Podcasts about second piano concerto

CSO Artist-in-Residence Daniil Trifonov, “without question the most astounding pianist of our age” (The Times of London), takes on Brahms' Second Piano Concerto, as remarkable for its rich orchestral writing as for its simultaneously glittering and muscular piano part. Dvořák's turbulent Seventh Symphony is both an expression of the composer's personal crises and a lyrical tribute to the Czech spirit. Learn more: cso.org/performances/24-25/cso-classical/makela-and-trifonov

The cool of the Arctic meets the warmth of Italy. The brooding, majestic themes of Sibelius' Fifth Symphony evoke the remote landscapes of conductor Santtu-Matias Rouvali's native Finland. Tchaikovsky transports listeners to a Roman carnival in his Capriccio Italien. Seong-Jin Cho, lauded for his “expert music-making … miraculous in its execution” (The New York Times), takes on Prokofiev's incendiary Second Piano Concerto. This program will also be performed at Wheaton College on Friday, February 28. Learn more: cso.org/performances/24-25/cso-classical/seong-jin-cho-plays-prokofiev/

Brimming with wry wit and affectionate warmth, Shostakovich's Second Piano Concerto was a gift for his teenage son. Here, it's a showcase for the brilliant Lahav Shani, who conducts from the keyboard. Beethoven's powerful Egmont Overture captures the brave struggle for freedom and justice, while Brahms' stormy and heroic First Symphony is the culmination of years of labor by the composer. Learn more: cso.org/performances/24-25/cso-classical/shani-shostakovich-and-brahms

Experiencing a Bruckner symphony is often compared to walking around inside a massive gothic cathedral. Step inside this sacred space and experience its awed silences, reverent melodies and towering brass chorales. Francesco Piemontesi, “a performer in total, joyful command of his material” (The Guardian), brings power and panache to Liszt's formidable Second Piano Concerto. Learn more: cso.org/performances/24-25/cso-classical/liszt-and-bruckner-3/

Samira celebrates the music and life of Sergei Rachmaninoff. With pianist Kirill Gerstein, who has released a new recording of Rachmaninoff's Second Piano Concerto with the Berlin Philharmonic, Marina Frolova-Walker, Professor of Music at Cambridge, pianist Lucy Parham, who has created a Composer Portrait concert about Rachmaninoff that she is currently touring across the UK. Plus film historian and composer Neil Brand discusses the use of Rachmaninoff's music in film classics such as Brief Encounter.First broadcast on 1 May 2023.Presenter: Samira Ahmed Producer: Timothy Prosser

SynopsisThese days at symphony concerts, when a new piece of music is about to be played, it's not uncommon to overhear someone mutter, “Why do they have to program this new stuff, when there's so much Brahms and Tchaikovsky we'd rather hear?”Well, on today's date in 1881, the 40th season of the New York Philharmonic Society's concerts opened with a pair of new works: first the New York premiere of the Tragic Overture, by Johannes Brahms, and after that, the world premiere of the Second Piano Concerto, by Peter Ilyich Tchaikovsky. The soloist in the Tchaikovsky was Madeleine Schiller.Here's what the New York Times had to say the following morning: “The return of Madame Schiller to the stage is a welcome event, ... the only regret being that her efforts had not been devoted to a more interesting work, for, apart from the novelty, it cannot be said that the Tchaikovsky concerto possessed any great merit. There are older works, of which one never tires and which, interpreted by Madame Schiller ... would always be welcomed.”Ah, some things never change!Music Played in Today's ProgramJohannes Brahms (1833 – 1897) Tragic Overture; Chicago Symphony; Daniel Barenboim, cond. Erato 95192Peter Tchaikovsky (1840 – 1893) Piano Concerto No. 2; Barry Douglas, piano; Philharmonia Orchestra; Leonard Slatkin, cond. RCA/BMG 61633

