Podcasts about shostakovich

Colm Tóibín suggests getting down to zero with Shostakovich's last string quartet; Poet, Karen Solie points out Nathalie Léger's 2012 book, Suite For Barbara Loden,; and Luke Clancy is learning to assemble a soundsystem in the Moroccan outback with the help of director Óliver Laxe's 2025 film, Sira

How often have you heard someone say they aspire to be an ISO consultant? Likely not at all! That's not surprising as it's quite a niche world to find yourself in, yet despite that, there are still thousands of ISO professionals worldwide. We're continuing with our mini-series where we introduce members of our team, to explore how they fell into the world of ISO and discuss the common challenges they face while helping clients achieve ISO certification.   In this episode we introduce Steve Mason, a Principle isologist® at Blackmores, to share the journey of how he went from intern, to ISO Assessor, to ISO consultant and the challenges he's faced while working with clients. You'll learn ·      What is Steve's role at Blackmores? ·      What does Steve enjoy outside of consultancy? ·      What path did Steve take to become an ISO Consultant? ·      What is the biggest challenge he's faced when implementing ISO Standards? ·      What is Steve's biggest achievement?   Resources ·      Isologyhub ·      ISO 14001:2026 What's Changed And How to Comply Webinar Registration   In this episode, we talk about: [00:30] Episode Summary – We introduce Steve Mason, a Principle Isologist® here at Blackmores, to discuss his journey towards becoming an ISO consultant who specialises in ISO 27001, ISO 27701, ISO 27018, ISO 27017 and ISO 20000-1. [02:40] What is Steve's role at Blackmores? Her role primarily involves supporting clients in two key areas: maintaining and continually improving their existing ISO management systems and helping them establish and implement new standards. As part of that support, he: ·      Makes Standards understandable and accessible to clients ·      Conduct internal audits ·      Reviews and updates management system documentation ·      Facilitate management reviews ·      Train internal teams and prepare them for certification audits. Steve is the Standard champion for ISO 27001, ISO 27701, ISO 27017, ISO 27018 and ISO 20000-1 at Blackmores, but he also deals with ISO 9001, ISO 41001, ISO 22301 and ISO 42001 related projects and support. Steve's other main role at Blackmore's is as a Mental Health First Aider, which is shared with Minoo Agarwal. Together, they provide resources and offer support to the team. [06:00] The importance of Mental Health management in the workplace: Steve had faced bullying in previous roles, so preventing others from experiencing the same had become a big motivator for him taking on the role of Mental First Aider for Blackmores. He emphasizes it's importance, and highlights 2 key Standards that you can use to help support mental first aid within your business. This includes ISO 45003 Mental Health in the Workplace and BS 30480 Suicide and the Workplace. [09:10] What does Steve enjoy doing outside of consultancy?: Steve has a wide variety of interests and hobbies, including: Lay Minister: Steve is a Lay Minister in the United Reform Church and mainly based at the URC Chapel in Walkern, but can be found leading worship and preaching at Ashwell, Baldock, Stevenage and Knebworth chapels. Poetry: Steve enjoys writing poetry about anything and everything, racking up an impressive 190 poems so far. Some of his main inspirations include Wordsworth and Keats. If you ever see a poem on the Blackmores LinkedIn page, odds are, it was written by Steve! Classical Music: He's a fan of classical music, anything by Beethoven, Mahler or Shostakovich specifically. He likes these composers in particular due to their stretching of the rules of music for the time. Exploring hidden London: Steve often goes on hidden London tours which explore disused underground stations which may have been shut down as long as 100 years ago! Buses and Trains: Steve was lucky enough to drive a bus in his past, of which he has the licence plate of sitting in his office. He collects bus and train models and will go out to snap a photo or two of their real world counterparts when he comes across them. History: Steve is a huge mystery buff, with a particular fondness for Richard III and the War of the Roses and the Anglo Saxon period of history. Family Tree: Steve has been tracing his family tree back as far as he can on his mother's side, which extends as far back as 1547! Interestingly enough he found out that relatives from way back then got married in the church that he currently lives nearby and got qualified as a Lay Minister for the Church of England in Stevenage! Cats: He's owned his fair share of feline friends through the years, with one particular tabby holding the name 'Spartacus'. [22:35] What was Steve's path towards becoming an ISO Consultant?:  Steve was once told in the 1980s 'There is no future in Standards; find another career, perhaps in Sales or Purchasing'. How wrong that turned out to be! He's always worked with standards, from the first day he started work doing inspection in Goods Inwards, he was referring to them. The direction towards Management systems came in 1983 when he started implementing BS 5750. From that day onward he had been involved in Management Systems. Steve completed a management apprenticeship at Racal-Guardall where he was able to do 3 months' work experience in all departments, which helped him appreciate how companies function and how important it is to maintain good communication channels. He was at the end of this apprenticeship that the opportunity arose in the QA department to work on BS 5750. His career path has included other organisations such as Tektronix, BOC Ohmeda, Cirkit, Deta, TDK and BSI, all of which earned Steve a lot of experience in Manufacturing and Service and Distribution, mainly in Quality and Customer Service roles. Steve has always felt a bit like a closet consultant, even when he worked as an assessor at BSI. He feels as if Blackmores has enabled him to fully flourish and develop his portfolio of standards – not bad for a career where there was apparently no future in standards! [28:45] Born to be a consultant – Steve mentions that consultancy is a skill that many are born to be. You can train and learn the skills of course, but for some it comes very naturally and it can be hard to replicate that skillset in others. [30:15] What is Steve's favourite aspect of being a Consultant? Steve loves talking with clients and working with them to explore solutions that can address the requirements of the standards. His motto is 'Mould the Standard to the organisation and not the organisation to the standard' This means, always producing a management system that benefits the organisation first and then adjusting it to meet the requirements of the standard. Organisations that mould the business to the standard usually end up with a management system that is a 'bolt-on' and an uncomfortable, sometimes irrelevant, fit. Everyone in the organisation needs to feel that the management system is a natural fit to what they do. He also enjoys supporting his colleagues at Blackmores. We're a business built on knowledge sharing, and there's no point gatekeeping anything we've learned as a team. So consultants often get together to discuss lessons learned and ensure best practice is a shared experience. Ironically enough, one of Steve's least favourite aspects of being a consultant is auditing! Mostly since he's been doing it for some 40 years now, so he can be forgiven for finding the exercise a bit tedious at times. However, he never let's that affect the end result of an audit. [37:00] What Standards does Steve specilaise in and why? Steve initially started with ISO 9001 but was steered towards ISO 27001 and ISO 20000-1 during his time as BSI. This was based upon his career path up to the point he joined BSI as they align assessors to familiar business and technical environments. In Blackmores, he has been able to develop these areas of Quality, Service and Risk by adding standards related to Business Continuity, PII and Cloud Security, Facilities Management and AI Management. Steve's favourite standard is ISO 20000-1 which started off as an IT Service Management System but can also be used effectively for all services. He always refers to ISO 20000-1 as 'ISO 9001 on Steroids' because it is much more specific and focuses on the subject of service management. Sadly, ISO20000-1 is under rated, under sold and in some cases, never heard of – this is usually because contracts require IS O9001 but the people writing those contracts don't actually know or understand what they are asking for. In simple terms it is a Service Quality Management System and Steve has come across organisations which have shoe-horned ISO 9001 into the business instead of using the natural fitting standard ISO 20000-1. Steve would advise any company that is providing a service with helpdesk support to look at ISO 20000-1, especially if they find that ISO 9001 isn't working well for them. [43:00] What is the biggest challenge Steve had faced during a project and how did he overcome it?: Creating a management system in 10 days for a client which was due to lose a major contract because they had let their certification to ISO 9001 lapse between the 2008 and 2015 versions. Quite the undertaking in such a short amount of time! Steve refuses to claim full responsibility for the success however, as the client was totally invested in getting the system up and running and put in a lot of effort to work with Steve to get it done in time. If it had been any other standard, it would have been impossible, but because it was ISO 9001 and wthey were drawing on what had been in place previously it was possible. Generally, problems arise when there is limited or no Leadership support and commitment, because without this management systems can't be set up in a way that benefits the organisation. All management systems must align with the Business Strategy and should be used to ensure that the strategy is achieved. If you'd like to learn more about the importance of Leadership and aligning your management system with strategic direction, check out a few of our previous episodes. [50:10] What is Steve's proudest achievement?  Steve isn't really one to collect achievements, so he cites winning 1st Prize at 6 years old in a fancy-dress competition, dressed as a Snowman was a proud achievement for 6 year old him. He is also proud of becoming a Lay Reader initially in the Church of England at 37 and latterly in the URC. Another highlight is appearing on The Chase back in 2017, successfully passing the auditions which saw 40,000 applicants. If you want to go see him go up against the Chasers, he was in Series 10 episode 119. He can't point to any one ISO related project as he sees them all as an equal success. He puts all his effort into every project, and his success track shows this to be evident. [54:35] ISO 14001 Transition Webinar:  If you currently hold a 2015 certificate for ISO 14001, then the countdown has already started to transition to the latest 2026 version. We'll be covering the changes and what you need to do to comply and complete your transition in a webinar on the 29th May. You can register your place here.   If you'd like any assistance with implementing ISO standards, get in touch with us, we'd be happy to help! We'd love to hear your views and comments about the ISO Show, here's how: ●     Share the ISO Show on Twitter or Linkedin ●     Leave an honest review on iTunes or Soundcloud. Your ratings and reviews really help and we read each one. Subscribe to keep up-to-date with our latest episodes: Stitcher | Spotify | YouTube |iTunes | Soundcloud | Mailing List

