Podcasts about shostakovich symphony no

Where to start with classical music? Annie and Nick call a conductor for some honest tips on the genre. Elsewhere, SAULT have released an album for free via WeTransfer, Justin Bieber has been paid to perform for an Indian billionaire and is Kendrick Lamar's video for ‘Not Like Us' the final nail in the rap beef coffin? Plus, how did Stonehenge get there and what song would you play at your funeral? Oliver Zeffman's Classical Music Tips: Claude Debussy – Prélude à l'après-midi d'un faune Shostakovich – Symphony No. 5 Mahler - Symphony No. 2 Get in touch with Annie and Nick! If you're over 16 WhatsApp 079700 82700 or email sidetracked@bbc.co.uk

Jeff joins the couch to give his review of Stellar Blade and deep dive into one of the greatest symphony composers of all time.Chapters:(00:01:57) Children's Television (00:36:32) Star Citizen (with League and GTA) (00:57:17) Lethal Company (01:12:55) Stellar Blade Review (01:54:07) Shostakovich: Symphony No. 5 (02:50:40) D&D Session 1 CritiqueSubscribe:Amazon Music | Apple Podcasts | Google Podcasts | iHeart Radio | Overcast | Pocket Casts | Radio Public | Spotify This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.couchcompany.games

In the second episode of the 2024 Season of Young Artists Spotlight, Dr. Thomas Loewenheim leads the FOOSA Philharmonic in Dmitri Shostakovich's cinematic Symphony No.11 at Disney Hall in Los Angeles.

Jeremy Eichler's new book, Time's Echo, just out from Faber (HB; £25) tangles with memory – what we choose to remember, what to forget – as history takes hold, and he argues that music can become in many ways the most powerful form of memorial. To illustrate this argument, he engages with works by Richard Strauss, Arnold Schoenberg, Dmitri Shostakovich and Benjamin Britten. James Jolly caught up with him recently to talk about the book.  The musical excerpts which appear on the podcast, with kind permission, are: Shostakovich Symphony No 13, 'Babi Yar' Nikita Storojev; CBSO & Choir / Okko Kamu (Chandos) Schoenberg A Survivor or from Warsaw Franz Mazura; CBSO & Chorus / Simon Rattle (Warner Classics) R Strauss Metamorphosen Sinfonia of London / John Wilson (Chandos) Britten War Requiem Soloists; Choristers of St Paul's Cathedral; LSO & Chorus / Richard Hickox (Chandos) This Gramophone Podcast is published in association with Wigmore Hall. Visit Wigmore Hall's webite for full details of this week's events.

Synopsis The first Piano Concerto by Brahms received its premiere public performance on today's date in 1859 with the Hanover Court Orchestra under the direction of Brahms's close friend Joseph Joachim and its 25-year composer as soloist. That first night audience had never heard anything quite like it. In his biography of Brahms, Jan Swafford describes what was expected of a piano concerto back then, namely “virtuosic brilliance, dazzling cadenzas, not too many minor keys, [and nothing] too tragic.” “To the degree that these were the rules,” writes Swafford, “[Brahms] violated every one of them.” His concerto opens with heaven-storming drama, continues with deeply melancholic lyricism, and closes with something akin to hard-fought, even grim, triumph. Rather than a display of flashy virtuosity, Brahms's concerto comes off as somber and deeply emotional. A second performance, five days later in Leipzig, was hissed. "I am experimenting and feeling my way,” Brahms wrote to his friend Joachim, adding, "all the same, the hissing was rather too much." Now regarded a dark Romantic masterpiece, it's important to remember how long it took audiences to warm to Brahms' music. The American composer Elliott Carter recalled that even in the 1920s, Boston concert goers used to quip that the exit signs meant, "This way in case of Brahms." Music Played in Today's Program Johannes Brahms (1833-1897) Piano Concerto No. 1 in D Minor, Op. 15 - I. Maestoso - Poco più moderato Maurizio Pollini, piano; Berlin Philharmonic; Claudio Abbado, cond. DG 447041 On This Day Births 1899 - Russian-born American composer Alexander Tcherepnin, in St. Petersburg (Julian date: Jan. 9); Deaths 1851 - German opera composer Albert Lortzing, age 49, in Berlin; 1948 - Italian composer Ermanno Wolf-Ferrari, age 72, in Venice; Premieres 1713 - Handel: opera "Teseo" (Julian date: Jan. 10); 1725 - Bach: Sacred Cantata No. 111 ("Was mein Gott will, das g'scheh allzeit") performed on the 3rd Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1816 - Cherubini: "Requiem," in Paris; 1880 - Rimsky-Korsakov: opera "May Night," in St. Petersburg, Napravnik conducting (Julian date: Jan. 9); 1904 - Janácek: opera "Jenufa" in Brno at the National Theater; 1927 - Roussel: Suite in F for orchestra, in Boston; 1929 - Schreker: opera "Der Schatzgräber" (The Treasure Hunter), in Frankfurt at the Opernhaus; 1930 - Shostakovich: Symphony No. 3 ("May First"), in Leningrad; 1936 - Gershwin: "Catfish Row" Suite (from the opera "Porgy and Bess"), by the Philadelphia Orchestra, Alexander Smallens conducting; 1947 - Martinu: "Toccata e due canzona" for chamber orchestra, in Basel, Switzerland; 1968 - Bernstein: song "So Pretty" (a song protesting the Vietnam War) at Philharmonic Hall (now Avery Fisher Hall) in New York City, with singer Barbra Streisand and the composer at the piano; 1968 - Allan Pettersson: Symphony No. 6, in Stockholm; 1988 - Christopher Rouse: Symphony No. 1, by the Baltimore Symphony, David Zinman conducting; Links and Resources On Brahms

以第一次世界大战为界，很多浪漫主义晚期的作曲家们不约而同的纷纷停止了自己的创作活动，而年轻一代的新作曲家们仿佛格外地对浪漫主义过敏或厌恶，更愿意以一种离经叛道的形象示人。本期，我们就来聊聊这一时期的音乐面貌。包含曲目：0:26-Symphony No. 1 in D Major, Op. 25 - I. Allegro (Remastered)（普罗科菲耶夫）5:24- Symphony No.1, Op.10 - Shostakovich: Symphony No.1, Op.10 - 1. Allegretto - Allegro non troppo (肖斯塔科维奇第1号交响曲，作品10 - 第一乐章 小快板，不太过分的快板)11：18- Symphony No. 7 in A Minor, Op. 92: II. Allegretto (A大调第7号交响曲，作品92 - 第二乐章 小快板)（托斯卡尼尼指挥）