During his lifetime, Ogden Nash (born August 19, 1902; died May 19, 1971) was the most widely known, appreciated, and imitated American creator of light verse, a reputation that has continued after his death. Few writers of light or serious verse can claim the same extensive dissemination of their poems that Nash's works enjoy, both with and without citation of the author. Certain Nash lines, such as “If called by a panther, / Don't anther” and “Candy / Is dandy, / But liquor / Is quicker” have become bits of popular American folklore. As Nash remarked in a late verse, the turbulent modern world has much need for the relief his whimsy offers: “In chaos sublunary / What remains constant but buffoonery?” Nash's peculiar variety of poetic buffoonery combines wit and imagination with eminently memorable rhymes.Any attempt to place Nash's work in the context of other American humorous writing, or the humor of any other country, for that matter, tends initially to highlight his singularity. George Stevens notes this particularity. “Nash was not the only writer who could make frivolity immortal. But he was unique—not at all like Gilbert or Lear or Lewis Carroll, still less like his immediate predecessors in America: Dorothy Parker, Margaret Fishback, Franklin P. Adams. By the same token, he was and remains inimitable—easy to imitate badly, impossible to imitate well.”-bio via Poetry FoundationCharles-Camille Saint-Saëns (/sæ̃ˈsɒ̃(s)/ 9 October 1835 – 16 December 1921) was a French composer, organist, conductor and piano prodigy of the Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Second Piano Concerto (1868), the First Cello Concerto (1872), Danse macabre (1874), the opera Samson and Delilah (1877), the Third Violin Concerto (1880), the Third ("Organ") Symphony (1886) and The Carnival of the Animals (1886).-bio via Wikipedia Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Jess Gillam and pianist Karim Kamar share some of their favourite music. Karim has an amazing musical story - after loving playing as a kid but never studying properly, at 25 he decided to quit his job and learn the piano seriously to become a professional musician. He spent years painstakingly learning how to play - and has since released 6 albums and performed at some of the most iconic music venues from Ronnie Scott's to the Royal Albert Hall. He's also a bit of a star on social media with millions of fans who follow his adventures of him playing the many street pianos you find around the country. His music picks are all based around the piano - from the pure romance of Rachmaninov's Second Piano Concerto, to the video game imagination of Ryuichi Sakamoto and the latin funk of Stevie Wonder. Meanwhile Jess finds a new inspiration in Sibelius's Third Symphony, one of her teenage soundtracks in Massive Attack and an uneasy waltz by Shostakovich. Playlist: MILES DAVIS: Nardis [Bill Evans Trio] SHOSTAKOVICH: Jazz Suite no.2 – Waltz no 2 [Royal Concertgebouw Orchestra / Riccardo Chailly (conductor)] RUYICHI SAKAMOTO: Seven Samurai: Ending Theme RACHMANINOV: Piano Concerto no 2 – 2nd mvt Adagio sostenuto [Khatia Buniatishvilli (piano), Czech Philharmonic Orchestra, Paavo Jarvi (conductor)] MASSIVE ATTACK: Hymn of the Big Wheel CHOPIN: Waltz op.64 no.2 in C sharp minor [Arthur Rubinstein (piano)] SIBELIUS: Symphony no.3 – 2nd mvt Andantino [BBC Philharmonic /John Storgards (conductor)] STEVIE WONDER: Another Star

The Gramophone Award-winning pianist Kirill Gerstein has recorded Rachmaninov's Second Piano Concerto with the Berliner Philharmoniker and Kirill Petrenko: it forms part of a twinned release, 'Rachmaninoff 150', from Platoon. James Jolly met up with Gerstein a couple of months ago in London to talk about playing the music of a composer who left us two recordings of the concerto as well as being one of the greatest pianists ever to have lived. The second part of the programme includes solo works, with the Corelli Variations forming the centrepiece.

