Podcasts about scottish fantasy

Orchestra Iowa welcomes Grammy-winning violinist Melissa White to perform Max Bruch's Scottish Fantasy. Samuel Barber and Beethoven's Third Symphony, which introduced the Romantic era, brings the concert to an epic close. Nov. 23 at the Paramount, Nov. 23 at the Coralville Center for the Performing Arts. Tickets and more info at orchesraiowa.org. Subscribe to The … Continue reading

SynopsisIt might seem odd to think of Max Bruch as a 20th-century composer. After all, his three greatest hits — his Violin Concerto No. 1, his Scottish Fantasy for violin and orchestra, and his setting of the Hebraic liturgical chant Kol Nidrei for cello and orchestra — were all written in the 19th century.But this archetypal German Romantic composer, who was born in 1838, lived to the ripe old age of 82, and kept producing new works up to the time of his death in 1920.One of these, a Concerto for Two Pianos, was commissioned by an American duo piano team, Ottilie and Rose Suttro, who premiered it with Leopold Stokowski and the Philadelphia Orchestra on today's date in 1916. The new work was well-received and its composer praised.But there is a somewhat ironic historical footnote to this successful premiere: It appears the Suttro Duo drastically revised and even rewrote parts of Bruch's score for their 1916 performance, unbeknown to the composer. It wouldn't be until 1971 that the concerto was performed as he had actually written it.Music Played in Today's ProgramMax Bruch (1838-1920) Concerto for Two Pianos; Güher and Süher Pekinel, pianos; Philharmonia Orchestra; Neville Marriner, cond. Chandos 9711

Reno Phil music director and conductor Laura Jackson and violinist Adé Williams speak with Chris Morrison about the fourth concerts in the Reno Phil's 2022-23 Classix season. The music includes Felix Mendelssohn's atmospheric Hebrides Overture, the Scottish Fantasy for violin and orchestra by Max Bruch, and selections from Serge Prokofiev's classic ballet Romeo and Juliet.

Originally, a musical fantasy was a piece that instrumentalists made up as they went along. Eventually, fantasies evolved into pieces that composers built out of various melodies they liked -- like the Scottish folk tunes that Max Bruch put into his Scottish Fantasy for violin and orchestra.

Violin superstar Joshua Bell joins us to preview his new album, which features his first recording ever of the virtuosic Scottish Fantasy by Max Bruch. Also on the disc, a thrilling new take on Bruch's Violin Concerto No. 1 in G minor – a piece Joshua first recorded over thirty years ago with the orchestra that joins him for this recording, the Academy of St Martin in the Fields.

Max Bruch - Scottish Fantasy: Finale Maxim Fedotov, violin Russian Philharmonic Orchestra Dmitry Yablonsky, conductor More info about today's track: Naxos 8.557395 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Siwoo Kim, violinist and Devin Patrick Hughes, conductor speak about the violin virtuoso's early life, his mindset instilled from his mother, Siwoo's approach to phrasing, singing, and repertoire, as well as VIVO Music Festival, composers that excite us, and the music that make's us cry. Other topics include teachers and collaborating with composers and musicians.   Violinist SIWOO KIM has been described as “incisive” and “compelling” by The New York Times and playing with “stylistic sensitivity and generous tonal nuance” by the Chicago Tribune. Siwoo performs as soloist and chamber musician, and as a multifaceted entrepreneur, co-founded the VIVO Music Festival in his hometown of Columbus, Ohio. Siwoo made his Carnegie Hall debut with the Juilliard Orchestra, and has performed with orchestras around the world including the Staatsorchester Brandenburgisches Frankfurt, Houston Symphony, Kwazulu-Natal Philharmonic, in venues like Walt Disney Concert Hall, and many more! And I should say that very soon he'll be returning to the Salina Symphony! He has collaborated with world-renown artists such as Itzhak Perlman, Jeremy Denk, Joyce DiDonato, Mitsuko Uchida, and string quartets such as Guarneri, Julliard, and Takács. He has been featured as a guest artist at international festivals including those at Tivoli, Bergen, and Ensemble Ditto in South Korea and has taken top prizes in many competitions including Crescendo, Juilliard, and youngArts. Siwoo welcome to One Symphony, I'm so excited to be speaking with you today!   Thank you for joining us on One Symphony and thanks to Siwoo Kim for sharing his performances and insights. Thank you to all the incredible performers and record labels that made this episode possible including Sony and Linn records.   Bach's Second Violin concerto was performed by Siwoo Kim and the New York Classical Players conducted by Dongmin Kim. Mozart's 5th Violin Concerto was performed by Siwoo Kim and the Orchestra Royal de Chambre de Wallonie, with Jean-Jacques Kantorow conducting. Bruch's Scottish Fantasy was performed by Jascha Heifetz and the Boston Symphony conducted by Charles Munch Samuel Adler's Violin Concerto was performed by Siwoo Kim and Brandenburgisches Staatsorchester Frankfurt, conducted by Emily Freeman Brown.   You can check out Siwoo's website and schedule online at http://www.siwookim.com and his upcoming music festival at https://www.vivofestival.org. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to lend your support. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

