Podcasts about rostropovich

SHOSTAKOVICH: Sinfonía nº 5 en Re menor, Op. 47 (43.18). Orq. Sinf. Nac. de Washington. Dir.: M. Rostropovich.Escuchar audio

It's hard to overstate the depth of the connection between Dmitri Shostakovich and the legendary cellist Mstistlav Rostropovich. Shostakovich and Rostropovich were extremely close friends, and Shostakovich wrote and dedicated several works to him, including the piece we're going to talk about today, the first Cello Concerto. Rostropovich had been desperate to get Shostakovich to write a concerto for him, but Shostakovich's wife had one simple piece of advice: if you want Shostakovich to write something for you, don't talk to him about it or even mention it. So Rostropovich waited and waited, until July of 1959, when he was asked by Shostakovich to come to Leningrad to try out a new Cello Concerto. Shostakovich played through the piece for Rostropovich, turned to him, and asked him if he liked it. Rostropovich apparently told Shostakovich that he “had been shaken to the core.” Shostakovich, in his famously modest way, then shakily asked Rostropovich if he could dedicate the concerto to him. Rostropovich immediately agreed, and then rushed off to learn the concerto as quickly as possible. He learned the entire concerto in 3 days, then returned to Shostakovich and played it for him by heart. The concerto is practically stamped with Rostropovich's name, which is why I'll be using a recording of a live performance of Rostropovich during the show today, though I must say I also recommend a pretty great modern recording by a certain cellist who is also my sister, Alisa Weilerstein. This concerto has always been one of my favorites; it is compact, powerful, punchy, beautiful, intense, concentrated, and tremendously exciting. For me, it is one of Shostakovich's most Beethovenian works, in its lean power and its obsession with a single motive. Today on this fundraiser sponsored show, we'll talk through this fantastic concerto, and explore just what makes its momentum so inevitable and so thrilling from start to finish. Join us!

durée : 01:58:20 - Sviatoslav Richter (1915-1997) avant 1960 (2/2) - par : Philippe Cassard - Au programme, les concerts avec la soprano Nina Dorliak sa future épouse. La rencontre avec Prokofiev. Le duo avec Rostropovich. - réalisé par : Philippe Petit

I have wondered, in my darker days, whether this portfolio career I love is truly sustainable. Whether I can really keep tweaking and evolving all the way until I stop. This interview gave me an inspiring YES!   Hailed by Fanfare Magazine as "one of the great cellists of our time", Nancy Green is an internationally recognized recording artist, known for her highly acclaimed CDs of previously unrecorded works as well as staples of the cello repertoire.  Her numerous CDs, which include many premieres, are broadcast worldwide and her performances have earned rave reviews internationally.  Her CD recordings on the US label, JRI, and the British labels, Cello Classics and Biddulph Recordings, have received special notice in many major publications, among them Strings Magazine (Editor's Choice), MusicWeb International (CD of the Month), Fanfare Magazine (Want List), and Classical Music Magazine (CD of the Fortnight). Her recording of the Brahms sonatas with duo partner Frederick Moyer was named by Fanfare Magazine as the "hands-down pick" for these standard works which have been recorded, sometimes multiple times, by the most acclaimed cellists in history.  Green has performed as soloist in venues such as the Kennedy Center, Alice Tully Hall, Carnegie Recital Hall, as well as London's Wigmore Hall, St. Martin-in-the-Fields, and Windsor Castle.  She has also performed in major concert halls in Holland, Belgium, and the Far East. International press reviews have likened her to great cellists such as Rostropovich, Yo-Yo Ma, and Jacqueline du Pré.  Since 2015 Ms. Green no longer performs live and is exclusively a recording artist. Follow Nancy's YouTube, Spotify, Apple music, Instagram, or Facebook   Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams.You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!    

Dmitri Shostakovich (1906 - 1975) - Sinfonia n. 1 in fa minore, op. 101.       Allegretto2.       Allegro 8:173.       Lento 12:594.       Allegro Molto 21:32National Symphony OrchestraMstislav Rostropovich, conductorAbout Sinfonia n. 1 in fa minore, op. 10

Moray Welsh is one of the UK's most distinguished musicians. In this podcast he describes his musical life's journey, how he came to meet and be championed by Benjamin Britten, studies with Rostropovich in Moscow and his time as Principal cellist of the London Symphony Orchestra.

Fali Pavri is the current Head of Keyboard at the Royal Conservatoire of Scotland. As well as being a sought-after teacher, his international career sees him performing as both soloist and chamber musician; premiering many new contemporary works by distinguished composers including Giles Swayne and Howard Skempton; recording for the Guild and Delphian labels and sitting on the jury of many international piano competitions. In this episode, Fali talks all things conservatoires, competitions, and teachers that live off their students' reputations. I also ask him how he came to end up touring with Rostropovich, and he recounts his rather unique encounter with Horowitz…Fali's links:Fali Pavri: official websiteRoyal Conservatoire of ScotlandThis episode was recorded in October 2023.-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and reviews help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------This podcast is also available to listen to via The Violin Channel--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------The Classical Circuit is made by Ella Lee (radio music producer by trade, pianist at heart).-------------------- Hosted on Acast. See acast.com/privacy for more information.

I'll share my personal struggles as to whether I should play this music, and in general the responsibility of handling pieces of great art. Hopefully adding humour to trying to finding life's meaning in the music. Let's remember: tackle challenging pieces seriously and embrace the ongoing quest for improvement. Introduction (00:00:00 - 00:00:45:14) In the opening segment, I share my initial reflections on the unique experience of playing Bach on the cello. Versatility of Bach's Cello Suites (00:00:45:16 - 00:02:25:18) We delve into the versatility of Bach's compositions for cello, Performer's Responsibility and Rostropovich (00:02:25:20 - 00:04:48:24) Reflecting on the performer's responsibility, I discuss Rostropovich's approach and touch on perhaps why he waited so long before recording them. Phrasing, Breathing, and Personal Experiences (00:04:49:01 - 00:07:40:20) Emphasising the significance of phrasing and breathing, I share personal anecdotes about my struggles and growth during practice. Articulation, Interpretation, and Final Thoughts (00:07:40:22 - 00:11:49:02) Let's explore the role of articulation, delve into my perspective on the debate, and discuss cautionary advice. I'll conclude with remarks on the gravity of approaching challenging musical pieces.

durée : 01:58:26 - Jean-Bernard Pommier (1944) - par : Philippe Cassard - Pianiste et chef d'orchestre Jean-Bernard Pommier (né en 1944) fait partie de ces rares interprètes français à avoir joué avec Karajan, Boulez, Stern ou encore Rostropovich. Vaste répertoire et carrière exemplaire. - réalisé par : Pierre Willer

Sviatoslav Richter (1915–97), who several times played all three wartime sonatas during the 1945-6 concert seasons, gave his first public recital in Odessa in 1934 and was taught by Heinrich Neuhaus at the Moscow Conservatory. Having played Prokofiev's Fifth Piano Concerto under the composer's direction, Richter gained a formidable reputation in the USSR and played in the West for the first time in 1960. Subsequent visits were eagerly awaited, however Richter became highly selective in his choice of venue, (always preferring smaller venues) and repertoire and often, as with Visions fugitives, selected a few pieces from a single cycle. Following an extensive tour of the USA in 1970, he chose not to return to that country as Aldeburgh and selected sites in France and Italy became his preferred venues outside Russia. In 1986 Richter gave 91 concerts over a four-month period during a tour by car from Leningrad -Vladivostok - Moscow. In addition to numerous solo concerts, Richter often played alongside friends such as Britten, Kagan, Rostropovich, Fischer-Dieskau, Schreier, Oistrakh, and Fournier.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com  This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Maya Beiser – InfInIte Bach: J.S. Bach's Six Cello Suites (Islandia Music Records) Jump to giveaway form New Classical Tracks - Maya Beiser by “I'll never forget. I think I was 10. My father said, ‘Maya, you have to decide: It's Carnegie Hall or Wimbledon,'” cellist Maya Beiser says, “And I remember telling him, ‘I don't think it's going to be Wimbledon, so why don't we do Carnegie Hall?'”Beiser did not disappoint her father. She has performed at Carnegie Hall many times over the years. She admits her father wasn't all that keen on the crazy contemporary music for which she's best known. However, he would have loved her latest recording, which is why she dedicated it to him. It's called Infinite Bach,' and it features the composer's famous cello suites.“The earliest musical memory that I have is of Bach, specifically the Bach cello suites,” she says. “I grew up in the northern part of Israel, in the Galilee, at a time where there was constant threat of war. And we spent actually a lot of time in shelters during my early childhood. I grew up in a commune. It was called a kibbutz.“And my father would always just listen to music. He bought this old recording of Pablo Casals performing the cello suites, and that is the earliest memory of my childhood, is the pleasure of just listening to that music in my parents' little house. It was the sense of safety and the connection that music always had for love.“I never thought I was going to record the Bach suites, because I always felt that there were enough recordings out there. There were wonderful cellists who have already done that, and I felt that I had a different mission. I'm 60 now. So it was kind of a big, momentous moment. For years, I had to juggle being a mother and a partner and all these things, and then the pandemic. During that time, my partner and I found this house in the Berkshires. We just fell in love with that place because it was inspiring. It had this separate converted barn; it just had the most incredible acoustics.“The first day I was there, I just took my cello and I sat in the middle of this empty space and just started to play the Bach suites. I all of a sudden realized that this is what I want to do for the next year. I imagined the cello as this sort of giant organ that takes over, and I wanted to create all these different reverbs and delays, but without any artificial electronics.  I wanted everything to be acoustic.”You say in your liner notes that some believe the suites bear a whisper of Bach's wife. Why did you include this?“All my teachers were men; all my mentors were men. And they always told me, you need to listen to Pablo Casals and Rostropovich and Pierre Fournier. I can give you the list. They were all older men. There was no model of how a woman would think of this music.“There are people who claim that Anna Magdalena, Bach's wife, was actually the one who wrote the suites. And whether it's true or not, the idea intrigued me. So I just liked to think about it as if I'm presenting a feminine Bach.” Maya Beiser: InfInIte Bach (Official Music Video) Water, The Prelude in D minorTo hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts.GiveawayMaya Beiser New Classical Tracks GiveawayYou must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules.ResourcesMaya Beiser – Infinite Bach: J.S. Bach's Six Cello Suites (Islandia Music Records)Maya Beiser – Infinite Bach: J.S. Bach's Six Cello Suites (Amazon)Maya Beiser (official site)