The UK's Prime Minister Keir Starmer is still fighting for his political life amid open revolt in his own party; do the rebels have the numbers to oust him - or can he hang on?Also in the programme: a special report from Khartoum three years into Sudan's civil war, where land mines are hampering aid efforts; how enjoying cultural activities can help slow down biological ageing; and - a propos - we have an appreciation of Shostakovich's first symphony, 100 years after its premiere in Leningrad.

Hrůša Conducts Shostakovich 11 by CSO Association

Talk Talk made just five albums, all written and recorded unconventionally and no-one's entirely sure how they did it. And in the last two decades of his life Mark Hollis released only 92 seconds of music. Lifelong admirer Graeme Thomson explores the band's endless mysteries in his memoir ‘In Another World: the Four Seasons of Talk Talk', and looks back here at the last hurrah of the days of studio extravagance, which includes … … why Traffic in 1967 was the Mark Hollis Holy Grail … “25 per cent of him never appeared above the surface” … the Talk Talk ‘human sampling' method – eg a few seconds of Danny Thompson, Steve Gadd or Larry Klein woven into the mix … “music made with the blindfold on” … the ‘80s press reaction to Mark's eulogies about Miles Davis, Stockhausen and Shostakovich … where you can hear Talk Talk in the music of Kate Bush … making records the way Kubrick made films … head music: how Spirit of Eden suits the rebirth of headphones … band lynchpin Tim Friese-Greene, producer of the Lion Sleeps Tonight! … what unlimited time and choice does to a studio bill … and the 92 seconds of music he made for the Kelsey Grammer TV series Boss. Order ‘In Another World: the Four Seasons of Talk Talk' here: https://www.simonandschuster.co.uk/books/In-Another-World/Graeme-Thomson/9781917923613Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

On this episode of The Bandwich Tapes, I sit down with percussionist Jake Nissly, Principal Percussionist of the San Francisco Symphony, for a conversation about what it actually takes to build and sustain a career at the highest level of orchestral playing. Jake's résumé is remarkable, but what stands out even more is the range of hats he wears: orchestral musician, soloist, educator, department chair at the San Francisco Conservatory of Music, drum set player, former drum corps kid, and even Little League coach.We spend time unpacking the reality of orchestral auditions, the intense preparation, the psychological pressure of playing behind a screen, and the almost figure-skating-level precision required to compete in that world. Jake walks through his own path: winning the Detroit Symphony job at 26, then later the Cleveland Orchestra, and ultimately facing the difficult experience of not receiving tenure. Rather than ending his trajectory, that moment reshaped it and eventually led him to the San Francisco Symphony.One of my favorite parts of this conversation centers on Jake's concept of feel. He credits much of his orchestral success to his background in drum set and drum corps, where groove, flexibility, and listening are everything. That experience, he says, translates directly into orchestral playing, even in repertoire like Mahler or Ravel's Bolero, where there's still a pocket to find if you're listening closely enough.We also talk about teaching and the changing landscape for young musicians. Jake shares thoughtful insights about how YouTube and digital access have transformed preparation, often producing incredibly polished players who sometimes struggle to develop ownership, personality, and soul in their playing. It's an honest conversation about pedagogy, resilience, and the kind of musicianship that lifts everyone in the room.Key TakeawaysOrchestral auditions demand extraordinary precision — success often comes down to microscopic musical details.Career paths are rarely linear — setbacks can become turning points rather than endings.Groove matters in orchestral music — Jake's drum set and drum corps background inform his orchestral feel.Listening is the core skill — great musicians adjust in real time to the ensemble around them.Technical mastery alone isn't enough — personality and ownership bring music to life.Teaching requires adapting to new generations — digital resources have reshaped how students prepare.Leadership in music is collaborative — the best players elevate the entire ensemble.Music from the EpisodeJohn Adams - City Noir: I. The City and its Double - St. Louis Symphony (David Robertson, conductor) - Jake Nissly - drum setAdam Schoenberg - Losing Earth: Concerto for Percussion & Wind Ensemble - The University of Texas Wind Ensemble (Jerry Junkin, conductor) - Jake Nissly - percussionAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

