Podcasts about Seiji Ozawa

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Deuter - I Will Wait for You；2.Clifford Curzon,Vienna Octet,Wiener Oktett - Pno Qnt, Op.81：II. Dumka：Andante Con Moto；3.Antonín Dvořák,Seiji Ozawa,Boston Symphony Orchestra - Klid for Cello&Orchestra,Op.68,No.5；4.Wiener Philharmoniker - Symphony No. 9 in E minor, Op. 95 'From the New World'：II. Largo (Opening)。

durée : 00:09:53 - Disques de légende du lundi 24 février 2025 - L'opéra Saint François d'Assise représente un moment important dans la carrière d'Olivier Messiaen, reconnu à 75 ans comme le grand compositeur français, par son entrée à l'Opéra de Paris.

durée : 00:09:53 - Disques de légende du lundi 24 février 2025 - L'opéra Saint François d'Assise représente un moment important dans la carrière d'Olivier Messiaen, reconnu à 75 ans comme le grand compositeur français, par son entrée à l'Opéra de Paris.

In this interview with Tom Morris, a veteran of orchestra management whose career included leadership roles with the Boston Symphony and the Cleveland Orchestra, conductor Devin Patrick Hughes provides a comprehensive look at the inner workings of orchestral institutions, the evolution of their management, and the crucial role of music in their success. Morris's journey from a percussionist to a top-level administrator offers a unique perspective, and his reflections provide valuable lessons for anyone interested in the performing arts. One of the most compelling aspects of the interview is Morris's discussion of how his musical background shaped his management philosophy. He emphasizes his deep understanding of musicians' lives, having experienced firsthand the challenges and demands of performing in an orchestra. This empathy enabled him to build trust with musicians and approach labor negotiations with a unique perspective. Morris's belief that "ultimately these institutions are about the music" underscores the importance of passion and artistic integrity in organizational leadership. The episode also explores the historical evolution of orchestra management, particularly the Boston Symphony Orchestra. Morris recounts how, before the 1970s, the orchestra relied on simple postcards for subscription renewals. He explains that over the seventies and eighties, the percentage of the budget earned from ticket sales gradually fell. This shift necessitated the development of marketing and fundraising departments, leading to a significant increase in administrative staff.  Morris shares fascinating insights about the Boston Pops, emphasizing that it was founded in 1885, before Arthur Fiedler became its 17th conductor in 1929. The Boston Symphony created the Pops to provide more employment for musicians and to perform lighter music for a broader audience. He discusses how the Boston Symphony transformed Symphony Hall into a "beer hall" to accommodate a more informal setting for the Pops concerts. He explains that in the early days the Pops sold blocks of tickets to community groups and did not have to focus on individual ticket sales. He also recounts how the popularity of Arthur Fiedler was enhanced even further by the "Evening at Pops" television series. Morris details the process of selecting John Williams as Fiedler's successor, explaining that Williams was chosen for his musical integrity and knowledge of the symphony orchestra. Furthermore, the interview addresses the crucial dynamic between management, the music director, and the board of directors, which Morris refers to as the "Bermuda Triangle.” Morris suggests that this structure can function perfectly if the right people are in those roles and are bound by a common vision. He also emphasizes that having a collaborative culture is essential, but that collaborative decision-making should be avoided. Morris stresses the importance of clear lines of authority and not settling for "good enough" when hiring. He also shares that when hiring he uses Jim Collins' three C's: competence, character, and chemistry. These points underscore the need for strong leadership and a shared vision in any successful organization. Morris also touches on the importance of thoughtful programming. He humorously mentions his collection of "dumb programs" and emphasizes the importance of carefully considering the combination of pieces in a concert. He contrasts examples of bad programming with one of his favorites, a concert he organized with Christoph von Dohnányi, which combined pieces by Ligeti, Wagner, and Bruckner. This conversation highlights that thoughtful artistic direction is an essential element in the success of an orchestra. Thank you for joining us on One Symphony. Special thanks to Thomas Morris for sharing his life and leadership. You can pick up a copy of Always the Music: How a Lifelong Passion Framed a Future for Orchestras wherever you get your books. For a list of recordings played on today's episode, please check out our show notes. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music. https://www.alwaysthemusic.com Featured Music All music selections for this episode feature the Boston Pops.  Tchaikovsky's Serenade for Strings in C Major, Op. 48: Waltz. Conducted by Arthur Fiedler, from the album Fiedler: Greatest Hits.  L'Arlésienne Suite No. 2: Farandole. Composed by Georges Bizet. Conducted by Arthur Fielder, from the album Fiedler: Greatest Hits. “Manhattan Skyline.” From the album Disco Inferno / Manhattan Skyline. Conducted by Arthur Fiedler.  “I Got Rhythm, Embraceable You.” From the album Boston Pops Salutes Astaire, Kelly, Garland. Composed by George and Ira Gershwin. Conducted by John Williams.  “Flying Theme” from E. T. Composed by John Williams. Performed live by John Williams conducting the Boston Pops in 2002.  “America Medley: America.” From the album Salute to America. Composed by Leonard Bernstein. Lyrics by Stephen Sondheim. Conducted by John Williams.  “None But The Lonely Heart.” From the album Pops a la Russe. Composed by Pyotr Ilyich Tchaikovsky. Conducted by John Williams.  The Snow Maiden - Suite - Danse des Bouffons. Composed by Nikolai Rimsky-Korsakov. From the album Pops a la Russe. Conducted by John Williams.  Holst: The Planets, op.32: 3. Mercury, The Winged Messenger. From the album Boston Pops Orchestra: John Williams. Conducted by John Williams. Overture from The Merry Wives of Windsor. From the album Fiedler: Greatest Hits. Conducted by Arthur Fiedler.  “Pizzicato Polka.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.  “Funeral March of a Marionette.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.  