Samira celebrates the music and life of Sergei Rachmaninoff to mark the 150th anniversary of the composer's birth. With pianist Kirill Gerstein, who has just released a new recording of Rachmaninoff's Second Piano Concerto with the Berlin Philharmonic, Marina Frolova-Walker, Professor of Music at Cambridge, pianist Lucy Parham, who has created a Composer Portrait concert about Rachmaninoff that she is currently touring across the UK. Plus film historian and composer Neil Brand discusses the use of Rachmaninoff's music in film classics such as Brief Encounter. Presenter: Samira Ahmed Producer: Timothy Prosser

Not yet 25 years old, Marie-Ange Nguci has exploded onto the international scene in just the last few years, having performed with Orchestre de Paris, Konzerthausorcheter Berlin, and the BBC Symphony Orchestra to name just a few. She certainly fit the model of a child prodigy, being accepted into the Paris Conservatoire at 13, completing her Master of the Piano at 16, and releasing her first album at 20. She's coming to Sydney to join the Sydney Symphony Orchestra to perform Saint-Saëns Second Piano Concerto from the 8th to the 11th of March at the Sydney Opera House, as well as a solo recital on Monday 6th March at the City Recital Hall Angel Place. In this conversation, conducted remotely from her home in Paris, Marie-Ange speaks with great warmth and enthusiasm of the repertoire she has chosen for the program, we hear about growing up in her home country of Albania, and the move to Paris at just 13 years old to attend the Paris Conservatoire. Her passion for her music is unparalleled.

Join conductor Mark Steighner and special guest Mitchell Jett Spencer, as they discuss the upcoming performance of Rachmaninoff's Second Piano Concerto on November 18 and 20. Tickets and information at gorgeorchestra.org --- Send in a voice message: https://anchor.fm/cgoa/message

Estonian conductor Paavo Järvi leads a program of passionate and colorful works featuring Berlioz's Symphonie fantastique, a five-movement portrait of romantic obsession, replete with a witches' sabbath, a guillotine and opium-induced hallucinations. Chopin's dazzling Second Piano Concerto features Benjamin Grosvenor, hailed by Gramophone magazine as possibly “the most remarkable young pianist of our time.” Ticket holders are invited to a free preconcert conversation featuring Max Raimi in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Learn more: cso.org/performances/21-22/cso-classical/symphonie-fantastique

A program of rich, Romantic intensity features Rachmaninov's ravishing Second Piano Concerto, performed by the brilliant Czech pianist Lukáš Vondráček. Elgar's Enigma Variations are miniature portraits of friends, family members and the composer himself, alternately noble, yearning and blustery in character. Barber's First Symphony is a mid-century gem, alive with soaring lyricism, bold colors and majestic climaxes. Ticket holders are invited to a free preconcert conversation featuring Steven Rings in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Learn more: cso.org/performances/21-22/cso-classical/alsop-rachmaninov-piano-concerto-no-2

Meg Rosoff waited until she was 45 to write her first novel, How I Live Now, the story of a passionate love affair between young teenage cousins, set against the background of apocalyptic war. It changed her life, selling a million copies and becoming a film starring Saoirse Ronan. She gave up a series of unfulfilling jobs in advertising and reinvented herself as a writer. Over the last 16 years she's published eight more novels, as well as eight books for younger readers, including four about McTavish the rescue dog. She's won numerous awards, including the Astrid Lindgren Memorial Award - half a million Pounds, the biggest prize in children's literature. In Private Passions, she talks to Michael Berkeley about the ways in which she's reinvented her life over the years. First, there was the decision to come to England from New York and begin a new life here; then, after the tragic early death of her sister, there was the decision to become a writer. It didn't begin well; she decided to write a book about ponies aimed at teenaged girls, but no publisher would touch it – it was far too sexy. Finding her voice as a writer took a while, and has led Meg Rosoff to think about “voice” in relation to musicians and composers too. Music choices include Bach's B Minor Mass; “London Calling” by the Clash; Brahms's Second Piano Concerto, and Ravel's String Quartet in F Major. A Loftus Media production for BBC Radio 3 Produced by Elizabeth Burke

