Podcasts about sibelius

A young cellist discovers a Sibelius work that was buried and unknown for over a century. We also hear from a young harpist playing Salzedo and an introverted trumpeter who lets her instrument do the talking.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Six years after our “Score preparation and production notes” episode — Episode No. 2 — essentially launched the podcast, 163 episodes later, Philip Rothman and David MacDonald return to the article that inspired the conversation: David’s score preparation checklist. The principles — respect for performers, readable parts, enough time for page turns — are as true as ever. But almost every specific tool reference in the original has a fuller story now. The conversation moves section by section, serving as a reminder of the timeless principles and exploring all of the meaningful changes in the technology. Dorico’s live-reference cue system has become the standard no one else has matched — and the ease of it has quietly changed how generously cues get applied. The Dorico 6 Proofreading panel represents a new category of preparation tool, while the Sibelius plugin ecosystem has its own parallel answers. The condensing and decondensing workflows now available in both Dorico and Sibelius 2025.2 have transformed what was once among the most tedious jobs in parts preparation, and Sibelius 2025.7’s Auto-Respace toggle closes a gap that used to just be accepted. Two sections are entirely new to the checklist: digital delivery — where the iPad has become as common in rehearsal as a music stand — and a pointed look at the file-organization habits that make or break a delivery package. This one’s chock-full of tips, resources and advice — with David’s updated accompanying article to come soon. Products mentioned Notation software Dorico (Steinberg) Sibelius (Avid) MuseScore Studio (Muse Group) Finale (MakeMusic) (mentioned as discontinued) Fonts MusGlyphs (available at Notation Central) NYC Music Services / Notation Central PDF Batch Utilities Desktop publishing and document tools Affinity (Canva) (now free) Apple Pages Microsoft Word LibreOffice Other tools mentioned Claude Cowork (Anthropic) (mentioned for AI-assisted file organization) Name Mangler / Renamer (mentioned briefly for file naming) forScore (mentioned as a score-reading app) Previous Scoring Notes posts and podcast episodes Directly mentioned or closely related: Score preparation and production Notes (David’s original 2018 article) Score preparation and production checklist (Episode 2, 2020) Partying with parts, part 1 (podcast, December 2021) Partying with parts, part 2 (podcast, December 2021) Orchestra librarians want you to know about parts paper sizes (May 3, 2022) Orchestra librarians want you to know about instrument names (June 20, 2022) Behind “Behind Bars” with Elaine Gould (podcast, July 2023) Behind Bars: General Conventions edition published (June 2023) Dorico 6: Proof positive (review, April 2025 — Proofreading Panel) Dorico 6.0.22 extends proofreading capabilities (July 2025 — ignore feature) Sibelius 2025.7 brings note spacing control, UI updates (July 2025 — Auto-Respace) Sibelius 2025.2 introduces decondensing parts with staff filters (February 2025) Sibelius 2022.5 brings multi-section headers, other workflow boosts (May 2022) MusGlyphs: an advanced music text font (April 2021) PDF Batch Utilities get a major rebuild — and a brand new app (March 2026) Freshly pressed (podcast, April 2026 — PDF Batch Utilities in depth) Calculate the weight, basis weight, or grammage of paper (April 2025) Chronology of a perfect music printing job (January 2022) DJA’s Notes: Music preparation basics (Darcy James Argue, September 2023) Documenting the documenter: Lillie Harris (podcast, April 2021 — Dorico manual) David MacDonald’s updated Score Preparation and Production Notes article Other references Elaine Gould, Behind Bars: The Definitive Guide to Music Notation (Faber Music) — cues: p. 566; front matter: chapter 17, pp. 501–504 Elaine Gould, Behind Bars: General Conventions (Faber Music) — the first third of Behind Bars as a standalone paperback and e-book MOLA Guide (Major Orchestra Librarians’ Association) — free PDF download Sibelius plugins page (still active at sibelius.com) Darcy James Argue, Music Preparation Fundamentals for Jazz Composers & Arrangers — free download Darcy James Argue, Music Preparation for the Large Jazz Ensemble — free download (supplement to the above)

Poucas obras na história da música conseguem unir natureza, espiritualidade e inovação como a Quinta Sinfonia de Jean Sibelius. Composta entre 1914 e 1919, em meio às turbulências da Primeira Guerra Mundial e ao aniversário de 50 anos do compositor, esta sinfonia tornou-se um marco da música finlandesa e mundial.O ponto culminante está nos seis acordes finais: monumentais, separados por silêncios que parecem suspender o tempo. Não são apenas notas — são golpes de eternidade, ecos de paisagens nórdicas, respirações cósmicas que deixam o ouvinte em estado de contemplação. Sibelius descreveu sua inspiração como se “Deus lançasse mosaicos do céu” e ele tivesse que descobrir o padrão.A sinfonia nasce da visão de cisnes voando sobre os lagos de Ainola, sua casa. O tema das trompas, majestoso e expansivo, traduz esse voo em música. É a natureza transformada em som, um hino à vida e à liberdade.Ao mesmo tempo, a obra dialoga com o restante do ciclo sinfônico de Sibelius: contrasta com a sombria Quarta, antecipa a clareza da Sexta e a síntese da Sétima. A Quinta é, portanto, um portal — uma ponte entre o desespero e a transcendência, entre o humano e o eternoApresentado por Aarão Barreto e Aroldo Glomb (cada semana um é o "pai da criança") Apoie o Conversa de Câmara. Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Gustavo Holtzhausen, João Paulo Belfort , Arthur Muhlenberg, Rafael Hassan, Danilo Coelho, Rochester Rodrigues Gama e Valder Cavalcante Magalhães Jr.

