Podcasts about shostakovich

SHOSTAKOVICH: Cuarteto de cuerda nº 3 en Fa Mayor, Op. 73 (31.08). L. Hagen (vl.), R. Schmidt (vl.), V. Hagen (vla.), C. Hagen (vc.). Cuarteto Hagen. To a song (3.55). In the fields (3.30) (6 Romances sobre textos de poetas británicos, Op. 62 A) (arr. para voz y orq.). A. Saifulin (baj.), Orq. Sinf. Estatal del Ministerio de Cultura de la Unión Soviética. Dir.: G. Rozhdestvensky.Escuchar audio

SHOSTAKOVICH: Trío para violín, violoncello y piano nº 2 en Mi menor, Op. 67 (26.22). O. Kagan (vl.), N. Gutman (vc.), S. Richter (p.). 2 Fábulas, Op. 4 (7.25). G. Borisova (mez.), Orq. Sinf. Estatal de la Unión Soviética. Coro de Cámara del Conservatorio Piotr Ilych Tchaikovsky de Moscú. Orq. Fil. de Moscú. Dir.: G. Rohzdestvensky. Nocturno (Aforismo nº 3, Op. 13) (2.03). E. Varvarova (p.).Escuchar audio

This week (6/6 & 6/8) on ART ON THE AIR our whole show features chief curator and visual arts director of the National Museum of Mexican Art, Cesáreo Moreno, discussing his own art journey and his responsibility overseeing the permanent collection and the numerous exhibits for the museum.Our spotlight is on South Shore Orchestra summer's symphonic spectacular on June 20th at Valparaiso's Central Park Plaza featuring music by Shostakovich, John Williams, and Mozart under the baton of (with) Maestro Troy Webdell.Tune in on Sunday at 7pm on Lakeshore Public Media 89.1FM for our hour long conversation with our special guests or listen at lakeshorepublicmedia.org/AOTA, and can also be heard Fridays at 11am and Mondays at 5pm on WVLP 103.1FM (WVLP.org) or listen live at Tune In. Listen to past ART ON THE AIR shows at lakeshorepublicmedia.org/AOTA or brech.com/aota. Please have your friends send show feedback to Lakeshore at: radiofeedback@lakeshorepublicmedia.orgSend your questions about our show to AOTA@brech.comLIKE us on Facebook.com/artonthairwvlp to keep up to date about art issues in the Region. New and encore episodes also heard as podcasts on: NPR, Spotify Tune IN, Amazon Music, Apple and Google Podcasts, YouTube plus many other podcast platforms. Larry A Brechner & Ester Golden hosts of ART ON THE AIR.https://www.lakeshorepublicmedia.org/show/art-on-the-air/2025-05-13/art-on-the-air-june-8

SHOSTAKOVICH: Sinfonía nº 5 en Re menor, Op. 47 (43.18). Orq. Sinf. Nac. de Washington. Dir.: M. Rostropovich.Escuchar audio

Working amidst political and personal setbacks, Mieczysław Weinberg (1919-96) flourished as a composer, admired by Shostakovich and championed by the leading Soviet musicians of the day. His death in Moscow in 1996, however, went largely unnoticed. More happily, his extensive catalogue has recently secured an increasing number of performances and recordings, witness this Naxos release of his complete music for cello and orchestra, works written largely during the earlier part of his maturity. Raymond Bisha introduces the Cello Concertino, the Cello Concerto, and the Fantasia for Cello and Orchestra.