Q: What if those really slow interpretations of the cello suites from the 30s and 50s could be sped up? A: Exactly.   https://www.jsbachcellosuites.com - check out this website! It's a great source on the history of the recordings of these pieces.   Thanks for all your feedback, donations, ideas, everything. Please follow @wtfbach on instagram for (almost) daily Bach content.   We thank YOU for supporting us! https://www.patreon.com/wtfbach https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach   Write us: bach (at) wtfbach (dot) com

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Wendy Warner who is the Assistant Professor of Cello at Columbus State University's Schwob School of Music. They talk about what it was like to make her solo debut with the Chicago Symphony at the age of 14, her experience studying with Rostropovich, and her amazing set of performances at the Fourth International Rostropovich Cello Competition earning her the top prize. She was only 18 years old at the time. For more information on Wendy, visit:https://www.columbusstate.edu/profiles/warner-wendyor visit her website: http://www.wendywarnercello.com/You can also find Wendy on Facebook  If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Instagram @theCelloSherpa

Welcome to Series 2 of Coffee Cake and Culture the Music Podcast. People attend orchestral concerts and can name the instruments, but the actual physicality, dimension, sound production, history and function of most instruments remains a mystery. This series looks at each family of instruments, some lesser known instruments and the role of the conductor.In Episode One of Series 2, Andy and Rob dive deep into the String section.The String SectionThe String section is the biggest family in the orchestra and although the instruments all look the same, they have many varying characteristics. The perfect cake for this section is a Vanilla Cake! A great Vanilla Cake is an essential for any baker just like a great string section is essential for any great orchestra. Have a look at the website for the Vanilla Cake recipe and enjoy. See the recipe at https://www.coffeecakeandculture.com.au/MUSIC IN THIS EPISODEJean-Baptiste Lully – L'orchestra du Roi Soleil. Le Concert des Nations – SavallTomas Luis de Victoria – O Magnum mysterium. The Voice of the ViolJS Bach – Partita No1 BWV 1002. Gidon KremerJS Bach – Cello Suite No 1 in G Major. Played on Violin and ViolaBruch – Romance for Viola and Orchestra. Cristina Cordero – Orquestra de CamaraKodaly- Sonata in B minor for Solo Cello Op 8. Sebastian BaverstamBeethoven – Cello Sonata no 3 in A Major. Rostropovich and RichterDittersdorf – Double Bass concerto. Rinat Ibragimov, London Symphony OrchestraJanacek – Idyll Suite for String Orchestra. A Far CryDon't forget to rate and review us!----------------- 0:00:11 Conversation Recap: Coffee, Cake and Culture Podcast Series Two 0:03:18 Conversation on the Instruments of the Orchestra and Vanilla Buttercake Recipe 0:04:55 Conversation on Baking and the String Section of an Orchestra 0:07:20 Exploring the History of the String Family in Music 0:14:09 Conversation on the Design of the Violin 0:15:41 Conversation on the Ergonomics of Stringed Instruments 0:18:05 Conversation on the History of Stringed Instrument Strings and Bows0:22:22 Conversation on the Double Bass and the String Family of Instruments 0:24:47 Conversation on the Unique Qualities of Violin Playing 0:27:03 Conversation on the Differences Between Violin and Viola Playing 0:33:54 Conversation on the Differences Between Violin, Viola, and Cello 0:37:52 Conversation on the Beauty of the Cello and its Playing Styles 0:42:29 Conversation on the Differences Between Violin and Double Bass 0:43:58 Conversation on the Differences Between the Violin, Viola, Cello, and Double Bass 0:47:39 Conversation on the Evolution of String Instruments 0:51:49 Conversation Summary: Exploring the String Section of an Orchestra Hosted on Acast. See acast.com/privacy for more information.

Today on the podcast, I talk with Alecia Lawyer, Founder, Artistic Director, Principal oboist of ROCO. She's got the most exciting ideas about orchestral possibilities in the 21st century, and I wish more people were as innovative as she.    Named by Musical America as one of classical music's Top 30 Influencers for 2015 and a Lorée oboe artist in 2019, Texas native, Alecia Lawyer, is the Founder, Artistic Director, and Principal Oboist of ROCO, a professional music ensemble that flexes from 1 to 40 musicians from around the US and Canada, including guest conductors from around the world. Expanding the repertoire, ROCO has commissioned and world premiered over 100 works from living composers. The group performs dozens of concerts annually in multiple venues throughout Houston, many of which are broadcast nationally and livestreamed to the world. Known as “The Most Fun You Can Have with Serious Music!” ROCO has been called a trailblazer and arts disrupter and is leading the sector in innovation. Calling her business model “Wildcatting in the Arts”, Ms. Lawyer was named a finalist for Texas Musician of the Year (along with Willie Nelson) and was listed as one of Houston's Top 50 Most Influential Women. She is a proud senior fellow of American Leadership Forum, a trustee for Episcopal High School, and a member of the Institute for Composer Diversity. She has received numerous awards, including the Gutsy Gal Award from Houston Woman Magazine and Sigma Alpha Iota Musician of the Year.  She regularly presents her entrepreneurial model and dynamic ideas to conservatories, universities, and music festivals around the US, such as Juilliard, Yale, SMU, Round Top, and the Texas Music Festival, using ROCO as a case study for community-specific orchestra building. Business and social groups in the Greater Houston Area engage her to speak on numerous topics related to the creation, innovation, marketing, and development of the arts. After receiving her Masters from Juilliard and Bachelors from SMU, both in oboe, Alecia's career has ranged from recording for John Cage and soloing with Rostropovich, to a contemporary chamber music recital at Carnegie Hall, live radio broadcasts in New York, and disc jockeying for KRTS-92.1FM, Houston, TX. Enjoying a year residency in France, she recorded with the Sorbonne Orchestra, performed recitals in Paris, and concertized with various orchestras and chamber groups in France and Germany. Alecia and her husband Larry have two fantastic sons, Jacob and Zachary. Alecia is an F. Lorée artist. You can catch up with ROCO at its website, or follow on Facebook, YouTube, and Twitter @rocohouston Alecia's previous SUPER INSPIRING interview is HERE. Roco recently collaborated on a beautiful new children's book: The Nightingale Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! Or you could hop on a short call with me to brainstorm your next plan.  I'm your host, Jennet Ingle. I love you all. Stay safe out there!  

When you hear the term virtuoso musician, do you think of someone like pianists Chopin or Rachmaninov? Or perhaps the violinist Perlman or cellist Rostropovich? They are all known as virtuosos, meaning they mastered their instrument to the highest level of talent and technical skill. Another virtuoso is the guitarist Doc Watson. He was born in 1923 in Deep Gap, North Carolina. An eye infection left him blind before he reached age two. But that didn't stop him. One day his father told him and his brother that if they chopped down a bunch of small chestnut trees, he'd let them keep the money from selling them. They did, and Watson bought his first guitar. He spent hours practicing and, over time, developed a technique called flat picking, where the musician holds a pick to strike the strings. The technique influenced many folk musicians. Watson also mastered the finger-picking style.* I encourage you to search the internet and listen to a recording of Doc Watson playing “Tickling the Strings.” 2 Peter 1:5-6 tells us to “make every effort to add to your faith goodness; and to goodness, knowledge; and to knowledge, self-control.” (NIV 1984) That word self-control refers to mastering something. Doc Watson mastered the guitar. We are to work along with God's spirit to master ourselves, to learn how to live, to be a virtuoso in the Christian life. *"Doc Watson," Wikipedia, last updated February 24, 2023, https://en.wikipedia.org/wiki/Doc_Watson How to leave a review: https://www.sparkingfaith.com/rate-and-review/ Visit Elmer Fuller's author website at: https://www.elmerfuller.com/ Bumper music “Landing Place” performed by Mark July, used under license from Shutterstock.