Synopsis If the late 18th century is the “Classical Age,” and the 19th “The Romantic,” then perhaps we should dub our time “The Eclectic Age” of music. These days, composers can—and do—pick and choose from a wide variety of styles. The American composer William Bolcom was loath to rule anything out when he approached the task of setting William Blake's Songs of Innocence and of Experience to music. Bolcom calls for a large orchestra, multiple choruses, and more than a dozen vocal soloists versed in classical, pop, folk, country, and operatic styles. There are echoes of jazz, reggae, gospel, ragtime, country and rock idioms as well. As Bolcom put it: "At every point Blake used his whole culture, past and present, high-flown and vernacular, as sources for his many poetic styles. All I did was use the same stylistic point of departure Blake did in my musical settings.” The massive work received its premiere performance in Stuttgart, Germany, on today's date in 1984. Most of the work was completed between 1973 and 1982, after Bolcom joined the faculty of the University of Michigan in Ann Arbor, and it was there that the work received its American premiere a few months following its world premiere in Germany. Music Played in Today's Program William Bolcom (b. 1938) Songs of Innocence and of Experience Soloists; Choirs; University of Michigan School of Music Symphony; Leonard Slatkin, conductor. Naxos 8.559216/18 On This Day Births 1792 - American composer and educator Lowell Mason, in Medford, Massachusetts; 1812 - Swiss composer and pianist Sigismond Thalberg, in Pâquis, near Geneva; 1896 - Czech composer Jaromir Weinberger, in Prague; 1899 - Russian-born American composer Alexander Tcherepnin (Gregorian date: Jan. 21); 1905 - Italian composer Giacinto Scelsi, in La Spezia; 1924 - Russian-American composer Benjamin Lees (née Lysniansky), in Harbin, Manchuria; 1924 - Austrian-born American composer Robert Starer, in Vienna; 1935 - The charismatic rock 'n' roll performer Elvis Presley is born in Tupelo, Miss.; 1937 - American composer Robert Moran, in Denver; Deaths 1713 - Italian composer and violinist Arcangelo Corelli, age 59, in Rome; 1831 - Moravian-born composer and violinist Franz Krommer, age 71, in Vienna; 1998 - British composer Sir Michael Tippett, age 93, in London; Premieres 1705 - Handel: opera "Almira" in Hamburg; This was Handel's first opera (see also Dec. 5 & 30 for related contemporary incidents); 1720 - Handel: opera "Radamisto" (2nd version), in London (Julian date: Dec. 28, 1720); 1735 - Handel: opera "Ariodante" in London at the Covent Garden Theater (Gregorian date: Jan. 19); 1843 - Schumann: Piano Quintet in Eb, Op. 44, at Leipzig Gewandhaus with pianist Clara Schumann; 1895 - Brahms: Clarinet Sonata, Op. 120, no. 1 (first public performance), in Vienna, by clarinetist Richard Mühlfeld, with the composer at the piano, as part of the Rosé Quartet's chamber music series; The first performance ever of this work occurred on September 19, 1894, at a private performance in the home of the sister of the Duke of Meiningen at Berchtesgaden, with the same performers; Brahms and Mühlfeld also gave private performances of both sonatas in Frankfurt (for Clara Schumann and others) on November 10-13, 1894; at Castle Altenstein (for the Duke of Meiningen) on Nov. 14, 1894; and on Jan. 7, 1895 (for members of the Vienna Tonkünstler Society); 1911 - Florent Schmitt: "La tragédie de Salomé" for orchestra, in Paris; 1927 - Berg: "Lyric Suite" for string quartet, in Vienna, by the Kolisch Quartet; 1928 - Hindemith: "Kammermusik" No. 7, Op. 46, no. 2, in Frankfurt, with Ludwig Rottenberg conducting and Reinhold Merten the organist; 1940 - Roger Sessions: Violin Concerto, by the Illinois Symphony conducted by Izler Solomon, with Robert Gross as soloist; The work was to have been premiered by Albert Spalding with the Boston Symphony under Koussevitzky in January of 1937, but did not take place); 1963 - Shostakovich: opera "Katerina Izmailova" (2nd version of "Lady Macbeth of the Mtsensk District"), in Moscow at the Stanislavsky-Nemirovich-Dachenko Music Theater; 1971 - Shostakovich: Symphony No. 15, in Moscow, by the All-Union Radio and Television Symphony, with the composer's son, Maxim, conducting; 1987 - Christopher Rouse: "Phaethon" for orchestra, by the Philadelphia Orchestra, Riccardo Muti conducting; 1988 - Schwantner: "From Afar . . . " (A Fantasy for Guitar and Orchestra), by guitarist Sharon Isbin with the St. Louis Symphony, Leonard Slatkin conducting; Others 1923 - First broadcast in England of an opera direct from a concert hall, Mozart's "The Magic Flute" via the BBC from London; Links and Resources More on Wiiliam Bolcom More on William Blake

肖斯塔科维奇，20世纪最伟大的作曲家之一，一个终生都在等待枪决的男人。对于走过那个大清洗时代的自己，他的自传里有这么一句话： “病态的藐视是病态的谄媚的另一面。在一个人的灵魂中，藐视与谄媚是并存的。”包含曲目：0:26 - Shostakovich: Symphony No. 5 in D Minor, Op. 47 - I. Moderato;3:59 - Shostakovich: Piano Concerto No.2 In F Major Op.102 : II Andante;10:53 - Suite For Variety Orchestra No. 1 (Jazz Suite No. 2) Waltz No. 2.

最後的勝利真的是他想要的嗎？ 點一下就可以看到我所有平台的連結

Eight days before Russia invaded Ukraine, Vitaliy wrote an article saying there would be no war. He was certain of it, and he was completely wrong. How could he get it so wrong? The more you knew about the situation, the less likely you were to see it clearly. He dives into why in this podcast. Link to Ukraine charities: https://contrarianedge.com/ukraine-charities/ Who Am I? (and my composers) article link: https://contrarianedge.com/who-am-i-and-my-composers/ You can read this article online here: https://contrarianedge.com/war-in-ukraine-why-i-was-blindsided-part-1/ Shostakovich Symphony No. 7 link: https://myfavoriteclassical.com/shostakovich-symphony-no-7/  

Welcome to Season Five of Beethoven Walks into a Bar! We kick off the season and 2022 with Maestro Joshua Weilerstein. A podcaster in his own right, Joshua explains how his own show, Sticky Notes, came to be. He also chats about his upcoming visit to KC conducting Shostakovich Symphony No. 5, Gershwin's Piano Concerto in F and William Grant Still's Poem. We also take on another Top 5 challenge exploring the Top 5 Most Influential Classical Music Families (excluding the Sterns and the Weilersteins, of course). All that and more this week on Beethoven Walks into a Bar. https://open.spotify.com/playlist/6dw39FGW8sBlFYN66bD4bk?si=39614356b2274bf2 (Episode 501 Playlist)

Last week I told you the story of the genesis of Shostakovich's 5th symphony. We talked politics, but we also talked about just the music itself. Today, I'll take you through the second half of the symphony, again first from a musical point of view. But by the end of the piece, the political conversation and the debate over the ending itself becomes unavoidable. There is no other piece whose character or even tempo is as debated as the ending of Shostakovich's 5th, so we're going to have it out! Join us!

Shostakovich's life and career was so wrapped up with his relationship to the Soviet government that it is sometimes hard to appreciate that, all else aside, he was one of the great 20th century composers. His 5th symphony is the meeting point between Shostakovich's music and the political web he was often ensnared in, and it is a piece that is still being vociferously debated. This week we're going to tell the story of the piece's genesis, and then we'll explore the first two movements of the symphony.

In 1956, Dmitri Shostakovich wrote: “I am now writing my 11th symphony, dedicated to the First Russian Revolution...I would like in this work to reflect the soul of the people who first paved the way to socialism.” Soviet loyalists were thrilled with the piece, but his friends were disappointed at this seemingly blatant act of propaganda. But quickly, a new and more subversive narrative emerged about this sprawling, cinematic, and elementally powerful symphony. Find out all about this masterpiece this week!