Coup de projecteur ce soir sur la prochaine saison de l'Orchestre National de Lyon, la septième de son directeur musical Nikolaj Szeps-Znaider. Une saison qu'il a choisi d'ouvrir avec une œuvre puissante et monumentale, La Turangalîla-Symphonie d'Olivier Messiaen, véritable « chant d'amour » mais aussi « Hymne à la noie, surhumaine, débordante, aveuglante et démesurée » pour reprendre les propos du compositeur.Nikolaj Szeps-Znaider nous éclairera ce soir sur les temps forts de cette saison qui sera également placée sous le signe de Mahler, son compositeur fétiche, mais aussi Strauss, dont il dirigera l'opéra Elektra en version de concert, Rachmaninov, Sibelius et le répertoire tchèque qu'il a choisi de mettre à l'honneur. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

There are plenty of things that make me feel old, for instance, when I remember that I used to have to go to the library to do research or that I didn't know who was calling me before I answered the phone. Here's another one that makes me feel positively ancient, and I promise you I'm not that old: I remember my mother handwriting music that my teacher wanted me to learn but was out of print. We didn't have easy access to a copier, although sometimes my dad could make a copy at his work. So, if I needed a piece of music that wasn't very long, my mother wrote it out for me. That feels practically Stone Age now. When I started arranging music and publishing it back in the 1990"s, there were two programs that most composers had to choose between - Finale and Sibelius. I chose Sibelius on the recommendation of one of my teaching colleagues at Curtis, and I still use it today. It had a pretty steep learning curve when I first started, and it is still a powerful program that takes a little while to figure out, probably too long for a casual user. In the years - okay, decades - since then, many more music notation programs and apps have come along, some of them as powerful, or nearly so, as the flagship programs, and for the most part, much simpler to use. This has meant that anybody with a modicum of patience for things technical can produce a professional-looking copy of a piece of music. That means progress for composers and arrangers. It also means progress for any of us, even those of us who just want to learn to play the harp better. That's because these apps aren't just for writing down music you've composed. They can also be useful practice tools.  So on today's show, I'm going to give you my take on three of the most popular and most user-friendly music notation apps, explaining the best features and the potential deal-breakers of each. I'll also share some strategies to use these tools to help you in your harp playing, whether you are interested in composing, arranging, or just a little curious. Links to things I think you might be interested in that were mentioned in the podcast episode:  For My Harp Mastery members: Bob Dexter's Musescore Presentation Love the Monday Warm-ups? Use this limited time discount to join My Harp Mastery so you don't miss out. Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode? LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-263  

Percussion auf Benzinkanistern: Dirigent Santtu-Matias Rouvali zeigt in der Isarphilharmonie, wie groovy das BRSO klingen kann. Im Interview spricht er über sein Debüt mit dem Orchester, seine Liebe zu Sibelius und Saunaabende.

durée : 01:28:21 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - On se dirige vers le grand nord pour terminer la semaine, avec le Concerto pour violon de Sibelius qu'enregistrent la jeune violoniste suédoise Ava Bahari et le chef Santtu-Matias Rouvali à la tête du Gothenburg Symphony Orchestra. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:21 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - On se dirige vers le grand nord pour terminer la semaine, avec le Concerto pour violon de Sibelius qu'enregistrent la jeune violoniste suédoise Ava Bahari et le chef Santtu-Matias Rouvali à la tête du Gothenburg Symphony Orchestra. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:16:29 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Ava Bahari et Santtu-Matias Rouvali partagent la même passion pour la musique de Sibelius qui, meurtri de ne pas avoir réussi à être le violoniste virtuose qu'il rêvait de devenir, a composé un concerto devenu incontournable, où soliste et orchestre sont en fusion… - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:16:29 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Ava Bahari et Santtu-Matias Rouvali partagent la même passion pour la musique de Sibelius qui, meurtri de ne pas avoir réussi à être le violoniste virtuose qu'il rêvait de devenir, a composé un concerto devenu incontournable, où soliste et orchestre sont en fusion… - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

What if your notation software could sing? At the top of this episode, we play a short clip, performed entirely in Dorico with NotePerformer handling the orchestra, and a plugin called Cantai rendering the baritone voice. That voice is synthesized directly from the Dorico score with minimal configuration, and it marks the arrival of something the notation world has been waiting for for a long time. Philip Rothman and David MacDonald talk with Richard deCosta, composer, software developer, and founder of Cantai and the Turing Opera Workshop, about what it took to build it. The conversation goes deep on the technology: why synthesizing the voice is fundamentally harder than synthesizing instruments, how the phonemizer works, why Cantai renders offline rather than in real time, and what it really means to build a plugin that reads a score rather than simply receiving MIDI. Richard also explains how years of frustration with the disconnect between notation and external vocal synthesis tools — from EWQL Symphonic Choirs and WordBuilder to ACE Studio and Synthesizer V — led to the central insight behind Cantai: that the lyrics were always there in the score; they just weren't being passed to the playback engine. We also dig into the ethical and business model Richard has built around the singers whose voices power Cantai. Every vocalist is contracted, paid a competitive recording fee, and receives an ongoing share of the product's profits in proportion to how much their voice is used. Cantai is already live for MuseScore Studio and Dorico, and arriving for Sibelius on May 30. The roadmap — more languages, less vibrato, Broadway and jazz styles, and a thought-provoking vision for the future of real-time vocal generation — gives us plenty to look forward to. Products mentioned Cantai (Turing Opera Workshop) Turing Opera Workshop Dorico (Steinberg) Sibelius (Avid) MuseScore Studio / MuseHub (Muse Group) NotePerformer (Wallander Instruments) ACE Studio Synthesizer V (Dreamtonics) EWQL Symphonic Choirs with WordBuilder (East West) Emvoice One Vocaloid (Yamaha) Wendy Carlos, Secrets of Synthesis (1987) Previous Scoring Notes posts and podcast episodes Directly mentioned or closely related: Cantai now sings straight from Dorico (companion article) Dorico 6.2.20 released with Cantai vocal synthesis support MuseScore Studio 4.6.4 released with Cantai support Using WordBuilder with Sibelius to make vocal text come alive Sibelius sings with EWQL Symphonic Choirs Scoring a 16th century ayre with Dorico and Emvoice One Scoring the 11 o'clock number with Dorico and Emvoice One