Jess Gillam is joined by the Mumbai-born pianist Shivank Menon, to talk about the records that they love. Their playlist includes Rostropovich playing Bach, Sviatoslav Richter playing Chopin, songs by Ravel, Fanny Mendelssohn and Donny Hathaway, and a recording of Bill Evans duetting with himself. Playlist: MORELENBAUM2 & RYUICHI SAKAMOTO: Sabia J S BACH ARR. KODALY: Vater unser im Himmelrich, BWV 762 (Mstislav Rostropovich, cello; Herbert Tachezi (organ) CHOPIN: Polonaise No 7 in A flat, Op 61 (Sviatoslav Richter, piano) ROBERT DE VISÉE: Sarabande from Suite No 7 in D minor (Thomas Dunford, archlute; Jean Rondeau, harpsichord) FANNY MENDELSSOHN: Schwanenlied, Op 1 No 1 (Dorothea Craxton, soprano & Babette Dorn, piano + Benjamin Appl, baritone & James Baillieu, piano) RAVEL: Soupir from 3 Poèmes de Stéphane Mallarmé (Anne Sofie von Otter, mezzo-soprano) DONNY HATHAWAY: A Song for You BILL EVANS: Emily

Synopsis On today's date in 1928, the Danish composer Carl Nielsen conducted the first public performance of his new Clarinet Concerto in Copenhagen. “The clarinet,” said Nielsen, “can, at one and the same time seem utterly hysterical, gentle as balsam, or as screechy as a streetcar on badly greased rails.” Nielsen set himself the task of covering that whole range of the instrument's conflicting emotions and colors. He wrote it for a Danish clarinetist he admired named Aage Oxenvad, who played both the public premiere on today's date and a private reading a few weeks earlier. After the private performance Oxenvad is supposed to have muttered: “Nielsen must be able to play the clarinet himself — otherwise he would hardly have been able to find all the instrument's WORST notes.” The concerto's wild mood-swings puzzled audiences in 1928, but today it's regarded as one of Nielsen's most original works. In October of 1996, another Clarinet Concerto received its premiere when American composer John Adams conducted the first performance of his work Gnarly Buttons with soloist Michael Collins. This concerto contains a bittersweet tribute to Adams' father, a clarinetist who fell victim to Alzheimer's disease. In Adams' concerto, the swing tunes slide into dementia, but the concerto ends with a kind of benediction. Music Played in Today's Program Carl Nielsen (1865-1931) Clarinet Concerto, Op. 57 Kjell-Inge Stevennson, clarinet; Danish Radio Symphony; Herbert Blomstedt, cond. EMI 69758 John Adams (b. 1947) Gnarly Buttons Michael Collins, clarinet; London Sinfonietta; John Adams, cond. Nonesuch 79453 On This Day Births 1882 - Canadian-born American composer R. Nathaniel Dett, in Drummondsville, Ontario; Deaths 1896 - Austrian composer Anton Bruckner, age 72, in Vienna; Premieres 1727 - Handel: "Coronation Anthems," in London at Westminster Abbey during the coronation of King George II and Queen Caroline (Gregorian date: Oct. 22); 1830 - Chopin: Piano Concerto No. 1 in E minor, in Warsaw, composer as soloist; 1928 - Nielsen: Clarient Concerto, at a public concert in Copenhagen, with the composer conducting and Aage Ozenvad the soloist; This concert had been given a private performance in Humlebaek on September 14, 1928); 1947 - Prokofiev: Symphony No. 6, by Leningrad Philharmonic, Yevgeny Mravinsky conducting; 1952 - Prokofiev: Symphony No. 7, by Moscow Philharmonic, Samuil Samosud conducting; 1953 - Messiaen: "Réveil des oiseaux," in Donaueschingen, Germany; 1955 - B.A. Zimmermann: "Nobody Knows de Trouble I See" for Trumpet and Orchestra, in Hamburg, by the North German Radio Orchestra conducted by Ernest Bour, with Adolf Scherbaum the soloist; 1962 - Carlisle Floyd: opera "The Passion on Jonathan Wader," by the New York City Opera; 1977 - Bernstein: "Songfest," "Three Mediations from 'Mass,'" and "Slava!" by the National Symphony, conducted by the composer ("Songfest" and "Meditations"‚ and Mstislav Rostropovich ("Slava!"); Rostropovich was also the cello soloist in the "'Meditations"; 1980 - Bernstein: "A Musical Toast ( A Fanfare in Memory of André Kostelanetz)" by the New York Philharmonic conducted by Zubin Mehta; 1980 - Zemlinksy: opera "Der Traumgörge" (Goerge the Dreamer), posthumously, in Nuremberg at the Opernhaus (This opera was written in 1906); 1985 - John Harbison: String Quartet No. 1, at the Corcoran Gallery in Washington, D.C., by the Cleveland Quartet. 1985 - Michael Torke: “Vanada” for brass, keyboards and percussion, at the Concertgebouw Chamber Hall in Amsterdam, by the Asko Ensemble, Lukas Vis conducting. Links and Resources On Carl Nielsen On John Adams

Synopsis In 1939, Dale Carnegie published a self-help book entitled How to Win Friends and Influence People, suggesting you could change people's behavior to you by changing YOUR behavior toward them. We're not sure if Carnegie's book was ever translated into Russian, but we'd like to cite the case of the famous Russian cellist Mstislav Rostropovich as an example of one way to influence a particular composer. In Rostropovich's day, the greatest living Soviet composers were Sergei Prokofiev and Dmitri Shostakovich. In 1949 Prokofiev wrote a Cello Sonata for the 22-year old Rostropovich, and also dedicated his 1952 Sinfonia Concertante for cello and orchestra to him. Not surprisingly, Rostropovich hoped Shostakovich might write something for him, too, and so asked that composer's wife, Nina, how to ask him. She replied the best way was NEVER to mention the idea in the presence of her husband. She knew Shostakovich was following the cellist's career with interest, and if the idea of writing something for Rostropovich was his own, rather than somebody else's, it stood a better chance of becoming reality. Rostropovich followed her advice, and – surprise surprise – on today's date in 1959, gave the premiere performance with the Leningrad Philharmonic of a brand-new cello concerto specially-written for him by Dmitri Shostakovich. Music Played in Today's Program Dmitri Shostakovich (1906-1975): Cello Concerto No. 1 in Eb, Op. 107 –Philadelphia Orchestra; Eugene Ormandy, cond. (Sony 7858322)

Synopsis For over 120 years the late summer music festival known as the BBC Proms has been presenting memorable concerts in London, but one of the most memorable occurred on today's date in 1968. The scheduled performers at the Royal Albert Hall were the USSR State Symphony, its conductor Yevgeny Svetlanov, and the virtuoso cellist Mstislav Rostropovich. As the musicians took to the stage, boos and cat-calls were mixed with the applause, and some shouts of “Go home!” and “Russians out!” The reason? Earlier that same day, the Soviet Union and its East Block allies had invaded Czechoslovakia, sending troops and tanks into the country to crush the so-called “Prague Spring,” a period of liberalization and reform that threatened Communist control of that nation. By a cruel stroke of irony, one of the works on the scheduled program of the Soviet orchestra was the Cello Concerto of Czech composer Antonin Dvorak. There were some shouts of protests as Rostropovich began to play, but by the end of his intense performance, all was quiet. Rostropovich had played with tears streaming down his face, and after finishing held up the conductor's score of the concerto as both a sign of solidary with the Czech nation and act of mute protest of the invasion. Music Played in Today's Program Antonin Dvorak (1841 -1904) –Cello Concerto in b, Op. 104 (Mstislav Rostropovich, vcl; USSR State Symphony; Yevgeny Svetlanov, cond.) BBC Legends CD 4110 (r. live August 21, 1968 at the BBC Proms)

I had the enormous good fortune as a young man to get to work with the great cellist Mstislav Rostropovich. Rostropovich, or “Slava,” as everybody called him, was the music director of the National Symphony Orchestra when I played in that ensemble, and with all his other engagements he still somehow made time to give master classes just for members of the orchestra.

Synopsis There are dozens of famous cello concertos that get performed in concert halls these days, ranging from 18th century works by the Italian Baroque master Antonio Vivaldi to dramatic 20th century works of the Russian modernist Dmitri Shostakovich. In 2007, the American composer Sean Hickey was commissioned by Russian cellist Dmitry Kouzov to write a new concerto, which received its premiere performance on today's date two years later, in 2009. “In this work,” Hickey recalled, “I wanted to fuse my interest in neo-classical clarity and design with the songful, heroic nature of the greatest cello concerto literature … My Cello Concerto had its Russian premiere at the Beloselsky-Belozersky Palace, a neo-Baroque edifice on the banks of the Fontanka River in Saint Petersburg … [It] was then recorded in the legendary Melodiya Studios on Vasilevsky Island in St. Petersburg, known from Soviet times as producing recordings from the likes of Shostakovich, Rostropovich, Mravinsky, and many others. “One moment of personal satisfaction came when the Russian orchestra, after rehearsing the piece for days, picked up on a buried quotation from Shostakovich's Seventh, his ‘Leningrad Symphony' in the final pages of my piece. It's easy to forget in the glittering and watery metropolis, which rivals any European city for beauty and culture, that St. Petersburg is a city full of ghosts.” Music Played in Today's Program Sean Hickey (b. 1970) –Cello Concerto (Dmitry Kouzov, vcl; St. Petersburg State Symphony; Vladimir Lande, cond.) Delos 3448

Escuchamos la farándola de 'L'arlésienne' de Bizet dirigida por Karajan, el Concierto para violonchelo en si menor op. 104 de Dvorak interpretado por Rostropovich, una versión orquestada de 'Suspiros de España' de Álvarez Alonso y el scherzo de la Sinfonía nº3 en re menor de Bruckner bajo la dirección de Celibidache.