Cellist Sheku Kanneh-Mason was born in Nottingham in 1999 into a big musical family. He and his six siblings all grew up learning classical instruments, and appeared on Britain's Got Talent in 2015. Sheku first made his mark as a solo performer the following year when he won the BBC Young Musician Of The Year competition. In 2018 a global audience of over a billion watched him perform live at the wedding of the Duke and Duchess of Sussex. Since then he has received two classical Brit awards, An MBE for services to music, and performed at the Proms every year since 2017. His book The Power Of Music charts his creative journey, whilst his new album - his fifth release - includes recording of works by Shostakovich and Britten. Sheku talks to John Wilson about the early influence of his paternal grandfather, a classical music lover who encouraged an appreciation of chamber music, including Schubert's Trout Quintet. Sheku also discusses his cellist heroes Jacqueline du Pré and Mstislav Rostropovich and explains how the music of reggae superstar Bob Marley has been an inspiration throughout his life.Producer: Edwina Pitman

SHOSTAKOVICH: Cuarteto de cuerda nº 2 en La Mayor, Op. 68 (33.10). S. Schmidt (vl.), N. Schmidt (vl.), R. Glassl (vla.), B. Schmidt (vc.). Cuarteto Mandelring. 6 Piezas para niños, Op. 69 (4.48). H. Sánchez Anzola (p.). Canto de la joven (De la poesía popular hebrea, Op. 79) (2.26). N. Dorlian (sop.), D. Shostakovich (p.).Escuchar audio

SHOSTAKOVICH: Concierto para violín y orquesta nº 1 en la menor, Op. 77 (34.33). D. Oistrakh (vl.), Orq. Fil. de la Radio Checa. Dir.: Y. Mravinsky. El amor del capitán Lebiadkin (4 Poemas del Capitán Lebiadkin, Op. 146) (4.11). F. Kuznetsov (baj.), Y. Serov (p.).Escuchar audio

SHOSTAKOVICH: El canto de los bosques, Op. 81 (36.30). M. Kotliarov (ten.), N. Storojev (baj.), The New London Children's Choir, Coro del Festival de Brighton, Orq. Royal Philarmonic de Londres. Dir.: V. Ashkenazy. Tras una larga separación (De la poesía popular hebrea, Op. 79) (2.41). N. Dorlian (sop.), Z. Dolukhanova (mez.), A. Maslenikov (ten.), D. Shostakovich (p.).Escuchar audio

SHOSTAKOVICH: Quinteto para piano y cuerda en Sol menor, Op. 57 (29.45). D, Tsyganiv (vl.), V. Chirinski (vl.), V. Borissovski (vla.), S. Chirinski (vc.). Cuarteto Beethoven. D. Shostakovich (p.). Sátiras, Op. 109 “Cuadros del pasado) (selec.) (El despertar de la primavera, Malentendido) (arr. para baj., y orq.) (7.23). S. Leiferkus (baj.), Orq. Fil. de Rusia. Dir.: T. Sanderling.Escuchar audio

SHOSTAKOVICH: Sinfonía nº 4 en Do menor, Op. 43 (Segundo y tercer movimientos: Moderato con moto, Largo – Allegro) (35.29). Orq. Sinf. de la BBC. Dir.: G. Rohzdestvensky. Lamento por un niño difunto (2.41). Canción de cuna (3.15). (De la poesía popular hebrea, Op. 79). N. Dorlian (sop.), Z. Dolukhanova (mez.), A. Maslennikov (ten.), D. Shostakovich (p.).Escuchar audio

SHOSTAKOVICH: Preludio y fuga nº 23 en Fa Mayor, Op. 87 (6.05). D. Shostakovich (p.). Sinfonía nº 4 en Do menor, Op. 43 (Primer movimiento Allegretto poco moderato – Presto) (26.29). Orq. Sinf. de la BBC. Dir.: G. Rohzdestvensky. La ciudad duerme (7 Canciones, Op. 127) (2.57). E. Semenchuk (mez.), C. Montier (vl.), C. Gaugue (vla.), Trio Wanderer.Escuchar audio

SHOSTAKOVICH: Cuarteto de cuerda nº 1 en Do Mayor, Op. 49 (14.14). R. Aharonian (vl.), S. Lomovsky (vl.), I. Naidin (vla.), V. Blashin (vc.). Cuarteto Borodin. Hamlet, Op. 32 A (21.26). Orq. Sinf. de Gotemburgo. Dir.: N. Järvi. La canción de la joven (11 Poemas hebraicos) (2.28). N. Dorliak (sop.), Z. Doloukhanova (con.), A. Maslennikov (ten.), D. Shostakovich (p.).Escuchar audio