Synopsis Yes, Juliet, a rose by any other name may smell as sweet, but a catchy title alone can't help a piece of music that's uninspired or just plain boring. An intriguing title, however can sometimes help put audiences into a more receptive frame of mind – or at least pique their curiosity. From the very beginning of his career in the 1980s, the young American composer Michael Torke had the knack of coming up with quite evocative titles. His early works had titles like “Ecstatic Orange” and “Bright Blue Music.” A piece composed for the 1994 Olympic Games in Atlanta was titled “Javelin,” and this music, an orchestral suite that premiered in Amsterdam on today's date in 1997, was titled “Overnight Mail.” And each of the three movements of his orchestral suite had an ADDITIONAL title, as Torke explains: “The titles of the suite's three movements, Priority, Standard, and Saturday Delivery present the options for expediency when sending things, but musically, they represent different reactions to an abstract compositional problem I set up for myself … For me this was important, because I want to write music that follows all the old rules of voice leading and counterpoint, but sounds fresh.” Music Played in Today's Program Michael Torke (b. 1961) — Overnight Mail (Orkest de Volharding; Jurjen Hempel, cond.) Argo 455 684 On This Day Births 1673 - French flutist and composer Jacques-Martin Hottetere, in Paris; Deaths 1977 - Russian composer Alexander Tcherepnin, age 78, in Paris; Premieres 1918 - Holst: "The Planets," at Queen's Hall, London; 1921 - Sigmund Romberg: operetta "Blossom Time," in New York City; 1949 - Bliss: opera "The Olympians," in London; 1968 - Henze: Piano Concerto No. 2, in Bielefeld, Germany; 1969 - Shostakovich: Symphony No. 14 (to poems of Lorca, Apollinaire, Küchelbecker, and Rilke), in Leningrad, by the Moscow Chamber Orchestra, Rudolf Barshai conducting, with vocal soloists Galina Vishnevskaya and Yevgeny Vladimirov; 1983 - Lutoslawski: Symphony No. 3, in Chicago; 1997 - Michael Torke: "Overnight Mail" for chamber ensemble, in Carre, Amsterdam, by the Orkest de Volharding, Jurjen Hempel conducting; 2000 - Tan Dun: "Crouching Tiger Concerto," at the Barbican Festival in London, by the London Sinfonietta; Others 1739 - Handel completes in London his Concerto Grosso in G, Op. 6, no. 1 (Gregorian date: Oct. 10); 1789 - Mozart completes in Vienna his Quintet in A for clarinet and strings, K. 581, written for clarinetist Anton Stadler, who gave the first public performance of the new work in December of that year. Links and Resources On Torke

A true collector's album.World Premiere recording of Symphony No. 15.Conducted by Maksim ShostakovichThe Moscow Radio and Television Symphony OrchestraPurchase the music (without talk) at:http://www.classicalsavings.com/store/p1387/Shostakovich%3A_Symphony_No._15_in_A_Major%2C_Op._141.htmlYour purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

"¿Hacia dónde se inclina el fiel de la balanza de la libertad?" Poema SOLEDAD / Washington Daniel GOROSITO PÉREZ 🔻 "Si te gusta... compártelo" Podcast: Narraciones PONEspañol - https://linktr.ee/Narraciones_PONEspanol / Poemas: SOLEDAD et alia 1. Primera línea 2. El alquimista 3. Soledad 4. Batallas internas 5. Pesadilla Autor: Washington Daniel Gorosito Pérez Narrador: Mario Peralta Publicación: METAPOESÍA - https://metapoesia.es.tl/Washington-Daniel-Gorosito-Perez.htm / FONDO SONORO: 1. Shostakovich: Symphony No. 5 (Bernstein NYPO 1959) - https://youtu.be/bn3Fa175ppA / 2. Discursos presidentes: Xi Jinping (China), Angela Merkel (Alemania), Vladimir Putin (Rusia) y Donald Trump (USA) /3. Mezcla y Efectos - Mario Peralta

Hosted by Eric Garcia:Music in Shostakovich and Stalin:Shostakovich: Symphony No. 4Royal Liverpool Philharmonic OrchestraVasily Petrenko, conductor℗ 2013 NaxosShostakovich:Lady Macbeth of MtsenskGalina Vishnevskaya, Dimiter Petkov, & Nicolai GeddaLondon Philharmonic OrchestraMstislav Rostropovich, conductor℗ 2002 by EMI Records ltdShostakovich : Concerto for Piano, Trumpet, Strings/Piano Concerto No.2/Symphony No.1Berliner PhilharmonikerMariss Jansons, conductor℗ The copyright in these sound recordings is owned by EMI Records Ltd. This compilation (P) 2003 by EMI Records Ltd.Shostakovich: Piano Concerto No. 1, Piano Quintet & ConcertinoMartha ArgerichOrchestra della Svizzera ItalianaAlexander Verdernikov, conductor℗ 2007 Parlophone Records Limited, a Warner Music Group CompanyTea for TwoBenny Goodman Greatest Hits (Remastered)Benny Goodman Quartet℗ 1996 BMG MusicShostakovich: The Jazz AlbumConcertgebouworkest Riccardo Chailly, conductor℗ 1992 Decca Music Group LimitedProkofiev: Alexander Nevsky; Scythian Suite; Lieutenant KijéChicago Symphony Orchestra, Elena Obraztsova & London Symphony OrchestraClaudio Abbado, conductorThis Compilation ℗ 1995 Deutsche Grammophon GmbH, Berlin50 of the Best: J.S. BachBournemouth Symphony OrchestraJosé Serebrier, conductor℗ 2011 Naxos Digital CompilationsStravinsky: Oedipus RexAnne Sofie von Otter, Vinson Cole, Nicolai Gedda, Hans Sotin, Simon Estes, Swedish Radio Choir, Swedish Radio Symphony Orchestra & The Eric Ericson Chamber ChoirEsa-Pekka Salonen, conductor℗ 1992 SONY BMG MUSIC ENTERTAINMENT

Hosted by Eric Garcia:Music in Shostakovich and Stalin:Shostakovich: Symphony No. 4Royal Liverpool Philharmonic OrchestraVasily Petrenko, conductor℗ 2013 NaxosShostakovich:Lady Macbeth of MtsenskGalina Vishnevskaya, Dimiter Petkov, & Nicolai GeddaLondon Philharmonic OrchestraMstislav Rostropovich, conductor℗ 2002 by EMI Records ltdShostakovich : Concerto for Piano, Trumpet, Strings/Piano Concerto No.2/Symphony No.1Berliner PhilharmonikerMariss Jansons, conductor℗ The copyright in these sound recordings is owned by EMI Records Ltd. This compilation (P) 2003 by EMI Records Ltd.Shostakovich: Piano Concerto No. 1, Piano Quintet & ConcertinoMartha ArgerichOrchestra della Svizzera ItalianaAlexander Verdernikov, conductor℗ 2007 Parlophone Records Limited, a Warner Music Group CompanyTea for TwoBenny Goodman Greatest Hits (Remastered)Benny Goodman Quartet℗ 1996 BMG MusicShostakovich: The Jazz AlbumConcertgebouworkest Riccardo Chailly, conductor℗ 1992 Decca Music Group LimitedProkofiev: Alexander Nevsky; Scythian Suite; Lieutenant KijéChicago Symphony Orchestra, Elena Obraztsova & London Symphony OrchestraClaudio Abbado, conductorThis Compilation ℗ 1995 Deutsche Grammophon GmbH, Berlin50 of the Best: J.S. BachBournemouth Symphony OrchestraJosé Serebrier, conductor℗ 2011 Naxos Digital CompilationsStravinsky: Oedipus RexAnne Sofie von Otter, Vinson Cole, Nicolai Gedda, Hans Sotin, Simon Estes, Swedish Radio Choir, Swedish Radio Symphony Orchestra & The Eric Ericson Chamber ChoirEsa-Pekka Salonen, conductor℗ 1992 SONY BMG MUSIC ENTERTAINMENT