PATREON community for Russian learners(ZOOM calls/exclusive chat/transcripts of the podcast's episodes) - https://bit.ly/38isl1g Videos with Rostropovich - https://bit.ly/3ruSukk , https://bit.ly/3jKCHcI , https://bit.ly/3EfUlyJ TELEGRAM - https://t.me/russianwithsasha My WEBSITE - russianwithsasha.com MY COURSES - https://gumroad.com/rws Instagram - https://www.instagram.com/russianwithsasha Facebook - https://www.facebook.com/russianwithsasha Buy me a coffee - https://www.buymeacoffee.com/russianwsasha

Kavakos is a laureate of the great violin competitions and a visitor to the great orchestras of the world – as both violinist and conductor. In 2017 he joined the likes of Shostakovich, Rostropovich and Rubinstein as a laureate of the Sonning Music Prize.Bach, J S: Partita for solo violin No. 3 in E major, BWV1006Bach, J S: Sonata for solo violin No. 3 in C major, BWV1005Bach, J S: Sonata for solo violin No. 2 in A minor, BWV1003Bach, J S: Sonata for solo violin No. 1 in G minor, BWV1001Bach, J S: Partita for solo violin No. 1 in B minor, BWV1002Bach, J S: Partita for solo violin No. 1 in B minor, BWV1002Purchase the music (without talk) at:Sei Solo Kavakos (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson).

Hay días en los que en esta sección contamos historias que han resultado decisivas para el desarrollo de la música, o damos a conocer obras que pasan desapercibidas en general. Bueno, hoy os presentamos el Premio de Música Polar, una especie de Premio Nobel de la Música creado por el letrista de ABBA que es una de las cosas más fascinantes que esconde el mundo de la música actual. Este premio, que busca reconocer a un músico clásico y a otro no clásico, es la única razón del mundo que podría unir a Elton John con Rostropovich. Así que os invitamos a escuchar este programa para saber exactamente de qué va este asunto.

Synopsis Two famous pieces of chamber music had their premieres on today's date, both at private readings prior to their first public performances. On today's date in 1842, the German Romantic composer Robert Schumann arranged for a trial reading of his new Piano Quintet in E-flat at the Leipzig home of some of his friends. Schumann's wife, Clara, was supposed to be the pianist on that occasion, but she took ill, and Schumann's friend and fellow-composer Felix Mendelssohn stepped in at the last moment for the informal performance, reading the work at sight. After this preliminary reading, Mendelssohn praised the work, but offered some friendly suggestions concerning part of the trio section in the new work's Scherzo movement, which prompted Schumann to write a livelier replacement movement for the work's first public performance. About 100 years later, on today's date in 1949, a cello sonata by the Soviet composer Sergei Prokofiev received a similar private performance in Moscow, for an invited audience at the House of the Union of Composers. Two of the leading Soviet performers of the day, cellist Mstislav Rostropovich and pianist Sviatoslav Richter, gave the work its first performance. The following spring, it was again Rostropovich and Richter who gave the Sonata its public debut at the Moscow Conservatory. Music Played in Today's Program Robert Schumann (1810–1856) — Piano Quintet in Eb, Op. 44 (Menahem Pressler, piano; Emerson String Quartet) DG 445 848 Sergei Prokofiev (1891–1953) — Cello Sonata, Op. 119 (David Finckel, cello; Wu Han, piano) Artist Led 19901

Flemington Carnival winner Zayydani heads to the Ballarat Cup as one of the major chances tomorrow afternoon for Lindsay Park. Rostropovich is also involved in tomorrow's feature

Cellist Nicolas Altstaedt speaks to online editor Davina Shum about the Lutosławski cello concerto – a piece which is quickly becoming performed more and more since Rostropovich's premiere in 1970. Nicolas talks about his approach to learning the complexity of the score, tricky technical passages and the liberation of playing a contemporary work. Nicolas performs this work on 1 October with the London Philharmonic Orchestra, which will be available to watch free for 48 hours from 13 November on Marquee TV. Check out thestrad.com for the latest news and articles on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ I. Fujarka (Piccolo) Lutosławski: Little Suite (Mala suita) Shostakovich; Weinberg; Lutoslawski: Cello Concertos  Nicolas Altstaedt, cello / Michal Nesterowicz, conductor / Deutsches Symfonie-Orchester Berlin  Channel Classics CCS38116 Photo credit: Marco Borggreve

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“I have no concept of what it is like to be involved in war. I can only experience it through their related experience. We have letters from them, very very dry day-to-day nuts and bolts, an insight into how boring it is for them in the trenches waiting and waiting and waiting for days. And then all of a sudden – WHAM !! Everything happens and people start dying. It's unimaginable.”In 1917, three New Zealand boys — brothers — were sent to the western front to fight in World War I. They never came home. They died in the Chemin des Dames, a place of legend, now a place of unimaginable horror carved into trenches, where infantry from both sides sheltered in caves. Their names were Charles, Vince, and Frank, and they were the great-great-uncles of Gareth Farr, composer, and percussionist. When former Adam International Cello Competition winner Sébastien Hurtaud approached Gareth with a proposal he couldn't resist (“I'll be your Rostropovich, and you can be my Shostakovich”), Gareth said, “You're on!”. The result is Cello Concerto ‘Chemin des Dames', a work that is as much about the men who died fighting WWI as it is about the women who suffered unbearably while looking after the home front.Host: Charlotte WilsonGuest: Gareth FarrLinks & ResourcesMore details on the composer and the associated work are here.Link to the film of Chemin de Dames This episode was brought to you by SOUNZ Centre for New Zealand Music.Production teamExecutive Producer: Diana MarshProducer: Charlotte WilsonSound Engineer: Phil BrownleeSpecial thanks to Rubicon for providing the audio of Chemin des Dames performed by Sébastien Hurtaud and the NZSO.This podcast is supported by funding from The Stout Trust.--Moments in timeA composer's response to critical moments in time: The moments when time pivots and history changes course. Tau'ili'ili Alpha Maiava & Charlotte Wilson host this series about the music of Aotearoa New Zealand that follows moments in our history that have had an impact on us and changed or altered who we are. Hosted on Acast. See acast.com/privacy for more information.

Synopsis Today is National Hot Dog Day, but we're taking this opportunity to celebrate the non-grill variety, namely the Weiner dog or dachshund, a breed beloved of some famous composers and performers. Leonard Bernstein was passionate about the many dachshund he owned, all named Henry, and once on a flight to Paris, booked a seat for a furry passenger named “Henry Bernstein.” When composer Benjamin Britten and tenor Peter Pears moved into their house in Aldeburgh, the brick wall surrounding the property soon sported signs in English, German, and Latin, warning “Beware of the Dog,” “Bisseger Hund,” and “Caveat Canem,” lest passersby ankles be savaged by their classically-named dachshunds, Klithe and Jove.  Britten's friend and frequent collaborator, the Russian cellist Mstislav Rostropovich, also a dachshund owner, presented Britten and Pears with an additional warning sign in Russian. We're told that Rostropovich's miniature, long-haired dachshund, Pooks, upon command, would play the piano with its front paws, then, after the humans' appreciative applause died down, would walk up and down the keyboard as an encore. “Pooks” even gets a shout-out in Leonard Bernstein's short orchestral tribute to Rostropovich entitled “Slava!” – at one point in the score members of the orchestra are invited call out the talented dog's name. Music Played in Today's Program Leonard Bernstein (1918 – 1990): Slava! A Political Overture (Israel Philharmonic Orchestra; Leonard Bernstein, cond.) Naxos 8.559813

Synopsis Today is National Hot Dog Day, but we're taking this opportunity to celebrate the non-grill variety, namely the Weiner dog or dachshund, a breed beloved of some famous composers and performers. Leonard Bernstein was passionate about the many dachshund he owned, all named Henry, and once on a flight to Paris, booked a seat for a furry passenger named “Henry Bernstein.” When composer Benjamin Britten and tenor Peter Pears moved into their house in Aldeburgh, the brick wall surrounding the property soon sported signs in English, German, and Latin, warning “Beware of the Dog,” “Bisseger Hund,” and “Caveat Canem,” lest passersby ankles be savaged by their classically-named dachshunds, Klithe and Jove.  Britten's friend and frequent collaborator, the Russian cellist Mstislav Rostropovich, also a dachshund owner, presented Britten and Pears with an additional warning sign in Russian. We're told that Rostropovich's miniature, long-haired dachshund, Pooks, upon command, would play the piano with its front paws, then, after the humans' appreciative applause died down, would walk up and down the keyboard as an encore. “Pooks” even gets a shout-out in Leonard Bernstein's short orchestral tribute to Rostropovich entitled “Slava!” – at one point in the score members of the orchestra are invited call out the talented dog's name. Music Played in Today's Program Leonard Bernstein (1918 – 1990): Slava! A Political Overture (Israel Philharmonic Orchestra; Leonard Bernstein, cond.) Naxos 8.559813

