Podcast appearances and mentions of saint saens

Con María Fernández Dobao | Son muchos los compositores extranjeros que viajaron a España e, incluso, vivieron aquí alguna temporada. Algunos de ellos escribieron aquí obras maravillosa, como Chopin sus Preludios, otros encontraron la inspiración en su folclore, su música o sus ciudades, como Liszt o Saint- Saens. Hoy te invitamos a descubrir algunas de estas obras.

Escuchamos la introducción y marcha de 'El carnaval de los animales' de Saint Saens, la 'Orgía' de las 'Danzas fantásticas' de Turina, la aria 'Vesti la giubba' de la ópera 'Pagliacci' de Leoncavallo y el segundo movimiento de la Sinfonía nº 2 de Rachmaninov.

New Orleans was set to have a big 2025. The city hosted the Super Bowl and Mardi Gras season is especially long this year, stretching all the way into March. But the terrorism attack on New Year's Day has business owners worried about what will happen to the tourism they rely on.The Gulf States Newsroom's Stephan Bisaha caught up with some in the French Quarter to hear how they're preparing for what's usually the busy season. The New Orleans Museum of Art has a new chief curator. Anne Collins Smith comes to NOMA after serving as director of the Xavier University of Louisiana Art Gallery. The New Orleans native joins us for more on curatorial history and her new role, leading exhibition initiatives with a focus on the museum's modern and contemporary art. The New Orleans-based Musaica Chamber Ensemble continues its 19th season, Hidden Treasures, in concert tonight. The company is presenting, “French Connections,” with works by Ravel, Saint-Saens and others. Musaica violist and president Bruce Owen shares  more about this musical journey. ___Today's episode of Louisiana Considered was hosted by Diane Mack. Our managing producer is Alana Schreiber. We receive production and technical support from Garrett Pittman, Adam Vos and our assistant producer, Aubry Procell. You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, Google Play and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

La artista y performer de Little Rock (Arkansas) asocia su nombre a Fluxus, al video artista Nam June Paik y a la creatividad más libre. El conservadurismo de la época la condena por tocar semidesnuda su violonchelo; la Historia de la Música y del Arte reconocen su audacia._____Has escuchado“AVANT GARDE MUSIC-SOUND” : [26 Minutes, one point, 1,499 seconds for a string player de John Cage interpretada por Charlotte Moorman]. YouTube Vídeo. Publicado por British Movietone, 21 de julio de 2015: https://www.youtube.com/watch?v=pq0a317mk30“Charlotte Moorman performs with Paik's ‘TV cello'”: [Art Gallery of New South Wales, 1976]. YouTube Vídeo. Publicado por PERFORMANCELOGIA, 4 de mayo de 2011: https://www.youtube.com/watch?v=-9lnbIGHzUM“Charlotte Moorman: ‘TV-Bra for Living Sculpture' (1969) y ‘Chamber Music' (1969)”: [grabación en vivo de la “Muestra de Video del Festival de Caracas de 1969 con las obras de Nam June Paik y de Takehisa Kosugi interpretadas por Moorman]. YouTube Vídeo. Publicado por PERFORMANCELOGIA, 3 de junio de 2012: https://www.youtube.com/watch?v=_5WSoK5_Qao“‘The Originale' Charlotte Moorman and Nam June Paik by Fred Stern”. YouTube Vídeo. Publicado por fred stern, 19 de octubre de 2009: https://www.youtube.com/watch?v=-yzzAopn9TE“Sky Kiss - Linz”: [interpretada por Charlotte Moorman en Linz, Austria, en 1982]. YouTube Vídeo. Publicado por Alex Mirutziu, 4 de junio de 2012: https://www.youtube.com/watch?v=OsSdxlw0c8Y“Variations on a Theme by Saint-Saens, by Nam Juke Paik”: [interpretada por Charlotte Moorman con ocasión del Sky Art Conference/Ars Electronica en 1982]. YouTube Vídeo. Publicado por Alex Mirutziu, 4 de junio de 2012: https://www.youtube.com/watch?v=1gwUXLcRxHs_____Selección bibliográficaHANHARDT, John G., “Nam June Paik (1932–2006): Video Art Pioneer”. American Art, vol. 20, n.º 2 (2006), pp. 148-53*LANDRES, Sophie, “Indecent and Uncanny: The Case against Charlotte Moorman”. Art Journal, vol. 76, n.º 1 (2017), pp. 48-69*—, “The First Non-Human Action Artist: Charlotte Moorman and Nam June Paik in Robot Opera”. PAJ: A Journal of Performance and Art, vol.40, n.º 1 (2018), pp. 11-25 O'DELL, Kathy, “Fluxus Feminus”. TDR (1988-), vol. 41, n.º 1 (1997), pp. 43-60*OREN, Michel, “Anti-Art as the End of Cultural History”. Performing Arts Journal, vol. 15, n.º 2 (1993), pp. 1-30*PIEKUT, Benjamin, "Murder by Cello: Charlotte Moorman Meets John Cage". En: Experimentalism Otherwise: The New York Avant-Garde and Its Limits. University of California Press, 2011ROBERTS, Eleanor, “Charlotte Moorman and ‘Avant-Garde Music': A Feminist History of Performance Experimentation”. En: Performance, Subjectivity, and Experimentation. Editado por Catherine Laws. Leuven University Press, 2020ROTHFUSS, Joan, Topless Cellist: The Improbable Life of Charlotte Moorman. The MIT Press, 2017SCHMID, Caitlin, “Ice(d) Music/Cello/Bodies: Re-Staging Charlotte Moorman's Ice Music (1972–2018)”. Twentieth-Century Music vol. 17, n.º 2 (2020), pp. 213-245WOODS, Nicole L., “‘A Lunatic of the Sacred': The Life and Work of Charlotte Moorman”. Art Journal vol. 76, n.º 3/4 (2018), pp. 129-133 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