Symphony No. 15 in A Major, Op. 141 by Dmitri Shostakovich was his last. He completed it in the summer of 1971 while receiving medical treatment in the town of Kurgan, then later at his dacha in Repino. It was his first purely instrumental and non-programmatic symphony since the Tenth. Piano Concerto No. 2 in F major, Op. 102, by Dmitri Shostakovich, was composed in 1957 for his son Maxim's 19th birthday. Maxim premiered the piece during his graduation at the Moscow Conservatory. This piano concerto was intended to be the last piece he wrote for piano. It contains many similar elements to his other composition, Concertino for Two Pianos. They were both written to be accessible for developing young pianists. It is an uncharacteristically cheerful piece, much more so than most of Shostakovich's works. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1266/Shostakovich%3A_Symphony_No._15_and_Piano_Concerto_No._2.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

The Symphony No. 14, Op. 135 by Dmitri Shostakovich was completed in the spring of 1969 and was premiered later that year. It is a work for soprano, bass, and a small string orchestra with percussion, consisting of eleven linked settings of poems by four authors. Most of the poems deal with the theme of death, particularly that of unjust or early death. They were set in Russian, although two other versions of the work exist with the texts all back-translated from Russian either into their original languages or into German. The symphony is dedicated to Benjamin Britten (who gave the UK premiere the following year at Aldeburgh). Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1252/Shostakovich%3A_Symphony_No._14%2C_Op._135.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Shostakovich: Symphony No.. 11 in G minor, Op. 103 "The Year 1905" Kathryn Cavanaugh, conductor CMD Grand Opera Company of Venice Orchestra Prokofiev: Symphony No. 7, Op. 131 Sylvia Wagner, conductor CMD German Opera Company of Berlin Orchestra Purchase the music (without talk) at: http://www.classicalsavings.com/store/p941/Shostakovich%3A_Symphony_No._11_and_Prokofiev%3A_Symphony_No._7.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Shostakovich: Symphony No. 9 in E-flat Major, Op. 70 Kathryn Cavanaugh - Conductor/Producer CMD Grand Opera Company of Venice Orchestra Prokofiev: Symphony No 6 in C-flat minor, Op. 111 Sylvia Wagner - Conductor CMD German Opera Company of Berlin Orchestra Purchase the music (without talk) at: http://www.classicalsavings.com/store/p885/Shostakovich_9_and_Prokofiev_6.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Shostakovich: Symphony No. 8 in C minor, Op. 65 Shostakovich: Piano Concerto No. 2 in F Major, Op. 102 Featuring CMD Piano Competition Winner - Viktoria Shevchenko Kathryn Cavanaugh - Conductor/Producer CMD Grand Opera Company of Venice Orchestra Joana Filipe Martinez - Conductor/Producer CMD Grand Opera Company of Barcelona Spain Orchestra Purchase the music (without talk) at: http://www.classicalsavings.com/store/p860/Shostakovich%3A_Symphony_No._8_and_Piano_Concerto_No._2_.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Dmitri Shostakovich's Symphony No. 7 in C major, Op. 60 (titled Leningrad), was written c. 1939–40. Initially dedicated to the life and deeds of Vladimir Lenin, Shostakovich decided instead to dedicate the symphony to the besieged city of Leningrad on its completion in December 1941. The Leningrad première of the piece was staged while the city was under siege by Axis and Finnish forces. The work remains one of Shostakovich's best-known compositions. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p846/Shostakovich%3A_Symphony_No._7_%22Leningrad%22%2C_Op._60.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

The Symphony No. 5 in D minor, Op. 47, by Dmitri Shostakovich is a work for orchestra composed between April and July 1937. Its first performance was on November 21, 1937, in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky. The premiere was a huge success and received an ovation that lasted well over half an hour. Conducted by Maestra Kathryn Cavanaugh - Executive Director and Conductor CMD Grand Opera Company of Venice Orchestra Purchase the music (without talk) at: http://www.classicalsavings.com/store/p698/Shostakovich%3A_Symphony_No._5_in_D_minor%2C_Op._47.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

The Symphony No. 1 in F minor (Opus 10) by Dmitri Shostakovich was written in 1924–1925, and first performed in Leningrad by the Leningrad Philharmonic under Nikolai Malko on 12 May 1926. Shostakovich wrote the work as his graduation piece at the Petrograd Conservatory, completing it at the age of 19. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p1096/Shostakovich%3A_Symphony_No._1_in_F_minor%2C_Op._10.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