Synopsis There are dozens of famous cello concertos that get performed in concert halls these days, ranging from 18th century works by the Italian Baroque master Antonio Vivaldi to dramatic 20th century works of the Russian modernist Dmitri Shostakovich. The American composer Sean Hickey was commissioned by Russian cellist Dmitry Kouzov to write a new one, which received its premiere performance on today's date in 2009. “I wanted to fuse my interest in neo-classical clarity and design with the songful, heroic nature of the greatest cello concerto literature,” said Hickey.  “My Cello Concerto had its Russian premiere at the Beloselsky-Belozersky Palace, a neo-Baroque edifice on the banks of the Fontanka River in Saint Petersburg … [It] was then recorded in the legendary Melodiya Studios on Vasilevsky Island in St. Petersburg, known from Soviet times as producing recordings from the likes of Shostakovich, Rostropovich, Mravinsky, and many others. “The Russian orchestra, after rehearsing the piece for days, even picked up on a buried quotation from Shostakovich's ‘Leningrad Symphony' in the final pages of my piece. It's easy to forget in the glittering and watery metropolis, which rivals any European city for beauty and culture, that St. Petersburg is a city full of ghosts.” Music Played in Today's Program Sean Hickey (b. 1970) Cello Concerto (Dmitry Kouzov, vcl; St. Petersburg State Symphony; Vladimir Lande, cond.) Delos 3448

Synopsis There are dozens of famous cello concertos that get performed in concert halls these days, ranging from 18th century works by the Italian Baroque master Antonio Vivaldi to dramatic 20th century works of the Russian modernist Dmitri Shostakovich. The American composer Sean Hickey was commissioned by Russian cellist Dmitry Kouzov to write a new one, which received its premiere performance on today's date in 2009. “I wanted to fuse my interest in neo-classical clarity and design with the songful, heroic nature of the greatest cello concerto literature,” said Hickey.  “My Cello Concerto had its Russian premiere at the Beloselsky-Belozersky Palace, a neo-Baroque edifice on the banks of the Fontanka River in Saint Petersburg … [It] was then recorded in the legendary Melodiya Studios on Vasilevsky Island in St. Petersburg, known from Soviet times as producing recordings from the likes of Shostakovich, Rostropovich, Mravinsky, and many others. “The Russian orchestra, after rehearsing the piece for days, even picked up on a buried quotation from Shostakovich's ‘Leningrad Symphony' in the final pages of my piece. It's easy to forget in the glittering and watery metropolis, which rivals any European city for beauty and culture, that St. Petersburg is a city full of ghosts.” Music Played in Today's Program Sean Hickey (b. 1970) Cello Concerto (Dmitry Kouzov, vcl; St. Petersburg State Symphony; Vladimir Lande, cond.) Delos 3448

Sometimes when I chat with a conductor, we just get along straight away and this interview was definitely one of those! Hugh Wolff is wonderful to chat with, intelligent, warm, and funny. I discovered what he had learned from Rostropovich and how he had benefitted from his "generosity", why he was locked in a room in Paris for eight hours, and we discover that we have very different views on the sound of a "babbling brook"! If you would like to financially support the podcast, why not subscribe at https://www.patreon.com/amiconthepodium, and for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. Alternatively, if you would prefer to make a one-off donation, go to https://www.justgiving.com/crowdfunding/a-mic-on-the-podium and any donation you make will be greatly appreciated and help the podcast live on into the future. This interview was recorded on 7th November 2020 via Zoom.  

STRAVINSKY: El rey de las estrellas (6.04). Coro de la RTV Francesa (voces masculinas), Orq. Nac. de Francia. Dir.: P. Boulez. Concierto para orquesta de cuerda en Re mayor (12.14). Orq. de Cámara Inglesa. Dir.: C. Davis. Hymne (3 Piezas para cuarteto de cuerda) (4.39). M.-H. Thomas (vl.), I. Belton(vl.), P. Cassidy (vla.), J. Thomas (vc.), Cuarteto Brodsky. Concierto de ébano (Segundo movimiento: Andante) (2.33). M. Collins (cl.), London Sinfonietta. Dir.: S. Rattle. Adagio (El beso del hada) (arr. para vc. y p.) (4.14). M. Rostropovich (vc.), A. Dedyukhin (p.). Escuchar audio

BACH: 5 Variaciones canónicas sobre “Von Himmel Hoch, da Komm’ich her BWV 769 (15.11). T. Koopman (órg.). BACH/STRAVINSKY: 5 Variaciones canónicas sobre la canción navideña “Von Himmel Hoch, da Komm’ich her” BWV 769 para órgano (arr. para coro y orq.) (10.43). Coro del Festival de Tanglewood, Orq. Sinf. de Boston. Dir.: S. Ozawa. STRAVINSKY: La consagración de la primavera (selec. de la segunda parte II. Le Sacrifice) (Évocation des ancêtres, Action rituelle des ancêtres, Danse sacrale. L' Élue) (arr. para p. a cuatro manos) (9.48). L. Sierra (p.), M. Tévar (p.), Iberian & Klavier piano duo. Canción rusa (arr. para vc. y p.) (4.06). M. Rostropovich (vc.), A. Dedyukhin (p.). Escuchar audio

The great musical friendship between two legendary 20th century musicians, composer and pianist Benjamin Britten (1913-1976) and cellist Mstislav Rostropovich (1927-2007), has enriched the world with some fine examples of music. We are also lucky to have this wonderful recording, showing the joy of music making by these two brilliant men. https://spoti.fi/36sVROi

Fali Pavri was my mentor and piano teacher at the Royal Conservatoire of Scotland for two years. He was born in India and after finishing his degree in chemistry, he decided to move to Moscow where his professional musical journey began. While still a student, he was invited by the great Russian cellist, Mstislav Rostropovich to be his pianist on an extensive concert tour of India. How cool is that? Join us for this talk and find out how Fali met Rostropovich and what was the lesson he learnt from the legendary cellist. We also talked about his experiences in different countries, how it formed him as a teacher and human being and  most importantly we talked about  the joy music can bring us.Support openARTed on PatreonEpisode music:R. Schumann's Widmung arranged for piano by F. Liszt  performed by Fali Pavri S. Rachmaninov's sonata for cello and  piano - 3rd movement "Andante" performed by  Naomi Boole-Masterson - cello, Fali Pavri - piano E. Rubbra - Sonata in G Minor, Op. 60_ III Tema - Six Variations & Fugue performed by Timothy Gill - cello , Fali Pavri - piano Thanks for listening and if you know anyone who would benefit from this talk, please share it with them. If you have any comments or enquiries, drop me a line at openartedpodcast@gmail.comwww.monikapianiste.comFollow me on Facebook or Instagram

Zaterdag 5 december presenteert scheidend directeur van museum De Lakenhal, Meta Knol, Een goedemorgen met ... Muziek: Levine, Ari & Mars, Bruno; Locked out of Heaven; Wesseltoft, Bugge Clemens non Papa, Jacobus; Ave Maria; Egidius Kwartet Bach, Johann Sebastian; Cantate BWV.82, "Ich habe genug" ; aria, "Ich habe genug"; Kammerorchester Basel; Schröder, Julia; Scholl, Andreas [countertenor] Bach, Johann Sebastian; Matthäuspassion BWV.244 ; Deel II - nr.39, aria, "Erbarme dich"; Wiener Philharmoniker; Gillesberger, Hans; Heynis, Aafje Cummings, E.E.; That Melancholy Wolf, Hugo; Gedichte von Eduard Mörike - nr.23, "Auf ein altes Bild"; Ferrier, Kathleen & Spurr, Phyllis Sjostakovitsj, Dmitri; Concert voor cello en orkest nr.1, op.107 in Es gr.t. - deel III, "Cadenza"; Philadelphia Orchestr; Ormandy, Eugene; Rostropovich, Mstislav Dylan, Bob; Who Knows Where the Time Goes; Simone, Nina Strauss, Richard; Liederen voor zangstem en orkest (4), op.27 nr.4, "Morgen"; Radio Filharmonisch Orkest; Waart, Edo de; Margiono, Charlotte [sopraan] Piazzolla, Astor; Histoire du tango - deel II, "Café 1930" (Arr.); Huijnen, Cécile [viool];Grotenhuis, Marieke [accordeon] Davis, Miles; Flamenco Sketches – Studio Sequence1 Bach, Johann Sebastian; Suite voor klavecimbel BWV.813 in c kl.t., "Franse suite nr.2" - deel I, "Allemande"; Pires, Maria Joao [piano] Bach, Johann Sebastian; Das wohltemperierte Klavier boek 1, BWV.846-869 - "Prelude en fuga nr.10 BWV.855 in e kl.t."; Gould, Glenn [piano] Schwitters, Kurt; Ursonate (1921-31) exerpt # 3 Glass, Philip; Concert voor viool en orkest nr.2, "The American Four Seasons" - "Lied nr.1"; McDuffie, Robert Glazoenov, Aleksandr; De seizoenen, op.67 - deel I, "Winter"; Philharmonia Orchestra; Svetlanov, Yevgeni Schneider, Maria; Walking by Flashlight (the Thompson Fields Version); Maria Schneider Orchestra Schönberg, Arnold; Verklärte Nacht, op.4 - deel III; Chicago Symphony Orchestra; Barenboim, Daniel Honing, Yuri & Brederode, Wolfert; Black is the Colour