Edwin Barker is recognized as one of the most gifted bassists on the American concert scene. In this wide-ranging interview, you'll hear about how when he was still a student, he won a job with the Chicago Symphony Orchestra, and then at age 22, he was appointed to the position of Principal Bass of the Boston Symphony Orchestra, a position he has now held for nearly 50 years. He shared memories of his mentors, and his valuable perspectives on learning and teaching the bass, playing in orchestra, conductors, auditions, acoustics and more. We're featuring his wonderful recent album of solo bass music, Basso Profundo, both J.S. Bach's Suite no. 5 and Weinberg's Sonata Op. 108. You can also watch this on my YouTube, and I've also linked the transcript, everything linked here to my website. It's a joy to bring these inspiring episodes to you every week, and I do all the many jobs of research, production and publicity. Please consider either buying me a coffee on my Ko-fi page, or ordering some of my merchandise. This weekly podcast is in Season 5 and I send out an email newsletter where you can get access to exclusive information about upcoming guests! Navona records link to album: https://edwinbarker.com Weinberg biography I think you may also enjoy these episodes: Mark Deutsch Thomas Cabaniss Jeeyoon Kim Rachel Mercer Hillary Simms Gail Archer Jessica Cottis and so many more ! photo of Edwin Barker: Sam Brewer Timestamps: (00:00) Intro (02:23) Ed's start on the bass in school music program, Angelo LaMariana (05:33) Henry Portnoi, Peter Mercurio (09:25) New York Philharmonic, Chicago Symphony, Boston Symphony (12:37) David Perlman, different schools of bass playing (17:28) Basso Profundo album, Bach suite adaptation for the bass (21:58) Courante from Bach Suite no. 5, from Basso Profundo (link in description) (24:14)bass history, Dragonetti (27:53) Ed's first week in Boston, Mahler 1 (30:28) Seiji Ozawa, orchestra conductors (34:26) composer Mieczyslaw Weinberg, solo bass repertoire (37:34) 3rd movement of the Weinberg Sonata op. 108 (link in description) (40:13) connection between the Bach Suite and the Weinberg sonata (42:01) excerpt of the 5th movement, Lento, of Weinberg sonata (42:56) Weinberg's life (46:43) excerpt of the 6th movement Weinberg sonata (47:22) other episodes you will find interesting, ways to support this series (48:14) the joys and challenges of orchestral playing (56:59) the influence of the acoustics of the hall on an orchestras sound (01:03:13) orchestra auditions (01:10:32) teaching the bass, playing Principal

Astronauts feature powerful ONE EARTH MISSION - Unite with Music movie, with Maestro Seiji Ozawa, Saito Kinen Orchestra, and a dramatic Earth fly-over. In his last public performance (Nov 23, 2022) Maestro Seiji Ozawa conducts the Saito Kinen Orchestra (SKO) with Beethoven's Egmont Overture, as a historical first orchestra performance broadcast directly to the International Space Station (ISS). Maestro's subtle yet masterful conducting shows the depth and power of music in our souls. The dramatic Earth fly-over from Italy to the Red Sea was filmed by astronauts on the ISS. Maestro Ozawa passed away Feb 6, 2024. This movie is dedicated to his memory, with thanks for his deep commitment to Earth and music. A collaboration of Seiji Ozawa/SKOxJAXA ONE EARTH MISSION - Unite with Music Project and the Association of Space Explorers. UCTV is ASE's official partner for the release of this video on YouTube. Association of Space Explorers - Earth Music Theatre https://www.earthmusictheater.org/ ONE EARTH MISSION - Unite with Music https://www.seiji-ozawa-oneearthmission.com/ Series: "Arts Channel " [Arts and Music] [Show ID: 40230]

durée : 01:28:46 - Seiji Ozawa, une gestique remarquable, et une musicalité innée - par : Aurélie Moreau - Dans sa jeunesse, Seiji Ozawa s'est perfectionné avec Munch qui lui a appris à se libérer. Karajan lui a révélé l'importance des grandes lignes musicales et de la confiance dans l'orchestre. Il a aussi été l'assistant de Bernstein.

Last week on July 25th, the music world was saddened by the death of the Cornish baritone Benjamin Luxon at the age of 87. I began collecting recordings of this exceptional artist a few years ago with the intention of producing an episode in his honor at some point. Here is that episode, albeit a posthumous effort now. In an episode I produced in the first few months of Countermelody in 2019, I featured the French baritone Gérard Souzay and called him “a modern troubadour.” There are very few singers of recent years to whom one could accurately apply that appellation, but Ben Luxon is emphatically one of them. Music and words simply flowed out of him, and he sang with equal aplomb in an extraordinary number of different styles: opera, oratorio, art song, Broadway, crossover, and, perhaps most immediately and delectably, folk. In opera alone his range was exceptional, covering key roles in Mozart, Verdi, Tchaikovsky, Wagner, Berg, and Britten, who wrote the title role of his television opera Owen Wingrave expressly for Luxon. In song as well he covered a vast array of repertoires, including Russian, German, and British (including Victorian ballads), including, again, many contemporary composers. Luxon's career hit a snag in the late 1980s, when he first began experiencing hearing loss which eventually resulted in him putting a stop to his singing career. But he hardly retired: moving to the Berkshires, he became actively involved in the artistic life of the region, and founded a theatre troupe, the Sandisfield Players, while continuing to give poetry readings and spoken word performances. The program today attempts to recreate his profound versatility, and range from folk song to pop song; from orchestral song cycles to world premiere creations; art songs by Hugo Wolf, Mussorgsky, George Butterworth, Schubert, and John Ireland; to late career narration and poetry projects. Collaborators include artists such as Benjamin Britten, Bill Crofut, Galina Vishnevskaya, Leonard Bernstein, Robert Tear, Janet Baker, Seiji Ozawa, Ileana Cotrubaș, Jill Gomez, Klaus Tennstedt, Mstislav Rostropovich, and his most frequent recital collaborator, pianist David Willison. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Tony Fogg is a dear friend to this program and has been with us since we first broadcast here some 2-decades. Tony was born in Australia and was trained as a pianist at the Brazilian Academy of Music and at the University of Sydney. In 1994 at the invitation of Seiji Ozawa, he came to the USA to take up the position of Artistic Administrator of the Boston Symphony Orchestra. Now, as Vice-President of Artistic Planning, he assists BSO Music Director, Andris Nelsons, with the scheduling of all performances by the BSO, as well as overseeing the Pops and Tanglewood Music Festival.