The Ann Arbor Symphony Orchestra kicks off its 2024-25 season this Friday night at Hill Auditorium. WRCJ's Peter Whorf speaks with A2SO executive director Sarah Calderini about the first few programs of the season, including the opener - with keyboard showcases by Saint-Saens and Rachmaninoff...

We would love to hear from you, wherever you are!https://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

This week the award-winning Cinematographer, Shana Hagan, ASC. In the words of fellow cinematographer Gretchen Warthen: “Shana is the biggest documentary female DP/Operator in the world… and one of the kindest DPs I have ever worked with on set. You would never know who she is in the cinematography world without looking her up.” Her work includes DPing the 1997 Oscar-winning Documentary Short BREATHING LESSONS: THE LIFE & WORK OF MARK O'BRIEN and shooting additional cinematography for the 2014 Oscar-winning Best Documentary Feature: 20 FEET FROM STARDOM.  She worked on the Oscar nominated 2010 Documentary FOOD, INC., and DP'd the 2020 Oscar nominated Documentary Short: WALK RUN CHA-CHA as well as the 2005 Sundance Film Festival Award Special Jury Prize Winner - AFTER INNOCENCE and the 2012 Sundance Film Festival Award Grand Jury Prize nominee - THE QUEEN OF VERSAILLES. Shana has firmly embedded herself in the industry. Born in Phoenix, Arizona, to parents Robert Hagan, MD and Peggy Hagan, a Girl Scout Camp Director and Troop Leader, Shana is the middle of three children. Her parents instilled many important values in her which have helped her throughout her life and career. As a schoolgirl, she became a competitive swimmer at the age of five through to her Freshman year at Loyola Marymount University in Los Angeles where she attended film school. It was a natural career path for the enthusiastic young photographer who had already developed a keen eye for filmmaking. Shana was the ‘official' family videographer with a curious mind, appetite for storytelling and a passion that grew as she established the foundation for her craft, opening doors and creating opportunities right out of school. Shana was the first woman to shoot on the hit reality series SURVIVOR and was nominated for an Emmy for her work on SURVIVOR: CHINA. She shot four seasons on NBC's PARKS AND RECREATION, was the 2nd Unit DP on Netflix's ARRESTED DEVELOPMENT and has shot commercial spots for Disney, Electronic Arts, Kohl's, the US Army, Kodak, Verizon and others. Shana's current scripted work includes the critically acclaimed, Peabody Award-winning series SOMEBODY SOMEWHERE for HBO and Fox's half hour docu-comedy WELCOME TO FLATCH. She lives in Los Angeles with her husband Peter, daughter Iris, two dogs and two cats. https://www.shanahagan.com/ https://www.imdb.com/name/nm0353248/Instagram: @shanahaganaschttps://www.instagram.com/shanahaganasc/Shana's Playlist:"I love classical: “Appalachian Spring” by Aaron Copland – so cinematic and nostalgic for summers on Grandma and Grandpa's farm in Oklahoma.Saint-Saens' “Carnival of the Animals: 7 / Aquarium”Vivaldi – “Four Seasons / Spring”I love world music:Ali Farka Toure  “Kaira”Cesaria Evora  “Sodade”Buena Vista Social Club  “Chan Chan”The Chieftains  “The Wind That Shakes the Barley / The Reel With the Beryle”More random faves and some new stuff too:Dave Brubeck's  “Take Five”Bill Withers  “Lovely Day”U2  “Beautiful Day” Coldplay  “A Sky Full of Stars”Bonobo  “Recurring”Khruangbin   “Texas Sun”Lord Huron  “The Night We Met”Radiohead  “Big Sleep”Black Pumas  “Colors”Some favorite female artists in visual arts:"I absolutely love Dorothea Lange's photography.  Her work during the depression is some of the best documentary photography there is.  See “Migrant Mother” and it'll rip your heart out.  also love Georgia O'Keeffe – did a doc about her years ago and was just in love with her story, her passion for her work, her friends (Steiglitz, Ansel Adams, etc).  Would love to have a drink with her."______ Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/wisp--4769409/support.