What's the difference between a fiddle and a violin? How did an English jig turn into a Virginian reel? And what do Bach's violin sonatas have in common with folk tunes from Finland? In The Listening Service today Tom Service explores fiddles, fiddlers, and fiddle tunes from around the globe, looking at how they connect communities, reflecting the stories of migrants and musicians across time, and staying true to tradition whilst continually changing. And how have classical composers incorporated fiddle tunes into their work? From Max Bruch's Scottish Fantasy, based on tunes found in a library in Munich, to Aaron Copland's Rodeo Hoe-Down, an orchestral transformation of the Kentucky fiddler Bill Stepp's tune Bonaparte's Retreat. Our witnesses today are Pete Cooper, who learnt classical violin as a teenager before discovering busking and ending up fiddling in West Virginia, and Lori Watson whose music and research draw on the landscapes and folklore of the Scottish Borders where she grew up. Producer: Ruth Thomson

It might seem odd to think of Max Bruch as a twentieth century composer. After all, his three “Greatest Hits”—his Violin Concerto in G Minor, his “Scottish Fantasy” for violin and orchestra, and his setting of the Hebraic liturgical chant “Kol nidrei” for cello and orchestra -- were all written in the 19th century. But this archetypal German Romantic composer, who was born in 1838, lived to the ripe old age of 82, and kept producing new works up to the time of his death in 1920. One of these, a Concerto for Two Pianos, was commissioned by an American duo piano team, Ottilie and Rose Suttro, who premiered it with Leopold Stokowski and the Philadelphia Orchestra on today’s date in 1916. The new work was well-received, and its composer praised. But there is a somewhat ironic historical footnote to this successful premiere: It appears the Suttro Duo drastically revised and even rewrote parts of Bruch’s score for their 1916 performance, unbeknownst to the composer. It wouldn’t be until 1971 that the Concerto was performed as he had actually written it.

It might seem odd to think of Max Bruch as a twentieth century composer. After all, his three “Greatest Hits”—his Violin Concerto in G Minor, his “Scottish Fantasy” for violin and orchestra, and his setting of the Hebraic liturgical chant “Kol nidrei” for cello and orchestra -- were all written in the 19th century. But this archetypal German Romantic composer, who was born in 1838, lived to the ripe old age of 82, and kept producing new works up to the time of his death in 1920. One of these, a Concerto for Two Pianos, was commissioned by an American duo piano team, Ottilie and Rose Suttro, who premiered it with Leopold Stokowski and the Philadelphia Orchestra on today’s date in 1916. The new work was well-received, and its composer praised. But there is a somewhat ironic historical footnote to this successful premiere: It appears the Suttro Duo drastically revised and even rewrote parts of Bruch’s score for their 1916 performance, unbeknownst to the composer. It wouldn’t be until 1971 that the Concerto was performed as he had actually written it.