This week on The Sound Kitchen you'll hear the answer to the question about the Roland Garros French Open Tennis Tournament. There's “On This Day”, “The Listener's Corner” with Paul Myers, and lots of good music. All that and the new quiz and bonus questions too, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr – tell us why you like the piece of music, too – it makes it more interesting for us all!The ePOP video competition is open! The ePOP video competition is sponsored by the RFI department “Planète Radio”, whose mission is to give a voice to the voiceless. ePOP focuses on the environment, and how climate change has affected “ordinary” people. You are to create a three-minute video about climate change, the environment, pollution - told by the people it affects.You do not need expensive video equipment to enter the competition. Your phone is fine. And you do not need to be a member of the RFI Clubs to enter – everyone is welcome. And by the way – the prizes are incredibly generous!Go to the ePOP page to read about past competitions, watch past videos, and read the regulations for your entry.  You can also write to us at thesoundkitchen@rfi.fr, and we'll forward your mail to Planète Radio.The competition closes on 12 September, but you know how "time flies”, so get to work now! We expect to be bombarded with entries from the English speakers!Facebook: Be sure to send your photos for the RFI English Listeners Forum banner to thesoundkitchen@rfi.frMore tech news: Did you know we have a YouTube channel? Just go to YouTube and write RFI English in the search bar, and there we are! Be sure to subscribe to see all our videos.Would you like to learn French? RFI is here to help you!Our website “Le Français facile avec RFI”  has news broadcasts in slow, simple French, as well as bi-lingual radio dramas (with real actors!) and exercises to practice what you have heard.Go to our website and get started! At the top of the page, click on “Test level”. According to your score, you'll be counselled to the best-suited activities for your level.Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service told me: “Bathe your ears in the sound of the language, and eventually, you'll get it." She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Paris Perspective, Spotlight on France, Spotlight on Africa, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our staff of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr, too. They are also a good way to help you improve your English – that's how I worked on my French, reading books that were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. NB: You do not need to send her your quiz answers! Email overload!We have a new RFI Listeners Club member to welcome: Tahmidul Alam Orin from Dhaka, Bangladesh.Welcome,Tahmidul! So glad you have joined us!You too can be a member of the RFI Listeners Club – just write to me at english.service@rfi.fr and tell me you want to join, and I'll send you a membership number. It's that easy. When you win a Sound Kitchen quiz as an RFI Listeners Club member, you'll receive a premium prize.This week's quiz: On 1 June, the Roland Garros French Open International Tennis Tournament was in full swing, and our very own Paul Myers was there to keep you in the know.Earlier that week, there was a nail-biting match between Alexander Zverev and Rafael Nadal, the 14-time winner of the Roland Garros French Open tennis tournament. You were to re-read Paul's article “Zverev sees off Nadal to advance to second round at French Open”, and send in the answer to this question: What was the final score in the match between Zverev and Nadal?The answer is: 6-3, 7-6, 6-3 In addition to the quiz question, there was the bonus question: “How do you stay cool?”Do you have a bonus question idea? Send it to us!The winners are: RFI Listeners Club member Sahadot Hossain from Kishoreganj, Bangladesh, who is also the winner of this week's bonus question. Congratulations, Sahadot!Also on the list of lucky winners this week are Ras Franz Manko Ngogo, the president of the Kemogemba RFI Club in Tarime, Mara, Tanzania, and RFI Listeners Club members Radhakrishna Pillai from Kerala State, India, as well as Ajharul Islam Tamim from Kishorganj, Bangladesh.  Last but not least, there's RFI English listener Sadman Al Shihab from Naogaon, also in Bangladesh.Here's the music you heard on this week's program: “Liber Tango” by Astor Piazzolla, performed by Layers; the scherzo from Midsummer Night's Dream by Felix Mendelssohn, performed by Seiji Ozawa and the Boston Symphony Orchestra; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “Southern Freez” by Andy Stennett, John Rocca, and Peter Maas, performed by Freez.Do you have a music request? Send it to thesoundkitchen@rfi.frThis week's question ... you must listen to the show to participate. After you've listened to the show, listen to Sarah Elzas' report on the latest Spotlight on France podcast, and consult her article “French far-right party to fund policies by cutting aid to foreigners”, which will help you with the answer.You have until 12 August to enter this week's quiz. The winners will be announced on the 17 August podcast. When you enter be sure to send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here. 

Du 30 juin au 12  juillet prochain au Château de Rolle, L'Académie Internationale Seiji Ozawa en Suisse célèbre son vingtième anniversaire, marquant deux décennies d'excellence dans l'éducation musicale et propose un concert en hommage au fondateur le 9 juillet au Victoria Hall. Fondée par le légendaire chef d'orchestre Seiji Ozawa, cette institution renommée a prospéré en tant que centre d'excellence où les jeunes musiciens du monde entier viennent perfectionner leur art. Malgré le décès de son fondateur en février dernier, l'académie continue de prospérer, guidée par les valeurs et la philosophie de Seiji Ozawa. Son héritage se perpétue à travers des programmes éducatifs de qualité, des collaborations artistiques de renom et un engagement continu envers l'innovation musicale. Alors qu'elle célèbre ses réalisations passées, l'académie regarde également vers l'avenir, déterminée à poursuivre sa mission de cultiver les talents musicaux de la prochaine génération. Blanche d'Harcourt, directrice artistique de l'académie est interrogée par Épiphane Amanfo.

durée : 01:00:08 - Denis Jeambar, journaliste et écrivain - par : Priscille Lafitte - Par sa carrière de patron de presse, du Point à L'Express en passant par les revues Musiques et Classica, puis au détour de sa vie d'écrivain, Denis Jeambar a pu approcher des monuments des univers classique et jazz : Mstislav Rostropovitch, Jessye Norman, Leonard Bernstein et Michel Petrucciani. - réalisé par : Claire Lagarde

Today I present to you the American lyric tenor Frank Lopardo, who from 1984 through 2014 appeared in all the major opera houses of the world, celebrated particularly for his Mozart and Rossini roles. Too often today these superb singers even from the recent past are forgotten by today's audiences, and my listeners know that it is always a mission of mine to celebrate great artists who, for whatever reason, are not in the forefront of the public's awareness. In Frank's case, I suggest it has absolutely nothing to do with his stellar voice and astounding technique. Some singers are content to do their job and live their lives and serve the music and the art form to the best of their considerable abilities without engaging in antics or self-destructive behavior. A quick glance at Frank's accomplishments and the musicians with whom he collaborated makes it immediately clear that his career unfolded naturally and organically at the highest levels. Today's episode explores the infinite variety of Lopardo's artistry and his impeccable musicianship and technique, which aided him in his pursuit of always discovering new aspects of the central roles in his career. Conductors with whom he collaborated (and as heard on the episode) include Georg Solti, Claudio Abbado, Ion Marin, Riccardo Muti, Robert Spano, and the late Seiji Ozawa. While Lopardo was never tempted to move outside the natural confines of his lyric voice, he did in the final years of his career, move into some of Verdi's larger lyric tenor parts, in operas like Un ballo in maschera and Simon Boccanegra, both of which are sampled here. We also hear Frank in duet with some of his favorite colleagues, including memorable Chilean sopranos Verónica Villarroel and Cristina Gallardo-Domâs. It was all I could do not to entitle this episode Lopardopalooza, ‘cause that's exactly what it is! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Aram Khachaturian (1903-1978) - Ode in memoria di Lenin  Armenian Philharmonic OrchestraLoris Tjeknavorian, conductor**********10:54Aram Khachaturian (1903-1978) – Russian fantasy London Symphony OrchestraLoris Tjeknavorian, conductor**********16:22Aram Khachaturian (1903-1978) – Poema festivo I - Allegro vivace con fuoco - Andante agitato con appassionatissimo - Tempo IArmenian Philharmonic OrchestraLoris Tjeknavorian, conductor**********36:15Aram Khachaturian (1903-1978) - Sabre Dance     from Gayane (ballet Act IV)Berlin PhilharmonicSeiji Ozawa, conductor 

durée : 00:24:00 - Disques de légende du mercredi 27 mars 2024 - Sous la baguette de Seiji Ozawa, trois solistes de premier ordre : Julia Hamari, Jean Dupuy et José Van Dam.