SHOSTAKOVICH: La Edad de Oro, Op. 22 A (Suite) (15.47). Orq. Sinf. de Gotemburgo. Dir.: N. Järvi. La Nariz, Op. 15 A (Suite). J. Jindrak (bar.), L. Loebl (bar.), B. Avksentiev (balalaika), Orq. Fil. Checa. Dir.: G. Rozhdestvensky.Escuchar audio

“On a des liens plus que professionels” - dat seet d'Michèle Kerschenmeyer iwwer de Quatuor Louvigny, an deem si d'Pianistin ass. Hiren nächste Concert an der Philharmonie ass den 28. Abrëll owes um hallwer 8. En ass organiséiert vun de Solistes Européens, Luxembourg. Déi fënnef Museker kenne sech alleguer schonn zanter Laangem: déi eng ware Professer vun deenen aneren, an déi aner si wierklech Famill mateneen. D'Pianistin an de Geiist Philippe Koch spille schonn zesummen zanter méi wéi 20 Joer. Um Programm vun dësem Concert sti Kammermusekswierker vu Shostakovich a Brahms. Am Gespréich mam Marie Schockmel erzielen déi zwee méi iwwer de Concertsprogramm an iwwer déi familiär Atmosphär an hirem Ensembel.

SHOSTAKOVICH: Concierto para piano y orquesta de cuerda, nº 1 en Do menor, Op. 35 (22.13). Y. Bronfman (p.), T. Stevens (tp.), Orq. Fil. de Los Ángeles. Dir.: E. Pekka Salonen. Preludio y Fuga nº 2 en La menor, Op. 87 (1.58). Preludio y Fuga nº 12 en Sol sostenido menor, Op. 87 (7.39). Preludio y Fuga nº 13 en Fa sostenido Mayor, Op. 87 (7.47). D. Shostakovich (p.).Escuchar audio

Few other works in the canon occupy a place like this symphony by Dmitri Shostakovich. John Banther and Evan Keely dive into history as they show you what to listen for, Shostakovich's perilous circumstances, and what clues he could have left for all of us in the music.Support Classical Breakdown: https://weta.org/donatefmSee omnystudio.com/listener for privacy information.

SHOSTAKOVICH: Sinfonía nº 3 en Mi bemol Mayor, Op. 20 “Primero de Mayo” (26.20). Coro de la República de Rusia, Orq. Fil. de Moscú. Dir.: K. Kondrashin. Preludio y Fuga nº 1 en Do Mayor, Op. 87 (4.45). Preludio y Fuga nº 4 en Mi menor, Op. 87 (8.22). D. Shostakovich (p.).Escuchar audio

SHOSTAKOVICH: Sinfonía nº 2 en Si Mayor, "Octubre, Dedicatoria Sinfónica" (20.59). Orq. Fil. de Londres. Dir.: B. Haitink. Suite de jazz nº 1 (8.13). Orq. de Filadelfia. Dir.: M. Jansons. 7 Canciones, Op. 127 (selec.) (nº 1 La canción de Ofelia, nº 2 Hamayun, el pájaro profeta, nº 3 Estábamos juntos) (9.32). E. Semenchuk (mez.), Trio Wanderer.Escuchar audio

SHOSTAKOVICH: Trío para violín, violoncello y piano (12.27). J.-M. Phillips Varjabedian (vl.), R. Pidoux (vc.), V. Coq (p.). Trío Wanderer. La caída de Berlín, Op. 82 A (23.52). Coro de Cámara, Orq. Sinf. de la RTV Belga. Dir.: J. Serebrier. Lamento a la muerte de un niño (Poema hebraico para soprano, contralto, tenor y piano nº 1) (2.45). N. Dorliak (sop.), Z. Doloukhanova (con.), A. Maslennikov (ten.), D. Shostakovich (p.).Escuchar audio

