l'Orchestre Métropolitain. Elle a entre autres été invitée en récital à la Chapelle historique du Bon-Pasteur, au Festival de Lanaudière, aux Concerts Lachine, à la St James's Piccadilly (Londres) ainsi qu'au Festival de musique de chambre de Montréal à la Salle Bourgie. Pianiste aux qualités de chambriste remarquables, elle collabore régulièrement avec instrumentistes et chanteurs. Depuis septembre 2023, Chloé se perfectionne à la Guildhall School of Music and Drama à Londres (UK), où elle est lauréate de la Leverhulme Arts Scholar, bourse complète, pour y compléter un Artist Diploma sous la tutelle du pédagogue réputé Ronan O'Hora. Diplômée du Conservatoire de musique de Montréal, Chloé y a complété une double maîtrise en piano auprès d'André Laplante et de Claire Ouellet. Elle a notamment travaillé auprès de Louis Lortie, Richard Goode, Gabriela Montero, Robert Levin, Dame Imogen Cooper, Éric Le Sage, Ilya Poletaev, Anton Nel, Angela Cheng et Daniel Shapiro.Instagram :https://www.instagram.com/laprescriptiondrfred/?hl=frFacebook :https://www.facebook.com/people/La-prescription-avec-Dr-Fred-Lambert/100078674880976/ Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
In this episode, I chat with Robert Levin, co-founder of Work Better Now, about the importance of Culture by Design in building strong, effective teams. Work Better Now, recently ranked no. 114 on the INC 5000 list, is a leader in providing talented virtual assistants to support business growth. We explore how intentionally creating a Culture by Design fosters engagement, accountability, and alignment across teams. Rob shares strategies leaders can use to shape their culture proactively rather than letting it evolve passively. Tune in to discover why Culture by Design is essential for achieving sustainable growth and success
In this episode of One Symphony, conductor Devin Patrick Hughes sits down with renowned composer Pierre Jalbert to explore Jalbert's musical journey, creative process, and the spiritual influences that shape his work. Jalbert shares intimate stories about his childhood in Vermont, his collaborations with world-class musicians, and the importance of resonance and reverberation in his compositions. He also pays tribute to his mentor, the late Larry Rachleff, and discusses his genre-bending project with the Apollo Chamber Players. Throughout the interview, Jalbert offers insights into the challenges and rewards of writing for both chamber groups and large ensembles and reveals how he strives to create music that serves the audience. Join us for a fascinating glimpse into the mind of one of today's best composers. Earning widespread notice for his richly colored and superbly crafted scores, Pierre Jalbert's music has been described as “immediately captures one's attention with its strong gesture and vitality” by the American Academy of Arts and Letters. Among his many honors are the Rome Prize, the BBC Masterprize, a Guggenheim Fellowship, and the Fromm Foundation commission. Jalbert's music has been performed worldwide in such venues as Carnegie Hall, Wigmore Hall, Lincoln Center, the Kennedy Center, and the Barbican. Recent orchestral performances include those by the Boston Symphony, the National Symphony, the Houston Symphony, the Cabrillo Festival Orchestra, and the Cincinnati Symphony Orchestra. He has served as Composer-in-Residence with the Los Angeles Chamber Orchestra, the California Symphony, and Music in the Loft in Chicago. Select chamber music commissions and performances include those of the Ying, Borromeo, Maia, Enso, Chiara, Escher, Del Sol, and Emerson String Quartets, as well as violinist Midori. Three new CDs of his music have been recently released: Violin Concerto, Piano Quintet and Secret Alchemy, and Piano Trio No. 2. Jalbert is Professor of Music at Rice University's Shepherd School of Music in Houston, and he is a co-founder of Musiqa, a Houston-based new music collective. His music is published by Schott Helicon Music Corporation, New York. Thank you for joining us on One Symphony. Thanks to Pierre Jalbert for sharing her music and stories. You can find more info at https://www.pierrejalbert.com. Pierre Jalbert composed all music featured in this episode, with one exception. String Theory was performed live by the Kaleidoscope Chamber Orchestra. Mystical and With Great Energy, from Secret Alchemy, from the album Music From Copland House performed by Curtis Macomber, Danielle Farina, Alexis Pia Gerlach and Michael Boriskin. The first movement from From Dusk to Starry Night “The Night in Silence” on a text by Walt Whitman features Sasha Cooke and the River Oaks Chamber Orchestra. Violin Concerto, featuring Steven Copes on violin. Performed by The Saint Paul Chamber Orchestra with Thomas Zehetmair as the conductor. “Fiddle Dance” from L'espirit du nord. Performed by the Apollo Chamber Players. Mozart Piano Concerto K488 in A major, first movement improvised cadenza performed by Robert Levin with the Cluj-Nacopa Philharmonic in Romania with Nicole Moldovenau as the conductor. “Chanson de Lisette” from Le'spirit du nord. Performed by the Apollo Chamber Players. “Music of air and fire” performed by the Houston Youth Symphony conducted by Michael Isadore. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!
CEO of POWER Rosa Davis and presenting sponsor Robert Levin call in to talk about the biggest sober celebration in Pittsburgh- The Purple Party event coming up on May 23rd.
8 Minute Millionaire: Learn the Secrets of Millionaire Entrepreneurs
Mastering Time Using Virtual Assistants with Robert Levin This episode of Millionaire University, hosted by Erik Fisher, he chats with Robert Levin, Co-Founder and Chairman of Work Better Now. They chat about Robert's personal journey from CPA to media company founder, to the visionary behind Work Better Now, the strategic benefits of sourcing talent from Latin America and how it aligns with US work culture and time zones, successful empowerment of remote assistants, the essential nature of AI in today's business operations, and secrets to effective time management and delegation skills that will free you from being the bottleneck of your business. What we discuss with Robert: + The transformative experience of hiring a virtual assistant + The strategic advantages of sourcing talent from Latin America + The importance of prioritizing time and effective time management for business owners + Steps for business owners to take to start delegating tasks + Creating job descriptions and handbooks for new remote assistants + Examples of various roles and functions that a remote assistant can fulfill + Importance of onboarding and training assistants properly + Sharing of the hosts' own experiences and hesitations with delegation Resources from this Episode: Work Better Now Thank you Robert! Connect with Robert on LinkedIn Sign up for our FREE Business Course - Understand the 7 Phases of A business, so you know where you are now and where you need to go next! Go to https://www.millionaireuniversity.com/training. If you enjoyed this episode with Robert, let us know by clicking on any of the links below to send him a quick shout-out: Instagram, Twitter, Facebook, Youtube, TikTok and LinkedIn. We'd love to hear from you! And if you want us to answer your business questions on an upcoming episode, drop us a line at support@millioinaireuniversity.com.
Mastering Time Using Virtual Assistants with Robert Levin This episode of Millionaire University, hosted by Erik Fisher, he chats with Robert Levin, Co-Founder and Chairman of Work Better Now. They chat about Robert's personal journey from CPA to media company founder, to the visionary behind Work Better Now, the strategic benefits of sourcing talent from Latin America and how it aligns with US work culture and time zones, successful empowerment of remote assistants, the essential nature of AI in today's business operations, and secrets to effective time management and delegation skills that will free you from being the bottleneck of your business. What we discuss with Robert: + The transformative experience of hiring a virtual assistant + The strategic advantages of sourcing talent from Latin America + The importance of prioritizing time and effective time management for business owners + Steps for business owners to take to start delegating tasks + Creating job descriptions and handbooks for new remote assistants + Examples of various roles and functions that a remote assistant can fulfill + Importance of onboarding and training assistants properly + Sharing of the hosts' own experiences and hesitations with delegation Resources from this Episode: Work Better Now Thank you Robert! Connect with Robert on LinkedIn Sign up for our FREE Business Course - Understand the 7 Phases of A business, so you know where you are now and where you need to go next! Go to https://www.millionaireuniversity.com/training. If you enjoyed this episode with Robert, let us know by clicking on any of the links below to send him a quick shout-out: Instagram, Twitter, Facebook, Youtube, TikTok and LinkedIn. We'd love to hear from you! And if you want us to answer your business questions on an upcoming episode, drop us a line at support@millioinaireuniversity.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
Robert Levin from Levin Furniture joins Larry and Marty to talk about nominations for Furniture for Families.