Seong-Jin Cho — Chopin Piano Concerto No. 2 • Scherzi (DG) Jump to giveaway form New Classical Tracks - Seong-Jin Cho by Pianist Seong-Jin Cho became the first South Korean to win First Prize at the Warsaw International Chopin Competition in 2015. Following that award, he immediately recorded Chopin's First Piano Concerto and the four Ballades with Gianandrea Noseda and the London Symphony Orchestra. Playing with the same orchestra and conductor, Cho has released his new album, Chopin Piano Concerto No. 2 • Scherzi. Why have you returned to the music of Frédéric Chopin?  “I didn't record Chopin's music intentionally for five years, because I didn't want to be labeled as a Chopin specialist. I wanted to explore different composers.” How has your relationship with Chopin changed over the past six years?  “It has been the same. I admire and respect his music, because he was very brave to convey so many of his emotions with his audiences. My style of play has changed in the past six years, but my connection with Chopin has not.” What new discoveries did you make about his Second Piano Concerto? “He wrote this piece when he was 20, and at the time he was falling in love. He almost dedicated this piece to her. That it's so romantic, delicate and dramatic. I always try to take an innocent approach rather than a romantic one.” In the first movement, your left hand emphasizes the shifting harmonies and your right hand has the melodic line. How challenging is it to make sure that the right hand doesn't take over?  “There's a saying about Chopin's music that we made when we played his music: ‘The left hand should be like a like a tree, and the right has to be the leaves.' Chopin's music, in general, is also very polyphonic. Not only is the right-hand melody important, but the left-hand melodic line or the inner voice is, as well.” What is it about these pieces that allows you to feature all four Scherzi on a single program? “They feel comfortable all in one place. They're musically connected, yet they're all different, but at the same time they're all similar. The fourth Scherzo is my favorite and the hardest. It is joyful, and the middle section is nostalgic.” Watch now To 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. Giveaway Giveaway You 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. Resources Seong-Jin Cho — Chopin Piano Concerto No. 2 • Scherzi (Amazon) Seong-Jin Cho — Chopin Piano Concerto No. 2 • Scherzi (DG Store) Seong-Jin Cho (official site)

The Ellroy Boys discuss David Lean's tragically beautiful, Brief Encounter, with the wonderful and wise, @bimboubermensch. The film, an adaptation of Noël Coward's Still Life, tells the story of an affair between two married strangers who meet at a railway station, prior to the beginning of WWII. The story is entirely set to Sergei Rachmaninoff's incredible Second Piano Concerto, which feels inextricably tethered to the film's heart and to it's success and overall effectiveness. Our discussion goes far and wide as we talk about love, extramarital affections, the death of romance, the film's Ellrovian sensibilities, and of course, Rachmaninoff. produced by @GOLDpny feat: @luso_brendan, @blauer_geist & @rubberwidow

Final Fantasy? With end of life bestselling author and spiritually focused medical Doctor, Karen WyattTheresa talks to Dr. Karen Wyatt, a family physician and best selling end of life author. Dr Wyatt works with patients in challenging settings, such as hospices, nursing homes and indigent clinics. She has developed Creative Healing LLC an initiative to integrate spirituality into traditional medical practice and twice testified at Senate briefings on the cutting edge model of integrated medical care, combining physical and behavioural health, which she helped create and implement in her clinic for the uninsured. To find out more and to contact Dr Karen Wyatt visit:Website: https://www.karenwyattmd.comhttp://www.eoluniversity.comTo find out more about Theresa’s bestselling birthday, dream, afterlife, heaven, angel, and spiritual titles and mission, visit:Www.theresacheung.comYou can contact Theresa via her author pages on Facebook, Instagram and Twitter and you can email her directly at angeltalk710@aol.comThank you to Cluain Ri for the episode music. The piano concerto at the end of the episode is Rachmaninoff's Second Piano Concerto, 3rd Movement performed by Robert Cheung with the RSO.White Shores is produced by Robert Cheung