This week the award-winning Cinematographer, Shana Hagan, ASC. In the words of fellow cinematographer Gretchen Warthen: “Shana is the biggest documentary female DP/Operator in the world… and one of the kindest DPs I have ever worked with on set. You would never know who she is in the cinematography world without looking her up.” Her work includes DPing the 1997 Oscar-winning Documentary Short BREATHING LESSONS: THE LIFE & WORK OF MARK O'BRIEN and shooting additional cinematography for the 2014 Oscar-winning Best Documentary Feature: 20 FEET FROM STARDOM.  She worked on the Oscar nominated 2010 Documentary FOOD, INC., and DP'd the 2020 Oscar nominated Documentary Short: WALK RUN CHA-CHA as well as the 2005 Sundance Film Festival Award Special Jury Prize Winner - AFTER INNOCENCE and the 2012 Sundance Film Festival Award Grand Jury Prize nominee - THE QUEEN OF VERSAILLES. Shana has firmly embedded herself in the industry. Born in Phoenix, Arizona, to parents Robert Hagan, MD and Peggy Hagan, a Girl Scout Camp Director and Troop Leader, Shana is the middle of three children. Her parents instilled many important values in her which have helped her throughout her life and career. As a schoolgirl, she became a competitive swimmer at the age of five through to her Freshman year at Loyola Marymount University in Los Angeles where she attended film school. It was a natural career path for the enthusiastic young photographer who had already developed a keen eye for filmmaking. Shana was the ‘official' family videographer with a curious mind, appetite for storytelling and a passion that grew as she established the foundation for her craft, opening doors and creating opportunities right out of school. Shana was the first woman to shoot on the hit reality series SURVIVOR and was nominated for an Emmy for her work on SURVIVOR: CHINA. She shot four seasons on NBC's PARKS AND RECREATION, was the 2nd Unit DP on Netflix's ARRESTED DEVELOPMENT and has shot commercial spots for Disney, Electronic Arts, Kohl's, the US Army, Kodak, Verizon and others. Shana's current scripted work includes the critically acclaimed, Peabody Award-winning series SOMEBODY SOMEWHERE for HBO and Fox's half hour docu-comedy WELCOME TO FLATCH. She lives in Los Angeles with her husband Peter, daughter Iris, two dogs and two cats. https://www.shanahagan.com/ https://www.imdb.com/name/nm0353248/Instagram: @shanahaganaschttps://www.instagram.com/shanahaganasc/Shana's Playlist:"I love classical: “Appalachian Spring” by Aaron Copland – so cinematic and nostalgic for summers on Grandma and Grandpa's farm in Oklahoma.Saint-Saens' “Carnival of the Animals: 7 / Aquarium”Vivaldi – “Four Seasons / Spring”I love world music:Ali Farka Toure  “Kaira”Cesaria Evora  “Sodade”Buena Vista Social Club  “Chan Chan”The Chieftains  “The Wind That Shakes the Barley / The Reel With the Beryle”More random faves and some new stuff too:Dave Brubeck's  “Take Five”Bill Withers  “Lovely Day”U2  “Beautiful Day” Coldplay  “A Sky Full of Stars”Bonobo  “Recurring”Khruangbin   “Texas Sun”Lord Huron  “The Night We Met”Radiohead  “Big Sleep”Black Pumas  “Colors”Some favorite female artists in visual arts:"I absolutely love Dorothea Lange's photography.  Her work during the depression is some of the best documentary photography there is.  See “Migrant Mother” and it'll rip your heart out.  also love Georgia O'Keeffe – did a doc about her years ago and was just in love with her story, her passion for her work, her friends (Steiglitz, Ansel Adams, etc).  Would love to have a drink with her." Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/aart--5814675/support.