Zaterdag 5 december presenteert scheidend directeur van museum De Lakenhal, Meta Knol, Een goedemorgen met ... Muziek: Levine, Ari & Mars, Bruno; Locked out of Heaven; Wesseltoft, Bugge Clemens non Papa, Jacobus; Ave Maria; Egidius Kwartet Bach, Johann Sebastian; Cantate BWV.82, "Ich habe genug" ; aria, "Ich habe genug"; Kammerorchester Basel; Schröder, Julia; Scholl, Andreas [countertenor] Bach, Johann Sebastian; Matthäuspassion BWV.244 ; Deel II - nr.39, aria, "Erbarme dich"; Wiener Philharmoniker; Gillesberger, Hans; Heynis, Aafje Cummings, E.E.; That Melancholy Wolf, Hugo; Gedichte von Eduard Mörike - nr.23, "Auf ein altes Bild"; Ferrier, Kathleen & Spurr, Phyllis Sjostakovitsj, Dmitri; Concert voor cello en orkest nr.1, op.107 in Es gr.t. - deel III, "Cadenza"; Philadelphia Orchestr; Ormandy, Eugene; Rostropovich, Mstislav Dylan, Bob; Who Knows Where the Time Goes; Simone, Nina Strauss, Richard; Liederen voor zangstem en orkest (4), op.27 nr.4, "Morgen"; Radio Filharmonisch Orkest; Waart, Edo de; Margiono, Charlotte [sopraan] Piazzolla, Astor; Histoire du tango - deel II, "Café 1930" (Arr.); Huijnen, Cécile [viool];Grotenhuis, Marieke [accordeon] Davis, Miles; Flamenco Sketches – Studio Sequence1 Bach, Johann Sebastian; Suite voor klavecimbel BWV.813 in c kl.t., "Franse suite nr.2" - deel I, "Allemande"; Pires, Maria Joao [piano] Bach, Johann Sebastian; Das wohltemperierte Klavier boek 1, BWV.846-869 - "Prelude en fuga nr.10 BWV.855 in e kl.t."; Gould, Glenn [piano] Schwitters, Kurt; Ursonate (1921-31) exerpt # 3 Glass, Philip; Concert voor viool en orkest nr.2, "The American Four Seasons" - "Lied nr.1"; McDuffie, Robert Glazoenov, Aleksandr; De seizoenen, op.67 - deel I, "Winter"; Philharmonia Orchestra; Svetlanov, Yevgeni Schneider, Maria; Walking by Flashlight (the Thompson Fields Version); Maria Schneider Orchestra Schönberg, Arnold; Verklärte Nacht, op.4 - deel III; Chicago Symphony Orchestra; Barenboim, Daniel Honing, Yuri & Brederode, Wolfert; Black is the Colour

BEETHOVEN: Romance para flauta, fagot, piano y orquesta en Mi menor, Hess 13 (4.52). P. Gallois (fl.), P. Gallois (fg.), Orq. Philarmonia de Londres. Dir.: M.-W. Chung (p.). Concierto para violín, violoncello y piano en Do mayor, Op. 56 (Primer movimiento: Allegro) (17.20). D. Oistrakh (vl.), M. Rostropovich (vc.), S. Richter (p.), Orq. Fil. de Moscú. Dir.: K. Kondrashin. Leonore Prohaska, WoO 98 (11.35). S. Mac Nair (sop.), K. Eichhorn (recitadora), M.-P. Langlamet (arp.), S. Reckert (armónica de cristal), Coro de la Radio de Berlín, Orq. Fil. de Berlín. Dir.: C. Abbado. Sinfonía nº 8 en Fa mayor, Op. 93 (Segundo movimiento: Allegro scherzando) (4.34). Real Orq. Fil. de Estocolmo. Dir.: W. Furtwängler. Escuchar audio

BEETHOVEN: Trío de cuerda en Mi bemol mayor, Op. 3 (37.51). A.-S. Mutter (vl.), B. Giuranna (vla.), M. Rostropovich (vc.). Rondó en Sol mayor, WoO 41 (4.02). C. Scholtes (vl.), T. Lokhina (p.). Escuchar audio

Andrew Litton takes us from his earliest experiences growing up in New York through to his time as being Music Director in Bournemouth, Dallas and Bergen. I found out what it was like to commute from the U.S. to Norway, how to conduct and play the piano simultaneously and what being assistant to Rostropovich was like. A chat I loved having, full of laughter, insight and bon homie! 

From racehorse Rostropovich's nasty injury to the issue of horse whipping, Jonesy & Amanda reflect on this year's Melbourne CupSee omnystudio.com/listener for privacy information.

„Gali kilti klausimas, kodėl tėvo žemėlapyje buvo tik Rusija, Jungtinės Amerikos Valstijos ir Lietuva – jis labai mylėjo Lietuvos žmones, jo širdis buvo čia. Kartu jie sukūrė daug gražios muzikos“, – apie legendinį maestro Mstislavą Rostropovičių pasakoja jo dukra, Mstislavo Rostropovičiaus labdaros ir paramos fondo „Pagalba Lietuvos vaikams“ prezidentė pianistė Jelena Rostropovich. Pokalbis su ja – pirmą laidos valandą. Antroje dalyje – prancūzų kūrėjų muzika. Vedėja Gerūta Griniūtė.

Daniel Muller-Schott played the Dvorak Cello Concerto with the SSO in September, 2019. Born in Munich, Germany in 1976, Daniel Muller Schott came to international attention as a teenager winning the Tchaikovsky International Competition at age 15. That achievement brought him to the attention of the great cellist Mstislav Rostropovich. Daniel talks with us about a year he spent following Rostropovich around the world and studying with the great Slava. Daniel learned that if Rostropovich wanted to give you a cello lesson at 2 in the morning, you woke up and took that lesson.

I hope you are doing well and I’d like to say thank you all for listening. It is a pleasure to see that the Master in Music podcast is reaching ears all over the world. Thank you for listening and please, if you want to share something or give me some tips on which guests to interview or feedback don’t hesitate to write me on my website or Facebook, A Swedish Cellist Petronella Torin. Today I present for you the second amazing episode from Rutesheim special. Rutesheim is a village in Germany where the Rutesheim cello festival is taking place every autumn right around my birthday. The applications have just been open for this year’s festival and what better way to celebrate this, than an interview from one of the eminent professors, Claudio Bohórquez. He is a soloist, a chamber musician, teacher and very good at table tennis. One of Rutesheim’s champions if you ask me. I was very nervous to ask him to participate in the podcast, I mean it is almost to good to be true that he said yes. He is not only an awesome cellist, he also has a warm personality. Claudio studied with the legendary cellist Boris Pergamenschikow. On his way to become a great cellist he was successful in a lot of fantastic competitions like the Rostropovich competition in Paris, the Tchaikovsky youth competition and he achieved three awards in the Pablo Casals competition.   A competition that was under the roof of the Kronberg Academy. Marta Casals Istomin presented Claudio Bohórquez with the first prize, a special award for the best chamber music, and also the use of Casals’ Gofriller cello for a period of two years. He also won first prize at the International Music Competition in Geneva, an achievement that started his career as a soloist. Today he is part of the competitions as a member of the jury. He is also a professor and has taught at the Musikhochschule Stuttgart and is now appointed to teach at the Hochschule für Musik "Hanns Eisler" in Berlin. Claudio still wins a lot of prices and awards but these days for his CD recordings. He has also recorded a soundtrack by Paul English to the film "Ten Minutes Older - The Cello", which was shown in theatres worldwide. He travels the world and plays as a soloist with orchestras like the Wiener Symphonic, Tokyo Philharmonic orchestra, Los Angeles Symphonic and many, many more. He is a busy man, but we managed to get an interview with him and now we are going to listen to his latest release, the Cello sonata by Johannes Brahms with his friend and college on the piano Peter Nagy. Op 99 Sonata in F major Allegro Vivace, enjoy. Cello-Akademie-Rutesheim.de ClaudioBohorquez.com Facebook Instagram