In the pantheon of immortal combinations of musical instruments, there must be a special temple for the piano and cello. It's hard to think of another duo that offers more musical possibilities, or draws more effectively on the respective strengths of both instruments. From the piano we get effortless rhythmic definition, chords, and harmonies; from the cello, long, singing lines and rich overtones that stretch melody to the boundaries of expression. Together, they define a musical landscape of emotional range, depth, and beauty. On this transmission of Hearts of Space, we celebrate the piano and cello, on an autumn journey derived from the Byzantine hymns, traditional folk, and sacred Sufi music of Central Asia, called MELOS. Music is by G.I.GURDJIEFF and THOMAS DeHARTMANN, performed by pianist VASSILIS TSABROPOULOS and cellist ANJA LECHNER; by MANUEL de FALLA, performed by violist KIM KASHKASHIAN and pianist ROBERT LEVIN; by pianist MISHA ALPERIN, and by cellist HANS CHRISTIAN. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]
durée : 01:30:33 - En pistes ! du vendredi 30 juin 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Emilie et Rodolphe vous proposent de passer 1h30 en compagnie de l'Orchestre philharmonique roayl de Liège, Isata Kanneh-Masson, l'Orchestre baroque de Fribourg ou encore Robert Levin. Dernier tour de piste avant les vacances !
Original Broadcast: June 20, 2023
La chronique Musique de Frédéric Hutman
This month we had the pleasure of speaking with pianist Patrick Cashin. He shared with us his personal journey through injury, what supported him in his recovery, and how he now helps other pianists prevent injury through a holistic and physiologically informed approach to playing the piano. Bio: Described by CBC Radio as “a truly original interpretive voice,” pianist Patrick Cashin is becoming known as a distinctive presence on the Canadian music scene. He designs unique recitals centered around the best of the piano repertoire and particularly enjoys playing Mozart piano concertos, in which he improvises and composes cadenzas in the style of Mozart. Patrick draws from a wide array of experience in both classical and non-classical music, having tried on many musical hats during his formative years in St. John's, Newfoundland. As a student at Memorial University, he won several competitions including the Atlantic Young Artist and Petro-Canada Young Artist Competition, resulting in some early success playing recital tours and concertos with local orchestras. He left Newfoundland to study for two years at the Glenn Gould School in Toronto, then at the University of Montreal, where he completed his doctorate under the guidance of legendary piano pedagogue Marc Durand. Over the years, Patrick has studied in master classes with many brilliant musicians of the older generation, including Ferenc Rados, Robert Levin and Leon Fleisher. He leads a busy collaborative career performing with soloists and ensembles in the Montreal area. As a teacher, he is passionate about helping other pianists prevent and recover from piano-related injuries by playing with healthy technique. Show Notes: Alexander Technique Glenn Gould School The Université de Montréal Marc Durand Twosetviolin What Every Pianist Needs to Know About the Body- Thomas Carson Mark Core Performance- Mark Verstegen Musicians Clinic of Canada Dr. John Chong
Robert Levin, artiste classique, musicologue et compositeur, également directeur artistique du Festival de musique de Sarasota
CFund Capital has now issued its platform token CFT via the Ethereum blockchain, according to CFund Capital's official Twitter feed (@CFundcc). According to the token economics model published by the CFund team, 90% of the CFT token will be used for airdrop and mining rewards.Robert Levin, CEO of CFund Capital, said that the CFund team will empower CFT through acquisition, investment and other forms in the next 3 years. The use scenarios of CFT will include NFT, DeFi, GameFi, CEX, Payment, crypto wallet and other blockchain fields.CFund Capital Canada IncCFund Platform token CFT introduction:Token name: CFT TokenTotal tokens: 1 billionToken type: Deflationary tokenAddress: 0xc21cba6217ca97de70dc0078d190c210cb437d38Distribution of Tokens:1.CFT Foundation: 10%2. Airdrop and mining rewards: 90%What problem does the issue of CFund platform token CFT solve?With the issuance of CFT tokens, more liquidity claims will be released for the Cfund market maker team. And turn projects into models for long-term, sustainable growth. The distribution mechanism of CFT tokens will provide more profits for users of liquidity mining and market makers.The issuance of CFT tokens revealed its layout plan in the field of Web3.0. Blockchain projects such as NFT, DeFi, and GameFi are all hot topics today. With the opening of the layout, Cfund Capital will have the opportunity to establish contacts with many outstanding companies in the field of Web3.0 and reach opportunities for cooperation, investment and acquisition.For more information about CFT, the token CFT on the Cfund Capital platform, and plans for the pre-sale of CFT tokens, token airdrops, etc., please pay attention to the announcements on Cfund's official website and official Twitter.contact information:Company name: CFund Capital Canada IncEmail: sc@cfund.ccCity: MarkhamCountry: CanadaTwitter：https://twitter.com/CFundCCTelegram：https://t.me/OfficialCFundccThis press release may contain forward-looking statements. Forward-looking statements describe future expectations, plans, results, or strategies (including product offerings, regulatory plans and business plans) and may change without notice. You are cautioned that such statements are subject to a multitude of risks and uncertainties that could cause future circumstances, events, or results to differ materially from those projected in the forward-looking statements, including the risks that actual results may differ materially from those projected in the forward-looking statements.
Join host Russell Gant for Our Tuesday Concert with the Florida Orchestra. Michael Francis conducts Robert Levin's completion of the Mozart Requiem featuring the Master Chorale of Tampa Bay. Originally broadcast on September 27th at 8:00 PM.
Wolfgang Amadeus Mozart hat 18 Klaviersonaten hinterlassen – so legen es zumindest die meisten der heutigen Notenausgaben dar. Aber sind das wirklich alle? Robert Levin hat sich diese Werke vorgenommen und sie an einem besonderen Instrument eingespielt – an Mozarts eigenem Flügel, der heute im Besitz der Stiftung Mozarteum ist. Es ist die erste Gesamtaufnahme der Mozart-Sonaten an diesem Flügel. Christoph Vratz hat sich die neue Anspielung angehört.
The first complete recording of W.A. Mozart's piano sonatas on the composer's own fortepiano, performed by American pianist and Mozart scholar Robert Levin. This comprehensive, 7-CD boxed set also comprises unfinished fragments by the Austrian composer, here completed by Levin himself in consideration of Mozart's idioms and the compositional formalities of his period. Robert Levin's interpretations of the piano sonatas are informed by the performance practice customs of the First Viennese School and include improvised elements and decorations in the repeats.Purchase the music (without talk) at:Mozart: Complete Piano Sonatas (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalmusicdiscoveries.store/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).
Listen as Russell Gant hosts Our Tuesday Concert with Sarasota Orchestra from this year's Sarasota Music Festival, featuring faculty members and fellows performing together the String Sextet No. 2 by Brahms. Also, pianist Robert Levin will join other festival faculty members for the Piano Quartet No. 1 by Fauré. Originally broadcast Tuesday, June 28th, 2022.
Classical WSMR thanks Sarasota Orchestra for sharing this music and giving us the chance to broadcast it for everyone to enjoy. At a time when it matters most – we are working together to keep the music playing! Stay up to date with Sarasota Orchestra on their website at sarasotaorchestra.org. And listen every Tuesday for a Masterwork with Sarasota Orchestra. You can listen live at 89.1 or 103.9, on wsmr.org, and from your smartphone with the WUSF Public Media App. Also, you can ask your Smart Speaker to play Classical WSMR. If you miss a broadcast, you can listen to it on-demand at WSMR.org for 30 days after the airdate.
This June 7th, 2022 edition of our Tuesday Concert with Sarasota Orchestra is from the 2019 Sarasota Music Festival featuring the acclaimed Montrose Trio playing the Piano Trio No. 2 by Mendelssohn. You'll also hear pianists Jeffrey Kahane and Robert Levin with a Concerto for Two Pianos by Mozart! Hosted by Classical WSMR's Russell Gant. Florida's Classical Music Station, WSMR 89.1 and 103.9.
Join us for a discussion with pianist Robert Levin. Pianist and Conductor Robert Levin has performed throughout the United States, Europe, Australia and Asia. His solo engagements include the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Utah and Vienna on the Steinway with such conductors as Semyon Bychkov, James Conlon, Bernard Haitink, Sir Neville Marriner, Seiji Ozawa, Sir Simon Rattle and Esa-Pekka Salonen.
Marty reacts to the election results from last night and takes a couple of calls. Later in the hour, he talks with Robert Levin from Levin Furniture and listens to how he's going to help out families this holiday season. See omnystudio.com/listener for privacy information.
Robert Levin of Levin Furniture joins the show to talk about how he and Marty are going to help out families this holiday season. See omnystudio.com/listener for privacy information.