Der finnische Dirigent Osmo Vänskä und das BRSO spielen in der Münchner Isarphilharmonie das Violinkonzert von Samuel Barber und die erste Sinfonie von Jean Sibelius. Dafür müsse man Gedanken und Herz öffnen, sagt Vänskä.

Après un premier album en duo placé sous le signe de la musique française, la violoniste Manon Galy et le pianiste Jorge Gonzalez Buajasan nous convient vers des contrées nordiques. Le programme de leur nouvel enregistrement, sorti chez Aparté, réunit de célèbres sonates de Brahms et de Grieg ainsi q'une rare œuvre de jeunesse, pleine de fraicheur, de Mendelssohn. Mais aussi de délicieuse miniatures signées Dvorak, Fibich et Sibelius.Les deux musiciens se confieront ce soir sur l'esprit de cet album, gorgé de romantisme, de tendresse et de poésie. « Ce programme nous plonge dans un profond voyage introspectif. Il est un peu comme un miroir qu'on tourne vers soi, ravivant souvenirs et émotions enfouies, révélant fragilités et failles pas tout à fait refermées » nous disent-ils.Manon Galy et Jorge Gonzalez Buajasan donneront ce programme en concert le 28 mai au Conservatoire Rachmaninov de Paris.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Gemeinsam mit dem Aris Quartett zeigt die Pianistin Annika Treutler, wie vielfältig und unmittelbar berührend Sibelius klingen kann.

In April 1915, Finnish composer Jean Sibelius wrote in his diary about seeing 16 Whooper Swans overhead. He was entranced by both the sight and the sound of the swans. He watched them depart, “like a gleaming silver ribbon,” and declared the image one of the great experiences of his life. He then transformed that breathtaking, natural moment into music. More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks.  BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.     Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

durée : 01:28:15 - par : Aurélie Moreau - Pour Herbert von Karajan, un métronome n'est pas utile à la direction musicale, « l'essentiel, c'est de connaître le tempo global d'une phrase » (Une Vie pour la musique, L'Archipel). Aujourd'hui : Puccini, Sibelius, Mozart, Beethoven, Debussy… - réalisation : Cécile Bonnet des Claustres, Cindy Legrumelec - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Vladimir Ashkenazy ha estat un pianista c

After a stretch away from the mic with NAMM coverage and a few product launches in the interim, Philip Rothman and David MacDonald return for an episode that, as David puts it, is “delightfully very nerdy.” To kick things off, David turns the tables and puts Philip in the interview seat, asking him about two significant sets of releases from Notation Central and NYC Music Services. On the Notation Express side, the big news is two-way communication between Dorico and the Stream Deck: buttons now light up to reflect what Dorico is actually doing in real time — active note durations, engaged accidentals and articulations, current mode, playback state, and more. Philip also walks through the new Note Tools folder, which lets users chain up to four buttons together to build a complete transposition or interval command before executing it in one shot, and touches on the Notation Express Keypad and the Virtual Stream Deck. The PDF Batch Utilities get equal time: native Apple Silicon builds that launch ten times faster, codesigning and notarization, source PDF info shown right in the file list, bookmarks in stitched output, smarter handling of one- and two-page files, and a brand-new fifth app — PDF-Counter — that drops a page-count CSV into any folder you throw at it. For the second half, Philip asks David about the utility apps that have quietly become indispensable in his day-to-day work. David talks through Dropzone, a Mac menu-bar app that makes dragging files to frequently-needed folders — or AirDrop, or a terminal window — almost frictionless, and Alfred, the customizable launcher he’s built out with custom searches (including a dedicated IMSLP search), file navigation shortcuts, and a direct line to his task manager. From there, the conversation turns back to the notation software itself, with a look at two features that deserve more attention than they get: Dorico’s Jump Bar and Sibelius’s Command Search, both of which let you find and fire any command just by typing for it.  Where might those tools go next, and what it would mean for notation software to understand what you’re asking for, not just what you typed? Products mentioned Notation Central / NYC Music Services Notation Express PDF Batch Utilities Stream Deck Elgato Stream Deck Virtual Stream Deck Stream Deck Mobile Mac utilities discussed by David Dropzone (Aptonic Software) Alfred Raycast (mentioned as alternative to Alfred) LaunchBar (mentioned as alternative to Alfred) Hazel (mentioned in context of Dropzone) Things (mentioned as David’s to-do app, integrated with Alfred) Other references IMSLP (Petrucci Music Library) (David’s custom Alfred search) Previous Scoring Notes posts and podcast episodes Directly mentioned or closely related: Notation Express for Dorico 6: Your Stream Deck just got smarter PDF Batch Utilities get a major rebuild — and a brand new app Notation Express: Stream Deck profile for Sibelius (the original 2019 launch) Boost your workflow: a Stream Deck review (Dan Kreider’s 2018 review of the Stream Deck, pre-Notation Express) Quickly scale many PDFs with PDF-BatchScale (the original launch) PDF-MusicBinder and PDF-BatchStitch utilities for music printing Chronology of a perfect music printing job How to tape and fold pages for parts: a video tutorial (accordion-style printing) Calibrating printers and workflows NAMM 2026: On the scene (and related NAMM 2026 coverage, including the happy hour) Forthcoming (mentioned in the episode): Virtual Stream Deck article