Let’s talk about the first responsibility of a leader. This is Aviv with a new episode of Create New Futures. And today I am focusing on the fallacy of the Google age, and why as leaders, mentors, and parents we all must reflect on the Google fallacy and the conundrum it creates critically. As a leader, your first responsibility is to lead yourself. You begin with how you develop your thought process, and continue with how you map your learning and your actions. You cannot afford to outsource your self-leadership or to abandon your intuition, judgment, and you cannot afford to contract out the diligent work of your own reflective inquiry and development. My call to action here today is inviting you to practice mindfulness as a leader and as a parent, to recognize the fallacy of the Google age and to reflect on the learning and knowledge that you will encourage and promote. Here is a question for you. How many Google searches do you perform on a regular day? Well, during one recent work day, I decided to answer my own question, so I kept count. At the end of the day, I discovered that I had conducted 24 Google searches. I love Google. How can you not love what Google enables us to do? Here is the point though I need to make. Every good development invariably creates unintended consequences. The fallacy of the Google age is one of these consequences. Before we put the laser on this challenge, let me make the broader statement. Every age brings its technological innovation and progress. Every wave of innovation creates new possibilities and capabilities, which in turn give rise to mistaken beliefs. For instance, the innovation of antibiotics initially catalyzed the belief that we were about to eradicate all diseases. The fantastic discovery of DNA promoted a deterministic DNA-centric mental model that postulated that people are defined by their DNA. This belief still is prevalent, even though epigeneticists subsequently showed that what gets expressed from our DNA potential is determined by the collective impact of the environment, formative experiences, and behavioral and life style choices. Furthermore, the deterministic DNA-centric belief fails to recognize the broader significance of the psychological and spiritual dimensions of life such as their power and impact on our health, well-being and on our capacity to respond to opportunities. When we retrace and reflect on human progress as a species, sometimes we appear to be following the allegorical story of the man next to a street light, searching for the keys he had lost. When asked if he felt he dropped the keys right there next to the street light, he replied, “I’m not sure when or where I lost my keys. Perhaps it was down the street or even on a different street. But it is easier and more convenient to search the area illuminated by the street light.” As a species, we are a bit like that man. We develop antibiotics and think they will solve all our health issues. We discover DNA, and rush to believe we’ve unlocked the complete secret to life and all its mysteries. Clearly both discoveries represent important developments, and yet neither one of them can answer all the questions and unresolved mysteries or address all of humanity’s health problems. These examples provide a great segue to reflecting on the Google fallacy, which I should perhaps better name the fallacy of the Google age. To better appreciate this particular misunderstanding, let’s look at Google’s mission. Google was born back in the late 1990s, when many people believed that all of the world’s knowledge was going to be available on the web. Its founders recognized the opportunity to organize that knowledge and make it widely accessible. Google’s mission statement was and still is “to organize the world’s information and make it universally accessible and useful.” This mission statement was coupled with the company’s vision statement: “to provide access to the world’s information in one click.” These are excellent mission and vision statements because of their clarity. Indeed this mission and vision guided Google’s business effectively to focus on its search engine service because they are concrete and clear. More broadly, Google’s mission has been viewed and widely represented in the idea of organizing all the world’s knowledge, diluting a little the distinction we must make between information and knowledge. This meme of organizing all the world’s knowledge was initially developed in the early 20th century by Paul Marie Otlet, a Belgian entrepreneur, considered one the fathers of information science. Otlet wrote numerous essays and two books about how to collect and organize the world's knowledge. Google was in the right place at the right time to bring this idea to life. Today we all are the beneficiaries of Google’s service. Indeed most of the world’s information and knowledge is a click away. Where is the problem? What, then, is the Google fallacy? The fallacy of the Google age is the belief that people are able to access every level of knowledge on any topic or question immediately. Why is this a fallacy? What’s left out of the equation? What forms of knowledge not captured by the search engine’s algorithms are endangered by mindset propagated by Google’s search prowess? My premise is that the mental model enabled by Google –which is that everything you want to know is just a click away - is costing people some of the defining markers of our humanness. It allows us to get by superficially, it makes us lazy, and it facilitates the loss of reflection and concentration power. We are at risk of abandoning the joys of inner discovery, of striving to resolve unresolved mysteries. And, we are at risk of making mediocrity the new norm. When we relinquish the power of the depth of development knowledge acquired by persistent struggle and personal application, we lose some of our humanity.    Are we raising new generations of digital natives who discover Wikipedia and Google long before they experience the wonder of the outdoors, or learn to climb a tree, swim or ride a bike? Here are five dimensions and buckets of knowledge that cannot be re-created or explained fully by Google or Wikipedia or any app. Each of these buckets must be accessed by other means and from other sources. Bucket 1: Experiential knowledge: Can you remember your first outdoor adventure? Running in the open fields, climbing trees, hiking up a mountain to reach an alpine lake; scuba diving to discover the beauty of coral reefs. Can you recall these experiences, and the unbridled joy of engaging the elements? In this case the knowledge source is letting nature teach your body what you can and cannot do. There is much more in the experiential knowledge category, such as discovering the versatile capabilities of your hands to dismantle and reassemble almost anything, to draw, to knit, to cook, and to fix what’s broken. Could it be that this fallacy we are bringing into focus is putting the adventurous discovery inherent in these activities at risk of disappearing or dramatically weakening? These are questions to reflect on as leaders and as parents.  Consider this: what are the chances of young people today to explore romantic love before they have been cheated out of its natural discovery by the misleading images propagated through all forms of media that are more likely than not to leave most people feeling inadequate? The contents of the experiential knowledge bucket are clearly being threatened by the intensity of this immersive exposure. I am obviously not blaming Google or the media with all the ailments of society and how superficial we have become, I am simply observing what the case is so we can choose as leaders and parents to be alert.    Bucket 2: Character learning and knowledge: My most formative character learning and knowledge at the age of 11 was acquired during the three years I got up every morning at 5 AM for my long distance running practice before school started. This regular and consistent practice taught me about determination, commitment, focus, overcoming pain, and the rewards of hard work. It enabled me to win the Israeli long distance cross country running championship at age 14. This kind of knowledge cannot be imparted through Wikipedia or Google because it is an interior character knowledge. You have to discover and fashion this formation on the inside, and find out what commitment and determination feel like, to let the struggle steel your mind and instruct your soul.  Bucket 3: Concentrated focus and contemplative discovery: Important breakthroughs in science and in the arts were made possible by people who isolated themselves with a question and were able to mount tremendous focus and concentration on finding its answer. Are we losing this focused concentration with the never-ending noise of devices and digital alerts designed to trigger, to hack and to hook our brains with dopamine reactions? Discovery through contemplative inquiry always has been central to the human experience. Take it away and you remove more than half of our arts. These natural capacities and processes are at risk too. Why concentrate and contemplate if you can Google search and get an answer in seconds? Whatever happened to the defiant search for originality? The search engine premise is that all you can ever experience is a derivative and what someone else already felt, experienced and thought. Sure it’s obviously the case in 99% of the human experience, and yet we are interested in the one percent originality and genius that you can bring forward, that one percent that is not searchable on the web.    Bucket 4: Intuitive knowledge: Intuition is central to our humanness, and to our inventive and innovative breakthroughs. The sixth sense, the sense of being guided, the capacity to listen to our inner voice is at risk too. In fact it is at risk twice. Here is why. First, when you know you can find answers to your questions readily through Google, there is a temptation to cease listening to our intuition, to abandon the courage to seek the instinctive and intuitive guidance inside. Second, our creative innovation is diminished by extraordinarily persuasive external pressures to fit into existing categories and behavioral and thinking templates. Socialization is a process that acts a bit like a dog in training. Though some might disagree with this analogy, if you look and compare the two situations, you will find that the protocols of dog training and the rewards for social success follow a similar principle. That realization leaves us wondering, if we are the dogs, then who is the master? The price we pay for taking these risks is the loss of creative intuition. Bucket 5: Development knowledge: This category represents knowledge acquired and fashioned by self-application and by the development it fosters through the refinement of achieving mastery in a given area. Think about the knowledge acquired by Missy Franklin and by Katie Ladeky in the swimming pool. Think about the knowledge found by Itzhak Perlman through the violin, by Yo-Yo Ma with his cello and by Renée Fleming with her voice. In the process of achieving mastery in one’s craft, there are million insights into self-awareness, self-management, psychology, preparation, peak performance attunement, overcoming adversity and challenge, resilience and persistence, discordance and inner harmony. These experiences represent what we can call vertical knowledge because it lives and is accessed at different depths. I am talking about knowledge that cannot be acquired by just clicking on a mouse. It is only achieved with 10,000 hours of practice or perhaps 50,000 hours of practice. I once attended a concert by Mstislav Rostropovich toward the end of his life. As he played the Antonín Dvořák cello concerto, I sensed a distinct feeling in the concert hall that his bow was moving effortlessly by itself. It was as though someone or something had taken over the playing, and Rostropovich was the vessel. This is not “clickable” knowledge. Such a rare form of knowledge and mastery - a pure musical communion manifesting through the cello - can be observed in pioneers and thought leaders in almost every field. For example, there is development knowledge acquired by a passionate teacher who shows up to class every day with the thought, “Today I might inspire the student who will solve the climate or energy conundrums, or cure cancer or any other major problem, their love and dedication lead them to new and creative ways of teaching. Or consider the entrepreneur who starts a company and leads it from its inception to a thriving enterprise, needing to overcome million obstacles and to reinvent himself and herself along the way. I bet you have rare development knowledge that you fashioned in your professional journey. It extends beyond the information you carry in your head.   What then is the other facet of the Google fallacy? The thought and the mental model that believe all forms of knowledge can be accessed instantly. We would be wise to realize that certain forms of knowledge require preparation to fashion the “vessel” to be ready to receive and contain the knowledge. Here is a scenario for your reflection: when you go for a swim in the ocean you put on your swimming gear.  When you go snowboarding or when you climb Mount Rainer, you are not likely to show up with the swimming gear. Instead, you will use a snowboard for snowboarding and you will dress well and have the technical equipment you need to summit Mount Rainer. The same logic applies in the workplace when you inquire into the various fields of knowledge, especially non-academic fields such as leadership, sales, innovation, as well as inquiries related to  parenting and relationships. Each of these conversations requires and would be tremendously enhanced by an appropriate set of tools, mental models and frameworks. Of course you can try to summit Mount Rainer with your swimming gear, but it is not certain you will come back alive. We call ourselves the sapient species. The question is: are we indeed becoming wiser or are we dumbing-down ourselves and losing some of our humanness? As leaders, mentors and parents, we must explore daily the question of how we can enable experiential knowledge. How do we facilitate character learning and knowledge? How do we inspire knowledge acquired through focused discovery? How do we encourage intuition and development knowledge?  That’s the work of leadership in the effort of fostering and promoting a new more enlightened and capable generations in the future. FULL SHOW NOTES: http://www.avivconsulting.com/cnf15