From Erie Philharmonic Marketing Manager Brigit Stack Dmitri Shostakovich (1906-1975) The term “protest music” typically conjures images and sounds of the 60’s folk and rock music that we come to associate with counter-culture and social movements of that era. But to anyone who’s ever listened to Dmitri Shostakovich’s music, the term applies to many pieces of orchestral music as well. In the orchestral world, in fact, there’s many instances of radical music – oftentimes without words – that spoke to political movements, uprisings, tragedies and more. Sometimes the music was composed posthumously, but it was nevertheless revolutionary and sometimes dangerous to publish or perform. Throughout the history of classical music, there is no better example of this than composer Dmitri Shostakovich. So much of what he wrote spoke to Joseph Stalin’s regime in what we now know as Russia and criticized it, even when the focus of his music was not outwardly named to be referencing that environment. Below I want to recommend some of what I believe to be the most powerful and daring music Shostakovich composed to protest the morally corrupt and apprehensible things he lived through. Much of Shostakovich’s music becomes clearly more relevant today and underscores how some of Russia’s history is playing out again in our current moment, standing as “protest music.” His music showcases that in times of strife and despair at a larger, governmental level, there are two types of this protest music: covert themes and musical styles and overt protest through topics and dedications. Shostakovich: Symphony No. 5 When Joseph Stalin was still reigning over the Soviet Union, Shostakovich often tried to hide his protests as hidden “covert” messages and themes in his music. One of the pieces that illustrated this was his Symphony No. 5. The piece was written after a newspaper article condemned his opera, Lady Macbeth of the Mtsensk District. His opera was denounced in the newspaper Pravda, in an article titled “Muddle Instead of Music.” Solomon Volkov wrote, “the Party newspaper…carried out a sentence that was to be final (and not subject to appeal): ‘This is music intentionally made inside out…This is leftist muddle.’ As will be shown, these angry opinions belonged personally to Stalin, the country’s main cultural arbiter” (34). Shostakovich immediately began to fear for his life and his family’s safety, sleeping in the stairwell in case Stalin’s police came to take him away in the middle of the night. To illustrate the fear of dying in Stalin’s Soviet Union, “Someone said then ‘it used to be a lottery now it’s a queue’” (Volkov 213). Before his composition of the 5th Symphony, his older sister had been arrested and his mother-in-law sent to a concentration camp. His music was too vulgar and dark and Stalin wanted the Soviet Union and its history to remain in a positive light – whether it meant glorifying its heroes or more “optimistic” sounding music. Although the music has its darker moments, it ends with a triumphant and more positive tone/major key (the same key as Beethoven’s “Ode to Joy”), keeping the overall message of the symphony tongue in cheek. This interpretation is depicted especially in the audience’s response to its premiere. “By the end of the symphony, the entire audience was standing, applauding wildly through their tears” (Volkov 150). The standing ovation was said to last for more than 30 minutes. The apparent “joyful” final movement of the piece turns around, however, and mocks the very thing Shostakovich was trying to save himself from. The terror felt by many under Stalin was so profound that even the joy and appreciation felt towards their leaders and country was often forced out of necessity and not true patriotism. Shostakovich later said, “I think it is clear to everyone what happens in the Fifth [Symphony]. The rejoicing is forced, created under threat, as in Boris Gudunov. It’s as if someone were beating you with a stick and saying. ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering. ‘Our business is rejoicing, our business is rejoicing.’” (qtd. in Volkov 183). News had also reached Stalin that Shostakovich was depressed and contemplating suicide after the Pravda article, which made him consider taking further action against him. Volkov wrote, “Shostakovich’s suicide could turn into an international scandal with unpredictable ramifications” (117). Shostakovich’s new symphony gave Stalin the chance to keep the composer around and still maintain his cultural authority – to praise the piece and set all back to normal, however terrifying that might still be for Shostakovich.Shostakovich plays a fragment of Symphony No. 7 on pianoAnother composition of Shostakovich’s that illustrates his covert protests of his government is Symphony No. 7, dubbed “Leningrad” and linked with the Siege of Leningrad by Hitler’s forces. Although the piece was mobilized as propaganda to bolster the war effort, it was composed under different intentions and still qualifies as protest music. The onset of the siege of Leningrad allowed him to hide his intentions even more, and Shostakovich also smuggled the piece outside of the country to be performed in the United States and England. Arturo Toscanini – an anti-fascist himself – premiered the piece with the NBC Radio Orchestra. The enemy within their own country was disguised as the enemy outside – the Axis powers now invading and terrorizing the Soviet Union. Due to Shostakovich’s son’s confirmation of events and the practice of “glasnost” (openness about Russia’s history) under Mikhail Gorbachev, much was revealed about the motives and messages behind Symphony No. 7. Testimony by Solomon Volkov was a contested source on so much of Shostakovich’s intentions behind his works, disputed by some to be Volkov’s words more than the late composer’s. Later, however, Maxim Shostakovich (his son) confirmed that many of the political views detailed were indeed his father’s. Musicologist Ludmila Mikheyeva claimed that the themes of this symphony were played for his students before the war with Germany even began. Later, Shostakovich said, “Even 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 felt it was my responsibility, my duty. 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” (qtd. in Volkov 172). The actual siege by outside forces simply gave the piece a disguise to wear as it expressed so much of the loss all, including Shostakovich, had felt. Shostakovich on the cover of TIME magazine - the composer was used as wartime propaganda in Russia. Shostakovich dressed and posed on a roof as a firefighter for after bombing raids, although he never served in the war After Stalin’s death in 1953, Shostakovich began using more overt methods to protest the brutality and mistreatment of people under Stalin and fascism. One of the most overt representations of this was his String Quartet No. 8., written and finished in 1960 in only 3 days. The dedication made his intentions clear: it was dedicated to “the victims of fascism and war,” and composed shortly after the composer reluctantly joined the Communist Party. His son, Maxim, claims the dedication was for all victims of totalitarian, fascist regimes while his daughter Galina claims that Shostakovich meant it for himself. Both interpretations have merit; many of the melodies of the string quartet were taken from Jewish folk tradition and although we often learn of the anti-Semitism in Hitler’s Germany, it was far more rampant than we think. It permeated the United States as well as Stalin’s Soviet Union. As Shostakovich had said, “Jewish folk music has made a most powerful impression on me. I never tire of delighting in it. It can appear to be happy while it is tragic. It’s almost always laughter through tears. Jews became a symbol for me. I tried to convey that feeling in my music. It was a bad time for Jews then. In fact, it’s always a bad time for them” (qtd. in Civetta). His daughter’s interpretation carries the same merit because Shostakovich’s musical motif is repeated in every movement of this string quartet. This motif is known as the DSCH motif, standing for the notes of D, E flat, C, and B natural. In German musical notation this would be written as D, Es, C, and H, resembling D. Sch, or Dmitri Shostakovich. He often added it to his music to represent himself and it is no coincidence that he would be frequently represented in a piece dedicated to the victims of fascism and war: he himself was one. Since Stalin upheld these policies of anti-Semitism and often singled out Shostakovich’s music for its vulgar, dark nature, this composition after the ruler’s death was a breath of fresh air. It stands as a true protest against the pressures and sorrows Shostakovich had felt his whole life, feelings he often felt mutually expressed in Jewish music. The second movement especially mobilizes one to stand up for what is right, to take down that which oppresses and hurts and to perhaps understand through music other’s lived experiences. “Bloody Sunday” at the Winter Palace in Russia, 1905 Perhaps the most relevant and protest-oriented composition of Dmitri Shostakovich’s is his Symphony No. 11, “The Year 1905.” The historic events that inspired it conjure images of the last few weeks of protests across our country and the world. The dedication of the piece is a telling enough introduction, with movements titled after the events of the 1905 protests and rebellion against the Tsar and the Russian monarchy. These protests proceeded the 1917 Bolshevik Revolution, Lenin’s rise to power and the eventual leadership under Joseph Stalin. 1905 was a time of unrest involving everyone from the peasant to the working class, the military and more. One of the main events of this revolution was “Bloody Sunday,” where protestors led a march to the Winter Palace to deliver a petition to the Tsar. As they advanced, guards fired upon them, resulting in hundreds of deaths. Protests, strikes, and looting erupted once again in response. Tens of thousands of people would die as the government attempted to restore peace. The opening movement of Symphony No. 11 is titled “The Palace Square,” and introduces the foreboding sense of calm before the violence, which is depicted so well in the second movement, called “The 9th of January,” titled so after the event’s date. The third movement pays homage to those who perished as a result of Bloody Sunday, using the funeral march “You fell as victims,” while the final movement foreshadows that the seeds of the 1917 revolution have been sown. The ending is both foreboding and yet triumphant – a warning and a rallying cry. Revolutionary texts were also heavily cited in the melodies of the movements, not lyrically, but the melodies were known by many as most people grew up singing or hearing those songs. One such song was the march “You fell as victims.” Another was “Rage, Tyrants,” which tolls, “Let our call thunder like a thunderbolt, […] As the sun of freedom will look from behind a cloud, - To death! To death! To your death, tyrants!” Symphony No. 11 was often called a “film score without a film,” because it so aptly and tangibly expresses through music the fear, violence, and oppression of the events on January 9. One could argue that so much of Dmitri Shostakovich’s music does. These overt protestations after Stalin’s death came as protests to his memory – to the history and glorification he wanted so much for the Soviet Union and himself. Shostakovich and his music outlived the cruel ruler, and helped to rewrite his image in the eyes of his countrymen and the world. These symphonies and string quartets certainly connect to the many things we see protested and mourned today. Though we may not have Russia’s history, we have our own. We have the Boston Massacre, the American Revolution, the Civil War, the Montgomery Bus Boycotts, the Freedom Rides, the Farmworker’s Union strikes, the March on Washington and many other events, including today’s protests. Although most of us might not live in fear of disappearing from our homes in the night, we still find ourselves fighting for some of the same liberties, freedoms, and comforts. Stalin saw arts and culture as an integral tool in emboldening and influencing the society around him – and he was right. At the same time that a piece of music could claim to bow its head respectfully towards a leader, it could also mock and hide its meaning in subtle ways and key signatures. We can mobilize music again to share our feelings and look ahead towards a time where we no longer feel the constant barrage of these negativities. Perhaps most important of all, we can sympathize with and try to understand the pain and oppression of others. As conductor Kurt Sanderling said, “The quartets are messages to all his friends. The symphonies are messages to mankind” (qtd. in Anderson 374). Shostakovich managed to bottle up the visceral feelings of fear, pain, injustice, anger and sorrow and express them so often wordlessly through music. Music can once again be a revolutionary act to stand up, stand out and express things we often cannot put into words or share plainly and openly.Want to hear more about music history and what we’re performing next? Sign up for our email list: Sign up