It was the only movement of Camille Saint-Saens' "Carnival of the Animals" that he allowed to be performed while he was still alive. "The Swan" depicts a majestic bird gliding along the water and is now standard repertoire for cellists!

Eine neue CD von Lang Lang - vorgestellt auf NDR Kultur.

Jess Gillam and soprano Masabane Cecilia Rangwanasha share their favourite tracks.South African soprano Masabane Cecilia Rangwanasha was the winner of the Song Prize at the BBC Cardiff Singer of the World Competition in 2021 and is a current BBC New Generation Artist. She's brought a track from iconic South African artist Miriam Makeba and Maria Callas singing a prayer from Verdi's Otello, and Jess has picked a dance of death from Saint-Saens and jazz from Charlie ‘Bird' Parker.PLAYLIST: MAHALIA JACKSON– If I Can Help Somebody CAMILLE SAINT-SAENS – Danse macabre, Op 40 [Luben Yordandoff (violin), Orchestre de Paris, Daniel Barenboim (cond)] GIUSEPPE VERDI – Ave Maria (Otello: Act 4) [Maria Callas (sop), Orchestre de la Société Des Concerts Du Conservatoire, Nicola Rescigno (cond)] HENRY PURCELL – Music for a While (Oedipus, Z 583) [Martin Fröst (clarinet), Sebastien Dube (double bass)] MIRIAM MAKEBA – The Click Song JIMMY MCHUGH/DOROTHY FIELDS– Don't Blame Me (Live) [Charlie Parker Quintet] DOMENICO CIMAROSA – Sonata No 42 in D minor, arr Ólafsson [Víkingur Ólafsson (piano)] VINCENZO BELLINI – Mira, O Norma (Norma) [Joan Sutherland (sop), Montserrat Caballé (sop), Welsh National Opera Orchestra, Richard Bonynge]Produced by Rachel Gill

Today, another one of our top episodes from the archive… YolanDa Brown joins organist and conductor Anna Lapwood, piccolo player Stewart McIlwham and violinist Martin Höhmann to take a close look at Camille Saint-Saëns' Symphony No.3 - his organ symphony. They discuss the challenges of communicating with the conductor from the organ, how to get the perfect tempo so those mammoth chords have maximum impact, and how the flutes and violins manage the difficult offbeat rhythms. Anna also reveals how she's able to practise on concert hall organs, gives some social media tips for musicians who want to share their own musical journeys, and our listener question zooms in on organ ‘stops'. Plus, what it's like to actually be inside a 32-foot organ pipe… If you have any questions you'd like to put to the musicians, please email offstage@lpo.org.uk, and you might be featured in Series 7!Produced by Tandem Productions for the London Philharmonic Orchestra. #OffstagePodX: @LPOrchestraInstagram: @londonphilharmonicorchestraFacebook: @londonphilharmonicorchestra Hosted on Acast. See acast.com/privacy for more information.