Tuve el placer de entrevistar a Urs Leonhard Steiner, director suizo y fundador de la Golden Gate Symphony Orchestra & Chorus, una orquesta que lleva 33 años transformando vidas a través de la música. Urs no solo dirige con pasión, sino que también comparte sus conciertos en inglés y español, explicando las historias y emociones detrás de cada pieza, haciéndolas accesibles y cercanas para todos. Desde su creación, esta orquesta ha mantenido una misión clara: hacer que la música clásica sea una experiencia abierta y accesible para toda la comunidad. La mitad de sus músicos son profesionales, y la otra mitad no lo son, pero todos comparten una calidad y compromiso excepcionales. Esta mezcla única refleja su espíritu comunitario: unir talento y corazón para compartir arte de alto nivel. Una de las cosas más hermosas que hablamos en esta entrevista es que en cada concierto ofrecen algunas entradas gratuitas a familias hispanas y vecinas, para que puedan disfrutar de música clásica de gran calidad sin barreras económicas o de idioma. Es un gesto poderoso que promueve la inclusión cultural y la equidad en el acceso a las artes. No se pierdan su próximo concierto: “SHOSTAKOVICH 5: A Soviet Artist's Reply to Criticism”, con un programa profundamente conmovedor [...]

Boston Mayor Michelle Wu joins for Ask The Mayor.Then NBC Sports Boston anchor/reporter Trenni Casey discusses an NCAA $2.8 billion settlement, the Red Sox Mookie Betts trade getting Trump's attention and the Women's Final Four. CNN's John King zooms in for the latest national political headlines.Plus, Andris Nelsons & Chad Smith of the Boston Symphony Orchestra join ahead of a Friday Yo-Yo Ma performance of the works of Shostakovich.

SHOSTAKOVICH: Suite sobre poemas de Miguel Ángel, Op. 145 A (43.12). G. Finley (bar.), Orq. Fil. de Helsinki. Dir.: T. Sanderling.Escuchar audio

Edward Seckerson's personal choice of Shostakovich's 10th Symphony.

D. Shostakovich (I): Crónica de su sociedad y su época.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

As part of Radio 3's Boulez at 100 day celebrating the centenary of composer and conductor Pierre Boulez, Michael Berkeley's guest is someone who knew Boulez well - composer and musicologist Gerard McBurney. McBurney is most closely associated with the music of Russian composers – particularly Shostakovich – as a result of having lived and studied in Russia in the 1980s. Notable Shostakovich scores he has rescued from oblivion with completions and orchestrations include the music-hall show Hypothetically Murdered and the opera Orango. He talks to Michael about life in Russia in the years immediately before the collapse of the Soviet Union. His many other musical projects have included working on the Chicago Symphony Orchestra's long-running dramatized discovery series Beyond the Score, on many of which he collaborated with Boulez - about whom McBurney has first-hand insightful stories to relate.Producer: Graham RogersTo listen to this programme on most smart speakers, say "Ask BBC Sounds to play Private Passions".

We reconnect with Seattle Symphony's Assistant Principal Cellist and From the Top alum Nathan Chan who joins Peter and our teen cellist for a Shostakovich polka. We also meet an accomplished young violinist who demonstrates some difficult bowing and a teen guitarist from Portland plays a rare duo with Peter.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Een klein eerbetoon aan componist Sofia Gubaidulina, die vorige week overleed. Natuurlijk klinkt haar muziek, maar we horen ook hoe Shostakovich haar bemoedigend toesprak, ze voor Schnittke een verjaarscadeau componeerde en dat ze met Suslin en Artyomov een improvisatie-ensemble vormde. Dankjewel Sofia, voor de prachtige muziek die je nalaat! 

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!