durée : 01:58:20 - Les 90 ans de l'Orchestre National II - les années 1950 et 1960 - par : Christian Merlin - Deuxième volet de notre histoire de l'Orchestre National, quand il s'appelait encore « de la RTF », puis « de l'ORTF ». La modernité défendue par Roger Désormière et le retour d'Amérique de Charles Munch, précèdent l'émergence d'une nouvelle génération avec les virtuoses Lorin Maazel et Seiji Ozawa. - réalisé par : Marie Grout

durée : 00:28:40 - Les 90 ans de l'Orchestre National II - les années 1950 et 1960 (4/4) : Nouvelle génération - par : Christian Merlin - Deuxième volet de notre histoire de l'Orchestre National, quand il s'appelait encore « de la RTF », puis « de l'ORTF ». La modernité défendue par Roger Désormière et le retour d'Amérique de Charles Munch, précèdent l'émergence d'une nouvelle génération avec les virtuoses Lorin Maazel et Seiji Ozawa. - réalisé par : Marie Grout

durée : 00:28:25 - Les 90 ans de l'Orchestre National II - les années 1950 et 1960 (3/4) : Invités étrangers - par : Christian Merlin - Deuxième volet de notre histoire de l'Orchestre National, quand il s'appelait encore « de la RTF », puis « de l'ORTF ». La modernité défendue par Roger Désormière et le retour d'Amérique de Charles Munch, précèdent l'émergence d'une nouvelle génération avec les virtuoses Lorin Maazel et Seiji Ozawa. - réalisé par : Marie Grout

durée : 00:22:56 - Disques de légende du mercredi 06 mars 2024 - Seiji Ozawa, avec l'Orchestre symphonique de Boston, a donné en 1974 une lecture vivante de l'œuvre.

durée : 00:28:33 - Les 90 ans de l'Orchestre National II - les années 1950 et 1960 (2/4) : Figures françaises - par : Christian Merlin - Deuxième volet de notre histoire de l'Orchestre National, quand il s'appelait encore « de la RTF », puis « de l'ORTF ». La modernité défendue par Roger Désormière et le retour d'Amérique de Charles Munch, précèdent l'émergence d'une nouvelle génération avec les virtuoses Lorin Maazel et Seiji Ozawa. - réalisé par : Marie Grout

durée : 00:28:16 - Les 90 ans de l'Orchestre National II - les années 1950 et 1960 (1/4) : Désormière et la création - par : Christian Merlin - 2e volet de notre histoire de l'Orchestre National, quand il s'appelait encore « de la RTF », puis « de l'ORTF ». La modernité défendue par Roger Désormière, et le retour d'Amérique de Charles Munch, précèdent l'émergence d'une nouvelle génération avec les virtuoses Lorin Maazel et Seiji Ozawa. - réalisé par : Marie Grout

A Maestro's Legacy in Classical Music - Unveiling the Maestro's Remarkable Journey.

DescriptionI would like to dedicate this episode to Seiji Ozawa, who passed away at the age of 88 on February 6th, 2024.Fun FactAfter graduating from the Seijo Junior High School in 1950, Ozawa broke two fingers in a rugby game. Hideo Saito, his teacher at the Toho Gakuen School of Music, brought him to a performance of Beethoven's Piano Concerto No. 5, ultimately shifting his musical focus from piano performance to conducting. __________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

durée : 00:59:51 - Hommage à Seiji Ozawa - par : Aurélie Moreau - L'illustre chef d'orchestre Seiji Ozawa nous a quittés le 6 février. Nous écoutons quelques-uns de ses disques qui sont autant d'éclatantes réussites. La vie jaillissait de chacune de ses intentions musicales, à travers une maîtrise sans faille.

19th-20th CenturiesA Tribute to Seiji Ozawa and Peter SchickeleThis week we hear works by Hector Berlioz, P.D.Q. Bach, and Peter Schickele.131 Minutes – Week of 2024 February 12

durée : 01:58:21 - Seiji Ozawa - par : Christian Merlin - Après notre portrait des solistes de Boston, hommage à celui qui a été leur chef charismatique pendant près de trente ans, Seiji Ozawa, personnalité aussi flamboyante qu'attachante et premier chef japonais à s'imposer au sommet. - réalisé par : Marie Grout

durée : 00:04:46 - Classic & Co - par : Anna Sigalevitch - Ce matin dans son Classic & Co, Anna Sigalevitch rend hommage à une légende de la musique classique, le chef d'orchestre Seiji Ozawa dont on a appris hier la mort le 6 février. Immense musicien qui disparaît, Anne Sigalevitch rend également hommage à un autre disparu, le mélomane Robert Badinter.

Evan Blackwell delivers the news on Israel's offensive in Rafah and the passing of renowned orchestra leader Seiji Ozawa in 2 minutes on 2/10/24.

During his two-hour interview with Tucker Carlson, Vladimir Putin reiterated his beliefs on Russia's claims to Ukraine. He also indicated the release of US journalist Evan Gershkovich might be possible as part of a prisoner exchange. And, record numbers of migrants are showing up at the US southern border, and many are requesting asylum. The system is now overwhelmed, with a backlog of about 3 million asylum applications pending in courts. Also, the premier of Quebec, François Legault, has proposed tuition hikes for students from outside Quebec, in English-speaking regions, who come for an education at venerable English universities like McGill, Concordia and Bishop's. McGill estimates that the plan will lead to a $94 million shortfall in the school's budget. Plus, famed Japanese American Boston Symphony Orchestra conductor Seiji Ozawa dies at 88.

An interview with BSO VP Tony Fogg.

Anthony Fogg, vice-president of artistic planning for the Boston Symphony Orchestra, joined Paris and Jeremy to share his memories of his friend and colleague, longtime BSO conductor Seiji Ozawa, who passed away at his home in Tokyo on Tuesday.