Good Morning, This is Louise. Episode 78 - Slow Mystery featuring music by John Cale, Lou Reed & Nico, Group Kancana Sari Bandung, Alice Smith, Freddie Gibbs & Madlib, Belo Cozad, Sonny Terry, Bbymutha, COUCOU CHLOE, King Tubby, TT The Artist & UNIIQU3, SASAMI, Baltic Chamber Orchestra & Emmanuel Leducq-Barôme, J Dilla, Bavarian Radio Symphony Orchestra & Mariss Jansons, Dai Burger & Kidd Kenn, TT The Artist, Jazmine Sullivan, Bunny Lee & The Aggrovators, and Michael Sanderling & Dresdner Philharmonie with ambient field recordings by Nomadic Ambience, also featuring ASMR recordings by WhispersRed programmed and produced by @small_ernst Thank you for listening Namo Guan Shi Yin Pusa

Dmitri Shostakovich composed his Symphony No. 12 in D minor, Op. 112, subtitled The Year of 1917, in 1961, dedicating it to the memory of Vladimir Lenin, leader of the Bolshevik Revolution, as he did his Symphony No. 2. The symphony was premiered that October by the Leningrad Philharmonic Orchestra under conductor Yevgeny Mravinsky. This was the last Shostakovich symphony Mravinsky premiered; his refusal to give the first performance of the Thirteenth Symphony, Babi Yar, caused a permanent strain in their working relationship. Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com

We share our experiences with psychedelics and talk about how they've affected us.Disclaimer: We do not endorse nor encourage the use of any illicit substances. Psychedelics should be approached with extreme caution and respect.References:Ram Dass: https://en.wikipedia.org/wiki/Ram_Dasserowid: https://www.erowid.org/psychoactives/psychoactives.shtmlPost Wave Time: https://www.post-wave.com/episode-2-timeEric's First Acid Trip: https://erowid.org/experiences/exp.php?ID=114774Sierra Center for Spiritual Living: http://www.sierracenter.org/Terence McKenna: https://www.youtube.com/watch?v=2eGdKztd4TEWe don't smoke marijuana in Muskogee: https://www.youtube.com/watch?v=YbWZjlZ-znUDe-Loused in the Comatorium: https://en.wikipedia.org/wiki/De-Loused_in_the_ComatoriumLes Espaces Acoustiques: https://www.youtube.com/watch?v=IXQ5c8GUsUMThe Princess Bride: https://www.imdb.com/title/tt0093779/Shostakovich Symphony No 7: https://www.youtube.com/watch?v=J4feLVLg46kLanguage by The Contortionist: https://thecontortionistband.bandcamp.com/album/languageBon Iver 22, A Million: https://boniver.bandcamp.com/album/22-a-millionLeonard Bernsein Mass: https://leonardbernstein.com/works/view/12/mass-a-theatre-piece-for-singers-players-and-dancersMicrodosing: https://en.wikipedia.org/wiki/MicrodosingAlex Grey: https://www.alexgrey.com/artDouglass Harding: https://en.wikipedia.org/wiki/Douglas_Harding

Pittsburgh Symphony principal trombone Peter Sullivan discusses his upcoming Pittsburgh Symphony concerts, his teaching at CMU and the Cleveland Institute of Music, the curry he is cooking in his kitchen, and surviving the pandemic.  He also remembers working with Mariss Jansons and he introduces the Shostakovich Symphony No. 9 which he recorded with the Montreal Symphony Orchestra. 

mexico.sae.edu Referencias: Extracto de video Symphony No. 9 ~ Beethoven https://www.youtube.com/watch?v=t3217H8JppI&t=1125s Extracto de video Gustav Mahler - Symphony No.9 in D-major - III, Rondo-Burleske: Allegro assai/Sehr trotzig https://www.youtube.com/watch?v=I6U_PVHmtgs Extracto de video Dmitri Shostakovich - Symphony No. 7 in C major, "Leningrad", Op. 60 https://www.youtube.com/watch?v=Xbru9UcCLQQ Extracto de video Shostakovich- Symphony No. 10, Mvt. 2 https://www.youtube.com/watch?v=po5vTycfZTk

01. Shostakovich - Symphony No. 7 'Leningrad' / Primo de Rivera en Campo de Criptana //Weather Underground bomba en el Capitolio, Pentágono y Departamento de Estado // El grito Wilhelm // Joaquín Segura - Economías de explotación mutua: Primera Declaración de la Selva Lacandona. 02. Moranbong Band - Vamos a estudiar / Ronald Reagan contando chistes sobre soviéticos // Onda de sonido de 1kHz (tono de referencia) // Tarareo de "La internacional", himno obrero // Pablo Neruda - Oda a Stalin traducido a código morse. 03. L. Ron Hubbard - Thank you for listening / Mussolini hablando // David Koresh - Sermón por la radio // DShK Metralleta de calibre pesado // KWK Knurów Orchestra - Yakkety Sax. --- Send in a voice message: https://anchor.fm/dominiopublico/message

I've been coming back to this symphony again and again over the past couple of weeks. The story of the composition and Leningrad performance of Shostakovich 7 is one of the most remarkable stories of human perseverance, symbolism, and collective action in history. This is a story I haven't told yet on the show, but it couldn't be more relevant today. It is a story about overcoming tragedy. It is a story about hope. It is a story that I think should inspire all of us as we go through this situation together.

The Pittsburgh Symphony Orchestra performed the final concert on this 2019 European Cities tour tonight in Dussldorf, Germany.  Manfred Honeck conducted Mason Bates' Ruserrexit and the Shostakovich Symphony No. 5.  Igor Levit performed the Mozart Piano Concerto No. 22.  After the concert, Jim Cunningham talked to Principal Trombonist Peter Sullivan, trombonist Jim Albrecht and violinist Jennifer Orchard in the hotel lobby.  Peter talks about sounds from the various concert halls on this tour, and Jennifer talks about getting around the cities on scooters.  Jim wraps up this final tour report with sincere thanks to everyone who made this tour possible, including Botkin Family Wealth Management, Thiel College, and the members of WQED-FM.  

Tonight, the Pittsburgh Symphony Orchestra made their debut at the Philharmonie de Paris, performing Resurrexit by Mason Bates and the Shostakovich Symphony No. 5.  Also, Matthias Goerne sang Lieder by Strauss and Schubert.   On his way to a post-concert reception, WQED-FM's Jim Cunningham called in from an elevator and chatted with musicians Michael Lipman and Marylene Gingras-Roy to get their thoughts on the concert.  He also spoke with long time WQED-FM helper Atoninette Tuma about the concert, who admitted her brother waved a Terrible Towel at the conclusion of tonight's concert!!    