An appetizing, eclectic program. Charity is represented by a sturdy American song: “If I Can Help Somebody.” Malice is represented by a movement from Walton's Symphony No. 1, marked “Presto con malizia.” Much to listen to and absorb. Shostakovich, “A Spin through Moscow” from “Moscow, Cheryomushko” Fauré, “Clair de lune” Beethoven, “Abscheulicher!,” from “Fidelio” Walton, Symphony No. 1, Scherzo: Presto con malizia Ruby (?), “I'm Against It” Hoiby, “Winter Song” Hoiby, “There came a wind like a bugle” Androzzo, “If I Can Help Somebody” Gubaidulina, “Glorious Percussion”

Shostakovich's Eleventh Symphony unfolds with the immediacy of a newsreel as it depicts the harrowing events of the 1905 Russian Revolution. Brimming with rebellious anthems and prisoners' songs, the Cold War-era score is widely heard as a veiled critique of the Soviet regime. Rachmaninov's First Piano Concerto, a farewell to Russia, features the captivating Simon Trpčeski. Learn more: cso.org/performances/24-25/cso-classical/hrusa-trpceski-and-rachmaninov

30 minutes of chat with Manchester born soprano Ana Beard Fernandez ahead of her new album - Habanera including music by Villa Lobos, Ravel, de Falla, Shostakovich and Rameau on the SOMM label featuring the Endellion Cellists, Roderick Williams, and conductor William Vann. In addition ... because it worked so well in the last episode, a book, a film and a recipe.

Voici un épisode bonus spécial de Sticky Notes en français, en avant-première de mes concerts avec l'Orchestre National de Lille, présentant la 13e symphonie de Shostakovich. Si vous souhaitez écouter la version anglaise de cet épisode, elle est disponible dans les archives. Je m'excuse pour toute mauvaise prononciation en cours de route, et j'espère que vous l'apprécierez ! This is a special bonus episode of Sticky Notes in French ahead of my concerts with the Orchestre National de Lille, featuring Shostakovich's 13th symphony. If you would like to listen to the English version of this episode, it is available in the archives. Apologies for any mis-prononciations along the way, and I hope that you enjoy it! 

We meet a 16-year-old composer from Chicago who is mentored by composer Jessie Montgomery and is also passionate about architecture. We hear a soprano perform a love song by Debussy. Finally, we meet a teen cellist who performs Shostakovich's dynamic Cello Sonata in D Minor.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Un amigo del programa quería cocinar un salmón en su fiesta de cumpleaños, pese a que a algunos de sus invitados no les gusta el pescado. Superado el debate, solo faltaba por probar el salmón. Lo que ocurrió ya es leyenda.

Trio Voci visited Studio A to perform music of Beethoven and Shostakovich. The three members of the trio are currently students at Interlochen Arts Academy. Music performed in Studio A Ludwig van Beethoven, Piano Trio "Ghost": I. Allegro vivace e con brio Dmitri Shostakovich, Piano Trio no. 2: IV. Allegretto - Adagio Trio Voci members Jad Ibrahim, violin, Latakia, Syria Caleb Ryu, cello, Manlius, N.Y. Hailey Culp, piano, Cumming, Ga.

Un saludo queridos amigos y oyentes. Hoy os ofrezco una síntesis del pensamiento de dos filósofos pertenecientes al ámbito de la fenomenología que merecen ser tenidos en consideración. La semana que viene trataremos el excepcional caso de Edith Stein, una mujer judía convertida al catolicismo y discípula de Husserl. ¡No se lo pierdan! 📗ÍNDICE 0. Resúmenes. 1. PENSAMIENTO DE NICOLAI HARTMANN. 2. PENSAMIENTO DE RUDOLPH OTTO. AQUÍ https://go.ivoox.com/rf/136448677 puedes escuchar una introducción a la Fenomenología. 🎼Música de la época: 📀 Sinfonía Nº 5 en Re menor de Shostakovich, estrenada en 1937, el año del fallecimiento de Otto. 🎨Imagen: Rudolf Otto (25 de septiembre de 1869, en Peine, cerca de Hanóver, Reino de Prusia - 6 de marzo de 1937, en Marburgo, Hesse, Alemania III Reich) fue un eminente teólogo protestante alemán y un gran erudito en el estudio comparativo de las religiones. 👍Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa ¡Muchas gracias a todos!

