Podcasts about sir colin davis

Die Namensliste der Chefdirigenten, die das BRSO über die Jahre lenkten und begleiteten, liest sich imposant: Eugen Jochum, Rafael Kubelík, Sir Colin Davis, Lorin Maazel, Mariss Jansons und heute Sir Simon Rattle. In der Aufzählung fehlt jedoch ein Mann, der das nicht wurde, was er werden sollte. Markus Vanhoefer erinnert an ein tragisches Kapitel der Orchestergeschichte.

durée : 00:58:43 - Sir Colin Davis, le gentleman de la direction d'orchestre - par : Aurélie Moreau - Sir Colin Davis a été chef principal du Symphonique de Londres pour s'occuper uniquement de musique, et pas d'administration. Il disait : « Je déteste exercer un pouvoir sur les hommes… Le chef d'orchestre est un musicien, pas un centurion ».

Chillout Classic w Radiu Spin #20 "Kosmos" 10 sierpnia 2023 r. Audycja dedykowana mieszkańcom wsi Juszkowo i wszystkim, którzy oglądają gwiazdy i spadające perseidy. 1. J.S. Bach - Aria z Wariacji Golbergowskich, Didier Francois - nyckelharpa, Michel Biscaglia - piano. 2. R. Strauss - Preludium z poematu Tako rzecze Zaratustra, Berliner Philharmoniker, Herbert von Karajan. 3. Ligheti - Atmosfera, Wiener Philharmoniker, Claudio Abbado. 4. Steven Price - Gravity - Above Earth, Airlock, ISS. 5. Gustaw Holst - Saturn, the Bringer of Old Age, Berliner Philharmoniker, Sir Colin Davis. 6. Franz Perkins/Mitchell Parish - Stars Fell on Alabama, Ella Fidzgerlad & Luis Armstrong. 7. Enya - Paint The Sky with Star. 8. J.S. Bach - Wariacje Goldbergowskie, 25. Wariacja, Marcin Wasilewski Trio. 9. Hans Zimmer - Interstellar - Dreaming od the Crash, Cornfield Chase, Day One. 10. John Williams - Across The Stars, Princess Leia's Theme, Anne-Sophie Mutter. 11. Vangelis - Rosetta - Celestial Whispers, Albedo 0.06, Sunlight, Rosetta.

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

Synopsis On today's date in 1795, Haydn was in England and about to conduct one of his new symphonies at The King's Theater in London. An early biographer recounts what happened next: "When Haydn entered to conduct the symphony, the curious audience left their seats and crowded towards the orchestra the better to see the famous Haydn. The seats in the middle of the floor were thus empty, and hardly anyone was there when the theater's great chandelier crashed down and broke into bits, throwing the numerous gathering into great consternation. As soon as the first moment of fright was over and those who had pressed forward could think of the danger they had luckily escaped and find words to express it, several persons uttered the state of their feelings with loud cries of 'Miracle!' 'Miracle.'" And thus, one of Haydn's symphonies, his symphony No. 96 in D Major, came to be called The Miracle Symphony. It's a nice story, but it actually occurred just before the first performance of Haydn's Symphony No. 102 in B-flat. Somehow or another the nickname got stuck to one of Haydn's earlier London Symphonies, and simply refused to become "unstuck." In his book, "The Symphony: A Listener's Guide," musicologist Michael Steinberg suggests an elegant solution: He still lists Haydn's Symphony No. 96 as The Miracle but give the Symphony No. 102 a new nick-name: The REAL Miracle. Music Played in Today's Program Franz Joseph Haydn (1732-1809) Symphony No. 96 in D Concertgebouw Orchestra; Sir Colin Davis, conductor. Philips 442 611

"It's not about only 'what do you hear,' it's about how you hear. What is the color of the sound you hear? What do you hear in the vocal mechanism? What are some of the things that they are doing that maybe are reflected in my conducting? Is my conducting reflective of the music? Is my conducting causing the issues?"Jo-Michael Scheibe, a Southern California native, has spent years cultivating his passion for choral music and higher education. Mike, currently retired, recently chaired the Thornton School of Music's Department of Choral and Sacred Music at the University of Southern California, where he conducted the USC Chamber Singers, taught choral conducting and choral methods, and supervised the graduate and undergraduate choral program. Before his time at USC, he spent fifteen years in Miami directing Choral Studies at University of Miami's Frost School of Music.Dr. Scheibe has prepared many choruses at USC and around the world. These include works with Sir Colin Davis and the London Symphony Orchestra, Helmuth Rilling, Michael Tilson Thomas and the New World Symphony, Franz Welser-Möst and the Cleveland Orchestra, and the Formosa Singers in Taiwan. Under his leadership, ensembles have performed at National ACDA Conventions and National Conventions of the Music Educators National Conference. Walton, Albany, Colla Voce Music, and Naxos publish recordings of Scheibe's ensembles.Dr. Scheibe received his B.A. and M.M. degrees from California State University at Long Beach and D.M.A. from USC.A champion of contemporary music, Scheibe regularly commissions and performs new works of choral literature. He has helped to launch careers of promising young composers and to promote music by international composers largely unknown in the United States. Music publishers Walton, Colla Voce Music and Santa Barbara distribute the Jo-Michael Scheibe Choral Series internationally. Composers in his series include Eric Whitacre, Susan LaBarr, Stacey V. Gibbs, David Dickau, and many others.To get in touch with Mike, you can find him on Facebook (@drjomichaelscheibe) or send him an email at jscheibe@usc.edu.Choir Fam wants to hear from you! Check out the Minisode Intro episode from September 16, 2022, to hear how to share your story with us. Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson from Pexels

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：587586744 背景音乐：1.Alicia de Larrocha,Sir Colin Davis,English Chamber Orchestra - Piano Concerto No.23 in A Major, K. 488：II. Adagio;2.Denean - Dreamtime;3.박준수 - 그게 사랑이니까 (String & Piano).