I have admired today's guest for a very long time! Kim Kashkashian is an internationally recognized and decorated violist who has worked tirelessly to broaden the range of technique, advocacy, and repertoire for the viola. Our conversation is absolutely filled with information and inspiration, including: Her musical journey and how her artistic path has unfolded, focusing heavily on conquering her fears and belief in chance (3:24) Why pursuing an objective view is essential to your growth (9:48) How Kim defines mindful practice... (11:26) ...and how focusing on the entire production of your sound (including resonance, energy, and what you send out) maximizes your practice (12:51) Kim's suggestions to exercise expressive playing, including knowing exactly what a piece means to you by personifying the music (and letting how you transmit that message to an audience come second) (15:36) How the difference between intention and desire relates to the tension in performance (22:56) The distinction between being judgmental and making good differentiation, and the impact of each (29:55) Kim's advice to current music students on broadening your perspective, learning the language of music (separate from the craft of playing your instrument), and knowing the historical context of pieces (33:36) The doubt and resistance Kim has faced on her own journey (36:38) The importance of listening to yourself with love, knowing yourself and what you want to say, and knowing how to say it (37:50) MORE ON KIM KASHKASHIAN: YouTube channel: https://www.youtube.com/results?search_query=kim+kashkashian+viola Facebook: https://www.facebook.com/profile.php?id=100063660876526 Kim Kashkashian, internationally recognized as a unique voice on the viola, was born of Armenian parents in Michigan. She studied the viola with Karen Tuttle and legendary violist Walter Trampler at the Peabody Conservatory of Music in Baltimore. Since fall 2000 she has taught viola and chamber music at New England Conservatory. Following Grammy Award nominations for several previous recordings, Kashkashian received a 2012 Grammy Award in the "Best Classical Instrumental Solo" category for Kurtág and Ligeti: Music for Viola, on the ECM Records label. Kashkashian's recording, with Robert Levin, of the Brahms Sonatas won the Edison Prize in 1999. Her June 2000 recording of concertos by Bartók, Eötvös and Kurtág won the 2001 Cannes Classical Award for a premiere recording by soloist with orchestra. In 2016, Kashkashian was elected a Fellow of the American Academy of Arts and Sciences. Kashkashian has worked tirelessly to broaden the range of technique, advocacy, and repertoire for the viola. A staunch proponent of contemporary music, she has developed creative relationships with György Kurtág, Krzysztof Penderecki, Alfred Schnittke, Giya Kancheli, and Arvo Pärt, and commissioned works from Peter Eötvös, Ken Ueno, Thomas Larcher, Lera Auerbach, and Tigran Mansurian. Marlboro and the Viennese school represented by her mentor, Felix Galimir, were major influences in developing her love of chamber music. Kim Kashkashian is a regular participant at the Verbier, Salzburg, Lockenhaus, Marlboro, and Ravinia festivals. She has long-standing duo partnerships with pianist Robert Levin and percussionist Robyn Schulkowsky, and played in a unique string quartet with Gidon Kremer, Daniel Phillips, and Yo-Yo Ma. As a soloist, she has appeared with the great orchestras of Berlin, London, Vienna, Milan, New York, and Cleveland, and in recital at the Metropolitan Museum of New York, Kaufmann Hall, New England Conservatory's Jordan Hall, as well as in Philadelphia, Pittsburgh, Cleveland, Frankfurt, Berlin, Paris, Athens, and Tokyo. Kashkashian's musicianship has been well represented on recordings through her association with the prestigious ECM label in a fruitful collaboration that has been continuous since 1985. Kim Kashkashian has taught in Bloomington, Indiana, and in Freiburg and Berlin, Germany, and now resides with her daughter in Boston. Kim is a founding member of Music for Food, an initiative by musicians to fight hunger in their home communities. B.M., Peabody Conservatory of Music; M.M., New School of Music Philadelphia. Viola with Walter Trampler and Karen Tuttle. Former faculty of University of Indiana and conservatories in Freiburg and Berlin, Germany. LINKS: "Performing and Music Communication" Barbara Hannigan live in Berlin on Sarah´s Horn Hangouts: https://www.youtube.com/watch?v=0lFs1C_ewiE PRACTICING FOR PEAK PERFORMANCE: I'm excited to tell you that Practicing for Peak Performance is now available for download! Go to MindOverFinger.com for access to all the tools that will help you transform your practice, gain confidence in your process, and start performing at your best. With the purchase of PPP, you gain: Access to all recorded content - over 7 hours of instruction Guidance in effective high-performance systems Detailed handouts For a limited time only, a free 30-minute consultation with me. PPP alumnus Karmen Palusoo has this to say about it: “For a long time I have had this belief that learning an instrument is difficult and hard work or that it has to be, and there is no other way. Only a few weeks after PPP, I am starting to feel that change! My everyday practice sessions are now filled with freedom and ease!” THANK YOU: A HUGE thank you to my fantastic producer, Bella Kelly, who works really hard to make this podcast as pleasant to listen to as possible for 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. Thank you to pianist-singer-song-writer Louise Kelly for the introduction! You can find out more about Kelly and her creative work by visiting louisekelly.com. MIND OVER FINGER: As we head into this new season, I encourage you to visit MindOverFinger.com for a plethora of resources on mindful practice and information on how to work with me. Sign up for my newsletter and receive your free guide to a highly productive mindful practice using a metronome! mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/
When Ludwig van Beethoven died in 1827, he was three years removed from the completion of his Ninth Symphony, a work heralded by many as his magnum opus. He had started work on his 10th Symphony but, due to deteriorating health, wasn't able to make much headway: All he left behind were some musical sketches. Ever since then, Beethoven fans and musicologists have puzzled and lamented over what could have been. His notes teased at some magnificent reward, albeit one that seemed forever out of reach. Now, thanks to the work of a team of music historians, musicologists, composers and computer scientists, Beethoven's vision will come to life. I presided over the artificial intelligence side of the project, leading a group of scientists at the creative AI startup Playform AI that taught a machine both Beethoven's entire body of work and his creative process. A full recording of Beethoven's 10th Symphony is set to be released on Oct. 9, 2021, the same day as the world premiere performance scheduled to take place in Bonn, Germany—the culmination of a two-year-plus effort. Past Attempts Hit a Wall Around 1817, the Royal Philharmonic Society in London commissioned Beethoven to write his ninth and 10th symphonies. Written for an orchestra, symphonies often contain four movements: the first is performed at a fast tempo, the second at a slower one, the third at a medium or fast tempo, and the last at a fast tempo. Beethoven completed his Ninth Symphony in 1824, which concludes with the timeless “Ode to Joy.” But when it came to the 10th Symphony, Beethoven didn't leave much behind, other than some musical notes and a handful of ideas he had jotted down. There have been some past attempts to reconstruct parts of Beethoven's 10th Symphony. Most famously, in 1988, musicologist Barry Cooper ventured to complete the first and second movements. He wove together 250 bars of music from the sketches to create what was, in his view, a production of the first movement that was faithful to Beethoven's vision. Yet the sparseness of Beethoven's sketches made it impossible for symphony experts to go beyond that first movement. Assembling the Team In early 2019, Dr. Matthias Röder, the director of the Karajan Institute, an organization in Salzburg, Austria, that promotes music technology, contacted me. He explained that he was putting together a team to complete Beethoven's 10th Symphony in celebration of the composer's 250th birthday. Aware of my work on AI-generated art, he wanted to know if AI would be able to help fill in the blanks left by Beethoven. The challenge seemed daunting. To pull it off, AI would need to do something it had never done before. But I said I would give it a shot. Röder then compiled a team that included Austrian composer Walter Werzowa. Famous for writing Intel's signature bong jingle, Werzowa was tasked with putting together a new kind of composition that would integrate what Beethoven left behind with what the AI would generate. Mark Gotham, a computational music expert, led the effort to transcribe Beethoven's sketches and process his entire body of work so the AI could be properly trained. The team also included Robert Levin, a musicologist at Harvard University who also happens to be an incredible pianist. Levin had previously finished a number of incomplete 18th-century works by Mozart and Johann Sebastian Bach. The Project Takes Shape In June 2019, the group gathered for a two-day workshop at Harvard's music library. In a large room with a piano, a blackboard and a stack of Beethoven's sketchbooks spanning most of his known works, we talked about how fragments could be turned into a complete piece of music and how AI could help solve this puzzle, while still remaining faithful to Beethoven's process and vision. The music experts in the room were eager to learn more about the sort of music AI had created in the past. I told them how AI had successfully generated music in the style of Bach. However, this was only a harm...