Dagens Finland har uppstått i spänningen mellan två expansiva makter Sverige och Ryssland. Den östra riksdelen var en integrerad del av Sverige under en längre period än områden som Skåne och Blekinge.Integreringen av Finland i Sverige var en lång process som sträckte sig från vikingatiden till Nöteborgsfreden år 1323. Det var först när de svenskspråkiga befolkningsgrupperna fick stöd från den svenska statsmakten som de på allvar etablerades sig i Finland. Men rikssprängningen år 1808-09 innebar att vi skrev ut Finland från den svenska historien och glömde bort den svenskspråkiga i Finland. Detta är ett betalt samarbete med Svenska litteratursällskapet i Finland.I denna repris av podden Historia Nu samtalar programledaren med Martin Hårdstedt, professor i historia vid Umeå universitet och aktuell med boken Finlands svenska historia.Finland var aldrig en koloni till Sverige utan en integrerad del av landet precis som Södermanland eller Småland. Den finska allmogen och ståndspersoner var tidigt representerade på riksdagar och Finland beskattades inte hårdare är det som blev dagens Sverige. Viktigare var att både Sverige och Finland kom att inlämmas i den västliga kultursfären i och med den katolska kyrkans utbredning i både Sverige och Finland.Språket som identitetsmarkör blev viktig först under den ryska perioden när den finska nationalismen utvecklades. Svenska vs finska var ingen viktig fråga förrän självständigheten från Ryssland 1917. Identiteten var snarare knuten till den lokala platsen, religionen och den sociala positionen.Bild: Svecia, Dania et Norvegia, Regna Europæ Septentrionalia. Kopparsnitt publicerat i Amsterdam 1635. 1:4 400 000Musik: Finlandia av Sibelius, 1922, franförd av VESSELLA'S ITALIAN BAND, Internet Archive, Public Domain.Lyssna också på De mytiska finska korstågen eller hur Finland blev Sverige. Hosted on Acast. See acast.com/privacy for more information.

Elles sont sœurs, ont grandi dans un environnement musical et jouent, chacune, d'un instrument à cordes. Magdalena est violoniste, Anna est altiste et Caroline joue du violoncelle. Tout en suivant leurs propres voies dans le monde de la musique elles aiment se retrouver pour jouer en trio et viennent ainsi d'enregistrer leur premier album commun, paru sous le label Aparté. Un album au programme original mettant en regard des transcriptions de pièces de violes de Purcell, un trio de jeunesse de Sibelius, une création récente de Saariaho et l'un de chefs d'œuvres de Beethoven. Les trois musiciennes se confieront ce soir sur l'importance du lien familial dans leur parcours et sur leur conception du trio à cordes dont elles ont voulu, ici, mettre en avant une variété de couleurs. Elles nous raconteront ainsi l'élaboration de ce programme qu'elles donneront en concert dimanche 22 mars à la salle Cortot.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:17:04 - Disques de légende du jeudi 19 mars 2026 - Disparu en 2024, le Finlandais Leif Segerstam était un personnage hors normes. Barbe de patriarche, personnalité excentrique, il a signé pas moins de 371 symphonies. Il était aussi un immense chef, en particulier dans la musique de son compatriote Sibelius - preuve éclatante avec cet album de 1998. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:17:04 - Disques de légende du jeudi 19 mars 2026 - Disparu en 2024, le Finlandais Leif Segerstam était un personnage hors normes. Barbe de patriarche, personnalité excentrique, il a signé pas moins de 371 symphonies. Il était aussi un immense chef, en particulier dans la musique de son compatriote Sibelius - preuve éclatante avec cet album de 1998. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

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

durée : 02:28:53 - France Musique est à vous du samedi 07 mars 2026 - par : Gabrielle Oliveira-Guyon - Au programme ce samedi : Haendel, Monteverdi, Sibelius, un hommage à Michel Portal, le générique de Radioscopie, et bien d'autres encore - réalisé par : Delphine Keravec Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This week, Kate Molleson traces the development of Jean Sibelius's symphonies. Set against Finland's changing political climate and Sibelius's own, turbulent personal circumstances, the podcast explores what shaped each symphony's character – from the nationalism surrounding Nos. 1 and 2, to the renewed sense of form in the Third, the more inward Fourth, and the reworked Fifth. The week concludes with the distinctive Sixth and the single‑movement Seventh, composed during a period of uncertainty both for Finland and Sibelius himself.Music featured includes: Symphony No 2 in D, Op 43 Song of my Heart, Op 18 No 6 Symphony No 1 in E minor, Op 39 The Diamond on the March Snow, Op 36 No 6 Sunrise, Op 37 No 1 Kyllikki, Op 41 No 3 Symphony No 3 in C, Op 52 The Captive Queen, Op 48 Erloschen String Quartet in D minor, Op 56 ‘Voces Intimae' Des Abends, Op 58 No 5 Symphony No 4 in A minor, Op 63 Spring's Spell, Op 61 No 8 Romance, Op 78 No 2 The Oceanides, Op 73 The Echo Nymph, Op 72 No 4 Symphony No 5 in E flat, Op 82 Jokamies, Op 83 Autrefois, Op 96b Symphony No 6 in D minor, Op 104 Danses Champêtres, Op 106 No 1 Symphony No 7 in C, Op 105Presented by Kate Molleson Produced by Luke Whitlock for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Jean Sibelius (1865-1957) https://www.bbc.co.uk/programmes/m002rr2jAnd you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Előhangunk legújabb epizódjában ezúttal Paavo Järvi, Alexandre Kantorow és a Londoni Filharmonikus Zenekar koncertjéhez kapcsolódóan tudhatjátok meg, hogy miért nem akart versenyművet írni Csajkovszkij zongorára és zenekarra, vagy hogy hogyan köszön vissza az Anyegin a II. zongoraversenyben. De kiderül az is, hova utazott Sibelius, hogy ihletet nyerjen télvíz idején a komponáláshoz.Hallgassátok szeretettel!