Shostakovich's 7th Symphony became a symbol of the wartime alliance between the US and the USSR. But the road to victory is never easy, and it wasn't long before both the musical and the political symbols of that alliance disappeared

It can be difficult to separate Shostakovich's 5th from his political situation, but focusing only on the politics can lead us to ignore some of the most searingly powerful music of the 20th century in favor focusing only on the extra-musical forces behind the piece. This week, we'll look at the 3rd and 4th movements from a musical point of view, discussing how Shostakovich creates his musical palette. Then, we will discuss the controversy over the ending of the piece. What WAS Shostakovich trying to say?

Shostakovich's 5th symphony has always been indelibly associated with politics and Shostakovich's traumatic experiences with Joseph Stalin. But what about the music itself? This week, we'll look at the first two movements of this symphony, including the massive and innovative first, and the sardonic scherzo. This is a piece that is as interesting musically as it is for the harrowing story of its creation. Shostakovich's music is not only about politics. It is about love, life, and the human experience.

Dmitri Shostakovich wrote his stunning Symphony Number 4 while he was under great scrutiny and his life was in danger in communist Russia. After keeping it hidden for decades, he finally performed it in 1961 after Stalin's reign had ended. It's around that time that Greg heard it for the first time, and for this episode, he and Daniel discuss the symphony's intriguing history at length. Find us on Facebook, Twitter, iTunes, Google Play, Spotify, and mrjonesandme.buzzsprout.com.

Dmitri Shostakovich tries to speak the truth about the grim reality of life in 1930s Russia, whilst at the same time giving the authorities the upbeat, cheery music they wanted.  An impossible task? [3 parts]

Dmitri Shostakovich tries to speak the truth about the grim reality of life in 1930s Russia, whilst at the same time giving the authorities the upbeat, cheery music they wanted.  An impossible task? [3 parts]

Dmitri Shostakovich tries to speak the truth about the grim reality of life in 1930s Russia, whilst at the same time giving the authorities the upbeat, cheery music they wanted.  An impossible task? [3 parts]

Shostakovich: Symphony No. 10 in E minor, Op. 93 Tchaikovsky: Symphony No. 5 in E minor, Op. 64 Kathryn Cavanaugh - Producer/Conductor CMD Grand Opera Company of Venice Orchestra Download now at: http://www.classicalsavings.com/store/p905/Shostakovich_10_and_Tchaikovsky_5.html

Shostakovich: Symphony No. 8 in C minor, Op. 65 Shostakovich: Piano Concerto No. 2 in F Major, Op. 102 Featuring CMD Piano Competition Winner - Viktoria Shevchenko Kathryn Cavanaugh - Conductor/Producer CMD Grand Opera Company of Venice Orchestra Joana Filipe Martinez - Conductor/Producer CMD Grand Opera Company of Barcelona Spain Orchestra Download now at: http://www.classicalsavings.com/store/p860/Shostakovich%3A_Symphony_No._8_and_Piano_Concerto_No._2.html

Dmitri Shostakovich's Symphony No. 7 in C major, Op. 60 (titled Leningrad), was written c. 1939–40. Initially dedicated to the life and deeds of Vladimir Lenin, Shostakovich decided instead to dedicate the symphony to the besieged city of Leningrad on its completion in December 1941. The Leningrad première of the piece was staged while the city was under siege by Axis and Finnish forces. The work remains one of Shostakovich's best-known compositions. The piece soon became very popular in both the Soviet Union and the West as a symbol of resistance to Nazi totalitarianism and militarism. It is still regarded as the major musical testament of the estimated 27 million Soviet citizens who lost their lives in World War II. The symphony is played frequently at the Leningrad Cemetery, where half a million victims of the 900-day Siege of Leningrad are buried. Kathryn Cavanaugh - Conductor/Producer CMD Grand Opera Company of Venice Orchestra Download now at: http://www.classicalsavings.com/store/p846/Shostakovich%3A_Symphony_No._7_%22Leningrad%22%2C_Op._60.html

John and Garrett pre-game before going to hear Gergiev conduct Shostakovich Symphony No. 7.

The Symphony No. 5 in D minor, Op. 47, by Dmitri Shostakovich is a work for orchestra composed between April and July 1937. Its first performance was on November 21, 1937, in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky. The premiere was a huge success and received an ovation that lasted well over half an hour. Conducted by Maestra Kathryn Cavanaugh - Executive Director and Conductor CMD Grand Opera Company of Venice Orchestra Purchase Digital Download at: http://www.classicalsavings.com/store/p698/Shostakovich%3A_Symphony_No._5_in_D_minor%2C_Op._47_%28digital_download%29.html

Dmitri Shostakovich composed his Symphony No. 4 in C minor, Opus 43, between September 1935 and May 1936, after abandoning some preliminary sketch material. In January 1936, halfway through this period, Pravda—under direct orders from Joseph Stalin[1]—published an editorial "Muddle Instead of Music" that denounced the composer and targeted his opera Lady Macbeth of Mtsensk. Despite this attack, and despite the oppressive political climate of the time, Shostakovich completed the symphony and planned its premiere for December 1936 in Leningrad. After rehearsals began, the orchestra's management cancelled the performance, offering a statement that Shostakovich had withdrawn the work. He may have agreed to withdraw it to relieve orchestra officials of responsibility. The symphony was premiered on 30 December 1961 by the Moscow Philharmonic Orchestra led by Kirill Kondrashin. Kathryn Cavanaugh - Executive Director and Conductor CMD Grand Opera Company of Venice Orchestra

Shostakovich: Symphony No. 1 in F minor, Op. 10 Prokofiev: Symphony No. 1 in D Major, Op. 25 Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans

Shostakovich: Symphony No. 1 in F minor, Op. 10 Prokofiev: Symphony No. 1 in D Major, Op. 25 Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Purchase the music (without talk) at: http://www.classicalsavings.com/store/p645/The_First_Symphonies_13_-_Shostakovich_and_Prokofiev.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Karina Canellakis is the newly appointed Chief Conductor of the Netherlands Radio Philharmonic Orchestra in Amsterdam, beginning in the 19/20 season. Winner of the 2016 Sir Georg Solti Conducting Award, Karina is internationally acclaimed for her emotionally charged performances, technical command and interpretive depth. She made her European conducting debut in 2015 with the Chamber Orchestra of Europe in Graz, Austria, replacing the late Nikolaus Harnoncourt, returning the following June to conduct Concentus Musicus Wien in four symphonies of a Beethoven Cycle. She first made headlines in 2014 filling in at the last-minute for Jaap van Zweden in Shostakovich Symphony No. 8 with the Dallas Symphony Orchestra, where she held the position of Assistant Conductor for two seasons.

This week on Sticky Notes, we explore Shostakovich's most cinematic and controversial symphony, based on the failed Russian Revolution of 1905.  Or so we think.  Its also possible that the piece is based on the failed Hungarian Revolution of 1956.  We'll explore all the theories behind that as well as the incredible music, based largely on Russian Revolutionary Songs, portraying the frozen silence of the Palace Square in St. Petersburg, the brutal massacre of the protestors, their grief, and then finally, their rage.  