Nouvelle diffusion ce dimanche de notre rencontre avec Aurelia Visovan, c'était en octobre 2020. Aurelia Visovan est née à Cluj, en Roumanie, il y a 30 ans. C'est dans son pays qu'elle a étudié le piano moderne. C'est à la faveur d'une Master class de piano moderne, du grand Maître américain, Robert Levin, qu'elle découvre le pianoforte. Il faut dire que l'homme est un grand spécialiste mondial du pianoforte. Et Aurelia Visovan de nous confier que " Robert Levin est l'un des rares pianistes qui peut encore improviser à la manière de Mozart " Mais c'est à Vienne, où elle fera ses études supérieures, qu'elle découvrira le monde des instruments historiques. Elle y étudiera, en parallèle, le clavecin et le pianoforte. Travailleuse et infiniment curieuse, Aurelia Visovan remporte le 1er Prix du Concours de Musique ancienne de Bruges, en 2019, en catégorie pianoforte. C'est suite à ce prix qu'elle a pu enregistrer son 1er disque de Musique de chambre au pianoforte. Il paraît en ce moment chez Ricercar, et sera au coeur de notre entretien. La genèse de ce disque est assez amusante : " Lors du Concours de Bruges en 2019 " nous racontera la jeune pianiste " J'avais à jouer une transcription du 24e Concerto pour piano de Mozart, par Johan Nepomuk Hummel. Une transcription pour pianoforte, flûte, violon et violoncelle. Les musiciens engagés par le Concours étaient la flûtiste Anna Besson; la violoniste Cecilia Bernardini, et le violoncellliste Marcus van den Munckhof. L'entente musicale et humaine ont été telles, qu'au moment d'enregistrer ce disque, j'ai eu l'idée de l'enregistrer avec ces musiciens-là, et avec ce répertoire symphonique, transcrit par Hummel " Le résultat est passionnant. Sur ce disque, on peut entendre deux transcriptions magistrales de J.N. Hummel : celle du 24e Concerto pour piano de Mozart, dont nous parlions, et celle de la 1ère Symphonie de Beethoven. Outre ces transcriptions, la pianofortiste a également enregistré la Sonate en fa mineur, opus 20, toujours de Hummel. Epaulée par trois musiciens aussi efficaces que subtils, Aurelia Visovan fait sonner son piano comme une voix. Elle fait entendre toutes les inégalités de cet instrument, dont on se rappelle, en l'écoutant, que ces inégalités confèrent à l'instrument un feu d'artifice de couleurs. A la question délibérément provocatrice que nous lui poserons : " Mozart aurait certainement été ravi de jouer sur le Steinway de concert moderne, alors pourquoi donc s'évertuer à jouer ce répertoire sur des instruments historiques, et par conséquent imparfaits ? ". La musicienne ne se laissera pas démonter, et nous répondra, pleine de malice : " Si Mozart avait connu le piano moderne, il aurait surtout écrit une autre musique que celle que nous connaissons !! ". Et de rajouter : " Pour nous, jouer les instruments historiques, c'est aussi une immense curiosité ! Ce n'est pas un fardeau, c'est une passion ! ". Tout au fil de l'écoute de ce disque, on est charmés d'abord par le génie de transcription de J.N.Hummel, mais aussi par la fluidité du discours musical de ce quatuor, dont on sent qu'il poursuit le même but : produire de la beauté avec des instruments historiques ! Aurelia Visovan, une musicienne cultivée, raffinée, et généreuse, une femme infiniment sympathique, et ouverte sur le monde. Réalisation et présentation : Laurent GRAULUS
My guest today is Pianist, Improviser, and Composer, Professor Noam Sivan! He is Professor of Piano Improvisation at the HMDK Stuttgart, and we will talk about his remarkable journey, his method to his improvisational craft, his new exciting Master's degree programme in classical piano improvisation that he has created, and much more! 0:35 What's your musical background? 1:21 Did you naturally improvise as a child? 1:56 Mother's influence on creativity 3:25 Tell me about your formal music training in university 4:10 The influence of formal composition study in your undergraduate studies 6:16 Examples of apply a compositional technique in different musical languages 8:26 Did you face any pressure to become a modernist composer 10:00 What was your dream, to be a composer or performing pianist? 13:00 Masters degree 15:27 Studying with Carl Schachter 16:39 An example of Carl Schacter's lessons in improvisation 17:42 What did your professors and peers think of improvisation during your student years? 20:25 Improvising cadenzas 21:06 Meeting Robert Levin 21:31 What did Robert Levin say about your improvising at the time? 23:17 What were the technical things that you worked on to take your improvisation to the next level? 26:30 What is your operating system behind your method of improvisation? 28:18 How did you choose the notes for your right hand improvisation? 30:03 How do you make sure your right hand is not creating contrapuntal mistakes when improvising? 32:55 What's a good way to learn figured bass? 34:35 Do you need to study modern harmony to do what you are doing? 37:24 Studying with Milton Babbitt 40:34 Was the culture at Juilliard supportive of improvisation in Classical music? 41:24 Were the students you taught at the time completely new to classical improvisation? 42:33 What did Milton Babbitt think of improvisation and what you were doing? 43:37 Anecdotes of responses to your improvisations and classes in the early days 45:33 Did you receive negative feedback to improvisation? 48:17 Does being a composer and improviser give you an additional insight into interpretation of repertoire 50:03 Do you any comment on academic or competition style interpretations of repertoire? 52:47 When you have change your system of improvisation to accomodate more modern or contemporary styles of improvisation? 54:34 Do you still maintain the consonance/dissonance framework in a contemporary setting? 56:52 What is anchoring your contemporary improvisations, is it keys or the progression? 58:00 Are you thinking of intervals? 58:19 What tips can you give to more traditional improvisers to broaden their tonal palette into modern music? 1:01:43 Vincent Persichetti's 20th Century Harmony textbook 1:03:44 How does a music educator grade student musical improvisations? 1:08:43 Professor Sivan's new Masters degree programme on classical piano improvisation 1:11:19 How's the reception to the Masters programme? 1:13:07 Do you require incoming students to have a background in improvisation? 1:14:38 How has the culture around classical improvisation now changed compared to when you began? 1:17:49 Professor's Sivan album “Ambiro's Journey” 1:18:48 What's a good ratio for a modern performer's recital pieces for improvised music, original compositions and traditional repertoire? 1:21:30 A memorable experience from your solo improvised piano recitals 1:24:21 Up to this point, what has been your proudest musical moment? 1:27:11 How are you different as an improviser today vs 10 years ago and how do you see yourself grow in the next 10 years? 1:31:31 Wrapping Up
Robert Levin of Levin Furniture joins the Warmathon. See omnystudio.com/listener for privacy information.
Get the lowdown on the latest Virus Vacc trial with test pilot Dr. Robert Levin
Robert talks about his experiences owning a business during a pandemic and what his expectations are for the holiday season. See omnystudio.com/listener for privacy information.