At the 2026 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. In this interview, we talk with Sam Butler, Avid's vice president of product management, and Joe Plazak, Sibelius product owner and senior principal software developer at Avid, to reflect on the philosophy behind Sibelius's recent development approach, how user feedback shapes prioritization, and where they believe users should most clearly feel progress compared to a year ago. We also talk about automation and AI in notation, the realities of cross-platform and mobile workflows, and what Avid wants musicians to understand about its long-term commitment to Sibelius. Be sure to check out our other conversations from the NAMM Show from earlier this month. And as always, if you like this podcast episode, there's plenty more for you from Scoring Notes — be sure to follow us right in your podcast player. More about the 2026 NAMM Show from Scoring Notes: NAMM 2026: On the scene NAMM 2026: Piascore's bet on interactivity NAMM 2026: John Barron opens the door to Dorico's future NAMM 2026: Sounding out the inputs with klang.io's Sebastian Murgul NAMM 2026: Getting into a Fender-bender with Chris Swaffer NAMM 2026: An avid Sibelius discussion with Sam Butler and Joe Plazak NAMM 2026: An interview with John Barron NAMM 2026: An interview with Sebastian Murgul NAMM 2026: An interview with Chris Swaffer

At the 2026 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. In this interview, we talk with Chris Swaffer, senior product manager of software at Fender, about how he thinks about Notion's current phase in its lifecycle, what the Fender name signals to users today, and how decisions around refinement, continuity, and cross-platform consistency get made in practice. We also dig into under-the-radar improvements, accessibility as a core product principle, direct transfer between Notion and Fender Studio Pro, and how intelligent assistance can support — rather than replace — human musical judgment. Come back next week for more conversations from the NAMM Show. And as always, if you like this podcast episode, there's plenty more for you from Scoring Notes — be sure to follow us right in your podcast player. More about the 2026 NAMM Show from Scoring Notes: NAMM 2026: On the scene NAMM 2026: Piascore's bet on interactivity NAMM 2026: John Barron opens the door to Dorico's future NAMM 2026: Sounding out the inputs with klang.io's Sebastian Murgul NAMM 2026: Getting into a Fender-bender with Chris Swaffer NAMM 2026: An avid Sibelius discussion with Sam Butler and Joe Plazak NAMM 2026: An interview with John Barron NAMM 2026: An interview with Sebastian Murgul

At the 2026 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. In this conversation, we speak with Sebastian Murgul, co-founder and CEO of klang.io, to talk about a category that sits just adjacent to music notation — and yet increasingly intersects with it in practical, unavoidable ways: music transcription. Sebastian explains what klang.io's tools are designed to do — and just as importantly, what they are not. We talk about why AI-based transcription has reached a point of practical usefulness now, where the hardest musical problems still lie, and how klang.io thinks about accuracy as something musicians can trust and build on, rather than a promise of perfection. We also discuss interoperability with notation software via formats like MIDI and MusicXML, real-world use cases that have surprised him, and the broader anxieties musicians understandably have around automation and AI. Come back the next few weeks for more conversations from the NAMM Show. And as always, if you like this podcast episode, there's plenty more for you from Scoring Notes — be sure to follow us right in your podcast player. More about the 2026 NAMM Show from Scoring Notes: NAMM 2026: On the scene NAMM 2026: Piascore's bet on interactivity NAMM 2026: John Barron opens the door to Dorico's future NAMM 2026: Sounding out the inputs with klang.io's Sebastian Murgul NAMM 2026: Getting into a Fender-bender with Chris Swaffer NAMM 2026: An avid Sibelius discussion with Sam Butler and Joe Plazak NAMM 2026: An interview with John Barron

William Mival recommends his favorite recording of Sibelius's Symphony no.5.

At the 2026 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. In this conversation with John Barron, international product specialist at Steinberg, John reflects on Dorico's current development phase, how its underlying design principles continue to guide day-to-day decisions, and where users should most clearly feel progress compared to a year ago. We also talk about under-the-radar features, user feedback, interoperability with broader music-production workflows, playback and realism, and how automation can support — rather than supplant — notational intent. Come back the next few weeks for more conversations from the NAMM Show. And as always, if you like this podcast episode, there's plenty more for you from Scoring Notes — be sure to follow us right in your podcast player. More about the 2026 NAMM Show from Scoring Notes: NAMM 2026: On the scene NAMM 2026: Piascore's bet on interactivity NAMM 2026: John Barron opens the door to Dorico's future NAMM 2026: Sounding out the inputs with klang.io's Sebastian Murgul NAMM 2026: Getting into a Fender-bender with Chris Swaffer NAMM 2026: An avid Sibelius discussion with Sam Butler and Joe Plazak NAMM 2026: An interview with Sebastian Murgul