The Bank of England has halved Britain's growth forecast for 2025 as it also predicted a spike in inflation due to rising gas and utility bills. On the day the Bank cut interest rates from 4.75% to 4.5%, governor Andrew Bailey stressed he believed the underlying trends still pointed towards reduced inflation long term. However some economists said the economy could be heading for a bout of "stagflation" - that's when growth is low but inflation is high.As a judge in the US pauses the Trump administration's offer to pay off potentially thousands of federal workers, we examine Elon Musk's takeover of the international development agency USAID.And we speak to conductor Lidiya Yankovskaya about the refugee orchestra she formed, as she prepares to conduct Shostakovich's wartime sixth symphony at the Liverpool Philharmonic Hall.

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

In this bite-sized episode of The Light Watkins Show, we revisit a pivotal moment in the life of Cole Cuchna, creator of the acclaimed podcast Dissect. Before Cole became known for breaking down albums track by track, he was a struggling musician sleeping on floors, living the band life, and questioning his path.Cole shares the turning point that led him to walk away from the band and pursue formal music education—even though he couldn't read musical notation at the time. His journey was far from easy. He navigated self-doubt, grueling coursework, and feeling like an outsider among formally trained musicians. But his persistence and love for analyzing music became his driving force.Listeners will hear how Cole's creative passion eventually aligned with his unique skills, leading him to launch Dissect, a groundbreaking podcast that explores the layers of iconic albums. From his deep dives into Beethoven and Shostakovich in college to his discovery of Kendrick Lamar's To Pimp a Butterfly, Cole reveals how every step, even the setbacks, contributed to finding his purpose.This episode is packed with inspiration for anyone feeling stuck, questioning their path, or considering a bold career pivot. Cole's story is a testament to how embracing discomfort and staying curious can lead to unexpected success. If you've ever wondered how to turn your unique passions into something meaningful, this episode is for you.Tune in to learn how Cole's journey can spark insights for your own life and leave you inspired to take the next step—no matter how uncertain it might feel.Send us a text message. We'd love to hear from you!

Here are two statements by Dmitri Shostakovich about the same piece, the 8th symphony that we are talking about today: Statement No. 1, Shostakovich's published comments about the symphony when it was first performed in 1943: The 8th Symphony reflects my…elevated creative mood, influenced by the joyful news of the Red Army's victories…. "The Eighth Symphony contains tragic and dramatic inner conflicts. But on the whole it is optimistic and life-asserting. The first movement is a long adagio, with a dramatically tense climax. The second movement is a march, with scherzo elements, and the third is a dynamic march. The fourth movement, in spite of its march form, is sad in mood. The fifth and final movement is bright and gay, like a pastoral, with dance elements and folk motifs. "The philosophical conception of my new work can be summed up in these words: life is beautiful. All that is dark and evil rots away, and beauty triumphs." Statement No. 2, from the disputed book Testimony, published in the 1970s: ‘And then the war came and the sorrow became a common one. We could talk about it, we could cry openly, cry for our lost ones. People stopped fearing tears. Before the war there probably wasn't a single family who hadn't lost someone, a father, a brother, or if not a relative, then a close friend. Everyone had someone to cry over, but you had to cry silently, under the blanket, so no one would see. Everyone feared everyone else, and the sorrow oppressed and suffocated us. It suffocated me too. I had to write about it. I had to write a Requiem for all those who died, who had suffered. I had to describe the horrible extermination machine and express protest against it. The Seventh and Eighth Symphonies are my Requiems. I don't know of a more profound example of Shostakovich's doublespeak, or of his ability to make diametrically opposing statements about the meaning behind his music.  Shostakovich's 8th symphony premiered at the height of World War II, and it was not a hit, unlike his 7th symphony which had swept the world with its seeming patriotic fervor and its devastating condemnation of the Nazis. Shostakovich's 8th is a very different piece, darker, edgier, less catchy, less simple, and certainly less optimistic. It was panned in the Soviet Union by the official critics and was effectively banned from performance in teh Soviet Union from 1948 until the late 1950s. It was also not particularly popular outside of the Soviet Union, as the 7th's popularity and accessibility dwarfed the 8th, though this equation has now flipped, with the 8th symphony now probably becoming slightly more often played than the 7th. As always with Shostakovich, he mixes tradition with his own Shostakovich-ian innovations. The symphony has a Sonata Form first movement, but that movement is longer than the following three movements combined. It has a darkness to light theme from C Minor to C Major, like in Beethoven's 5th and Mahler's 2nd, but whether the ending is optimistic is subject to furious debate. It has not 1 but 2 scherzos, but they are among the least funny scherzos ever written, and it has a slow movement that is surprisingly un-emotional. The requiem Shostakovich speaks of seems to happen slowly over the course of this 1 hour symphony. It is perhaps Shostakovich's most ambiguous mature symphony, and it is also thought of as one of his greatest masterpieces. Today on this Patreon Sponsored episode, we'll dive into this remarkable work, trying to create a framework to understand this huge and demanding symphony. Join us!