Subscribe to the podcast here! Miki is a core member of the Grammy-nominated ensemble, A Far CryThe Boston Globe profile on Miki's "Little Criers"concerts for families and children. Find "Little Criers" on A Far Cry's Facebook Page.Miki and I play in the Solera Quartet together: MUSIC IN THIS EPISODE is from Mendelssohn's String Quartet, Op. 80, from the Solera Quartet's debut album, EVERY MOMENT PRESENT.Robert Levin, Professor Emeritus, Harvard UniversityRonda Cole, Director of NVSMS , Violin Teacher, Teacher Trainer for the Suzuki Association of the Americas (SAA)Ricardo Cyncynates, Assistant Concertmaster of the National Symphony OrchestraAni Kavafian, Professor of Violin, Yale School of MusicMiriam Fried, Professor of Violin, New England Conservatory of MusicDonald Weilerstein, Dorothy Richard Starling Chair in Violin Studies, New England Conservatory of Music
Aurelia Visovan est née à Cluj, en Roumanie, il y a 30 ans. Pianiste de formation, elle a également étudié, en parallèle le clavecin dans son pays. C'est à la faveur d'une Master class de piano moderne, du grand Maître américain, Robert Levin, qu'elle découvre le pianoforte. Il faut dire que l'homme est un grand spécialiste mondial du pianoforte. Et Aurelia Visovan de nous confier que " Robert Levin est l'un des rares pianistes qui peut encore improviser à la manière de Mozart " Mais c'est à Vienne, qu'elle fera ses études supérieures, au cours desquelles elle étudiera en profondeur le pianoforte. Cela étant dit, notre invitée continue à jouer du piano moderne, et du clavecin. Travailleuse et infiniment curieuse, Aurelia Visovan remporte le 1er Prix du Concours de Musique ancienne de Bruges, en 2019. C'est suite à ce prix qu'elle a pu enregistrer son 1er disque de Musique de chambre au pianoforte. Il paraît en ce moment chez Ricercar, et sera au coeur de notre entretien. La genèse de ce disque est assez amusante : " Lors du Concours de Bruges en 2019 " nous racontera la jeune pianiste " J'avais à jouer une transcription du 24e Concerto pour piano de Mozart, par Johan Nepomuk Hummel. Une transcription pour pianoforte, flûte, violon et violoncelle. Les musiciens engagés par le Concours étaient la flûtiste Anna Besson; la violoniste Cecilia Bernardini, et le violoncellliste Marcus Van Den Munckhof. L'entente musicale et humaine ont été telles, qu'au moment d'enregistrer ce disque, j'ai eu l'idée de le faire avec ces musiciens-là, et avec ce répertoire symphonique, transcrit par Hummel " Le résultat est passionnant. Sur ce disque, on peut entendre deux transcriptions magistrales de J.N. Hummel : celle du 24e Concerto pour piano de Mozart, dont nous parlions, et celle de la 1ère Symphonie de Beethoven. Outre ces transcriptions, la pianofortiste a également enregistré la Sonate en fa mineur, opus 20, toujours de Hummel. Epaulée par trois musiciens aussi efficaces que subtils, Aurelia Visovan fait sonner son piano comme une voix. Elle fait entendre toutes les inégalités de cet instrument, dont on se rappelle, en l'écoutant, que ces inégalités confèrent à l'instrument un feu d'artifice de couleurs. A la question délibérément provocatrice que nous lui poserons : " Mozart aurait certainement été ravi de jouer sur le Steinway de concert moderne, alors pourquoi donc s'évertuer à jouer ce répertoire sur des instruments historiques, et par conséquent imparfaits ? ". La musicienne ne se laissera pas démonter, et nous répondra, pleine de malice : " Si Mozart avait connu le piano moderne, il aurait surtout écrit une autre musique que celle que nous connaissons !! ". Et de rajouter : " Pour nous, jouer les instruments historiques, c'est aussi une immense curiosité ! Ce n'est pas un fardeau, c'est une passion ! ". Tout au fil de l'écoute de ce disque, on est charmés d'abord par le génie de transcription de J.N.Hummel, mais aussi par la fluidité du discours musical de ce quatuor, dont on sent qu'il poursuit le même but : produire de la beauté avec des instruments historiques ! Aurelia Visovan sera en récital à Bozar, à Bruxelles, ce dimanche 11 octobre à 11h. Aurelia Visovan, une musicienne cultivée, raffinée, et généreuse, et une femme infiniment sympathique, et ouverte sur le monde. Bonne écoute ! Réalisation et présentation : Laurent GRAULUS
Robert entered the Pittsburgh-based family furniture business in 1993 after having spent several years in Washington, DC in the fields of Health Policy and Aging. He sold Levin Furniture in 2017 and reacquired through bankruptcy with his partners Matt and John Schultz. He holds a Masters degree in Gerontology from the University of Southern California. Prior to joining Levin Furniture, he was a member of the Capitol Hill Recycling Project, an environmental group in Washington. He is currently active in his family’s main charity – the Sally and Howard Levin Clubhouse – an interactive day program for adults with mental illness and is on the board of the Pittsburgh Parks Conservancy. Robert is married and lives in Pittsburgh.
“Levin is back!” The new Levin Furniture dream team — Robert Levin, John Schultz and Matt Schultz — talk with Editor in Chief Bill McLoughlin about relaunching this venerated retail brand and their outlook for its future. Sponsored by Klaussner Home Furnishings
Levin Furniture chairman, Robert Levin, tells Marty that customers are to get 100% of their money back. See omnystudio.com/policies/listener for privacy information.
So privileged to introduced my guest today one of the greats, pianist, musicologist and educator Professor Tibor Szasz. He has given over 1000 solo, concerto, and chamber music performances all over the world. His recordings of Beethoven, Chopin, Liszt, Mendelssohn, Schubert, and Bartók have been issued in the United States and Germany. Tibor Szász holds a Doctor of Musical Arts in piano performance from the University of Michigan, and is a Tenured professor of piano at the Hoshschule fur Music Freiburg in Germany. ----- 0:48 How old were you when you started playing the piano 1:42 Was it a weekly lesson or multiple times a week? 2:18 How many hours a day did you practice? 3:08 What kind of music did you play growing up? 4:25 Do you have Absolute or Perfect Pitch? 6:20 Did you get rid of your perfect pitch? 6:59 What do you make of different tunings? 10:31 Is there a difference between 440Hz and 432Hz? 11:31 What is your perspective of equal temperament vs other tunings? 16:57 Did you improvise as a child growing up? 19:49 Was there a prejudice against improvisation in your career? 23:04 Touring with Béla Bartók's son in 1977 28:22 Was his son much older than you at the time? 34:11 Carnegie Hall debut in 1977 35:57 Did you meet Vladimir Horowitz? 37:49 What did Horowitz think about your performance of the Liszt Sonata? 40:09 Enraging Horowitz at a Q&A 41:07 Does being Hungarian give you greater insight into Liszt's music? 42:32 Beethoven article about basso continuo in the Emperor Concerto 47:25 Did Beethoven abolish improvising cadenzas in concertos? 49:25 The disappearance of continuo in the Romantic concerto 51:55 Robert Levin's reaction to your Continuo article and your relationship with him 52:20 Were there other concert pianists who could read figure bass? 55:31 CPE Bach who said that the Harpsichord's absence could be felt if it didn't play continuo 56:31 Do find that most pianists do not realize continuo notation in concertos in the modern age? 57:27 Isn't Urtext supposed to be THE authentic musical text of the composition? 1:00:57 What is the definition of Il Filo? 1:02:49 What are these building blocks in Il Filo? 1:03:43 How do you get better at developing Il Filo? 1:05:27 How does a student learn basso continuo? 1:07:06 How would you reform music education? 1:10:07 Wrapping Up 1:10:47 Where can people find you?
Robert Levin joins Larry and Kevin to discuss how he reached an agreement to re-acquire his former company out of bankruptcy.
Now They’ve Jumped the Shark Today's topics include: Despite flattening the curve and having only 19 deaths and 23 currently hospitalized with COVID-19, what does Public Health Officer Dr. Robert Levin prescribe for the rest of Ventura County’s 846,000 residents? He and the rest of California’s health officials claim the power to remove you from your home. Kim Stolfer of Firearm Owners Against Crime might have something to say about that. He joins us to talk about the 2nd Amendment amid this epidemic. Then, Heartland Institute Senior Fellow James Taylor joins us to challenge a new climate study that claims the Earth could be too hot to live in for up to 3 billion people by 2070. We don’t think he’s buying it.See omnystudio.com/listener for privacy information.
Award-winning journalist Joel Kilpatrick calls out California's Ventura County health officer, Dr. Robert Levin, on recent comments Levin made in a press conference. Levin wants to put thermometers and trackers on citizens who could have been exposed to COVID-19. Listen as Kilpatrick explains what was said at the press conference and how Levin's plan violates Americans' constitutional rights. Be encouraged to stand up to local officials who are not constitutionally minded before you lose your freedoms.