On this edition of ST, we learn about the next Tulsa Symphony Orchestra concert, which happens on Sunday afternoon (the 18th) at 3pm at ONEOK Field in downtown Tulsa. (At this concert, masks will be required to attend, and social distancing will be in effect.) The concert will feature Mozart's Abduction from the Seraglio Overture, Max Bruch's Scottish Fantasy, and Brahms' Symphony No. 4 in E minor. Our guest will be the Guest Conductor for this concert, Sarah Hicks. She is best known as the Minnesota Orchestra's principal conductor of Live at Orchestra Hall, an ongoing symphonic series of classical, pop, jazz, world music, Broadway classics, movie scores, and more.

Originally, a musical fantasy was a piece that instrumentalists made up as they went along. Eventually, fantasies evolved into pieces that composers built out of various melodies they liked -- like the Scottish folk tunes that Max Bruch put into his Scottish Fantasy for violin and orchestra.

In this weeks episode things are a bit dramatic. I challenged myself to try something new and publish whatever came out no matter how I felt about it. Today I feature the London Symphony Orchestra’s rendition of Bruch’s Scottish Fantasy in E-flat Major Op. 46 along with my reading of recent musings on where my … Continue reading "Episode 9: Journal at the Opera House"

Sometimes composers just make stuff up. That is the lesson that Grammy-winning, super duper famous violinist Joshua Bell teaches in this episode of Classical Classroom. He also talks about how this is not just okay - it can be great, as it is in the piece "Scottish Fantasy" by composer Max Bruch. Learn about who Bruch was and where this piece came from (spoiler alert: not Scotland). Music in this episode:  Special Thanks to Todd Reynolds for his music, Taskforce: Farmlab from Outerbourough.  

Panelen beklagar sötsliskigheten i violinisten Joshua Bells inspelning av Scottish Fantasy och prisar ukrainske Vladimir Silvestrovs cellomusik. Möt också den brittiske pianisten Paul Lewis. Veckans skivor: JOSHUA BELL BRUCH SCOTTISH FANTASY Musik av Max Bruch: Scottish Fantasy för violin och orkester och Violinkonsert nr 1 Joshua Bell, violin Academy of St. Martin in the Fields i London Sony Classical 19075842002 Betyg: 3 CROSSING BORDERS Vokalmusik av bl.a. Line Tjørnhøj, Carl Nielsen och Wilhelm Stenhammar Ars Nova Copenhagen, kör Paul Hillier, dirigent Da Capo Records 6.220626 Betyg: 4 HIEROGLYPHEN DER NACHT Musik för cello av Valentin Silvestrov Anja Lechner, cello och tamtam Agnès Vesterman, cello ECM New Series 2389 4815692 Betyg: 4 OTELLO Opera av Giuseppe Verdi Jonas Kaufmann, tenor Marco Vratogna, baryton Maria Agresta, sopran Orkestern vid Royal Opera House i London Antonio Pappano, dirigent Sony Classical Betyg: 4 Musikrevyn möter: Paul Lewis Den brittiske pianisten Paul Lewis är en mästare på den wienklassiska repertoarens Haydn, Mozart, Beethoven och Schubert. Han är just nu aktuell som juryordförande i pianotävlingen Leeds Piano Competition. Albert Ehrnrooth träffade Lewis i hans hem utanför London och pratade Brexit, Brahms och bibliotek.  Referensen: En omistlig inspelning av Verdis Otello Vi jämför Jonas Kaufmanns Otello med Placido Domingo i samma roll, i en inspelning med Bastilleoperans orkester från 1993 utgiven på Deutsche Grammophon. Johans bästa: Tristan och Isolde med Bernstein Johan Korssell rekommenderar en ny dvd med en uppsättning av Wagners Tristan och Isolde, dirigerad av Leonard Bernstein. Inspelad i München 1983. En rekordlångsam tolkning!

Joshua Bell joins host Chris Felcyn from New York to give a two-part sneak preview of his latest CD with the Academy of St. Martin in the Fields, “Scottish Fantasy,” featuring music by Max Bruch.