One of the great personal revelations for me in the early years of producing Countermelody was discovering the great Chinese American bass Yi-Kwei Sze (斯義桂). As the first Chinese singer to pursue a career in Western classical music, his historical significance is undisputed. What I hope to demonstrate in this episode is that his importance extends to artistic, vocal, and musical matters as well. When Sze first came to the United States, he studied under the great Ukrainian bass Alexander Kipnis, and over the course of his long career, he bore that mantle proudly. Today's episode once again explores the hidden corners of Sze's recorded legacy, which yields enormous treasures, and includes recordings of operatic (and quasi-operatic) excerpts by Verdi, Gounod, Mozart, Berlioz, and Mussorgsky as well as an excerpt of a legendary live performance of Shostakovich's “Babi Yar” Symphony, one of the first in the West. Also heard are live and studio recordings of Russian songs by Mussorgsky, Dargomizhsky, Tchaikovsky, Rachmaninov, and Balakirev; and song recordings by Poulenc, Schumann, Schubert, Tcherepnin, Xuean Liu, Dvořák, and Brahms. 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 or yearly support at whatever level you can afford.  

Kate Kennedy meets musicians who, like her, had to stop playing after injury and reshape their lives. What does being forced to fall silent mean for a musician's relationship with their instrument? "My name is Julian Lloyd Webber and I am an ex-cellist". The internationally renowned performer, Julian Lloyd Webber talks for the first time in detail to Kate about the moment he realised his 40-year career could be over mid-recital: "Suddenly I lost power in my right arm - I thought I was going to drop the bow. I had never experienced anything like it - I didn't know what was wrong or what to do. I was genuinely frightened". Julian shares the sense of bereavement he felt after his prestigious career of four decades ended due to a herniated disc in his neck. Over the next few weeks, Julian tried to pretend everything was normal. His manager was calling him with engagements he had always wanted to undertake, such as a performance of Shostakovich's First Cello Concerto in Moscow. But the wear and tear of Julian's performing career on his body was too much - he learned that the herniated disc was pressing on a nerve which was causing a loss of power in his arm. Doctors told him that he could have an operation, but with little guarantee of success, and with high risks attached. He had a young family at the time, so chose to sacrifice the cello. He has never played since. Julian and Jiaxin, his wife and fellow cellist, reflect on the last fateful concert they played together and how they've found positives in silence. Presenter: Kate Kennedy Producer: Erika Wright Production Coordinator: Elisabeth Tuohy Executive Producer: Rami Tzabar Healing Musicians is a TellTale Industries production for BBC Radio 3

Classical music and politics have never been easy bedfellows. Composers and performers throughout history have relied on patronage and support from wealthy sources in order to keep their dreams afloat, and so unlike many other forms of music, classical music often has the reputation of being a politics-free zone. But the truth is that there is a whole repertoire of classical music that is infused with politics, and not just music from the 20th and 21st centuries. Today, with the American election looming just around the corner, we'll explore a series of pieces that all had political messages, the stories behind them, the motivations of the composers who wrote these pieces, and of course, the music itself. We'll be covering music by Haydn, Smyth, Shostakovich, Verdi, Adams, and much more today - join us!