In this groundbreaking audio exclusive, we hear Ventura County California Health Director Dr. Robert Levin describe plans to hire a Contact Tracing Investigators (CTI) citizens task force who will be deputized to search and take into custody those people suspected of having coronavirus inorder to "liberalize freedom of movement." This marks the first country to start this program, even though Ventura County (as of May 7) has only seen 8 deaths from COVID-19 in a county with over 830,000 people. --- Support this podcast: https://anchor.fm/james-watkins9/support
Dutilleux in de podcast? Dat is toch een heel moderne componist? Klopt, maar tot zijn vroegste werken behoort een ‘Hommage à Bach’, een ‘verborgen’ hit. Robert Levin? Dat is toch een van de grootste Mozart-specialisten? Klopt, maar ook zijn opnamen van Dutilleux en Bach zijn zeer inspirerend! Henri Dutilleux, Au gré des ondes: V. Hommage à Bach, Robert Levin (piano) Johann Sebastian Bach, Partita nr.4, BWV.828; Sarabande, Robert Levin (piano)
I'm so happy to introduce my guest today, Concert Pianist, Researcher, and Teacher, Professor David Dolan! In his solo and chamber music performances, he incorporates improvisation into the relevant concert repertoire in repeats, cadenzas, as well as in preludes, fantasias, and improvises on themes provided by the audience. In addition to performing worldwide, He is the Professor of Classical Improvisation and its various applications to solo and ensemble performance at the Guildhall School of Music and Drama in London, David has been heading the Centre for Creative Performance & Classical Improvisation since 2005. He also teaches at the Yehudi Menuhin School. Since 2011 David is running a programme of classical improvisation applied to performance at the Australian National Academy of Music (ANAM) in Melbourne based on annual intensive residencies. ----- 1:46 what's your musical background? 2:14 When did you start playing the piano? 2:48 What were you improvising when young, what kind of music was in the house at the time? 3:06 Did your parents improvise? 3:25 Did your first teacher teach you the basics of playing the piano? 4:37 Do you have Absolute or Perfect pitch? 4:54 Did you still maintain your improvisation while doing your standard piano training? 6:02 Did you listen to traditional Israeli or Arabic music growing up? 7:04 What style of Classical music did you predominantly play in your training? 8:12 Were you the only one growing up that could improvise among your teachers and peers? 9:00 Did Haim Alexander hear you improvise? 10:40 What materials did Haim Alexander use to teach you? 11:20 What was a typical lesson with Haim Alexander look like? 13:24 Was his music theory conventional or did he have his own method? 14:13 Was the ear training Fixed Do or Moveable Do 14:52 What were your Masters and PhD studies about? 17:08 How would describe angry speech in music? 19:01 What year was this research? 19:22 Did you have peers or colleagues that you could relate to and talk to regarding improvisation as a professional, or were you alone? 20:01 Do you know Robert Levin? 20:15 What was it like meeting Robert Levin for the first time? 20:40 Is it very rare to meet another improvising musician? 21:39 Is the scene much different from what it used to be? 22:00 The reason that you're in the UK is because of Yehudi Menuhin? 22:47 What did you play at that concert, that Yehudi Menuhin watched? 23:54 What did Yehudi Menuhin mean by,”Survive this quartet”? 24:37 What did you make the quartet do, to teach them to improvise? 25:33 Given that you had been teaching classical improvisation since 1990, were you ready for any ensemble teaching situation? 26:41 Do you have set Classical forms or harmonic progressions to get students to improvise with? 27:34 What is a periodic structure? 28:38 How do you tell your students what notes to choose in the response portion of “Call and response”? 29:20 What do you mean by wrong notes? 30:00 Are the bass lines fixed or do you ask them to come up with their own? 31:03 Is this connected with basso continuo? 31:54 Is that how a string player can learn to improvise, by having the bass in their ear or mind? 32:39 Does that enable you to have multiple musicians performing at the same time? 33:34 How would a brand new student, who's never improvised before, learn to improvise in their first year of Guildhall? 35:07 Let's say they have no fear in improvising, what would they work on? 38:00 Is this all ensemble or solo? 38:34 Is the singing in solfege? 39:23 How do you distinguish between improvisation and composition? 40:42 What are some differences among the different classical eras? 43:02 So that is a lot of vocabulary to internalize? 44:15 Do you incorporate teaching other non-classical styles of music? 46:54 Has music changed and become more difficult from earlier eras, harmonically? 47:59 As an example, is Messiaen more complex than earlier music? 48:47 What are some common mistakes to learning classical improvisation? 51:38 If a parent is about to start their child learning music, how should they start? 52:52 What would you say to the thousands of children who are practicing for their graded music exams about the pieces they are playing? 54:40 Are there other things culturally that have changed in the music culture compared to previous eras? 56:55 What classical improvisation resources can you recommend for interested people? 58:43 If you could reform music education around the world, what would you do? 1:00:41 Wrapping Up
durée : 01:57:44 - En pistes ! du lundi 02 septembre 2019 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin dans En Pistes : le premier album de BarrocoTout consacré à un compositeur belge jusque-là négligé : Henri-Jacques de Croes, Der musikalische Garten présente un deuxième volume dédié aux oeuvres de Giuseppe Antonio Brescianello. Robert Levin revisite les Partitas BWV 825-830 de Bach. - réalisé par : Olivier Guérin
I'm so delighted to introduce my guest today, acclaimed Classical Pianist, Composer, Improviser, Musicologist and Conductor, Robert Levin! An international performing concert pianist, he has performed throughout the US, Europe, Australia and Asia. As a recording artist, he has recorded for DG Archiv, Decca, Deutsche Grammophon Yellow Label, SONY Classical and more. Levin is renowned for his restoration of the Classical period practice of improvised embellishments and cadenzas; his Mozart and Beethoven performances have been hailed for their active mastery of the Classical musical language. In addition to his performing activities, Robert Levin is a noted theorist and Mozart scholar, and is the author of a number of articles and essays on Mozart. His completions of Mozart fragments are published by Bärenreiter, Breitkopf & Härtel, Hänssler, and Peters, and have been recorded and performed throughout the world. In 2016 he was inducted as Honorary Member of the American Academy of Arts and Letters. He is currently the inaugural Hogwood Fellow of the Academy of Ancient Music for 2017 and 2018. ----- 2:05 - Hans Swarowsky telling him to improvise in Mozart Piano Concertos 4:13 - How old were you at the time? What was your musical training? 7:01 - Studying under Nadia Boulanger 8:10 - Did she play the organ? 8:17 - Were you a composer when you started out? 9:06 - Do you have perfect pitch? 11:16 - Organists have to improvise 11:29 - Did you learn thorough bass with Nadia Boulager? 12:58 - Was thorough bass an integral part of the training? 14:46 - Reacting to Schoenberg's negative comments about thorough bass 18:13 - Listening to Friedrich Gulda's recordings and self-teaching himself 22:25 - Mozart left over 140 unfinished works 24:01 - What was Mozart's training and how he learned music 25:30 - CPE Bach's "Essay on the True Art of Playing Keyboard Instruments" 27:57 - Fux's Counterpoint Treatise Gradus Ad Parnassum and Bach 31:07 - Different ways to learn counterpoint and improvising fugues 33:48 - Mozart's improvisations in Piano Concertos 35:39 - Levin's sensational performance at the 1989 Mozart Conference 36:27 - Did the attendees know that you were going to improvise? 39:21 - What has been the reaction by your peers to your improvising? 40:20 - Being the only improvising classical pianist for 25 years 41:48 - Being able to improvise in classical music is a completely different way of thinking 43:22 - There are many ways to do a cadence 43:59 - Do your professional peers, concert pianists, know figured bass? 44:38 - Improvisation as interpretation instead of playing notes 48:06 - What do you do when you see a repeat in a piano sonata? 50:10 - The element of risk has disappeared from classical music performance 53:31 - Did audiences during Mozart's time expect improvisation? 55:30 - HOT SEAT - Top 3 Piano Sonatas of Mozart 55:53 - HOT SEAT - Top 3 Piano Concertos of Mozart 56:36 - HOT SEAT - Top 3 Piano Sonatas of Beethoven 57:13 - HOT SEAT - Top 3 Symphonies of Mozart 58:06 - HOT SEAT - Proudest Musical Moment 58:58 - HOT SEAT - If you could meet Mozart, what would you talk about? 1:00:57 - Do you play Jazz? 1:01:37 - Who are your Top 3 Jazz Pianists?