Gerardo Edelstein, Music Director and Conductor of the Williamsport Symphony Orchestra, speaking with WVIA's Fiona Powell about the concert titled, "The King of Instruments: The Organ," to be presented on February 13, 2024, at 7:30 pm, at the Community Arts Center, 220 West Fourth Street in Williamsport. Marcos Krieger is the guest soloist for music by Handel and Saint-Saens. www.williamsportsymphony.org/ CACLive.com/ 570-326-2424

That's when I got to thinking about Camille Saint Saens... 

Heutzutage kennt und schätzt ihn jeder, den Komponisten des "Karnevals der Tiere" oder der Orgelsymphonie: Camille Saint-Saens. Als Kammermusikkomponist ist er hingegen weniger bekannt. Und als Saint-Saens noch lebte, waren seine Kammermusikwerke sogar regelrecht verpönt. Dennoch hat er einen Weg gefunden, diese zumindest vor einem kleinen Publikum aufzuführen - immer am Montagabend, in seiner Privatwohnung. Über diese "Lundis" berichtet unser heutiges ZOOM.

Joshua Bell, the Singapore Chinese Orchestra and Tsung Yeh: Butterfly Lovers (Sony Classical) New Classical Tracks - Joshua Bell by Joshua Bell is a world-class violinist who has also been music director of the Academy of St. Martin in the Fields since 2011. With all his years of experience, it might be difficult to imagine insecurities creeping in on occasion.But that's precisely what happened during the making of his latest recording, Butterfly Lovers, with the Singapore Chinese Orchestra.“To tell you the truth, I was a bit scared to walk out on stage at the first rehearsal,” Bell says. “[But] it was just very heartwarming, the reception I got from the orchestra and that sense of acceptance from a different culture.”In 2018, you said, “My new favorite orchestra besides the Academy of St. Martin in the Fields in London is the Singapore Chinese Orchestra.” What do you love about this orchestra?“I first went to them about seven years ago. At the time, they said, ‘We have these arrangements for Chinese orchestra, using Chinese instruments, of some classic violin pieces, like Introduction et Rondo Capriccioso, by Saint-Saens, and Zigeunerweisen, by Sarasate.' I fell in love with the unique sound of a Chinese orchestra, with instruments like the pipa and the erhu. It was thrilling.”When did you decide you wanted to play Butterfly Lovers with the orchestra?“For years, I didn't take the time to really get to know the piece. I just kept hearing about it and then finally sat down and listened to it with the music. It is a gorgeous piece of music. And I had this new relationship with the Chinese orchestra in Singapore, and I thought the stars were aligned for me to learn this piece and to play with my new friends in Singapore. And that's what happened.”I know that you also have a special relationship with the conductor with whom you're working on this project and that you met him early in your career. How did you develop that relationship along the way?“Maestro Tsung Yeh and I actually met a few decades ago. He was the one who brought me to Singapore. The musical language of the Butterfly Lovers is rooted in the Chinese sound of Chinese instruments, although it's a weird hybrid of a piece in that it was ironically written for Western instruments in Western orchestra about 50 years ago. In our case, we've actually reverse engineered it back to Chinese instruments and Chinese orchestra.”What is the history of this piece, and why is it so popular and beloved?“The easiest way to describe the Butterfly Lovers is sort of like the Chinese Romeo and Juliet. It's about a young Chinese woman who wants to study during a time where girls were not encouraged to study. So she dresses up as a boy to go study at the school, and she meets a boy who becomes her best friend. But she's secretly falling in love with him and he doesn't know that she's a girl.“The truth eventually comes out and they fall in love, but she's been betrothed to someone else. And because of this he becomes heartbroken, falls ill and dies. So on her wedding day, heartbroken that she's not with the man she loves, she decides to dig into his grave and out of the grave emerge two butterflies.“When I first heard it, I got goosebumps because the melody is so beautiful and it's very descriptive music. You can hear the strife between the families and all the longing. In the end, it's the two butterflies going away together, and you can feel all those things in the music.”Is there a moment in this work that really gets you every time you play it?“At the very end, the culmination of the piece features the opening melody, originally played by the violin solo, now with the whole orchestra, so 30 players playing in unison. It's quite dramatic, and it's one of the moments that first gave me goose bumps.” Joshua Bell - Butterfly Lovers Violin Concerto: Allegro (Official Video)ResourcesJoshua Bell, the Singapore Chinese Orchestra and Tsung Yeh: Butterfly Lovers - (Amazon)Joshua Bell - official websiteSingapore Chinese Orchestra - official website