AP correspondent Donna Warder reports on Japan-Obit-Ozawa.

Im "Ö1 Mittagsjournal" gesendet am 09.02.2024

The unconventional maestro who led the Boston Symphony Orchestra longer than any other music director has died of heart failure at the age of 88.

Seiji Ozawa, who led the Boston Symphony Orchestra (BSO) for nearly three decades, died this week in his home country of Japan. The World speaks to Brian McCreath, who broadcasts the Boston Symphony Orchestra on WCRB in Boston, about Ozawa's life and legacy.

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Seori - Without You；2.As／Hi Soundworks - Nocturne；3.Clifford Curzon,Vienna Octet,Wiener Oktett - Pno Qnt, Op.81：II. Dumka：Andante Con Moto；4.Antonín Dvořák,Seiji Ozawa,Boston Symphony Orchestra - Klid for Cello&Orchestra,Op.68,No.5；5.Roger St. Denis - Carried On a Breeze。

Cities are that miraculous technology that bring people together to make us all better, richer, happier. But bad planning, or even too much planning, can turn them into hellholes. Pritika Hingorani joins Amit Varma in episode 361 of The Seen and the Unseen to share her insights on how we should think about cities, how governments do policy, and what economics can bring to urban planning. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Pritika Hingorani at Artha Global and Twitter. 2. The Importance of Cities — Episode 108 of The Seen and the Unseen (w Reuben Abraham & Pritika Hingorani). 3. Global Health Impacts for Economic Models of Climate Change -- Pritika Hingorani and Vaidehi Tandel. 4. Financing urban infrastructure for an evolving India -- Pritika Hingorani, Sharmadha Srinivasan & Harshita Agrawal. 5. Reforming Urban India -- Pritika Hingorani et al. (Page 14 of this report has the map Pritika mentions in the episode.) 6. India Infrastructure Report: Making Housing Affordable -- Various authors. 7. Bombay: The Cities Within -- Sharada Dwiwedi and Rahul Mehrotra. 8. Order without Design: How Markets Shape Cities -- Alain Bertaud. 9. The Death and Life of Great American Cities -- Jane Jacobs. 10. Norwegian Wood -- Haruki Murakami. 11. Absolutely on Music -- Haruki Murakami and Seiji Ozawa. 12. Haruki Murakami and Ryu Murakami on Amazon. 13. Piercing -- Ryu Murakami. 14. Pranay Kotasthane Talks Public Policy -- Episode 233 of The Seen and the Unseen. 15. Population Is Not a Problem, but Our Greatest Strength — Amit Varma. 16. Miniature early episodes of The Seen and the Unseen on FSI and Rent Control with Alex Tabarrok, and Slums with Pavan Srinath. 17. The Mystery of Capital —  Hernando De Soto. 18. The Incredible Insights of Timur Kuran — Episode 349 of The Seen and the Unseen. 19. The Power Broker -- Robert Caro. 20. Urban expansion: theory, evidence and practice -- Shlomo Angel. 21. Atlas of Urban Expansion. 22. Islamic Empires: Fifteen Cities that Define a Civilization -- Justin Marozzi. 23. The City and the City -- China Miéville. 24. The Faltering Escalator of Urban Opportunity -- David Autor. 25. The Shane Parrish tweet on WFH. 26. Securing the Home Market -- Alice Amsden. 27. The Elusive Quest for Growth -- William Easterly. 28. Participatory Democracy — Episode 160 of The Seen and the Unseen (w Ashwin Mahesh). 29. Cities and Citizens — Episode 198 of The Seen and the Unseen (w Ashwin Mahesh). 30. Helping Others in the Fog of Pandemic -- Episode 226 of The Seen and the Unseen (w Ashwin Mahesh). 31. Parkinson's Law. 32. Karthik Muralidharan Examines the Indian State -- Episode 290 of The Seen and the Unseen. 33. We Are Fighting Two Disasters: Covid-19 and the Indian State — Amit Varma. 34. Urban Governance in India -- Episode 31 of The Seen and the Unseen (w Shruti Rajagopalan). 35. The Loneliness of the Indian Woman — Episode 259 of The Seen and the Unseen (w Shrayana Bhattacharya). 36. The Skeptical Environmentalist — Bjorn Lomborg. 37. London 1870-1914: A City at Its Zenith -- Andrew Saint. 38. Modi's Lost Opportunity — ep 119 of The Seen and the Unseen (w Salman Soz). 39. Wanting — Luke Burgis. 40. Luke Burgis Sees the Deer at His Window — Episode 337 of The Seen and the Unseen. 41. We Should Celebrate Rising Divorce Rates (2008) — Amit Varma. 42. Lady Doctors: The Untold Stories of India's First Women in Medicine — Kavitha Rao. 43. Kavitha Rao and Our Lady Doctors — Episode 235 of The Seen and the Unseen. 44. The Memoirs of Dr Haimabati Sen — Haimabati Sen (translated by Tapan Raychoudhuri). 45. Living London History -- The blog Pritika mentions. 46. Good Bye, Lenin -- Wolfgang Becker. This episode is sponsored by the Pune Public Policy Festival 2024, which takes place on January 19 & 20, 2024. The theme this year is Trade-offs! Amit Varma and Ajay Shah have launched a new video podcast. Check out Everything is Everything on YouTube. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art: ‘These Are People' by Simahina.

It is hard to believe that it's already been 13 years since the death of Shirley Verrett on November 5, 2010. It has also already been four years since I did a pair of episodes on this extraordinary and beloved artist, and this anniversary gives me the perfect excuse to revisit the work of this mezzo-soprano turned soprano who more than any other singer in my experiences (even soon-to-be birthday girl Maria Callas) was capable of singing nearly anything. This type of singer is sometimes referred to as a soprano sfogato (or a falcon, after the 19th century French mezzo-cum-soprano Cornélie Falcon. Since Verrett, like Falcon, sang both mezzo and soprano, I instead coin the term falcon sfogatissima to describe her vocal magic. This episode is chock full of examples of Verrett's impassioned yet technically-grounded vocalism, from art songs by Brahms and Pasatieri to operatic roles by Handel, Gluck, Cherubini, Bellini, Puccini, and Verdi (including both soprano and mezzo roles in Aida and the Messa da Requiem and soprano roles in Ballo in Maschera, Macbeth, Don Carlo, and Otello). I close the episodes with Verrett's astonishing but limited forays into the German operatic repertoire. Her collaborators on this episode include conductors Seiji Ozawa, Claudio Abbado, Bernard Haitink, Zubin Mehta, Eve Queler, Georges Prêtre, Sarah Caldwell, and the late Kenneth Montgomery; and fellow operatic greats Sherrill Milnes, Luciano Pavarotti, James McCracken, Robert Massard (last week's featured artist), and her frenemy the late Grace Bumbry. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