 IT’S YOUR AFTERLIFE: With bestselling afterlife author, Barry EatonBestselling afterlife author and popular broadcaster Barry Eaton returns to answer more questions about life after life. To find out more about Barry and his radio Out There show visit:https://radiooutthere.com/blog/To email Barry: radiooutthere@gmail.comTo order Barry’s Afterlife books:https://www.amazon.com/Barry-Eaton/e/B006ILNRJQ%3Fref=dbs_a_mng_rwt_scns_shareTo find out more about Theresa’s bestselling birthday, dream, afterlife, heaven, angel, and spiritual titles and mission, visit:Www.theresacheung.comYou can contact Theresa via her author pages on Facebook, Instagram and Twitter and you can email her directly at angeltalk710@aol.comThank you to Cluain Ri for the episode music. The piano concerto at the end of the episode is Rachmaninoff's Second Piano Concerto, 2nd Movement performed by Robert Cheung with the RSO.White Shores is produced by Robert CheungSent from my iPad

SURVIVING DEATH with the world’s leading mediumship investigator, Dr Julie Beischel Joining Theresa to discuss her scientific research into the very real possibility of afterlife communication is medium whisperer, Dr Julie Beischel. Her investigations at the Windbridge Research Institute are leading the world in mediumship investigation. To find out more about Julie and the Windbridge Research center and whether or not and how best to consult a medium visit:https://www.windbridge.org/Dr Beischel’s Meaningful Message Cards can be purchased via:Www.windbridgeinstitute.comTo find out more about Theresa’s bestselling birthday, dream, afterlife, heaven, angel, and spiritual titles and mission, visit:Www.theresacheung.comYou can contact Theresa via her author pages on Facebook, Instagram and Twitter and you can email her directly at angeltalk710@aol.comThank you to Cluain Ri for the episode music. The piano concerto at the end of the episode is  Rachmaninoff's Second Piano Concerto performed by Robert Cheung with the RSO.White Shores is produced by Robert Cheung

Feeling too Much: With Psychology Today blogger, author and personality researcher, Michael Jawer. To find out more about Michael, order Sensitive Soul and his other titles and contact him direct, visit: Www.michaeljawer.com author@michaeljawer.com To find out more about Theresa’s bestselling dream, afterlife, heaven, angel, and spiritual titles and mission, visit: Www.theresacheung.comYou can contact Theresa via her author pages on Facebook, Instagram and Twitter and you can email her directly at: angeltalk710@aol.comTo find out about the theme music used in White Shores visit: www.cluainri.com The music at the end played by Robert Cheung is Rachmaninoff's Second Piano Concerto, Second Movement. White Shores is edited and produced by Robert Cheung

These days, at symphony concerts when a new piece of music is about to be played, it’s not uncommon to overhear someone mutter, “Why do they have to program this new stuff, when there’s so much Brahms and Tchaikovsky we’d rather hear?” Well, on today’s date in 1881, the 40th season of the New York Philharmonic Society’s concerts opened with a pair of brand-new works: first the New York premiere of the “Tragic” Overture by Johannes Brahms, and after that, the world premiere performance of the Second Piano Concerto by Peter Ilyich Tchaikovsky. The soloist in the Tchaikovsky was a certain Madame Madeleine Schiller. Here’s what The New York Times had to say the following morning: “The return of Madame Schiller to the stage is a welcome event... the only regret being that her efforts had not been devoted to a more interesting work, for, apart from the novelty, it cannot be said that the Tchaikovsky concerto possessed any great merit. There are older works, of which one never tires and which, interpreted by Madame Schiller ... would always be welcomed.” Ah, some things never change!