durée : 01:27:54 - En pistes ! du mardi 03 février 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Habitué du répertoire schumanien au concert, le pianiste russe grave pour la première fois au disque trois chefs-d'œuvre emblématiques du compositeur. Autre grand interprète, le chef Esa-Pekka Salonen dirige l'Orchestre symphonique de San Francisco dans la 1ère symphonie de Sibelius. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:27:54 - En pistes ! du mardi 03 février 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Habitué du répertoire schumanien au concert, le pianiste russe grave pour la première fois au disque trois chefs-d'œuvre emblématiques du compositeur. Autre grand interprète, le chef Esa-Pekka Salonen dirige l'Orchestre symphonique de San Francisco dans la 1ère symphonie de Sibelius. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:17 - Christian Tetzlaff, musicien avant tout - par : Aurélie Moreau - Pour Christian Tetzlaff, violoniste passionnant, au jeu tour à tour énergique et serein, emporté et suave, l'important est d'exprimer avec authenticité « ce que le compositeur veut nous dire ». Aujourd'hui: Beethoven, Viotti, Sibelius, Schumann… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:18:13 - Disques de légende du lundi 02 février 2026 - Sorti il y a seulement 7 ans, ce disque est d'ores et déjà devenu légendaire, de par l'interprétation de Santtu-Matias Rouvali, qui réalise avec l'Orchestre symphonique de Göteborg l'une des grandes lectures de son compatriote Jean Sibelius. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:16:59 - Mendelssohn, Bruch, Vaughan Williams - Johan Dalene, Swedish Radio Symphony Orchestra - Après ses enregistrements des concertos de Tchaïkovski et Barber, ainsi que ceux de Nielsen et Sibelius, le violoniste suédo-norvégien Johan Dalene s'attaque désormais à trois des œuvres concertantes pour violon les plus populaires du répertoire. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:16:59 - Mendelssohn, Bruch, Vaughan Williams - Johan Dalene, Swedish Radio Symphony Orchestra - Après ses enregistrements des concertos de Tchaïkovski et Barber, ainsi que ceux de Nielsen et Sibelius, le violoniste suédo-norvégien Johan Dalene s'attaque désormais à trois des œuvres concertantes pour violon les plus populaires du répertoire. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Carl Gustaf Emil Mannerheim (1867–1951) var tsarofficer, överbefälhavare, president och nationalhjälte – men också en omstridd symbolgestalt i Finlands moderna historia. Hans liv och eftermäle har gett upphov Nordens mest långlivade och komplexa personkulter.Från inbördeskrigets vita seger till dagens identitetspolitiska debatter har Mannerheim betytt olika saker för olika generationer. I takt med att det finländska samhället förändrats har även bilden av marskalken formats om – från upphöjd landsfader till historisk projektionsyta för både dyrkan och kritik.I detta avsnitt av podden historia.nu samtalar programledaren Urban Lindstedt med historikern Tuomas Tepora, författare till boken Mannerheim – Hjälte och antihjälte, om hur personkulten kring Gustaf Mannerheim vuxit fram, förändrats och utmanats i det moderna Finland.Under det blodiga inbördeskriget 1918 trädde Mannerheim fram som de vitas överbefälhavare. Han hyllades på den vita sidan som nationens räddare och symbolen för ett fritt och självständigt Finland. Samtidigt väckte hans namn avsky bland många på vänstersidan, där han förknippades med hårda efterkrigsåtgärder och brutalitet i fånglägren. Redan här växte en myt kring honom – en hjälte för vissa, en bödel för andra.Personkulten kring Mannerheim fick sin början i detta polariserade skede, då statsmakten och konservativa grupper började upphöja Mannerheim till något större än bara en militär ledare: en symbol för ordning, nation och seger. Samtidigt föddes också de första motbilderna – inom arbetarrörelsen, bland intellektuella och inom den växande vänstern.På 1930‑talet förändrades tonen. Trots Mannerheims tidiga kopplingar till högerextrema rörelser såsom Lapporörelsen började en ny nationell konsensus växa fram. Socialdemokrater och borgerliga kunde enas om Mannerheim som försvarare av nationens oberoende, särskilt i takt med att hoten från Sovjetunionen växte.Han blev en överideologisk gestalt, som förenade minnet av inbördeskriget med den pågående kampen för självständighet. Statyprojekt, födelsedagsfiranden och skolundervisning stärkte bilden av honom som nationens skyddshelgon. Myten blev också ett verktyg för att överbrygga tidigare inre motsättningar.Tuomas Tepora skriver ”Före hans död hade det på 1920–1930-talet byggts upp en personkult kring honom som flirtade med auktoritärism. Efter hans död kunde myten om honom inte kontrolleras på samma sätt som tidigare och den började få nya betydelser och syften.”I ett öppet samhälle som Finland präglas personkulten inte av enhetlighet utan av mångfald och motsättningar. Mannerheim har varit både hjälte och antihjälte, visionär och relik, kosmopolit och nationalist. Just därför fortsätter hans gestalt att fascinera – som ett prisma genom vilket Finland ser sig självt.När Mannerheim dog i januari 1951 blev hans begravning en av de mest storslagna ceremonierna i Finlands historia. Tusentals människor kantade Helsingfors gator, radiokanaler tystnade och kyrkklockor ringde över hela landet. Den kollektiva sorgen blev ett uttryck för respekt – men också för ett slags nationellt bokslut över det krigstida Finland.Bild: Carl Gustaf Emil Mannerheim fotograferad på sin 75-årsdag år 1942 i ett sällsynt färgfotografi. Foto: Helmut Laxin, källa: heninen.net/miekka. Bilden är i public domain enligt Finlands upphovsrättslag §49a, eftersom det har gått över 50 år sedan bilden togs och den inte klassas som ett fotografiskt verk.Musik Finlandia av Sibelius, Wikimedia Commons. Public Domain.Klippare: Emanuel Lehtonen Hosted on Acast. See acast.com/privacy for more information.