Talk Talk made just five albums, all written and recorded unconventionally and no-one's entirely sure how they did it. And in the last two decades of his life Mark Hollis released only 92 seconds of music. Lifelong admirer Graeme Thomson explores the band's endless mysteries in his memoir ‘In Another World: the Four Seasons of Talk Talk', and looks back here at the last hurrah of the days of studio extravagance, which includes … … why Traffic in 1967 was the Mark Hollis Holy Grail … “25 per cent of him never appeared above the surface” … the Talk Talk ‘human sampling' method – eg a few seconds of Danny Thompson, Steve Gadd or Larry Klein woven into the mix … “music made with the blindfold on” … the ‘80s press reaction to Mark's eulogies about Miles Davis, Stockhausen and Shostakovich … where you can hear Talk Talk in the music of Kate Bush … making records the way Kubrick made films … head music: how Spirit of Eden suits the rebirth of headphones … band lynchpin Tim Friese-Greene, producer of the Lion Sleeps Tonight! … what unlimited time and choice does to a studio bill … and the 92 seconds of music he made for the Kelsey Grammer TV series Boss. Order ‘In Another World: the Four Seasons of Talk Talk' here: https://www.simonandschuster.co.uk/books/In-Another-World/Graeme-Thomson/9781917923613Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Talk Talk made just five albums, all written and recorded unconventionally and no-one's entirely sure how they did it. And in the last two decades of his life Mark Hollis released only 92 seconds of music. Lifelong admirer Graeme Thomson explores the band's endless mysteries in his memoir ‘In Another World: the Four Seasons of Talk Talk', and looks back here at the last hurrah of the days of studio extravagance, which includes … … why Traffic in 1967 was the Mark Hollis Holy Grail … “25 per cent of him never appeared above the surface” … the Talk Talk ‘human sampling' method – eg a few seconds of Danny Thompson, Steve Gadd or Larry Klein woven into the mix … “music made with the blindfold on” … the ‘80s press reaction to Mark's eulogies about Miles Davis, Stockhausen and Shostakovich … where you can hear Talk Talk in the music of Kate Bush … making records the way Kubrick made films … head music: how Spirit of Eden suits the rebirth of headphones … band lynchpin Tim Friese-Greene, producer of the Lion Sleeps Tonight! … what unlimited time and choice does to a studio bill … and the 92 seconds of music he made for the Kelsey Grammer TV series Boss. Order ‘In Another World: the Four Seasons of Talk Talk' here: https://www.simonandschuster.co.uk/books/In-Another-World/Graeme-Thomson/9781917923613Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Dmitri Shostakovich (1906-1975) - Sinfonia n.3, per coro e orchestra op. 20 "Primo Maggio" (1929)Testo di Semyon Kirsanov 1.      Allegretto - Allegro2.      Andante3.      Allegro - Largo4.      Moderato Royal Philharmonic Orchestra and Chorus Morton Gould, conductor

Yshani Perinpanayagam chooses her favourite recording of Shostakovich's Symphony no.9.

A conductor with an impressive career that now spans 45 years, Sir Donald Runnicles has had enduring relationships in chief artistic leadership positions at many organisations around the world – Deutsche Oper Berlin, the Scottish Symphony Orchestra, the Sydney Symphony Orchestra, the Grand Teton Music Festival amongst many others, with his newest position as Chief Conductor of the Dresden Philharmonic. He's quite the Wagnerian and is celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire.In this conversation, Donald traces his path from a musical upbringing in Edinburgh immersed in church music and choral singing to an international career defined by long-standing artistic relationships and a deep affinity for German repertoire, particularly Wagner. He reflects on the formative experience of learning his craft in the opera houses of Germany, the importance of communication as a conductor through gesture rather than words, and how his understanding of music continues to evolve over time. He also gives insights into his work and relationship with the Sydney Symphony Orchestra as its Chief Guest Conductor.Sir Donald Runnicles conducts the Sydney Symphony Orchestra for Tchaikovsky's Fifth Symphony and Shostakovich's Violin Concerto no 1 from 15-18 April.

Mozart's Symphony No. 41 in C Major, the “Jupiter,” was his last, a symphony he never heard, composed in the summer of 1788, three years before his death, along with two other symphonies, a piano sonata, other chamber works, by a 32-year-old genius deeply in debt, having lost the favor of his noble patrons, caring for his ailing wife, Constanze — it's heartbreaking to hear the tenderness of the dances in the third movement, the inventiveness of the finale.The audience adored the Shostakovich. They gave it a standing ovation and brought the maestro back for five bows and he gave bows to the brass, the English horn, the violas, the tympani, the cymbals, the strings, the winds, the harps. Shostakovich wrote it in honor of the Bolshevik Revolution of 1917 but during intermission Jenny had shown me videos she'd taken of New Yorkers sliding Cedar Hill in Central Park, sliding on plastic saucers, pieces of cardboard, baking trays, roasting pans, skis, going off a jump and flying in the air and landing in a cloud of snow. Tyranny is brutal and blind to the goodness and delight of life that Mozart found even in his summer of distress. We have a democracy here, my friend. The vintage of the grapes of wrath has been trampled out. The king cannot lie repeatedly and nakedly and demand to be believed. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit garrisonkeillor.substack.com/subscribe

SynopsisOn today's date in 1938, radio listeners across North America tuned to the NBC network to hear the first American performance of the Symphony No. 5 by 32-year-old Soviet composer Dmitri Shostakovich. The work premiered in Moscow the previous year to great acclaim, and many American conductors and orchestras were competing to give its first performance here, but it was Artur Rodzinski and the NBC Symphony who were chosen — for two very good reasons.First, he had traveled to Moscow in 1934 to meet Shostakovich and a kind of mutual admiration bond was formed. Second, NBC was willing to pay the outrageously high premium demanded by the Soviet government for the American premiere. Now, $5000 might not seem like a lot to us now, but in 1938 that was the equivalent of well over $100,000 in today's money — and NBC was willing and able to pony up that much to promote their recently-formed NBC Symphony Orchestra and its coast-to-coast radio broadcasts.Rodzinski's wife Halina recalled that upon receiving the new score after all the fuss and expense, her husband was at first not impressed, but during rehearsals fell in love with what would become Shostakovich's most-performed symphony.Music Played in Today's ProgramDmitri Shostakovich (1906-1975): Symphony No. 5; Cleveland Orchestra; Artur Rodzinski, conductor; Sony 19439928772

Ever thought classical music was just for nap time? Think again. We're diving into "Symphonies That Don't Suck," featuring head-banging Shostakovich, riots in Paris, and the mechanical chaos of John Adams. Strap in for a wild ride through the metal side of the orchestra! Head to the Songs That Don't Suck website to check out this week's songs, join the Patreon (it's Free), and more. Be sure and like, review, and subscribe to the podcast where ever you may be listening, and if you want,  connect with Songs That Don't Suck on social media including ⁠⁠Instagram⁠,  BlueSky, and  Threads.