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durée : 00:59:34 - Au Palais des dégustateurs - par : Lionel Esparza - Ce soir, en direct et en public depuis l'Hôtel Bedford, les invités du Classic Club sont le pianiste et compositeur Robert Levin, le caviste Eric Rouyer et le chef Alain Passard ainsi que le compositeur Franck Bedrossian - réalisé par : Olivier Guérin
durée : 01:58:47 - Le Bach du dimanche du dimanche 26 mai 2019 - par : Corinne Schneider - Au programme de cette 82e émission : la chanteuse Noa livre ses « Letters to Bach » (nouveauté Naïve); Robert Levin enregistre les Six Partitas au piano (nouveauté Le Palais des dégustateurs) et un petit tour dans l’Europe baroque avec Bach à l’occasion des élections européennes de ce jour... - réalisé par : Céline Parfenoff
Today's guest in the fifth and final episode of the Fischoff Effect series is Lydia Rhea from the former Kairos String Quartet. In this series, I bring you five former winners of the Fischoff competition to talk about their experience preparing for and competing at Fischoff, and about the wonderful adventures and opportunities that have followed their win: Blaise Magniere from the Avalon String Quartet, Dorival Puccini from Axiom Brass, Matt Landry from the Akropolis Reed Quintet , Christopher Whitley from the Thalea String Quartet, and Lydia Reah from the former Kairos String Quartet! Whether you are a musician about to compete at the competition, or a music lover looking for a fresh approach to practicing and preparing for a concert, make sure to subscribe and tune in everyday, because those conversations are bursting with inspiration and EXTREMELY useful information! Each group has a unique and motivating story and my guests are so generous with their insightful tips and advice! About Fischoff Founded in 1973 in South Bend, Indiana, the Fischoff National Chamber Music Competition has grown to become the largest chamber music competition in the world, attracting the finest and most talented young musicians from around the globe. and is one of the most prestigious classical music prizes attainable today. Since its founding, more than 6,000 musicians have participated, many of whom have gone on to distinguished careers in music performance and education. Fischoff is also deeply committed to music education and partners with competition alumni to bring free, innovative Arts-in-Education programs directly to children in their own schools and community centers. Since 1995, nearly 50,000 children, youth and adults have received free educational programming of the highest order. Website: http://www.fischoff.org/ Facebook: https://www.facebook.com/TheFischoff Instagram: https://www.instagram.com/fischoffchambermusic/ Meet the former Kairos String Quartet – 2018 Junior Division Gold Medal Joshua Brown & Julian Rhee, violin/viola | Thompson Wang, violin | Lydia Rhea, cello The Kairos String Quartet, coached by Rodolfo Vieira, is comprised of Joshua Brown (violin/viola), Julian Rhee (violin/viola), Thompson Wang (violin), and Lydia Rhea (cello). “Kairos”, the decisive time for opportunity and action, captures the essence of ambition and boldness found in these four young artists. Kairos was formed in September of 2017 when all four students were scholarship recipient Fellows at the Music Institute of Chicago Academy, a pre-college training program for gifted musicians. Kairos Quartet won the Gold Medal in the Junior Division of the 2018 Fischoff National Chamber Competition and First Prize in the Junior String Division of the 2018 M-Prize International Chamber Arts Competition, making Kairos the first chamber group to win the top prizes at both Fischoff and M-Prize in the same year. They were also awarded the Grand Prize at the A.N. and Pearl G. Barnett Chamber Music Competition, First Place at the Rembrandt Chamber Players Competition, and the Silver Medal at the St. Paul String Quartet Competition. Named the Rembrandt Young Artists for 2018, Kairos was featured on a live broadcast of WFMT's Introductions. All four members are currently pursuing music performance in college; Joshua, Julian, and Thompson are students at the New England Conservatory while Lydia is studying at the Cleveland Institute of Music. Lydia Rhea, cello http://www.lydia-rhea.com/about/ Instagram: https://www.instagram.com/lydia_cello/ YouTube: https://www.youtube.com/channel/UCN-KjdWREr9lehnLNf8wekg Cellist Lydia Rhea is quickly garnering international recognition as a skilled soloist and chamber musician while currently pursuing a BM in Cello Performance at the Cleveland Institute of Music with Dr. Melissa Kraut. Formerly a scholarship recipient Fellow at the Music Institute of Chicago Academy, a training center for gifted pre-college musicians, Lydia studied with artist faculty member Hans Jørgen Jensen for four years. As a soloist, Lydia has performed with the Indianapolis Symphony Orchestra, the Fort Wayne Philharmonic, the Muncie Symphony Orchestra, the Carmel Symphony Orchestra, and the New World Youth Symphony Orchestra, among others, and appeared on NPR's From the Top with world-renowned jazz pianist Fred Hersch and guest host Yuga Cohler. An accomplished chamber musician, Lydia earned numerous honors as the cellist of the Kairos String Quartet in the 2017-2018 season. Kairos won the Gold Medal in the Junior Division of the 2018 Fischoff National Chamber Competition and First Prize in the Junior String Division of the 2018 M-Prize International Chamber Arts Competition, making Kairos the first chamber group to win the top prizes at both Fischoff and M-Prize in the same year. They were also awarded the Grand Prize at the A.N. and Pearl G. Barnett Chamber Music Competition, First Place at the Rembrandt Chamber Players Competition, and the Silver Medal at the St. Paul String Quartet Competition. Named the Rembrandt Young Artists for 2018, Kairos was featured on a live broadcast of WFMT's Introductions and NPR's From the Top. Lydia made her debut at the age of nine with the New World Youth Philharmonic Orchestra and the Fishers Chamber Players, and she has twice served as principal cellist in the Indianapolis Symphony Orchestra's Side-by-Side program. Most recently, in the summer of 2018, she was invited to be a Professional Performance Artist at the Boston Music Institute's 12-Hour Masterclasses with members of the Boston Symphony Orchestra, and she attended the Festival de Écoles d'Art Americaines de Fountainebleau in France on a full scholarship as the festival's youngest participant. While there, her string quartet was awarded the Premier Prix and the Prix du Château de Fontainebleau for the best interpretation of Ravel's String Quartet in the Prix Ravel, sponsored by the Maurice Ravel Foundation. In the summers of 2016 and 2017, Lydia attended the Heifetz International Music Institute, while previous summers were spent at the Meadowmount School of Music, Sewanee Summer Music Festival, and the Indiana University String Academy. Lydia has had the privilege of taking lessons and master classes with Gary Hoffman, Philippe Muller, Pinchas Zukerman, Robert Levin, Blaise Déjardin, Sharon Robinson, Amir Eldan, Merry Peckham, Jonathan Koh, Richard Hirschl, and Richard Aaron, among others. Lydia plays on a cello made by Lawrence Wilke in 2008. 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. 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 producer, Bella Kelly! MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/ Join the Mind Over Finger Tribe here! https://www.facebook.com/groups/mindoverfingertribe/
Working Class Audio #224 with Frank Marchand!!! Frank Marchand is a recording engineer, mixer, producer, live sound engineer, broadcast mixer and Maryland native since 1976. He learned to play bass in his high school band in the late 70’s and was bitten by the audio bug when his band went into the studio for the first time to record some original material. He then attended a four year liberal arts college that had only one course in acoustics and four track studio that the director would not let any one use. After graduation he found work in a D.C. based mom and pop Hi-fi chain that specialized in selling blank recording media such as cassettes and blank video tape. Working up from the sales floor to the advertising end of the business he then landed a Front of House or House sound job at the now vanished Bayou in D.C. where he cut his teeth as a live sound engineer. After the stint at the Bayou, he then landed a job at Washington Professional Systems where he was the assistant to sound guru Greg Lukens and owner Robert Levin. It was while working at WPS that he came into contact with the Northern VA, D.C., and Baltimore studio community and started to freelance at many studios around the region recording bands on the weekends while being exposed to the latest in recording gear at WPS during the week. He decided to go freelance full time in 1990 and has recorded over 600 records and toured all over the world doing live audio work as well. He has owned or been a part of 4 different studio spaces through the years and still maintains a healthy touring schedule. Mr Marchand has worked on Grammy nominated projects, and Billboard Number #1 records during his career. He has worked with such artists as: punk luminary Bob Mould, Toured with Calexico and Texas Rockers The Toadies, recorded projects for New Orleans rockers Cowboy Mouth, Annapolis natives Jimmies Chicken Shack, Doom Metal founders The Obsessed, Blue Grassers Frank Solivan and Dirty Kitchen, Gospel visionaries The Reminders and Celtic creators of Celt grass, We Banjo 3. He is comfortable with all styles of music and has worked with many artists you have never heard of. About this interview: Frank joins me to talk about freelancing, live sound, recording in rehearsal spaces, adapting to acoustic environments, being a soccer coach, client repeat rates, and working on projects he likes. Enjoy! -Matt Links and Show Notes: Watford Digital: https://www.waterforddigital.com/ Atomic Habits by James Clear: https://amzn.to/2U3J8gV Current sponsors & promos Credits:Host: Matt Boudreau Guest: Frank MarchandWCA Theme Music: Cliff Truesdell Announcer: Chuck SmithEditing: Anne-Marie Pleau & Matt BoudreauAdditional Music: The License Lab