1. I wan’na be like you (The monkey song), da trilha sonora de “Mogli, o menino lobo”/ from the soundtrack to "The Jungle Book" (Robert B. Sherman/ Richard M. Sherman). Louis Prima & Phil Harris. 2. Cello Suite N. 3: Gigue (Bach). Mstislav Rostropovich. cello. 3. Buzina de bicicleta/ Bike bell 4. Mirabella, a tarantella (Stephen Montague). Phyllis Chen, toy piano. 5. Oft she visits this love mountain, da/from opera “Dido and Aeneas” (Purcell). Anna Prohaska. Il Giardino Armonico. Giovanni Antonini, regente/conductor. 6. Canto do xexéu de bananeira/ Brazilian birdcall 7. Os Oito Batutas (Sem crédito de compositor/ Uncredited composer). Pixinguinha & Oito Batutas. Gravação original/ Original recording 1920s. 8. Google Maps voz/voice Fancy my sets? So please click LIKE and also FOLLOW. You can subscribe with iTunes. :: Gostou? Então clique em LIKE e também em FOLLOW. Ou se inscreva pelo iTunes para receber atualizações. helofischer@gmail.com

El auditorio de conciertos de Clásica FM estrena 2016 sin polcas ni valses, pero lo hace con una obra brillante y alegre como pocas: el concierto para violín de Tchaikovsky. Le acompañan además las elegantes Variaciones Rococó del mismo autor, en las manos de Rostropovich, quien junto con Janine Jansen al violín hacen de este Fila 01 un concierto único. ¡Feliz Año Nuevo!

El auditorio de conciertos de Clásica FM estrena 2016 sin polcas ni valses, pero lo hace con una obra brillante y alegre como pocas: el concierto para violín de Tchaikovsky. Le acompañan además las elegantes Variaciones Rococó del mismo autor, en las manos de Rostropovich, quien junto con Janine Jansen al violín hacen de este Fila 01 un concierto único. ¡Feliz Año Nuevo!

Works for cello and piano by Narek Hakhnazaryan, cello and Noreen Polera, piano:Fauré: ElegieFranck: Violin Sonata in A Major, transcribed for celloOn today’s podcast, we’ll take a turn for the poetic, with two selections for cello and piano by French composers.We’ll begin with Fauré’s beloved Elegie, a bittersweet, rhapsodic work. The piece is just seven minutes long, but it makes a big impression with its dramatic arching form—building from a haunting beginning to a passionate climax that all but dissolves into a beguiling ending.After that little teaser, we’ll hear another incredibly evocative work: Cesar Franck’s Violin Sonata in A Major, performed in a transcription for cello by the same artists who played the first work: cellist Narek Hakhnazaryan and pianist Noreen Polera. The Gold Medalist in the 2011 Tchaikovsky Competition, Narek was mentored by the late, great Rostropovich, and recently received his Artist Diploma studying at Boston’s own New England Conservatory, just down the street from the Museum.This version of the Franck violin sonata, arranged for cello, is just one of the many versions that have proliferated—including arrangements for flute, saxophone, tuba, and even choir—but it is the only one that the composer himself approved. Like the Elegie, this sonata is just full of poetic little moments of great delicacy and beauty.

Commissioned by the Royal Philharmonic Society, Witold Lutosławski's Cello Concerto was written for and premièred by the great cellist Mstislav Rostropovich at the Royal Festival Hall in London in 1970. Tom Hutchinson of the Royal Philharmonic Society tells us more. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at http://www.philharmonia.co.uk/lutoslawski

Commissioned by the Royal Philharmonic Society, Witold Lutosławski's Cello Concerto was written for and premièred by the great cellist Mstislav Rostropovich at the Royal Festival Hall in London in 1970. Tom Hutchinson of the Royal Philharmonic Society tells us more. Part of the Philharmonia Orchestra's series Woven Words: "Music begins where words end". Explore the series’ digital resources at http://www.philharmonia.co.uk/lutoslawski

With Kirsty Lang. A Mormon community in Lancashire provides the setting for The Friday Gospels, a novel by Betty Trask Prize-winner Jenn Ashworth. She was raised as a Mormon until she was a teenager, and she reflects on why she wanted to write about her experience as a British Mormon, when most literature focuses on American Mormon communities. My Mad Fat Diary is a new TV comedy drama series, based on the real life journals of Rae Earl, who recorded her teenage life in Lincolnshire. Stand-up comic Sharon Rooney stars as an overweight 16 year-old, recently released from a psychiatric hospital, and attempting to find a new circle of friends. Writer Grace Dent reviews. Cellist Matthew Barley is celebrating Benjamin Britten's centenary year with 100 concerts and workshops, with a focus on the composer's Third Suite For Cello - written for Rostropovich in 1971. Barley's tour, Around Britten, visits castles, hospices, lighthouses and a cave in the Peak District - as well as concert halls from Orkney to Devon. He tells Kirsty the links between Britten, Russia and his own grandfather - and the experience of recording overnight in Canterbury Cathedral. What Richard Did, the third film from Irish director Lenny Abrahamson, is set in the privileged world of Dublin's young elite. Richard, who is handsome, popular and the star of the rugby team, lives a charmed life - until his carefree existence is destroyed by a violent event. Meg Rosoff discusses the film's treatment of moral choices. Producer Rebecca Nicholson.

Works for cello and piano performed by cellist Wendy Warner and pianist Irina Nuzova.Beethoven: Cello Sonata No. 2 in G minor, Op. 5, No. 2Beethoven: Cello Sonata No. 1 in F Major, Op. 5, No. 1On today’s podcast, we’ll hear not just Beethoven’s first cello sonatas, but indeed (it is widely agreed) the very first cello sonatas ever written.Beethoven’s first and second sonatas for cello and piano constitute his opus 5, an early work. We’ll hear the sonatas in reverse order: starting with the second, and concluding with the first. The two were written and premiered right around the same time, so the distinction is somewhat arbitrary; both very much inhabit the same musical universe.Beethoven himself was at the piano for the premiere of the piece at the royal court in Berlin in 1796. The sonatas were dedicated to King Friedrich II, an enthusiastic amateur cellist for whom Mozart and Haydn has also written quartets. Still, Beethoven clearly gives the piano pride of place in these sonatas. When he premiered the pieces, he would have very much wanted to impress the court as not only a gifted composer but also as a virtuosic pianist. When Beethoven wrote the sonatas, at the age of 25, he was in the midst of his first and---as it would happen---only major tour as a pianist, with stops in Prague, Leipzig, and Dresden. The explosive scales and arpeggios from the piano that characterize the finales of both sonatas were no doubt designed to show off his abilities.We’ll hear both sonatas as played by the cellist Wendy Warner, a student of the great Rostropovich, and the Russian pianist Irina Nuzova. First, the second sonata, in G minor, followed by the Sonata in F Major.

Norman Lebrecht meets celebrated impresario Lilian Hochhauser, who along with her husband Victor, introduced British audiences to some of the greatest Russian musicians of all time, during the fraught period of soviet rule. Now in her eighties, Lilian - from a Jewish Ukrainian background - recalls the Cold War period which saw her and Victor pushing cultural and political boundaries to bring some of the most feted names in Russian music to Britain for the first time. Everyone from Rostropovich, Richter and Oistrakh through to The Borodin Quartet and the Kirov Ballet recieved their London debuts thanks to the Hochhausers.

Lutoslawski's Cello Concerto was commissioned by the Royal Philharmonic Society and premiered in London by Rostropovich in 1970. This lecture explores the compositional process and performance history through the sketches, concepts of musical drama, and the cultural and political contexts of...