Stanley Kubrick's "Eyes Wide Shut" was never meant to be an erotic thriller, but a supreme glimpse into human psychology. Alice (Nicole Kidman) and Bill (Tom Cruise) are well-suited for each other's inner dreamscapes. In fact, the entire film should be seen as a kind of dream: from the improbable action, to the way that certain characters mirror one another, to the ways in which even fantasy is ultimately defanged. This is Kubrick's only real "relationship" film, and it remains one of the greatest depictions of marriage on screen. More recently, Stanley Kubrick and "Eyes Wide Shut" have been the subject of conspiracy theories. Jeffrey Epstein's crimes entangled many otherwise "respected" elites, and filmmaker Alex Sheremet and actress/producer Christina Behnke break down the implications.   You can also watch this discussion on YouTube: https://www.youtube.com/watch?v=KnDZNmplQzE   Subscribe to Patreon and get the full show ad-free: https://www.patreon.com/c/automachination   Subscribe to the ArtiFact podcast on Spotify: https://spoti.fi/3xw2M4D Apple Podcasts: https://apple.co/3wLpqEV Amazon Music: https://amzn.to/2SVJIxB Podbean: https://bit.ly/3yzLuUo iHeartRadio: https://ihr.fm/3AK942L Learn about our debut film, "From There To There: Bruce Ario, the Minneapolis Poet": https://www.automachination.com/cityboy-bruce-ario-great-american-novel/ Read more from the automachination universe: https://automachination.com Read Alex Sheremet's (archived) essays: https://alexsheremet.com Follow us on Twitter: https://twitter.com/automachination Timestamps: 0:51 -- Stanley Kubrick's "Eyes Wide Shut" is not an erotic thriller; Lolita vs. Kubrick's peak film psychology; the relationship film; picking at the Jeffrey Epstein connection 03:34 -- Christina Behnke's lifelong relationship with "Eyes Wide Shut"; identifying with the characters; "Eyes Wide Shut" is a much better title than its source material, the novella "Dream Story"; the autopilot of marriage 9:05 -- "Eyes Wide Shut" as a dreamscape; the mirroring of characters & situations; the lack of consummation; the film's many blondes; Stanley Kubrick's NYC is like his dream of New York City; impossible physical dimensions; this is not the real Greenwich Village 16:06 -- Tom Cruise as actor and character; playing with the public marriage of Nicole Kidman and Tom Cruise; connecting to Mia Farrow in Woody Allen's "Husbands and Wives" 21:40 -- the use of ambient vs. diegetic sound via Shostakovich; logical vs. illogical action; "Nicole Kidman's lovely body"; Alice is bored at the party; the Hungarian vs. "two models" sequence; is Alice really in control while dancing; superficiality in Bill & Alice; Catullus vs. Ovid 30:20 -- the overdose scene; Tom Cruise and Nicole Kidman get home; "plain" cinematography furthers the dreamscape; jealousy 38:20 -- is Alice's fantasy a form of infidelity; Christina on Alice's psychology; Alex thinks Alice's fantasy is out of bounds for her own true self; how Kubrick makes "marital psychology" digestible and understandable 49:33 -- Alice should not be taken literally; are men more romantic than women; is a lack of jealousy an issue for relationships; Alex identifying with Bill; PEACH, Alex, PREACH; do women pity men 1:02:00 -- Bill get propositioned by his patient's daughter; Tom Cruise is further fed the worst fantasies; cultivating fantasy 1:06:00 -- the Jeffrey Epstein connection; dismissing the Stanley Kubrick & Eyes Wide Shut conspiracy theories; the Epstein class is bored and boring; Ziegler is crude & rude; Nick Nightingale calls forth sexual imagery in Ziegler 1:12:20 -- the "boring" orgy as a critique of the POINT, rather than on the film; 1999 tabloids for Eyes Wide Shut; the edited vs. unedited versions; is there such a thing as a non-boring orgy; the symbolism of the password, FIDELIO; the ceremony feels more exciting than the action Patron show topics: Stanley Kubrick and "Jewishness"; more on Epstein psychology; Alex gets REAL about his super knavish year; the importance of the bed-mask scene; "Eyes Wide Shut" has a great ending...

The writer and film-maker Penny Woolcock can't be pigeonholed: she's worked as a director at the Metropolitan Opera in New York and made a film about warring drug gangs on the streets of Birmingham.A passion for storytelling has driven her career, along with a rebellious streak, perhaps because she's something of an outsider and never went to university or film school. She often uses non-professional actors in her work, including a staging of Bach's St Matthew Passion with people who had experienced homelessness. And after completing her movie about rival gangs in Birmingham, she found herself helping to broker a peace deal between two of the actual gang leaders.Her musical choices include Shostakovich, Britten, Bach and Sibelius.Producer: Katy Hickman

A maestra carioca Andréa Huguenin Botelho, radicada há 27 anos na Alemanha e já reconhecida por sua trajetória na música erudita, está prestes a encarar um desafio para poucos. Ela acaba de se tornar a primeira mulher a ocupar o posto de regente titular da Orquestra Sinfônica do Palatinado Ocidental, tradicional da cidade de Kusel, no oeste da Alemanha, com mais de 130 anos de história. Para o concerto de estreia, marcado para 21 de junho, Andréa adiantou que fará questão de incluir a música brasileira no programa: Pixinguinha deverá representar o país no palco. Gabriel Brust, correspondente da RFI em Düsseldorf, Alemanha Andréa contou à RFI como foi o processo de seleção para reger a orquestra: “O processo para você ser escolhido para uma orquestra, seja ela amadora, semi-profissional ou profissional, aqui na Alemanha, demora um pouquinho, porque é muito difícil. É um processo que eu acho muito bonito, porque, além da sua competência, você é escolhido pelos músicos da orquestra. A orquestra tem a voz para escolher o seu líder. Dentro das entrevistas que a gente tem de fazer, a gente tem que dizer o nosso conceito, porque a orquestra vai ter a minha cara. Então, eu falei que o meu conceito é que nenhum repertório, nenhum concerto vai ser só  com obras de homens”. Pesquisar e dar visibilidade a compositoras atuais e do passado se tornou uma das missões da maestra. Além, é claro, de trazer mais mulheres para os palcos. “Até metade do século 20 e até hoje, a gente tinha um problema de que as mulheres tinham dificuldade de entrar no mercado de trabalho de orquestras. O que se faz na seleção de músicos agora são as blind auditions, onde o teste é feito atrás de um biombo para a gente não ver quem está lá. E isso surgiu porque se descobriu que, quando se fechava o biombo e as pessoas não sabiam quem estava tocando, começou a aumentar o número de mulheres nas orquestras.” Andréa é curadora da série de apresentações Komponistin! (ou Compositora!, em alemão), que ocorre em Berlim, e também é membro do conselho do arquivo musical Frauen und Musik (Mulheres e Música), instituição baseada em Frankfurt focada na redescoberta, valorização e divulgação de obras de compositoras historicamente negligenciadas. Música erudita, um mundo masculino A percepção de que o mundo da música erudita era bastante masculino ocorreu ainda cedo, no Rio de Janeiro, quando Andréa começou sua carreira. “Quando fui falar com meu professor na época em que eu queria reger, ele disse: ‘não sabia que você era de igreja'. Eu disse que não era. Mas é que na cabeça dele, mulheres só regiam corais de igreja”. Foi na Rússia – um dos países fundamentais para sua trajetória musical, ao lado de Alemanha e Estados Unidos – que veio a ideia de começar a pesquisar o trabalho de autoras mulheres: “A virada de chave foi exatamente em São Petersburgo, onde fui chamada para reger uma obra de Shostakovich, que é um dos compositores que mais aprecio. Quando fui estudar a ópera Lady Macbeth do Distrito de Mtsensk, vi que ela degrada a mulher de uma forma, até com um estupro coletivo na personagem principal. É muito pesado. E aí eu falei, ‘mas peraí, eu garanto que mulher não ia escrever isso.' Daí logo pensei: mas será que elas escreveram?” Não só elas escreveram sobre muitos temas, como a maestra estará apresentando algumas de suas mulheres preferidas da música em um concerto neste domingo (8), dia da mulher, no mesmo castelo Britz, em Berlim, tendo no repertório Ivone Lara, Elza Soares, Dinorá de Carvalho, Maria Amélia e Babi de Oliveira, entre outras. Música brasileira em escola alemã A divulgação da música brasileira também tem ocupado a atribulada agenda da maestra Andréa na Alemanha. Em 2016, ela criou o Brasilianische Musik in der City West, um programa dedicado exclusivamente ao ensino da música do Brasil a estrangeiros, e inteiramente financiado pelo governo alemão. Para Andréa, há diferenciais que valorizam a música de seu país natal. “A música brasileira não proporciona o que a gente chama de estranhamento cultural. Como a música europeia teve um berço enorme, ela teve o seu caminho pelo Brasil, e também a gente teve as relações com as músicas de países africanos, e ela se mesclou. E na década de 1960, com as misturas do jazz, a música brasileira se tornou uma música muito agradável para diversas culturas”. Parceria com a filha Nos últimos anos, Andréa conta com a parceria de alguém bastante próximo, sua filha Duda Botelho que, aos 18 anos, já é uma contrabaixista que acumula prêmios, como o Concurso Internacional de Música Grunewald e o prêmio do Festival Internacional de Contrabaixo da Bélgica. “O trabalho da minha mãe foi uma grande influência, não só no meu repertório, mas também na minha musicalidade e técnica no contrabaixo. Ao longo dos anos, conforme ela foi arranjando mais peças de compositoras, ela sempre me perguntava se o que ela estava escrevendo era possível de tocar no contrabaixo. E, com isso, sem a gente perceber, esse processo contribuiu muito para o meu desenvolvimento. Eu me desafiava constantemente a conseguir tocar essas obras”, conta a jovem.