Angel Subero is a Venezuelan trombonist who attended the Conservatorio Itinerante in Caracas, Venezuela, where he studied with the legendary Michel Becquet. After coming to the United States in 2001, he attended  Boston Conservatory, where he studied with Lawrence Isaacson, and New England Conservatory of Music, where he studied with Douglas Yeo. He also studied with John Rojak at the Aspen Music Festival. Subero has performed with numerous orchestras, including the Boston Symphony Orchestra, Boston Pops Esplanade Orchestra, Boston Ballet, Pittsburgh Symphony, American Composers Orchestra, the Venezuela Symphony, Simon Bolivar Symphony, and the Boston Modern Orchestra Project, to name a few. He has worked with such conductors as John Williams, Seiji Ozawa, Kurt Masur, Sir Colin Davis, Christoph von Dohnanyi, Keith Lockhart, and Robert Spano, among many others. In the realms of jazz, Latin and commercial music, Subero has appeared with artists such as Bob Brookmeyer, Aretha Franklin, Slide Hampton, Jim McNeely, Claudio Roditi, Danilo Perez, Chris Botti, and many more.

Not every music student or even professional musician has explored classical music, much like not necessarily every classical musician will know something about jazz or any other genre.  However, each genre has certain pieces that one should know from each genre regardless of your preference.  These are 25 of many possible choices, not necessarily "the best", but some pieces you should recognize by title and composer upon hearing. Musical examples used in this episode: 06:53 P. Tchaikovsky: "Dance of the Sugar Plum Fairy" from The Nutcracker - (Montreal Symphony; Charles Dutoit) 12:49 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Hannes Kästner, organ) 13:15 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Czech Philharmonic; Leopold Stokowski) 17:26 S Barber: Adagio for Strings (New York Philharmonic; Thomas Schipps) 19:48 Beethoven: Symphony No. 5 (Vienna Philharmonic; Carlos Klieber) mvt 1 and 4 24:03 Beethoven: Symphony No. 9 (Berlin Philharmonic; Von Karajan) mvt. 4 and 2 28:33 Brahms: Hungarian Dances 4, 5, 6 (Vienna Philharmonic; Claudio Abbado) 30:56 A Copland: "Hoe-Down" from Rodeo (St. Louis Symphony; Leonard Slatkin) 32:33 F Chopin: Grand Valse Brillante op. 18 (Valentina Lisitsa) 34:22 Debussy: Prelude to the Afternoon of a Faun (Royal Concertgebouw; Bernard Haitink) 36:01 Dvorak: Symphony No. 9 "From the New World" mvt 2 (London Philharmonic; Charles MacKerras) 38:16 Grieg: Peer Gynt and Peer Gynt suite no.1 (San Francisco Symphony; Herbert Blomstedt) 40:13 Handel: The Messiah "Hallelujah" (London Symphony; Colin Davis) 40:43 Handel: Water Music selections (English Chamber Orchestra; Raymond Leppard) 41:30 Holst: The Planets "Mars" - (Montreal Symphony; Charles Dutoit) 42:13 Liszt: Hungarian Rhapsody No. 2 (Marc-Andre Hamelin) 43:22 Mendelssohn: Overture and Wedding March from A Midsummer Night's Dream (London Symphony, Andre Previn) 45:11 Mozart: Overture to The Marriage of Figaro (Academy of St Martin in the Fields; Neville Marriner) 46:16 Mussorgsky: Pictures at an Exhibition - Promenade and Great Gate of Kiev (Berlin Philharmonic; Claudio Abbado) 48:25 Rachmaninoff: Piano Concerto No. 2 (Vladimir Ashkenazy; Moscow Symphony; Kirill Kondrashin) 49:38 Ravel: Bolero (Boston Symphony; Seiji Ozawa) 51:42 Ravel: Daphnis & Chloe (Rotterdam Philharmonic; Yannick Nézet-Séguin) 52:46 Rimsky-Korsakov: Flight of the Bumblebee (Berlin Philharmonic; Zubin Mehta) 53:08 Rimsky-Korsakov: Scheherezade mvt IV and III (London Symphony; Charles MacKerras) 55:06 Schubert: Ave Maria (Barbara Booney) 55:31 R Strauss: Also Sprach Zarathustra (Chicago Symphony; Fritz Reiner) 57:15 Stravinsky: Rite of Spring (from Part 1) (New York Philharmonic; Leonard Bernstein) 58:21 Tchaikovsky: Russian Dance, Arabian Dance, Dance of the Reed Flutes from The Nutcracker (Montreal Symphony; Dutoit)   Do you have a different recording of these pieces that you'd recommend?  Let me know by telling me directly at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact  The blog post that goes with this episode can be found here: https://www.davidlanemusic.com/post/25-essential-classical-pieces-to-know You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can also now find the podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Synopsis The Boston Symphony premiered a new symphony on today's date in 1984—a commission for its Centenary Celebrations. It was the Symphony No. 1 by the then 45 year-old American composer, John Harbison. Like many composers who teach, Harbison does most of his composing in the summer months, usually spent on a farm in Token Creek, Wisconsin. The academic year is usually spent in Boston, teaching at MIT. In the case of his first symphony, Harbison worked on the piece both in Wisconsin (where he was also finishing up an Italian language song-cycle), and during a residency year at the American Academy in Rome. "Just as it felt very right to be working on Italian songs in the Midwest," commented Harbison, "it was natural to work on this American-accented symphony in Italy. I have always found the view from the distance to be clearest." Harbison's father, a Princeton history professor and amateur composer, also was a big influence on him. The younger Harbison, like his father, has an abiding passion for and fluency in American jazz as well as the modern classical idiom. Harbison dramatically fused both styles in one of his most ambitious ventures to date, the opera, The Great Gatsby, which premiered at the Metropolitan Opera in 1999. Music Played in Today's Program John Harbison (b. 1938) Symphony No. 1 Boston Symphony; Seiji Ozawa, conductor. New World 80331