With his Fifth Symphony, Shostakovich outwitted Soviet authorities with the finesse of a double agent. Threatened by Stalin's regime, the composer skillfully appeased Soviet officials with this gripping work packed with triumphant Russian themes, but also subversive satire and daring irony. Chief conductor of the Ravinia Festival Marin Alsop also leads the CSO in a captivating work about Harriet Tubman and a beloved Chopin concerto featuring pianist Lukáš Vondráček. Learn more: cso.org/performances/24-25/cso-classical/alsop-and-vondracek

ACM's Thirsty Ears Festival is Chicago's only classical music street festival!For two days Wilson street between Hermitage and Ravenswood are closed to feature stellar ensembles and soloists performing music from Beethoven to Shostakovich to Reich and everything in between on the main stage.Read More Here Want to donate to our non-profit newsroom? CLICK HEREWho we areBlock Club Chicago is a 501(c)(3) nonprofit news organization dedicated to delivering reliable, relevant and nonpartisan coverage of Chicago's diverse neighborhoods. We believe all neighborhoods deserve to be covered in a meaningful way.We amplify positive stories, cover development and local school council meetings and serve as watchdogs in neighborhoods often ostracized by traditional news media.Ground-level coverageOur neighborhood-based reporters don't parachute in once to cover a story. They are in the neighborhoods they cover every day building relationships over time with neighbors. We believe this ground-level approach not only builds community but leads to a more accurate portrayal of a neighborhood.Stories that matter to you — every daySince our launch five years ago, we've published more than 25,000 stories from the neighborhoods, covered hundreds of community meetings and send daily and neighborhood newsletters to more than 130,000 Chicagoans. We've built this loyalty by proving to folks we are not only covering their neighborhoods, we are a part of them. Some of us have internalized the national media's narrative of a broken Chicago. We aim to change that by celebrating our neighborhoods and chronicling the resilience of the people who fight every day to make Chicago a better place for all.

Shostakovich's 4th symphony is not for the faint of heart. It is a massive work, around an hour in length, and it calls for the second largest orchestra of any in Shostakovich's output. It is uncompromising, sometimes brutal, and it isn't nearly as lyrical that later Shostakovich has in spades. But with all that said, many people, including myself, consider this symphony Shostakovich's symphonic masterpiece. It has been described as the symphony containing the kernels of everything Shostakovich would ever write after. It also marks the final piece Shostakovich wrote before his 1936 denunciation that utterly changed the course of his life. Today, on this Patreon-sponsored episode, I'll take you through this monumental work, telling you the remarkable story of the conception and aborted first performance of the symphony. Then we'll dive into the music itself, talking about the large scope of the piece, it's unusual form, and of course the raw emotional core that is always so present in Shostakovich. Join us for a wild ride!

The concert took place at the Philharmonic Hall, and was preceded by a Soviet artillery bombardment designed to silence the German lines during the ...

The Memory Palace is a proud member of Radiotopia from PRX.A Note on Notes:I always prefer that the listener goes into each episode cold, not knowing what it's going to be about. So, you might want to tread carefully, as there are spoilers in the notes below. Music L'espagne pour memoire by Michel Portal Find me Tomorrow from Christophe Beck's score to Charlie Countryman The old Soviet philharmonic plays some Shostakovich. The London Symphony Orchestra plays The Blue Danube Waltz. We hear Walt by Mother Falcon. Sombolero by Luiz Bonfa Notes Like a lot of people below, say, 55, I first heard about Olga Fikotova-Connolly when reading her obituary in the New York Times. By far the best thing you can do if you want to know more about her is track down her out-of-print memoir, The Rings of Destiny, which, despite its rather puffed-up title, is so warm and detailed and intimate. It's a delight.  You might also enjoy this late-in-life interview with Olga as well.