‘Tis the season to be thankful for all of the products and services in the world of music notation software and related technology, and for the Scoring Notes audience who tunes in to hear us opine on them! We show our appreciation by bearing good tidings and do a little shopping to find some Black Friday deals and make a few recommendations for fun and productivity. Black Friday 2025 deals for music notation software and related tech post coming on Monday, November 24 Show notes: Scoring Notes Product Guide, with links to posts about Dorico, Sibelius, and MuseScore updates from the past year Black Friday products and deals: Steinberg Cyber Deals MakeMusic discounted crossgrade to Dorico Avid Black Friday Savings MuseScore Sheet Music Direct Sheet Music Plus Newzik Notation Central, Notation Express, Scoring Express, MTF Fonts, NorFonts Rogue Amoeba PDF Expert Black Friday deals Elgato Audio production deals on Reddit Adobe Creative Cloud Setapp CleanMyMac Dropzone CleanShot Soulver Forklift Affinity by Canva PopChar TRMNL Glance LED Logitech B100 Wired Mouse

Alison O'Dwyer and Delia Nash tell us about their adventures at the TB Makeover with their horse Sibelius. Then Delia, owner of Kentucky Performance Products, answers a listener's question on nutrition advice for confined horses and some Realli BAD Adz, listen in…HORSES IN THE MORNING Episode 3814 – Show Notes and Links:Hosts: Jamie Jennings of Flyover Farm and Glenn the GeekTitle Sponsor: Kentucky Performance ProductsJamie and Glenn's Amazon StoreSubmission form for Holiday Week EntriesPic Credit: Alison O'DwyerGuest: Alison O'DwyerGuest: Delia Nash from Kentucky Performance ProductsLink: BonewiseLink: ElevateLink: ContributeAdditional support for this podcast provided by: Equine Network, US Rider and Listeners Like YouTimestamps:05:39 - Daily Whinnies16:30 - Alison and Delia 30:00 - Delia answer listener question35:00 - Realli Bad Adz

Alison O'Dwyer and Delia Nash tell us about their adventures at the TB Makeover with their horse Sibelius. Then Delia, owner of Kentucky Performance Products, answers a listener's question on nutrition advice for confined horses and some Realli BAD Adz, listen in…HORSES IN THE MORNING Episode 3814 – Show Notes and Links:Hosts: Jamie Jennings of Flyover Farm and Glenn the GeekTitle Sponsor: Kentucky Performance ProductsJamie and Glenn's Amazon StoreSubmission form for Holiday Week EntriesPic Credit: Alison O'DwyerGuest: Alison O'DwyerGuest: Delia Nash from Kentucky Performance ProductsLink: BonewiseLink: ElevateLink: ContributeAdditional support for this podcast provided by: Equine Network, US Rider and Listeners Like YouTimestamps:05:39 - Daily Whinnies16:30 - Alison and Delia 30:00 - Delia answer listener question35:00 - Realli Bad Adz

Laura Jackson, Reno Phil music director and conductor, speaks with Chris Morrison about the second concerts of the Reno Phil's 2025-26 Classix season, "John Williams and Sibelius," on November 8 and 9, 2025. The concerts include Transcend by Zhou Tian, Escapades by John Williams (with soloists Timothy McAllister, alto saxophone, and Tennison Watts, vibraphone), and two pieces by Jean Sibelius, Finlandia and the Symphony No. 2.

This episode with violinist Ida Kavafian is packed with key points about effective practice, plus fascinating nerdy details about bowing and fingering principles, references to specific passages in the Sibelius concerto, Schubert Fantasy, Beethoven's Kreutzer sonata, a clever hack for playing fifths in tune, and so much more.And if you're not a string player, don't worry - many of the principles are equally applicable to other instruments too.Get all the nerdy details and learn how to level up your practice in this month's interview:Ida Kavafian: Habits That Separate Good Musicians from Great OnesMore from The Bulletproof Musician Get the free weekly newsletter, for more nerdy details and bonus subscriber-only content. Pressure Proof: A free 7-day performance practice crash course that will help you shrink the gap between the practice room and the stage. Learning Lab: A continuing education community where musicians and learners are putting research into practice. Live and self-paced courses

We talk a lot about fonts on the Scoring Notes podcast. But there was a time when there were no music fonts. And then, there was one. Cleo Huggins, on the staff of Adobe in 1986, designed Sonata, the very first music font. It’s hard to imagine today, but it was revolutionary at the time, and a leading industry publication called it the “Music Product of the Year”. Sonata provided the blueprint for the core music fonts later created for use in Finale and Sibelius, but it may surprise you to learn that Sonata was created without any one particular music software product in mind. Cleo tells Philip Rothman and David MacDonald about her early studies with some of the great typographic experts of the 1970 and 1980s, and how her work in graphic design, 3-D animation, background as a violinist, and a key meeting with Steve Jobs about the launch of the first Macintosh computer all led to her taking responsibility for creating Sonata. Cleo discusses the revolution in PostScript technology and the introduction of the laser printer, and how that made it possible for her to create a high quality music font that was unconstrained by limitations of bitmapping. She recalls the various sources of inspiration and research she did — everything from Bach’s manuscript to the Music Writer, to Notaset dry transfer sheets — and the process of regularizing beautiful calligraphy without losing the distinctive elements of music notation. She also recalls thinking about all the minute details from careful placement to the key mapping of each character, and the feedback received from early music software pioneers eager to incorporate Sonata into their programs. Cleo’s career moved on from Sonata to a variety of endeavors, all propelled by a deep curiosity and propensity to good, and we talk about that too — and ask her if she’d ever come back to the world of music fonts, with all of the progress that has taken place in the nearly four decades since her groundbreaking work transformed the history of music notation. More on Scoring Notes: Music Type Foundry fonts newly revised and re-released Download and install all Finale fonts on Mac and Windows MuseScore Studio 4.6 adds full SMuFL support, other engraving and playback updates Cantorum, a plainchant font for Dorico Introducing Lelandia, a new suite of music fonts for Sibelius Daniel Spreadbury on music fonts: past, present, and future Music fonts and open standards with Daniel Spreadbury A brief history of music notation on computers Back to the future of music notation on computers How to make a SMuFL font A fount of fonts at Notation Central Introducing the Norfolk and Pori chord symbol fonts for Sibelius — and an angled slash variant From the Finale Blog: Meet Steve Peha, creator of Petrucci, Finale's first music font A brief history of Finale fonts