Synopsis OK, how's this for a movie scene worthy of “Doctor Zhivago” ... It's October 1917 and Lenin has overthrown the Tsarist government of Russia. A composer and virtuoso pianist can hear gunfire from his apartment as he works and decides that his family must flee their homeland. He receives an offer for recital appearances in Scandinavia and uses the offer as a pretext to escape Russia. But first the family must face a dangerous journey to Finland in trains crowded with terrified passengers. At the Finnish border, a music-loving Bolshevik guard recognizes the famous artist and allows the family safe passage. But wait – there are no more trains running, so they must travel to Helsinki in an open peasant sleigh during a raging blizzard. They arrive in Stockholm on Christmas Eve, and one year later the composer and his family are able to book passage from Oslo to New York. If that sounds perhaps a bit too melodramatic, consider that scenario is exactly what happened to Sergei Rachmaninoff, his wife, and two daughters. In America, Rachmaninoff became a star pianist, playing 92 concerts at Carnegie Hall between 1918 and 1943. He continued to compose, but lamented, “When I lost my homeland, I lost myself as well... I have no will to create without ... Russian soil under my feet.” He would complete only six more major works during his 25 years in America. Music Played in Today's Program Sergei Rachmaninoff (1873-1943) Piano Concerto No. 1 in f#, Op. 1 Krystian Zimerman, piano; Boston Symphony Orchestra; Seiji Ozawa, conductor. DG 4796868

Synopsis On this day in 1952, thirty-one theaters nationwide offered the first pay-per view Met opera telecast. This was a regularly-scheduled performance of Bizet's Carmen broadcast live from the stage of the Metropolitan Opera, featuring Risë Stevens in the title role and Fritz Reiner conducting. The performance was relayed to the theaters by means of a closed TV circuit.* Beginning in 1948, the Metropolitan Opera had experimented with live telecasts of their opening night performances, but relatively few people in the U.S. owned TV sets at the time. By 1952, most American households had TVs, but the Met's manager, Rudolf Bing, was dead-set against any further FREE telecasts. The 1952 pay-per-view experiment was not successful, and it wasn't until 1976—after Bing had resigned—that live telecasts of Metropolitan Opera performances resumed on public television. The most successful of all commercial telecasts of a live opera performance occurred in 1951, when, on Christmas Eve that year, NBC-TV broadcast Amahl and the Night Visitors by Gian-Carlo Menotti on Christmas. NBC's black and white kinescope recording of that premiere performance was broadcast annually for a number of years—until it was accidentally erased by a network employee.** Although Amahl is no longer an annual visitor to television, it is still staged this time of year by amateur and professional opera companies around the world. *Currently the Metropolitan Opera offers a series of live opera performances transmitted in high-definition video via satellite from Lincoln Center in New York City to select venues, primarily movie theaters, in the United States and other parts of the world. The first transmission was of a condensed English-language version of Mozart's The Magic Flute on December 30, 2006. **One surviving copy of the original kinescope did surface in a California archive, and was shown at broadcast museums on both coasts in 2001 to celebrate the work's 50th anniversary. Music Played in Today's Program Georges Bizet (1838-1875) Carmen Suite No. 1 Orchestre National de France; Seiji Ozawa, conductor. EMI 63898 Giancarlo Menotti (b. 1911) March, from Amahl and the Night Visitors New Zealand Symphony; Andrew Schenck, conductor. Koch 7005

Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me."I've always thought that filmmaking rhymes with classical music, the process of making classical music that I observed as a child. When I discovered filmmaking, I thought these things, they're very similar. They rhyme with each other. I hope this doesn't sound pretentious, but what operating a camera does resemble the physicality of conducting an orchestra. I was in a certain proximity to my father's orchestra playing on Stephen Spielberg's and Clint Eastwood's soundtracks, and I grew up playing the cello.My favorite conductor that I ever got to see was Seiji Ozawa, who was the musical director of the Boston Symphony and the Tokyo Symphony. But he was my father's orchestra was the Boston Symphony, and he was musical director for 35 years or something like that. And this was like, he was like a dancer, really beautiful, elegant movements. And I watched him rehearse and perform for so many hours when I was a child. And I think subconsciously as a camera operator, that it informed my sensibility, and maybe if I'm able to pull off like an elegant, smooth camera move, like on Noah Baumbach's Mistress America movie we did a lot of big flourishy movements all in one shot. And I think Seiji was a huge influence on me in terms of movement. And even if, Confess, Fletch, I didn't operate the camera, but I had an amazing operator named Julian Delacruz. And just being able to communicate like what the movement should be and just speak that language, I think getting to watch Seiji as a kid really helped that for me.”https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

"I've always thought that filmmaking rhymes with classical music, the process of making classical music that I observed as a child. When I discovered filmmaking, I thought these things, they're very similar. They rhyme with each other. I hope this doesn't sound pretentious, but what operating a camera does resemble the physicality of conducting an orchestra. I was in a certain proximity to my father's orchestra playing on Stephen Spielberg's and Clint Eastwood's soundtracks, and I grew up playing the cello.My favorite conductor that I ever got to see was Seiji Ozawa, who was the musical director of the Boston Symphony and the Tokyo Symphony. But he was my father's orchestra was the Boston Symphony, and he was musical director for 35 years or something like that. And this was like, he was like a dancer, really beautiful, elegant movements. And I watched him rehearse and perform for so many hours when I was a child. And I think subconsciously as a camera operator, that it informed my sensibility, and maybe if I'm able to pull off like an elegant, smooth camera move, like on Noah Baumbach's Mistress America movie we did a lot of big flourishy movements all in one shot. And I think Seiji was a huge influence on me in terms of movement. And even if, Confess, Fletch, I didn't operate the camera, but I had an amazing operator named Julian Delacruz. And just being able to communicate like what the movement should be and just speak that language, I think getting to watch Seiji as a kid really helped that for me.”Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We're Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie's Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