Asif Khan is a world-renowned architect and designer whose work inspired a recent headline – ‘is there anything Asif Khan can't transform?'. His current projects include the re-invention of the former Smithfield meat market into the new London Museum, and the extensive renewal of the Barbican Centre. Further afield, in Kazakhstan, he's turned a vast former Soviet cinema into a new cultural centre. He opened his own studio in 2007, and has designed exhibitions, temporary pavilions and installations around the world. He views architecture as a multidisciplinary field, bringing together design, science and art. His musical choices include Chopin, Shostakovich, Nusrat Fateh Ali Khan and Brian Eno.Producer: Katy Hickman

In this episode of the Dyslexia Explored Podcast, hosts Darius Namdaran and Jo Lee welcome Annie, a young student who shares her inspiring dyslexia journey. Annie, currently in her final year of A Levels in England, opens up about her struggles with dyslexia, her passion for music and horses, and the unique coping mechanisms she developed over time. The conversation delves into how Annie navigated her challenges, including learning to read music and dealing with anxiety. She also highlights her love for orchestra, the transformative power of her equestrian experiences, and the supportive role of her friends. This episode offers an insightful and heartfelt look at overcoming obstacles and finding joy through personal strengths and interests.This podcast is sponsored by: Get ivvi notes now: ⁠⁠https://ivvi.app/⁠⁠ Links: Ivvi: https://www.ivvi.app/ what is dyslexia: https://www.bdadyslexia.org.uk/dyslexia/about-dyslexia/what-is-dyslexia How to mindmap: https://www.bulletmapacademy.com/mindmap-beginners Annie Backstory: https://podcasts.apple.com/gb/podcast/93-tackling-common-entrance-exams-with-a-child/id1387645599?i=1000500937934 Shostakovich symphony 5: https://open.spotify.com/track/0P0LAsqiavYc6V54JSeseB?si=e9a5526dc94f471b Denise Dyslexia Coaching: https://www.instagram.com/dyslexiacoachingInterested in being a guest? Email us at ⁠jo@ivvi.app⁠ 

Midori is a visionary artist, activist and educator who explores and builds connections between music and the human experience. In the four decades since her debut with the New York Philharmonic at age 11, she has performed with many of the world's most prestigious orchestras and has collaborated with world-renowned musicians including Leonard Bernstein, Yo-Yo Ma, and many others.She is in Albany to perform the Beethoven Violin Concerto with the Albany Symphony Orchestra with guest conductor André Raphel. Plus, you'll experience Shostakovich's gripping, intense Symphony No. 10 – and the concert opens with a work by Pulitzer Prize-winning composer Jennifer Higdon. Midori will be on stage tomorrow night - Saturday, January 17th @ 7:30PM at the Palace Theatre with André Raphel conducting.

SHOSTAKOVICH: Sinfonía nº 1 en Fa menor, Op. 10 (30.44). Orq. Fil. de San Petersburgo. Dir.: Y. Temirkanov. Preludio y fuga nº 7 en La Mayor, Op. 87 (3.04). D. Shostakovich (p.).Escuchar audio

La etimología no ayuda, “klubba”, de origen nórdico, “garrote”. Un club, llámalo X, en el que Bowie danza con Marlene Dietrich y Shostakovich mezcla con Offenbach en la voz de Elvis, pero una tranceática rareza puede encender la chispa del futuro. Un club de estilo de las "cat-eye” de Marilyn, -nunca las “ushankas” de Bad Bunny- hasta un biblista de renombre para recordarte que el "pecado original” fue "querer saber “, mientras la conjura de los necios progresa. Un club, una cita con la maravilla , un pie en pared,, un estado mental. Suscribe y espera lo inesperado. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

durée : 00:11:44 - LE DISQUE CLASSIQUE DU JOUR 26 DEC - Après neuf ans de collaboration avec le chef Gianandrea Noseda, le London Symphonic Orchestra présente les quinze symphonies de Chostakovitch dans un même coffret. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:12:01 - Shostakovich, Symphonies Nos 1-15 - Gianandrea Noseda, London Symphony Orchestra - Après neuf ans de collaboration avec le chef Gianandrea Noseda, le London Symphonic Orchestra présente les quinze symphonies de Chostakovitch dans un même coffret. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:11:44 - LE DISQUE CLASSIQUE DU JOUR 26 DEC - Après neuf ans de collaboration avec le chef Gianandrea Noseda, le London Symphonic Orchestra présente les quinze symphonies de Chostakovitch dans un même coffret. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:12:01 - Shostakovich, Symphonies Nos 1-15 - Gianandrea Noseda, London Symphony Orchestra - Après neuf ans de collaboration avec le chef Gianandrea Noseda, le London Symphonic Orchestra présente les quinze symphonies de Chostakovitch dans un même coffret. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:15:44 - Shostakovich, Prokofiev : Violin Concertos - Daniel Matej?a (violin), Prague Radio Symphony Orchestra, Tomáš Netopil - Après avoir remporté l'édition 2022 de l'Eurovision des jeunes musiciens, Daniel Matejca, l'un des violonistes les plus talentueux de ces dernières années, enregistre son premier album chez Supraphon, accompagné de l'Orchestre symphonique de la radio de Prague sous la direction de Tomas Netopil. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:15:44 - Shostakovich, Prokofiev : Violin Concertos - Daniel Matej?a (violin), Prague Radio Symphony Orchestra, Tomáš Netopil - Après avoir remporté l'édition 2022 de l'Eurovision des jeunes musiciens, Daniel Matejca, l'un des violonistes les plus talentueux de ces dernières années, enregistre son premier album chez Supraphon, accompagné de l'Orchestre symphonique de la radio de Prague sous la direction de Tomas Netopil. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

No palco do Alla Scala de Milão, na abertura de temporada com a ópera de Shostakovich sobre a luta feminista contra a violência dos tranos. Uma crónica de Francisco Sena Santos.