These days, at symphony concerts when a new piece of music is about to be played, it’s not uncommon to overhear someone mutter, “Why do they have to program this new stuff, when there’s so much Brahms and Tchaikovsky we’d rather hear?” Well, on today’s date in 1881, the 40th season of the New York Philharmonic Society’s concerts opened with a pair of brand-new works: first the New York premiere of the “Tragic” Overture by Johannes Brahms, and after that, the world premiere performance of the Second Piano Concerto by Peter Ilyich Tchaikovsky. The soloist in the Tchaikovsky was a certain Madame Madeleine Schiller. Here’s what The New York Times had to say the following morning: “The return of Madame Schiller to the stage is a welcome event... the only regret being that her efforts had not been devoted to a more interesting work, for, apart from the novelty, it cannot be said that the Tchaikovsky concerto possessed any great merit. There are older works, of which one never tires and which, interpreted by Madame Schiller ... would always be welcomed.” Ah, some things never change!

Evil Happens: Questioning the dark side with legendary Skeptiko podcast host, Alex TsakirisIn this lively debate Theresa talks to Alex Tsakiris, host of Skeptiko, which has had millions of downloads, about the nature of evil and science and spirituality at tipping point.To find out more about Alex and Skeptico visit:http://Skeptiko.com To order Alex’s book: Why Evil Matters visit:https://www.amazon.com/Alex-Tsakiris/e/B00QDAT5KW%3Fref=dbs_a_mng_rwt_scns_shareTo find out more about Theresa’s bestselling dream, afterlife, heaven, angel, and spiritual titles and mission, visit: Www.theresacheung.comYou can contact Theresa via her author pages on Facebook, Instagram and Twitter and you can email her directly at: angeltalk710@aol.comTo find out about the theme music used in White Shores visit: www.cluainri.com The music performed at the end by Robert Cheung and the RSO is Rachmaninoff's Second Piano Concerto, First Movement. The poem, Do not go gentle into that good night is by Dylan Thomas. White Shores Season 3 is produced by Robert Cheung.

Oops! I did it again: Talking between lives with Universal past life reporter and therapist, Joanne DiMaggio.Theresa talks to respected past life author, expert and healer, Joanne Di Maggio, MA, CHt about reincarnation and life between lives exploration. To find out more about Joanne visit:Www.joannedimaggio.comTo order: I Did It To Myself...Again!New Life-Between-Lives Case Studies Show How the Soul's Contract is Guiding Your Life visit: https://www.amazon.com/Did-Myself-Again-Life-Between-Lives-Contract/dp/1982243899To find out more about Theresa’s bestselling dream, afterlife, heaven, angel, and spiritual titles and mission, visit: Www.theresacheung.comYou can contact Theresa via her author pages on Facebook, Instagram and Twitter and you can email her directly at: angeltalk710@aol.comTo find out about the theme music used in White Shores visit: www.cluainri.com The music played at the end depicting the theme of life and love surging death and time is Rachmaninoff's Second Piano Concerto performed by Robert Cheung and the RSO. The poem, Death is Nothing at All is by Henry Scott Holland White Shores Season 3 is produced by Robert Cheung.

In this episode, Gustav Hoyer discusses research led by Dr. Tomas Schäfer as published through his research into the psychology of music listening (1).  Music is a mirror for our own personal inward journeys, a tool to help define our moods, and a glue that connects us to others. We explore these three reasons that his research identified and Gustav shares some of his own compositions as well as excerpts of other works that have served these functions for him. In this episode we hear:Hoyer, Piano Quartet in c-minor, 3rd mvmt (‘Wonder’)Grieg,  Holberg Suite, IV. Aria excerpt(performed by Sir Neville Marriner and Academtn of St. Martin in the Fields)Rachmaninov, Second Piano Concerto, 2nd Mvmt excerpt (performed by Gary Graffman and the NY Philharmonic Orchestra)Hoyer, Vignettes from an American Life. 5th mvmd (‘Front Porch Rondo’)Bach, Toccata in D-Major excerpt (performed by Glenn Gould)These links will take you to Spotify, but they are available at many other music locations as well.If you like this podcast, please leave us a review wherever you get this podcast, and share it with your friends. If you have thoughts, complaints, ideas about this podcast, please reach out to him at salutations@gustavhoyer.com.  We'd love to hear from you!(1) The psychological functions of music listening Frontiers in Psychology, August 2013, Vol 4, Article 511 Thomas Schäfer1*, Peter Sedlmeier1, Christine Städtler1 and David Huron2 