Synopsis Today's date marks the original Columbus Day, honoring the Italian explorer who for decades was described as the man who “discovered America.” In recent years Native American leaders have pointed out that indigenous peoples had been living on the continent for thousands of years, and Columbus didn't “discover” anything — in fact, he didn't even know where he was, which is why he called the people he found here “Indians.” Some historians now think that Viking explorers from Scandinavia arrived in America long before Columbus – and others suggest the Chinese arrived before those Europeans. Even so, it's Columbus who has a national holiday (now always observed on the closest Monday in October), and concert music written to celebrate it. For example, there's a “Columbus Suite” by Victor Herbert, originally commissioned for the 1893 Chicago World Fair to celebrate the 400th anniversary of the Columbus voyage, but not actually premiered until 1903. A much more recent “Columbus-inspired” work, and much more elegiac in tone, is by the Native American composer James DeMars. It's titled: “Premonitions of Christopher Columbus” and is scored for Native American flute, African drum, and chamber orchestra. In this work, DeMars blends sounds of the various ethnic traditions that would come to make up modern America. Music Played in Today's Program Victor Herbert (1859-1924) Columbus Suite Slovak Radio Symphony; Keith Brion, cond. Naxos 8.559027 James DeMars (b. 1952) Premonitions of Christopher Columbus Tos Ensemble with R. Carlos Nakai, Native American flute Canyon 7014 On This Day Births 1686 - German composer and lutenist Silvius Leopold Weiss, in Breslau; 1713 - Baptismal date of German composer Johann Ludwig Krebs, in Butterstedt, Weimar; 1872 - English composer Ralph Vaughan Williams, in Down Ampney, Gloucestershire; 1880 - English-born Canadian composer and organist Healey Willan, in London; Deaths 1692 - Italian composer Giovanni Battista Vitali, in Bologna, age 60; Premieres 1910 - Vaughan Williams: "A Sea Symphony" (after Walt Whitman) at the Leeds Festival; 1924 - Mahler: Symphony No.10 (1st and 3rd movements only), arranged by Ernest Krenek (with additional retouching by Alexander von Zemlinksy and Franz Schalk), by Vienna Philharmonic, Franz Schalk conducting; The American premiere of these two movements was give on Dec. 6, 1949, by the Erie (Pa.) Philharmonic conducted by the composer's nephew, the Austro-American conductor Fritz Mahler (1901-1973); The English musicologist Deryck Cooke prepared the first performing edition of Mahler's entire Tenth Symphony which received its first performance on August 13, 1964, by the London Symphony conducted by Berthold Goldschmidt; Since then, Cooke has revised his arrangement, and several other musicologists have prepared their own rival performing editions of Mahler's surviving notation for this symphony; 1931 - Rachmaninoff: “Variations on a Theme of Corelli (La Folia)” for solo piano, in Montréal (Canada), by the composer; 1951 - Bizet: opera "Ivan le Terrible" (posthumously), in Bordeaux; 1951 - Dessau: opera "Die Verurteilung des Lukullus" (The Trial of Lucullus) (2nd version), in East Berlin at the Deutsche Staatsoper; 1961 - Douglas Moore: opera "The Wings of the Dove" (after the novel by Henry James), in New York; 1971 - Andrew Lloyd Webber: rock musical "Jesus Christ Superstar," in New York City; A choral version of this musical was performed in Kansas City, Kan. On May 15, 1971, and a touring company was launched to present the musical on July 12, 1971; Prior to any staged presentations, the work was first released as a double LP record album in October of 1970; 1984 - Olly Wilson: "Siinfonia," by the Boston Symphony, Seiji Ozawa conducting; 1984 - Ellen Taaffe Zwilich: "Celebration" for orchestra, by the Indianapolis Symphony, John Nelson conducting; 1997 - Sallinen: "Overture Solennel," in Monaco by the Monte Carlo Philharmonic, James DePreist conducting; 1998 - Philip Glass: opera "The Voyage," at the Metropolitan Opera in New York, Bruce Ferden conducting; 2000 - Rautavaara: Harp Concerto, in Minneapolis with harpist Kathy Kienzle and the Minnesota Orchestra, Omso Vänskä conducting; Others 1739 - Handel completes in London his Concerto Grosso in Bb, Op. 6, no. 7 (Gregorian date: Oct. 23). Links and Resources On Columbus Day On Victor Herbert On James DeMars

Just like song, for writing to work it must have rhythm. This has taken me a long time to learn. I came across the idea in Haruki Murakami's memoir, Absolutely on Music. This book is about a series of conversations with the former conductor of the Boston Symphony, Seiji Ozawa. The novelist meets the maestro. They talk. Learn what the novelist has to say about writing and rhythm and decide if prose rhythm matters with less than average examples. Hear the music in the prose of Beryl Markham and David Foster Wallace.

Synopsis On today's date in 1966, the 60th birthday of composer Dimitri Shostakovich was celebrated at the Moscow Conservatory with a gala orchestral concert of his music. Cellist Mstislav Rostropovich gave the premiere performance of Shostakovich's brand-new Second Cello Concerto, and the composer's son, Maxim, conducted his father's youthful Symphony No. 1 from 1926. On the morning of the concert, it was announced that, for his outstanding services in the development of Soviet musical culture, the Central Committee had awarded Shostakovich the title “Hero of Socialist Labor,” along with the Order of Lenin and the gold medal “Hammer and Sickle.” Ironically, earlier that year, Shostakovich had composed a self-deprecating parody piece for voice and piano titled “Preface to the Complete Edition of My Works and a Brief Reflection apropos of This Preface,” whose text included a deadpan recitation of just a small portion of the many honorific titles he had received and the imposing but meaningless official posts with which he had been honored — and now, he found, he had been awarded several more to boot! All that must have seemed grimly comic to Shostakovich, who, some 30th years earlier, had written an opera which had so offended Joseph Stalin that the composer had come perilously close to disappearing without a trace into the Soviet prison system. Music Played in Today's Program Dmitri Shostakovich (1906-1975): Symphony No. 1, Op. 10 –St. Petersburg Philharmonic; Yuri Temikanov, cond. (BMG 68844) Dmitri Shostakovich (1906-1975): Cello concerto No. 2. Op. 126 –Msistislav Rostropovich, cello; Boston Symphony; Seiji Ozawa, cond. (DG 437 952)

All of us are made with unique gifts—ultimately so we can bless the world. But how can we discover our gifts and lean into our calling? Join host Richard Dahlstrom as he talks with John Carrington, the Principal Harpist with the Pacific Northwest Ballet Orchestra, the Bellevue Philharmonic and the Auburn Symphony.  Seattle native John Carrington appears regularly with the Seattle Symphony and Seattle Opera where he was Guest Principal Harpist for several seasons. He performs with the Fifth Avenue Theatre Orchestra and has worked as solo harpist on Cunard Line's "Queen Elizabeth 2" performing for its World Cruise on six continents John's classical background includes performances with such conductors as Seiji Ozawa, Charles Dutoit, Leonard Slatkin, Gerard Schwarz, Asher Fisch and John Rutter. His popular music experience is equally notable, as he has shared the stage with Tony Bennett, José Carreras, Josh Groban, Olivia Newton-John, Rita Moreno, Doc Severinsen, and James Taylor, to name a few. In addition, John is a sought-after recording artist, participating in over 200 motion picture soundtracks and including “Mr. Holland's Opus”, “The Wedding Planner,” and several Disney and Hallmark Hall of Fame productions. He's also performed on video game soundtracks including "Halo" and "World of Warcraft." He received his Master of Music degree from the Cleveland Institute of Music after earning his Bachelor of Music from the University of Washington.