Con Mario Mora | Ponemos la alfombra roja para recibir a una de las pianistas del momento: Yulianna Avdeeva. Su próxima visita a Madrid con los 24 Preludios y Fugas de Shostakovich nos abre las puertas a hablar con ella de esta música, pero también de Chopin, de su paso por el Concurso como concursante y como jurado, de los jóvenes pianistas y de mucho más. Además, noticias con los ganadores del premio Intercentros Melómano y algunas curiosidades.

En La Alboreá con Andrés Salado, la música se convierte en puente entre la sala de conciertos y la magia del cine. Sonarán partituras que, aunque nacieron en el universo clásico, fueron concebidas expresamente para acompañar historias en la gran pantalla.Grandes compositores, en momentos singulares de su trayectoria, aceptaron el desafío de escribir para el séptimo arte. Así, nombres como Honegger, Shostakovich o Saint-Saëns dejaron huellas sonoras que aún hoy vibran con fuerza, demostrando que la música clásica también sabe dialogar con la emoción cinematográfica.Escuchar audio

Mick Rossi has had a burgeoning career spanning decades, genres and artists. We attempt in an hour to cover some decent ground on that amazing career, including Mick’s work with Philip Glass, The Philip Glass Ensemble, Paul Simon, Carly Simon and Hall & Oates to name just a few. To listen / watch: Audio-only: click on the play button in the audio player above, or: Video: watch the embedded video below or check it and previous episodes out on our YouTube Channel Discussion topics covered during the show (links will open in new tab):   Mick’s recent and (8th or 9th) tour with Paul Simon Mick in action in 2025 with Paul Simon – The Sacred Harp Mick in action with Paul Simon – Wristband Recent work with the Philip Glass and the Philip Glass Ensemble – Floe (Glassworks) Mick with the Philip Glass Ensemble in 2024 – The Grid The late and great Dennis Sandole Touring with Angela Bofill Being approached to play with Philip Glass Philip Glass – La Belle et la Bête Michael Riesman Mick’s keyboard rig with The Philip Glass Ensemble Philip Glass – Orion Philip Glass & Leonard Cohen – Book of Longing On playing Philip Glass’ Music in 12 Parts On conducting a Philip Glass Ensemble show with a couple of hours notice On recording with, and joining, Paul Simon’s band Mick in action with Paul Simon on Cool, Cool River Mick’s keyboard rig with Paul Simon New York’s The Knitting Factory Mick’s prolific solo output including 160 (and why it should have been titled something different) Mick Rossi’s Anti-Matter Live at Barbes Mick with Caleb Wheeler Curtis – Runt Desert Island Discs: Facing You – Keith Jarrett, Symphonies Nos 1-15 – Shostakovich, Self-Titled – Led Zeppelin, Music for Strings, Percussion & Celesta, Five Pieces for Orchestra – Webern Key links: Buy some keyboard related merchandise Drop us a line via the website, Facebook, Instagram, Reddit, Threads, BlueSky, TikTok or LinkedIn Complete our listener survey to help us improve the show, it only takes 90 seconds. Support us on Patreon and receive bonus content Check out our podcast guest playlist on Spotify to get a taste of each guest’s creations.The post Mick Rossi, Paul Simon / Philip Glass / Solo Artist appeared first on The Keyboard Chronicles.

How can a small-town coffin maker's side hustle force him to face his prejudice? Anton Chekhov, today on The Classic Tales Podcast.   Welcome to this VINTAGE episode of The Classic Tales Podcast. Thank you for listening.     Have you wanted to try an audiobook and see if you'll like it? Are you apprehensive to spend $15 on an audiobook you might not like? With the audiobook library card, you can sample as many titles as you like until you find one that sticks. For only $9.99 a month, you get unlimited downloads and streaming of the entire Classic Tales Library. No limits, just heavily curated, well produced audio, in so many genres, you're sure to find something that hits that sweet spot. Go to audiobooklibrarycard.com or follow the link in the show notes.   Shostakovich suggested that today's story from Anton Chekhov be made into an opera. I'll let the story speak for itself.       Follow this link to get The Audiobook Library Card for $9.99/month       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

SHOSTAKOVICH: Cuarteto de cuerda nº 15 en Mi bemol menor, Op. 144 (34.13). C. Rowland (vl.), J. Sparey (vl.), A. George (vla.), I. Davies (vc.). Cuarteto Fitzwilliam. Passacaglia (Ladi Macbeth de Mtsenk, Op. 29, Acto II) (8.10). Orq. Sinf. de Boston. Dir.: A. Nelsons.Escuchar audio

Classical trumpeter Mary Elizabeth Bowden joins Rick and Ron again for another episode of the Feeding the Starving Artist podcast. Mary Elizabeth is a highly in-demand soloist, praised for her “splendid, brilliant” playing (Gramophone Magazine) and her “pure, refined, and warm” tone (American Record Guide). A Gold Medal Global Music Award Winner, Opus Klassik Nominee, and Yamaha Performing Artist, Bowden works diligently to establish a new repertoire for the trumpet through creative, collaborative commissioning projects and award-winning albums.Highlights of Bowden's recent seasons include her debut with the Santa Fe Symphony, as well as prominent engagements with major international ensembles. During the 2022/2023 season, she performed as a soloist with the Busan Maru International Music Festival Orchestra in Korea and toured five cities in Argentina, performing Assad's Bohemian Queen with the Shenandoah Conservatory Orchestra. She served as faculty at the Norfolk Chamber Music Festival in summer 2022. Other recent performances include four world premiere concertos. Highlights include her debut with the Chamber Orchestra of Philadelphia, where she performs a program including Clarice Assad's Concerto for Trumpet and Orchestra and Shostakovich's Concerto in C minor for Piano, Trumpet, and String Orchestra with pianist Henry Kramer. In another key debut, Bowden appears as a soloist with the Austin Symphony Orchestra, performing Reena Esmail's Rosa de Sal and Assad's Bohemian Queen. With the DuPage Symphony, she premieres a new arrangement of Gala Flagello's Persist, newly arranged for two trumpets, and performs as soloist on Grace Williams' Trumpet Concerto. She debuts with Oregon's Rogue Valley Symphony in Henri Tomasi's Concerto for Trumpet and Orchestra before touring the Fung and Assad concertos to the Anchorage Symphony Orchestra, Seattle Metropolitan Chamber Orchestra, Akron Symphony Orchestra, Lexington Philharmonic, and Wichita Falls Symphony Orchestra.Bowden holds residencies and masterclasses at Oberlin College, Swarthmore College, the University of Michigan, Rogue Valley Symphony Orchestra, Central Michigan University, Michigan State University, Western Michigan University, Haverford College, Grand Valley State University and the Fine Arts Center of Greenville, SC. International engagements bring Bowden to the Isla Verde Bronces International Brass Festival in Argentina, Festival de Metales del Pacifico in Mexico, and Lieksa Brass Week in Finland. Bowden's Chrysalis Chamber Players embark on a U.S. tour of trumpet and string quartet repertoire, presented by Live On Stage, and with Seraph Brass, Bowden is recording an album of new compositions for brass quintet for Tower Grove Records.