Cellist Martha Baldwin talks about the restorative power of Beethoven’s Second Piano Concerto after a difficult diagnosis.Featured Music:BEETHOVEN – Piano Concerto No. 2The Cleveland OrchestraFranz Welser-Möst, conductorEmanuel Ax, pianoRecorded live from Severance Hall in 2017The connection we share through music is more important than ever — and so is your support. To support The Cleveland Orchestra, please visit clevelandorchestra.com/donate.

This Week in Mal’s World – The Seven Year itch. The finale of Mal’s Movies 2019 at the Naro Expanded Cinema on Monday night, August 19th at 7:00 The star, of course, is Marilyn, and that’s all that needs to be said. Based on the Broadway play, Billy Wilder’s classic comedy is devoted to the premise that husbands reportedly get an “itch” after seven years of marriage. Such frenzy is encouraged by the fact that the wife is away for the summer, and Marilyn Monroe, playing a model, lives upstairs. It’s the perfect comedy for the summer! Tom Ewell is hilarious as the befuddled middle-aged husband who doesn’t quite know what to do with Marilyn. She is most avid about Rachmaninoff’s Second Piano Concerto, and her comic gift is proven throughout! Again, this is the finale of the 16th annual movie festival, which means it is the night when we vote for the four top performances. Visit https://narocinema.com/mals-movies/ for more information.

Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34888]

Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34888]

Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34888]

Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34888]

Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34888]

Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34888]

Steven Schick leads a sharply varied program. Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music with film, and we hear her "Fuel," with a film by Bill Morrison. Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” The concert concludes with Jean Sibelius’ mighty "Symphony No. 5," which drives to its triumphant conclusion on six shattering chords for full orchestra. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34006]

Steven Schick leads a sharply varied program. Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music with film, and we hear her "Fuel," with a film by Bill Morrison. Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” The concert concludes with Jean Sibelius’ mighty "Symphony No. 5," which drives to its triumphant conclusion on six shattering chords for full orchestra. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34006]

Steven Schick leads a sharply varied program. Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music with film, and we hear her "Fuel," with a film by Bill Morrison. Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” The concert concludes with Jean Sibelius’ mighty "Symphony No. 5," which drives to its triumphant conclusion on six shattering chords for full orchestra. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34006]

Steven Schick leads a sharply varied program. Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music with film, and we hear her "Fuel," with a film by Bill Morrison. Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” The concert concludes with Jean Sibelius’ mighty "Symphony No. 5," which drives to its triumphant conclusion on six shattering chords for full orchestra. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34006]

About the Performance: In this program of Brahms contrasts, the epic, many layered four-movement Second Piano Concerto is paired with the delightful and lyrical Second Symphony. Bronfman and Mehta will revel in this music. Program: BRAHMS : Piano Concerto No. 2  Intermission BRAHMS : Symphony No. 2 in D major, Op. 73 Artists: Los Angeles Philharmonic Zubin Mehta conductor Yefim Bronfman piano SAT / DEC 15, 2018 - 8:00PM Upcoming concerts: www.laphil.com/calendar Upbeat Live schedule, details, and speaker bios: www.laphil.com/ubl

“He was born into the wrong time” The greatest composer you’ve never heard of: our Principal Guest Conductor Jakub Hrůša guides you through the inspiring musical life and heartbreaking story, of Miloslav Kabeláč. Explore his revelatory music on 22 November, when we follow The Mystery of Time with Dvořák’s Slavonic Dances and Shostakovich’s Second Piano Concerto:  https://www.philharmonia.co.uk/concerts/2120/jakub_hrusa_dvorak_and_shostakovich