Violin superstar Joshua Bell joins us to preview his new album, which features his first recording ever of the virtuosic Scottish Fantasy by Max Bruch. Also on the disc, a thrilling new take on Bruch's Violin Concerto No. 1 in G minor – a piece Joshua first recorded over thirty years ago with the orchestra that joins him for this recording, the Academy of St Martin in the Fields.

On this, his fourth visit to Detroit, violinist Paul Huang will be performing three concerts around the area featuring the "Scottish Fantasy" by Max Bruch. Learn a bit more about him in this interview from the Well-Tempered Wireless.

Cedille Chicago Presents a program of music recorded by orchestras home and abroad. Subscribe to the Cedille Email List to receive one free music track from each week's show!  This week's download is: LEO SOWERBY (1895–1968) Comes Autumn Time – Program Overture for Orchestra (4:41)From Prairie: Tone Poems by Leo Sowerby Cedille Records CDR 90000 033 (Track 1) Czech National Symphony Orchestra Paul Freeman, conductor Orchestras Home & Abroad EASLEY BLACKWOOD (b. 1933) Symphony No. 5, Op. 34 III. Allegro vivo (7:01) From Easley Blackwood: Symphonies Nos. 1 & 5 Cedille Records CDR 90000 016 (Track 3) Chicago Symphony Orchestra James DePreist, conductor JOSEPH WHITE (1835–1918) Violin Concerto in F-sharp Minor Adagio ma non troppo (4:51) From Violin Concertos by Black Composers of the 18th and 19th Centuries Cedille Records CDR 90000 035 (Track 8) Rachel Barton Pine, violin Encore Chamber Orchestra Daniel Hege, conductor HEINRICH IGNAZ FRANZ VON BIBER (1644–1704) Mensa Sonora: Pars V in E major I. Intrada Allegro (1:08) II. Balletto (0:45) III. Trezza (0:41) IV. Gigue (0:48) From Biber: Mensa Sonora & Battalia Cedille Records CDR 90000 116 (Tracks 26–29) Baroque Band Garry Clarke, conductor LEO SOWERBY (1895–1968) Comes Autumn Time – Program Overture for Orchestra (4:41) From Prairie: Tone Poems by Leo Sowerby Cedille Records CDR 90000 033 (Track 1) Czech National Symphony Orchestra Paul Freeman, conductor DOMENICO CIMAROSA (1749–1801) Concerto for Two Flutes in G Major (played on flute & oboe) III. Rondo (4:08) From Wind Concertos by Cimarosa, Molique, and Moscheles Cedille Records CDR 90000 080 (Track 3) Mathieu Dufour, flute Alex Klein, oboe Czech National Symphony Orchestra Paul Freeman, conductor MAX BRUCH (1838–1920) Scottish Fantasy, Op. 46 III. Andante sostenuto (6:52) From Scottish Fantasies for Violin & Orchestra Cedille Records CDR 90000 083 (Disc 1, Track 4) Rachel Barton Pine, violin Scottish Chamber Orchestra Alexander Platt, conductor JOHANNES BRAHMS (1833–1897) Violin Concerto in D major, Op. 77 III. Allegro giocoso, ma non troppo vivace (8:20) From Brahms & Joachim Violin Concertos Cedille Records CDR 90000 068 (Disc 2, Track 4) Rachel Barton Pine, violin Chicago Symphony Orchestra Carlos Kalmar, conductor

Rachel Barton Pine discusses Bruch's Scottish Fantasy from her album "Scottish Fantasies."  Includes musical examples. playing time: 19:25SUBSCRIBE TO THIS PODCAST ON I-TUNES! Do you have a question you'd like Rachel to answer on her podcast?  Just send your question via text or as an MP3 attachment to rachelbartonpine@aol.com Thanks for listening!   visit Rachel online: www.rachelbartonpine.com www.myspace.com/rachelbartonpine www.youtube.com/RachelBartonPine Rachel Barton Pine's podcast is produced by Windy Apple Studios www.windyapple.com