SHOSTAKOVICH: Sinfonía nº 15 en La mayor, Op. 141 (41.23). Gran Orq. Sinf. de la RTV de Moscú. Dir.: M. Shostakovich. Danza (7 Danzas de las muñecas) (0.36). M. Jones (p.).Escuchar audio

SHOSTAKOVICH: Cuarteto de cuerda nº 14 en Fa sostenido mayor, Op. 142 (24.55). Cuarteto Beethoven. El Tornillo (suite), Op. 27 A (selec.) (Intermezzo, Danza de la esclava negra, El compromisario, Danza final y Apoteosis) (14.38). Orq. Sinf. de la Radio de Leipzig. Dir.: D. Kitajenko. Organillo (7 Danzas de las muñecas, nº 6) (0.46). M. Jones (p.).Escuchar audio

learn about a composer that just couldn't get it together in his private or professional life

SHOSTAKOVICH: Los jugadores (selec.) (Parte final: El juego) (18.03). V. Rybasenko (baj.), V. Tarkhov (ten.), V. Belikht (baj.), N. Kurpe (ten.), A. Sarkisov (baj.), Y. Radivonik (bar.), Orq. Fil. de Leningrado. Dir.: G. Rozhdestvensky. Katerina Ismailova, Op. 114 (selec.) (Final del tercer acto) (18.34). E. Andreyeva (sop.), V. Radzievski (ten.), E. Boaulavine (baj.-bar.), G. Yefimov (ten.), D. Potapovskaya (sop.), G. Dudarev (baj.). Coro y Orq. del Teatro Musical de Moscú Stanislavsky y Nemirovich Danchenko. Dir.: G. Provatorov.Escuchar audio

SHOSTAKOVICH: Sinfonía nº 14 en Sol menor, Op. 135 (Parte II: En la cárcel de La Sante, La respuesta de los cosacos zaporogos al sultán de Constantinopla, O Delvig, Delvig, La muerte del poeta, Pieza final) (21.14). M. Kasrashvili (sop.), A. Safiulin (baj.), orq. Sinf. Estatal del Ministerio de Cultura de la URSS. Dir. G. Rozhdestvensky. Suite de ballet nº 1 (selec.) (Ronmance, Polka, Vals badinage, Galop) (9.33). Orq. Sinf. de Rusia. Dir.: M. Gorenstein. Suite de ballet nº 2 (selec.) (Romance sentimental, Finale-Galop) (6.33). Orq. Fil. de Minsk. Dir.: W. Mnatsakanov. 3 Danzas fantásticas, Op. 5 (4.19). E. Varvarova (p.).Escuchar audio

SHOSTAKOVICH: Sinfonía nº 14 en Sol menor, Op. 135 (Parte I: De profundos, Malagueña, Loreley, El suicida, Alerta, Mirad, señora) (27.12). M. Kasrashvili (sop.), A. Safiulin (baj.), orq. Sinf. Estatal del Ministerio de Cultura de la URSS. Dir. G. Rozhdestvensky. Suite de ballet nº 2 (selec.) (Vals, Adagio, Polka, Primavera vals) (13.24). Orq. Fil. de Minsk. Dir.: W. Mnatsakanov.Escuchar audio

Classical trumpeter Mary Elizabeth Bowden joins Rick and Ron in another episode of the Feeding the Starving Artist podcat. Mary Elizabeth is a highly in-demand soloist, praised for her “splendid, brilliant” playing (Gramophone Magazine) and her “pure, refined, and warm” tone (American Record Guide). A Gold Medal Global Music Award Winner, Opus Klassik Nominee, and Yamaha Performing Artist, Bowden works diligently to establish a new repertoire for the trumpet through creative, collaborative commissioning projects and award-winning albums.Highlights of Bowden's recent seasons include her debut with the Santa Fe Symphony, as well as prominent engagements with major international ensembles. During the 2022/2023 season, she performed as a soloist with the Busan Maru International Music Festival Orchestra in Korea and toured five cities in Argentina, performing Assad's Bohemian Queen with the Shenandoah Conservatory Orchestra. She served as faculty at the Norfolk Chamber Music Festival in summer 2022. Other recent performances include four world premiere concertos. Highlights include her debut with the Chamber Orchestra of Philadelphia, where she performs a program including Clarice Assad's Concerto for Trumpet and Orchestra and Shostakovich's Concerto in C minor for Piano, Trumpet, and String Orchestra with pianist Henry Kramer. In another key debut, Bowden appears as a soloist with the Austin Symphony Orchestra, performing Reena Esmail's Rosa de Sal and Assad's Bohemian Queen. With the DuPage Symphony, she premieres a new arrangement of Gala Flagello's Persist, newly arranged for two trumpets, and performs as soloist on Grace Williams' Trumpet Concerto. She debuts with Oregon's Rogue Valley Symphony in Henri Tomasi's Concerto for Trumpet and Orchestra before touring the Fung and Assad concertos to the Anchorage Symphony Orchestra, Seattle Metropolitan Chamber Orchestra, Akron Symphony Orchestra, Lexington Philharmonic, and Wichita Falls Symphony Orchestra.Bowden holds residencies and masterclasses at Oberlin College, Swarthmore College, the University of Michigan, Rogue Valley Symphony Orchestra, Central Michigan University, Michigan State University, Western Michigan University, Haverford College, Grand Valley State University and the Fine Arts Center of Greenville, SC. International engagements bring Bowden to the Isla Verde Bronces International Brass Festival in Argentina, Festival de Metales del Pacifico in Mexico, and Lieksa Brass Week in Finland. Bowden's Chrysalis Chamber Players embark on a U.S. tour of trumpet and string quartet repertoire, presented by Live On Stage, and with Seraph Brass, Bowden is recording an album of new compositions for brass quintet for Tower Grove Records.

Longtime listeners of Sticky Notes know that Shostakovich's 10 symphony was the inaugural piece covered on the show. It's been 8 years(!) since that show, so I've totally re-written the episode and had the privilege of presenting this new version live with the Aalborg Symphony Orchestra last week in Aalborg. Shostakovich, like so many composers before him, was obsessed with musical codes and messages, with songs that expressed two or more meanings, with ideas that were at once black and white and profoundly complex. This also describes Shostakovich himself, a man who was incredibly guarded with his public persona, and even his private persona as well. It is impossible to know anything for sure with Shostakovich, and to me therein lies the greatest strength of his music. The 10th symphony has been described as a portrayal of the Stalin years, as a portrayal of obsessive love, as a requiem, as sarcastic, as humorous, as agonizing, as triumphant, as, as, as….and the truth is that like all of the greatest works of Western Classical music, it is all of those things and so much more. It is a work of profound intensity, grabbing you from the start and not letting go for nearly 50 minutes, which makes sense considering that the piece was written in the shadow of another momentous event, the death of Joseph Stalin. There are very few experiences like hearing Shostakovich's 10th symphony live, and it is the kind of piece that, by the end of it, leaves you a slightly different person than you were when it started. Today on the show, we're going to be talking about a wide range of topics, from orchestral color to Joseph Stalin, from symphonic form to obsessive love, and much more. Join us!