“There could be no more impressive demonstration of modern orchestral virtuosity at its committed best than the pairing of Haitink and the Chicago Symphony Orchestra” (Chicago Tribune). Former principal conductor Bernard Haitink, renowned for his transformative interpretations of symphonic masterworks with the CSO, returns to lead Bruckner's rich, kaleidoscopic Sixth Symphony. These performances are the conductor's only U.S. concert engagement this season. Paul Lewis, “a defining interpreter of Beethoven” (Chicago Tribune), joins forces with the orchestra and Haitink to perform the composer's triumphant Second Piano Concerto. https://cso.org/haitinkbrucknerbeethoven

At first glance chocolate brownies, puff pastry and Battenberg cake don’t seem to have a great deal in common with theoretical maths, but Eugenia Cheng has harnessed her love of cooking in order to tackle the fear of maths so many of us share – and has published a book about it called How to Bake Pi. Her mission is to rid the world of "maths phobia", and to this end she gave up her secure job teaching at Sheffield University to open up the world of maths to students from other disciplines as Scientist in Residence at the School of the Art Institute of Chicago, which also gives her the opportunity to pursue her own research in Category Theory - the purest form of maths. And she’s a highly accomplished pianist, performing in concert halls around the world, as well as founding Liederstube - a popular venue for lieder and art song in Chicago which has hosted performers such as Gerald Finley and Richard Wiegold. Eugenia explains to Michael how chocolate brownies and pure maths are related; how she prefers to work in cafes and bars with pen and paper rather than on a computer, and how her intensely emotional response to music is a release from the intensely ordered world of pure mathematics. And they dismantle stereotypes about Chinese ‘tiger mothers’, girls and maths, and the idea that people who are good at maths are automatically good at music. Eugenia chooses music from Bach’s Matthew Passion, Rachmaninov’s Second Piano Concerto – which she herself has played – and from Mahler’s Resurrection Symphony and Janacek’s opera The Makropulos Case, which take her on an emotional and philosophical journey towards a reconciliation with mortality. Producer: Jane Greenwood A Loftus production for BBC Radio 3

Raymond Bisha introduces Boris Giltburg’s latest album of music by Sergei Rachmaninov that features the Études-tableaux Op. 33 and his ever-popular Piano Concerto No. 2. The latter charts a dramatic course: from the passion, darkness and pain of the first movement, through the dreamy idyll of the second, to the unequivocal victory of the finale. This overview might indeed reflect the path of Rachmaninov’s own life: his depression and inability to continue composing following the disastrous première of his First Symphony (ruined by an apparently drunken Glazunov on the conductor’s podium) and his fight to overcome it with the help of a hypnotherapist, one Dr Dahl, to whom the Second Piano Concerto was dedicated.

Tom Service examines one of the most famous concertos in the piano repertoire. What is the secret of its appeal? Why does it have such emotional impact? Why did the critics hate it, yet why is it such a classical favourite in the world of popular culture - from Mickey Mouse to Marilyn Monroe to Muse? And what did Rachmaninov have to go through to compose it? With pianist Lucy Parham.

On this day in 1915, the Russian composer Sergei Prokofiev — then in his mid-20s — made his foreign debut. The concert was in Rome, and Prokofiev performed his Second Piano Concerto.  On today's "A Classical Day in the Life", we explore the influence that the man behind the concert, Sergei Diaghilev, had on Prokofiev.

Here's a disc with not just Tchaikovsky's First Piano Concerto, but the less well-known Second Piano Concerto as well. Join the BBC Music Magazine team as they discuss Simon Trpčeski's new recording with the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko. See acast.com/privacy for privacy and opt-out information.

David Lean's 1945 film, Brief Encounter, is a classic example of the way film can use music to drive the emotions of the audience. The film repeatedly returns to Eileen Joyce's recording of Rachmaninov's Second Piano Concerto, each time further entwining the viewer's emotions within the narrative. But how can this extravagant, extrovert music seem so perfectly adapted to the repression and guilt that surrounds the protagonists?