In the mid 19th century, the way to make yourself famous in France as a composer was to write operas. From Cherubini, to Meyerbeer, to Bizet, to Berlioz, to Gounod, to Massenet, to Offenbach, to Saint Saens, to foreign composers who wrote specifically for the Paris Opera like Rossini, Verdi and others, if you wanted to be somebody, especially as a French composer, you wrote operas, and you wrote a lot of them. But one composer in France bucked the trend, and her name was Louise Farrenc. Farrenc never wrote an opera - instead she focused on chamber music, works for solo piano, and three symphonies that were in a firmly Germanic style. Writing in a style that was not en vogue in her home country, along with the obvious gender imbalances of the time, meant that you might expect that Farrenc was completely ignored during her life. But that's not the case. She had a highly successful career as a pianist, a pedagogue, and yes, as a composer too. But after her death, her music was largely forgotten. Bu in the last 15-20 years there has been a concerted effort at bringing Farrenc's music back to life, part of a larger movement to rediscover the work of composers who were unfairly maligned or treated during their lifetimes and after. One of Farrenc's greatest works, and the one we're going to be talking about today, is her 3rd symphony in G Minor. On the surface this is a piece in the mid-to-late German Romantic symphonic tradition, with lots of echoes of Mendelssohn and Schumann, but there's a lot more to it than that. So today on this Patreon sponsored episode, we'll discuss how Farrenc's music fit into French musical life, how a symphony was a still expected to sound in 1847, and of course, this dramatic and powerful symphony that is only now beginning to find its rightful place on stage. Join us!

In 1922 a review appeared in the French newspaper Le Figaro: “We cannot describe the cries of admiring joy let loose by an enthusiastic public. In the immense oeuvre of Camille Saint-Saëns, The Carnival of the Animals is certainly one of his magnificent masterpieces. From the first note to the last it is an uninterrupted outpouring of a spirit of the highest and noblest comedy. In every bar, at every point, there are unexpected and irresistible finds. Themes, whimsical ideas, instrumentation compete with buffoonery, grace and science. ... When he likes to joke, the master never forgets that he is the master.” You would think that this review came after a triumphant performance for Saint-Saens, and that he basked in the glory of the major success of what would become perhaps his most well known work, the Carnival of the Animals. But it just wasn't the case. In fact, this review appeared after a performance of the piece given after Saint-Saens death, and there was a reason for that. Saint-Saens, after 3 private performances of the piece, forbade it from being performed publicly during his lifetime. Why? Well, he was concerned that this lighthearted piece would diminish his standing as a serious composer. Even in the mid 1880s when this piece was written, Saint-Saens began to evince the conservatism, musical and otherwise, that would mark his later career, to the point that he wanted Stravinsky declared insane and said this about Debussy: "We must at all costs bar the door of the Institut against a man capable of such atrocities; they should be put next to the cubist pictures." Why was Saint-Saens so opposed to modernism? Why was he so concerned with his reputation as a serious composer, to the point that he suppressed this wonderfully creative piece? And just what makes the Carnival of the Animals so fantastic and so much fun to listen to, as well as being so vivid in its portrayals of the animals it represents? Join us to find out!