Nikolaj Znaider has appeared as a virtuoso soloist of "fine technical control, deep musical understanding and even greater feeling" (Chicago Tribune) and a conductor with "no shortage of fireworks" (Bachtrack). He makes his Orchestra Hall podium debut performing and conducting Beethoven's lyrical Violin Concerto and Shostakovich's landmark Symphony No. 5. More info and tickets: https://cso.org/ticketsandevents/production-details-2017-18/chicago-symphony-orchestra/shostakovich5/

Listening Through Time features the New York Philharmonic’s Bass, Orin O’Brien in conversation with the Orchestra’s Archivist and Historian Barbara Haws, considering how bass performance practices and interpretations have changed… or remained the same over the decades. Also discussed is Orin’s experience of becoming the first woman admitted to the Orchestra. Works discussed Beethoven Symphony No. 3, Rossini Scala di Seta Overture, Stravinsky’s Rite of Spring, Shostakovich Symphony No. 10. Philharmonic bass players discussed are Robert Brennand, Frederick Zimmerman, Herman Reinshagen, and Homer Mensch. Recorded August 25, 2017. Conceived by Barbara Haws. Recorded by Ian Good. Edited by Charles Van Tassel. © 2017 New York Philharmonic. http://www.archives.nyphil.org/podcasts

Gerard McBurney recommends the best recording of Shostakovich's Symphony No.11 in G minor

This is a “best of” episode from three classic Contrabass Conversations episodes. Back in the early days of the podcast, John Grillo and I recorded two episodes that dissected various excerpts. He and I talked through each excerpt and then played a recording of John performing it. These have been extremely popular resources over the years, but they came out not he podcast ten years ago. With so many episodes of this podcast and so many new listeners to the show, bringing these classic offerings to light is important to me, so I’m planning on doing a few rebroadcasts of this cornerstone content every now and again. Orchestra Excerpts Covered: Beethoven Symphony No. 9 Beethoven Symphony No. 5 Brahms Symphony No. 1 and 2 Shostakovich Symphony No. 5 Mozart Symphony No. 35 and 39 Mahler Symphony No. 2 Schubert Symphony No. 9 Strauss Ein Heldenleben Britten Young Person’s Guide Verdi Otello Opera Excerpts Covered: Strauss Salome Rosenkavalier Wagner Die Meistersinger von Nürnberg Die Walküre Britten Peter Grimes Verdi Otello Rigoletto Falstaff Weber Euryanthe Mozart Magic Flute Marriage of Figaro Beethoven Fidelio Humperdinck Hansel and Gretel Thanks to our sponsors! This episode is brought to you by D’Addario Strings! Check out their Kaplan strings, which have versatility and control throughout the dynamic spectrum, rich tonal color palette, superb bow response, and beautiful balance. Enter our latest string giveaway for Kaplan strings at contrabassconversations.com/strings! Thank you also to the Bass Violin Shop, which  offers the Southeast's largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Subscribe to the podcast to get these interviews delivered to you automatically!

Join conductor Joshua Weilerstein as he takes a deep dive into Shostakovich's monumental 10th symphony.  We'll analyze the music, the history behind the music, and much more, all in an easily digestible and accessible way.  This podcast is for beginners all the way to experts.

In Prevenge, writer and director Alice Lowe stars as an expectant mother whose unborn child convinces her to commit murder. Meryl O'Rourke reviews this dark comedy which was filmed whilst Lowe was actually pregnant.John Boyne is one of Ireland's bestselling novelists. His book The Boy in the Striped Pyjamas has sold six million copies worldwide. He talks to Samira about his latest novel, The Heart's Invisible Furies, the story of social developments in post-war Ireland told through the life of his main character, Cyril Avery.The Turner-prize winning artist Keith Tyson talks about his latest exhibition at the Jerwood Gallery, Hastings, in which he explores the universe and our place in it. Featuring more than 360 studio wall drawings created over the last 20 years of his career, it aims to form a visual diary of Tyson's practice.To mark centenary of the Russian Revolution - which saw the collapse of the Russian Empire and the rise of the Soviet Union - Front Row has asked figures from the Arts world to select the work inspired by the events of 1917 that they admire most. Tonight, conductor Vasily Petrenko selects Symphony No. 12, composed by Dmitri Shostakovich.Plus, in the podcast edition of this programme, illustrator and storyteller Raymond Briggs who has been recognised with this year's BookTrust lifetime achievement award, speaking to John Wilson.Presenter: Samira Ahmed Producer: Jack Soper.

TSO Managing Editor & Musicologist Hannah Chan-Hartley outlines the story behind Shostakovich Symphony No. 13. Plus, Rob Kapilow on Dvorak Symphony No. 8 and What Makes It Great. Hosted by The New Classical FM's Kathleen Kajioka and TSO Principal Bass Jeff Beecher.

Our mini-episode may be small, but it packs a serious punch! Featuring Bartok Concerto for Strings, Celesta & Percussion and Shostakovich Symphony No. 5, we make the timpani feel like the rock star of the orchestra!We also reach new heights with featuring our first beer-cocktail from The Beeroness, using Ketel One Vodka & Uinta Hop Notch IPA!Episode 16 makes the timpani the pimp...ani.

Stephen Johnson considers how Shostakovich's Symphony No 5 surprised it's first audience

David Nice recommends a recorded version of Shostakovich's 9th Symphony

Nicola Benedetti reveals ten intriguing facts about Shostakovich's Symphony No.10

Join Bernardo Miethe and Andrew Owen as they unpack information about the world of classical music. Designed for musicians and non-musicians alike, this podcast means to expand the knowledge of classical music to our listeners. On this episode we discuss the life of Dmitri Shostakovich and his 5th symphony.

With the final release in Vasily Petrenko’s much-lauded Shostakovich cycle on Naxos the young maestro talks to Edward Seckerson about a masterpiece the Soviet authorities tried but failed to sabotage at its first performances. YevgenyYevtushenko’s poem “Babi Yar” with its accusations of anti-Semitism was the flashpoint but social protest runs deep in the piece and … [Read More]

Stephen Johnson surveys recordings of Shostakovich's 8th Symphony and makes a personal recommendation

Proms Music Guide: Shostakovich Symphony No 7

Discover Shostakovich's "anti-war" symphony. His 9th Symphony is one of the composer's shorter symphonies, a totally non-serious, unpretentious piece shot through with sardonic humour, verve and wit.

This week's Contrabass Conversations episode features an in-depth analysis of the double bass orchestral excerpts most commonly requested at auditions.  Double bassist (and regular Contrabass Conversations guest and ho-host) John Grillo discusses each of these excerpts--stylistic considerations, differences in articulation and bow strokes, and suggestions for effectively learning them--and then performs them.  I believe that this project will be a highly valuable resource for bassists worldwide, and I'd love your feedback on this project! Check out all of John's previous Contrabass Conversations appearances here.   Excerpts covered: Beethoven Symphony No. 9 Beethoven Symphony No. 5 Brahms Symphony No. 1 Brahms Symphony No. 2 Shostakovich Symphony No. 5 Mozart Symphony No. 35 Mozart Symphony No. 39 Mahler Symphony No. 2 Schubert Symphony No. 9 Strauss Ein Heldenleben Britten Young Person's Guide Verdi Otello

The 1995 PASIC Show was performed in Phoenix, AZ in November. The ensemble placed third behind Moorehead State and the University of North Texas.