Listen NowThe administration and the Congress are currently discussing various proposals to reform drug pricing policy. Drug prices, as listeners are likely well aware, have risen substantially over the past two decades. For example, between 1997 and 2007 they tripled and currently year-over-year Medicare Part D drug spending is expected to grow through 2026 at twice the 2007 through 2013 growth rate. The administration formally began its effort last May with the announcement of its drug pricing "blueprint." The Congress is currently holding hearings, e.g., the Senate Finance and House Oversight committees, on drug pricing. The administration currently is proposing two drug pricing reforms that would address both Medicare Part B and Medicare Part D drug pricing and the Congress has already introduced several bills to curb drug price growth. During this 28 minute conversation Dr. Levin discusses ATAP's mission and funding and ATAP's position on the administration's current proposal to reform Medicare Part B drug pricing via reference pricing or via the use of an international price index. Dr. Levin discusses moreover the administration's current proposal to reform Medicare Part D drug pricing by eliminating or prohibiting drug manufacturers from paying a rebate to pharmaceutical benefit managers (PBMs) and Part D plan sponsors. Our conversation concludes with Dr. Levin's comments concerning the long standing debate whether the Secretary of DHHS should be allowed to negotiate Part D drug prices with manufacturers. Dr. Robert Levin is the President of the Alliance for Transparent and Affordable Prescriptions (ATAP), President of the Florida Society of Rheumatology and is a practicing physician in Tampa Bay. He teaches medicine at the University of South Florida and has served as a principal investigator in dozens of clinical trials involving rheumatoid arthritis, osteoarthritis, osteoporosis, lower back pain and fibromylagia. Dr. Levin is board certified in Internal Medicine with a sub-specialty in rheumatoid arthritis and is a fellow with the American College of Rheumatology and the American College of Physicians. He earned his medical degree at Hahnemann University in Pennsylvania, did his residency at the Medical College of Pennsylvania and earned his undergraduate degree in chemistry from Oberlin College in Ohio. For information on ATAP go to: https://atapadvocates.com/. Concerning the proposed Medicare drug rebate proposal go to: https://www.govinfo.gov/content/pkg/FR-2019-02-06/pdf/2019-01026.pdf.For an overview of drug pricing issues, see, for example, Hopkins Professor Gerald Anderson's recent Senate Finance Committee testimony, at: https://oversight.house.gov/legislation/hearings/examining-the-actions-of-drug-companies-in-raising-prescription-drug-prices. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thehealthcarepolicypodcast.com
Influencer Marketing in the B2SMB Space - Feat. Robert Levin Chief SMB Officer & Editor-in-chief at RSL Media
In my interview with violinist Miki-Sophia Cloud, we talk about her former life as a strolling ‘gypsy violinist’; playing by ear versus playing from sheet music; her musical studies and mentors at Harvard, Yale, and the New England Conservatory of Music; and how she answers the question: “why am I doing this?” and what motivates her to make music. Learn more about the stuff we talk about! MUSIC IN THIS EPISODE is from Mendelssohn's String Quartet, Op. 80, from the Solera Quartet's debut album, EVERY MOMENT PRESENT (featuring Miki on first violin): https://open.spotify.com/album/1PLFnRJl78gChw3O6eQIEe?si=n3doDFc_RA2g1RzvFDHaAg Miki: http://www.soleraquartet.com/miki-sophia-cloud/ Miki is a core member of the Grammy-nominated ensemble, A Far Cry : http://afarcry.org Miki and I play in a quartet together: http://www.soleraquartet.com/the-soleras/ Robert Levin, Professor Emeritus, Harvard University: https://en.wikipedia.org/wiki/Robert_D._Levin Ronda Cole, Director of NVSMS , Violin Teacher, Teacher Trainer for the Suzuki Association of the Americas (SAA): https://www.suzukiviolinschool.com/our-faculty.html Ricardo Cyncynates, Assistant Concertmaster of the National Symphony Orchestra: https://www.ricardocyncynates.com/biography Ani Kavafian, Professor of Violin, Yale School of Music: https://www.chambermusicsociety.org/about/artists/strings/ani-kavafian/ Miriam Fried, Professor of Violin, New England Conservatory of Music: https://necmusic.edu/faculty/miriam-fried Donald Weilerstein, Dorothy Richard Starling Chair in Violin Studies, New England Conservatory of Music: https://necmusic.edu/faculty/donald-weilerstein
Picks from across the week on In Tune with Katie Derham, including Crouching Tiger, Hidden Dragon composer Tan Dun, musicologist Robert Levin and New York's Harlem Quartet.
Conductor Hugh Wolff, and pianist and Mozart scholar Robert Levin speak about improvising cadenzas, and how Beethoven’s impressive run of symphonies got started. Pictured: (l-r) Hugh Wolff, host Frank Dominguez and Robert Levin.
Der amerikanische Pianist Robert Levin hat sich insbesondere als Mozart-Interpret einen Namen gemacht. Bei den Museumskonzerten im Rahmen der Mozartwoche Salzburg wird er am 2. Februar 2017 auf einem Instrument aus Mozarts Besitz zu hören sein. Im Gespräch mit BR-KLASSIK erzählt der Solist, wie ihn der Komponist bereits in frühester Kindheit geprägt hat und welche Rolle das Improvisieren für ihn spielt.
Go behind the scenes with stage director Joel Ivany as he address the Mozart Requiem choir for the first time. Plus, Robert Levin talks about finishing Mozart's unfinished masterpiece.
Fortepianist Robert Levin tells Suzy Klein how he improvises cadenzas in Mozart's concertos, why they aren't a place to show off technical virtuosity, and what he'll do if musical inspiration ever fails him.
Robert Levin discuss improvisation with Prof John Rink as part of the 2012 Humanitas lecture series.Recorded live at the University of Cambridge.
Robert Levin's first lecture 'Improvising Mozart' as Humanitas Visiting Professor in Chamber Music at the University of Cambridge closed with a live improvised fantasy on three themes suggested by the audience
Humanitas Visiting Professor in Chamber Music 2012
Humanitas Visiting Professor in Chamber Music 2012
Howard Lewinter welcomes to the Wednesday Edition of Talk Business With Howard guest, Robert Levin, the publisher and CEO of The New York Enterprise Report - a media company that serves the small and mid-sized business community in the New York metropolitan area and beyond. He is known as "New York's Chief Small Business Officer". Prior to The New York Enterprise Report, Robert was a CEO and CFO for several fast growing companies. Join Howard and Robert as they talk about business and how to be successful in today's challenging business environment. To read the New York Enterprise Report daily, go to: http://www.NYReport.com or follow on Twitter: @NYReport.
As part of the Piano Season on the BBC, Lucie Skeaping presents the second of two programmes about the development of the piano during the eighteenth century. Lucie continues her survey of the development of the period piano, ending in the early nineteenth century with instruments for which Beethoven and Haydn wrote music which were recognisable precursors of the modern concert grand piano. With contributions from Steven Devine Professor of Fortepiano at Trinity College of Music, and Robert Levin.
VIDEOS: Steven Isserlis plays Tsintsadze and Kabalevsky Steven Isserlis, the English cellist and a guest in the WQXR Café, said that he’d like to write a book about what it’s like to be a professional musician. He's not the first with that idea but one expects he’d have a lot to say. Isserlis can wax lyrically about the joys of playing the Beethoven cello sonatas, the religiosity he finds in the cello music of Bach, and why a rarity like Kabalevsky's Second Cello Concerto is "a real winner of a piece." A prolific writer whose output includes two children's books, Isserlis blogs on such diverse topics as Hitler's musical tastes and Victorian literature. A fan of the Beatles, he is an acquaintance of Paul McCartney and styles his hair not unlike the Fab Four once did. In conversation Isserlis is as witty and opinionated as his writing, as spirited and assured as his musical performance. Isserlis is most animated when talking about Beethoven, a composer he resisted for the first half of his career. Five years ago, he dove in with a day-long Beethoven marathon at the Wigmore Hall. This week, he performs more Beethoven with fortepianist Robert Levin over four programs at the 92nd St. Y. Further Beethoven cycles are planned this year in San Francisco and Tokyo, as well as a recording with Levin. "I had this resistance to Beethoven and I don’t know why,” Isserlis told Naomi Lewin. “It’s the most wonderful, life-enhancing music. You resist it and then you give into it. It just takes you over. It’s a very important part of my life now.” Isserlis’s late-life conversion seems to mirror a similar decision to record the Bach cello suites in 2007 – some three decades into his career. The Bach album earned much critical acclaim. "It’s like some women never feel ready to have babies and then there comes a time,” he said. “I finally got up my courage to do it.” The decision came with some encouragement from his then-90-year-old father. "It was really what kicked me into the studio,” said Isserlis. “He came and sat in the studio when I recorded the Sixth Suite, which was his favorite.” Isserlis was born into a musical family in London (his parents and two sisters are musicians). At 14, he moved to Scotland where he studied with Jane Cowan, a revered cello teacher who had students read Goethe's Faust because she thought it would help them play Beethoven better. In the mid 1970s he studied at Oberlin College Conservatory in Ohio. His big breakthrough came in 1989, when composer John Tavener wrote The Protecting Veil for him, which became one of the major cello works of the late 20th century. Now 53, does Isserlis ever tire of the touring treadmill, with orchestras asking for the same limited bunch of concertos? "Audiences do come for famous pieces,” he acknowledges. But he quickly insists that he has struck a healthy balance. “I can’t imagine ever getting tired of Elgar, Dvorak or Schumann, because they are masterpieces and I love them and they always say new things to me.” Video: Amy Pearl; Sound: Jason Isaac; Production & text: Brian Wise; Interview: Naomi Lewin
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