The last of my festive potpourri episodes for this, my birthday month, this episode focuses on a favorite vocal range of this opera queen: the soprano voice, in all its variety and glory. Included are such pristine lyric voices as Erika Köth, Benita Valente (who just departed us last weekend, shortly after celebrating her 91st birthday), Judith Raskin, Judith Blegen, Mattiwilda Dobbs, and Edith Mathis, among others; medium- to heavier-weight lyric voices such as Pilar Lorengar, Delia Rigal, Teresa Stratas, Taru Valjakka, Melitta Muszely, and Margarete Teschemacher; and “ambiguous” voices as Arleen Augér, Martha Flowers, Irmgard Seefried, Andrée Esposito, Jill Gomez (pictured), Faye Robinson, Hilde Güden, and Elizabeth Harwood which could, if you'll pardon the term, “swing both ways,” at least in terms of vocal weight! They perform a wide range of material of material including vocal chamber music by Manuel de Falla and Miriam Gideon; art song by Brahms, Bridge, Poulenc, Beethoven, Bizet, Granados, Sibelius, and Mahler; operetta and musical selections by Arlen, Lehár, Stolz, and Kern; and full-throated operatic selections by Richard Strauss, Jacques Ibert, Leoncavallo, and Meyerbeer. It's another jam-packed episode guaranteed (in a limited sense) to bring you the full-range of listening pleasure. 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 author 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.

A brand-new episode today inaugurating a series of episodes belatedly celebrating my birthday that will see us through to the end of the month. I have so many singers, composers, and topics in which I am interested and hope to devote full episodes to in the near future. This is the first of two episodes focusing on baritones (and a few bass-baritones) who have not yet received full Countermelody treatment. Among the singers included: Josef Metternich, Tom Krause, Walter Berry, Theodor Uppman (pictured), Erich Kunz, Charles Panzéra, Roland Hermann, Aubrey Pankey, Kostas Paskalis, Pavel Lisitsian, Gianni Maffeo, John Shirley-Quirk, and exemplary pop singers Scott Walker and David Allyn singing a wide range of music from art songs of Sibelius, Rachmaninov, Griffes, Diepenbrock, and Vaughan Williams, to mélodies by Ravel, Debussy, and Hahn, to Lieder by Schubert and Brahms, to operetta arias to opera scenes and arias by Leoncavallo, Verdi, and Manfred Gurlitt; to pop songs by Randy Newman and Rodgers and Hart. And that's just the tip of the iceberg: also teased are forthcoming episodes on arie antiche and the Polish-Swiss composer Constantin Regamey. Come to think of it, today's is an excellent introduction to the Countermelody podcast in all its range and scope. 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 author 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.

Recent updates abound in Dorico, MuseScore Studio, Sibelius, and across the Apple operating systems. Whether you use all of these products or just one of them, we help you get current with the latest features and improvements, so that you can make the most of the notation software and the operating systems they run on. More from Scoring Notes: Music notation software and macOS Tahoe Dorico 6.1: Select more MuseScore Studio 4.6 adds full SMuFL support, other engraving and playback updates Sibelius 2025.7 brings note spacing control, UI updates Sibelius updated to 2025.8 File system tools mentioned: Onyx CleanMyMac

Two-time GRAMMY Award-winning Albany Symphony will begin their 2025-2026 season next Saturday, featuring Stravinsky'smagnificent Firebird Suite, Dvořák's masterful Cello Concerto, the world premiere of Look Up by Alex Berko and Sibelius's stirring Finlandia.The concert will take place at the historic Palace Theatre in downtown Albany on Saturday, October 11, beginning at 7:30pm. A pre-concert talk by Music Director David Alan Miller will begin at 6:30pm.

Delia from Kentucky Performance Products joins us to tell us about what her champion racehorse, Sibelius, is up to in retirement. Plus, a twist on studies show that will have you guessing and it's prize day on Realli Bad Adz. Listen in…HORSES IN THE MORNING Episode 3721 – Show Notes and Links:Hosts: Jamie Jennings of Flyover Farm and Glenn the GeekTitle Sponsor: Kentucky Performance ProductsGuest: Delia Nash from Kentucky Performance ProductsAdditional support for this podcast provided by: Care Credit, Equine Network, Spalding Fly Predators and Listeners Like YouTime Stamps:06:00 - Daily Whinnies13:00 - Delia Nash33:00 - Jamie's Western Saddle39:30 - Studies Show47:30 - Realli BAD Adz01:10:00 - Auditor Post Show