The Right Honourable Sir Keir Starmer is the seventh Labour Prime Minister of the United Kingdom.Prior to his political career, he was a barrister and served as Director of Public Prosecutions. He was elected as a Member of Parliament in 2015 and became Labour leader in 2020.A former Guildhall School of Music scholar, Sir Keir Starmer is a flautist but also played piano, recorder, and violin in his youth.He shares his love of music including works by Beethoven, Mozart, Shostakovich and Brahms.Presenter: Michael Berkeley Producer: Clare Walker

This episode, we are thrilled to be joined by the artist William Kentridge. Born in 1955 in Johannesburg, South Africa - a city where he also now lives and works - William grew up under the pall of Apartheid. This experience deeply informs his practice, which frequently questions the historical record and examines the inequities and absurdities of our world.Working across multiple media, he combines drawing, writing, film, performance, and other collaborative practices to create works of art that are grounded in history, yet maintain a space for contradiction and uncertainty.In one of his now-signature techniques, William photographs his charcoal drawings and paper collages over time, recording scenes as they evolve. Working without a script or storyboard, he plots out each animated film, preserving every addition and erasure. This is visible, for instance, in the series Self Portrait as a Coffee Pot, which William launched on the online streaming service MUBI last year. In this nine-part series, he opens the doors to his Johannesburg studio to lay bare his creative process, reflecting on culture, history, and political memory as he does so.William's genre defying talents have also led him to create operas and theatrical productions since the 1990s. Of his many productions, we've been lucky to see a few, including his 2010 production for the Metropolitan Opera of Shostakovich's The Nose, as well as his 2023 production in Paris of "Waiting for the Sibyl."William's work has been exhibited in museums around the world, including the MoMA in New York, the Albertina in Vienna, the Louvre in Paris, and the Royal Academy of Arts in London, among many others. He is also, of course, in the collections of major museums across the globe. Most recently, here in New York, William presented a solo exhibition at Hauser and Wirth titled, “A Natural History of the Studio.”William is represented by Hauser and Wirth and Goodman Galleryhttps://www.hauserwirth.com/artists/william-kentridge/https://goodman-gallery.com/artists/william-kentridgeFollow us on Instagram for episode updates and exclusive behind the scenes content https://www.instagram.com/artfromtheoutsidepodcastSome artists discussed in this episodeHenri MatisseAlberto GiacomettiJackson PollockJacques Lecoq

With three weeks remaining of this year's BBC Proms, Jeffrey Boakye and Anna Phoebe present a Proms-themed edition. Studio guests are the celebrated trumpeter Alison Balsom, who'll be performing in this year's Last Night of the Proms, and bassoonist, Radio 3 and Proms presenter Linton Stephens. Expect music from the Proms and beyond as we head from a live, scaled-back Springsteen anthem to the Outer Hebrides, via Mendelssohn, Shostakovich and Andrew Lloyd Webber. Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Born in the USA (live) by Bruce Springsteen 2nd movement of the Symphony No 10 in E Minor by Dmitri Shostakovich Superstar from Jesus Christ Superstar by Andrew Lloyd Webber & Tim Rice Andante: 2nd movement of the Violin Concerto in E minor by Felix Mendelssohn Hùg air a' Bhonaid Mhòir (Celebrate the Big Bonnet) by Julie Fowlis Other music in this episode:A Night on the Bare Mountain by Modest Mussorgsky Trumpet Concerto in E flat major by Johann Nepomuk Hummel The Lovecats by The Cure Born in the USA by Bruce Springsteen I Don't Know How to Love Him by Andrew Lloyd Webber & Tim Rice, sung by Yvonne Elliman Touch the Sky (from the film Brave) by Julie FowlisYou can listen to every Prom and unmissable moments from across the season on BBC Sounds. Just search ‘Proms'.

The first year of the siege of Leningrad that began in September 1941 marked the opening stage of a 900-day-long struggle for survival that left over a million dead. The capture of the city came tantalizingly close late that year, but Hitler paused to avoid costly urban fighting. Determined to starve Leningrad into submission, what followed was a winter of unimaginable suffering for ordinary citizens and defenders alike. First-hand accounts from Soviet and German soldiers, many never previously published, together with those of the civilians trapped in the city detail the relentless specter of death which defined life in and around Leningrad. Today’s guest is Prit Buttar, author of “To Besiege a City: Leningrad 1941-42.” Personal vignettes give a glimpse into the reality of life in a city under siege. The teenage volunteer climbers, weak from hunger, scaling the slender spire of the Peter and Paul Fortress to shroud it in camouflage as the German bombers circle overhead like vultures. Or the soldier trombonist completing a long day on the front line to perform Shostakovich’s epic Seventh Symphony alongside a starving and sickly orchestra – an act of defiance broadcast to defenders and attackers alike.See omnystudio.com/listener for privacy information.

Russian composer Dmitri Shostakovich was one of the greatest musicians of the 20th century. But in 1936, Joseph Stalin attended a performance of Shostakovich's opera, Lady Macbeth of Mtsensk. The Soviet leader was unimpressed and left early. Days later, the state newspaper Pravda published a scathing review titled 'Muddle instead of music', castigating the music as bourgeois. Shostakovich was blacklisted from public life, and feared for his safety during Stalin's ongoing purges. The traditional style of his comeback Symphony No 5 in 1937 was a hit with the authorities, and Shostakovich's reputation was restored. But his true intentions are hugely debated – some experts argue the Fifth Symphony was a cleverly veiled act of dissent. Fifty years on from the composer's death, his son Maxim Shostakovich unfolds the mystery with Ben Henderson.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from the death of Adolf Hitler, the first spacewalk and the making of the movie Jaws, to celebrity tortoise Lonesome George, the Kobe earthquake and the invention of superglue. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: Eva Peron – Argentina's Evita; President Ronald Reagan and his famous ‘tear down this wall' speech; Thomas Keneally on why he wrote Schindler's List; and Jacques Derrida, France's ‘rock star' philosopher. You can learn all about fascinating and surprising stories, such as the civil rights swimming protest; the disastrous D-Day rehearsal; and the death of one of the world's oldest languages.(Photo: Dmitri Shostakovich and his son Maxim Shostakovich. Credit: Express/Getty Images)

Attention Bach buffs, Shostakovich stans and Debussy devotees! Head over to Grant Park and you can catch free classical concerts all summer long. But this isn't just an exciting opportunity to revel in the music, it's a chance for up-and-coming orchestral musicians and singers to be a part of the action through the Festival String and Vocal Fellowship. Reset sits down with two fellowship participants: violinist Maria Gabriela Mendez Martinez and violist Joshua Thaver. We also hear from fellowship manager Amelia Sie. For a full archive of Reset interviews, head over to wbez.org/reset.

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