Synopsis We tend to think of Paris as the most sophisticated and worldly of European capitals – a city whose residents are unlikely to be shocked by anything they see or hear. Ah, but that's not always the case, as poor Hector Berlioz discovered on today's date in 1838, when his new opera “Benvenuto Cellini” premiered at the Paris Opéra. One line in the libretto about the cocks crowing at dawn was considered, as Berlioz put it, “belonging to a vocabulary inconsistent with our present prudishness” and provoked shocked disapproval. And that was just the start of a controversy that raged over both the morality and the music of this new opera. Following the dismal opening night, Berlioz wrote to his father: “It's impossible to describe all the underhanded maneuvers, intrigues, conspiracies, disputes, battles, and insults my work has given rise to… The French have a positive mania for arguing about music without having the first idea – or even any feeling – about it!” From the fiasco of the opera's premiere, however, Berlioz did retrieve some measure of success. His famous contemporaries Paganini and Liszt both admired the work – and said so – and one flashy orchestral interlude from “Benvenuto Cellini” did prove a lasting success when Berlioz recast it as a concert work: his “Roman Carnival Overture.” Music Played in Today's Program Hector Berlioz (1803-1869) –Benvenuto Cellini and Roman Carnival Overtures (Staatskapelle Dresden; Sir Colin Davis, cond.) BMG/RCA 68790

Synopsis On today's date in 1829, the German composer Felix Mendelssohn and his friend, Karl Klingemann, were on the North Sea bound for Glasgow. Klingemann was not impressed with Scotland and wrote home that the rough North Sea passage had made most of the passengers sick – with one remarkable exception. “An 82-year old woman,” he wrote, “sat calmly by the smoke stack, warming herself in the cold wind. She was determined to see Staffa before she died. Staffa, with its silly basalt columns and caves, is in all the picture books. So, we were put into boats and clambered past the hissing sea on stumps of columns up to the odiously celebrated Fingal's Cave. I must say, never did such green and roaring waves pound in a stranger cave. The many pillars make the inside resemble a monstrous organ. Black, resounding, and utterly without any purpose at all…” Well, perhaps not utterly without purpose, since Felix Mendelssohn sent a letter home to HIS family on August 7 which included a scrap of musical notation. “To give you an idea of how strange I felt,” wrote Mendelssohn, “this music occurred to me.” It was the opening theme of what would become his concert overture titled “The Hebrides, or Fingal's Cave.” Music Played in Today's Program Felix Mendelssohn (1809 - 1847) –The Hebrides (Fingal's Cave) (Overture BBC Symphony; Sir Colin Davis, cond.) Philips 426 978

Synopsis Playing in a marching band isn't always as easy as it looks. Imagine the predicament in which Berlioz found himself on today's date in 1840, conducting 210 musicians under a broiling noonday sun as they slowly progressed to the Place de Bastille. To commemorate the 10th anniversary of the French “July” Revolution of 1830, a memorial column had been erected on the spot where the Bastille once stood, and the remains of fallen revolutionary heroes were being transferred to a cenotaph at the foot of the column, accompanied by Berlioz's specially commissioned “Funeral and Triumphal Symphony,” composed for massed military bands. Berlioz himself, in full military uniform and conducting with a saber, led the solemn procession that hot July day. In a letter to his father, Berlioz wrote: “The old know-it-alls were claiming that I'd never manage to have my symphony performed on the march and that my 210 musicians wouldn't stay together for even 20 bars. So I placed the trumpets and drums in front so that I could give them the beat while walking backwards. I planned it so that in the opening bars these instruments play by themselves, so they could be heard by the rest of the band. The symphony's march and finale were played six times, on the march, with an ensemble and effect that were truly extraordinary.” Music Played in Today's Program Hector Berlioz (1803-1869) – Symphonie funebre et triomphale (London Symphony; Sir Colin Davis, cond.) Philips 416 283

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：587586744 背景音乐：1.Ludwig van Beethoven - Adagio Cantabile from Sonata Op.13 (Pathetique)；2.Kathryn Stott,Gabriel Urbain Faure - Barcarolle No. 1 In A Minor, Op. 26 (1880)；3.Ludwig van Beethoven,Stephen Kovacevich - 33 Piano Variations in C, Op.120 on a Waltz by Anton Diabelli：Variation III (L'istesso tempo)；4.Alicia de Larrocha,Sir Colin Davis,English Chamber Orchestra - Piano Concerto No.23 in A Major, K. 488：II. Adagio。

Synopsis In February of 1794, the Austrian composer Franz Joseph Haydn arrived in England for his second visit, and the premiere performances of some of his newest symphonies, beginning with one in E-flat Major that we know as his Symphony No. 99. Haydn would write 104 symphonies in all – an astonishing accomplishment, considering both their quantity and quality. In typically modest fashion, Haydn once commented: “I compose music so that the weary and worn, or the man burdened with affairs, may enjoy a few moments of solace and refreshment. I know that God has bestowed a talent upon me, and I thank Him for it. I think I have done my duty and been of use in my generation by my works. Let others do the same.” Well, these days, as in Haydn's, to write a symphony one needs talent AND an orchestra willing to perform it. The American composer Daniel Asia has a way to go before matching Haydn's output, but has composed at least SIX symphonies to date. The first was commissioned by the American Composers Orchestra and the Seattle Symphony, and received its premiere performance in Seattle, Asia's hometown, on today's date in 1990. Music Played in Today's Program Franz Josef Haydn (1732 — 1808) — Symphony No. 99 (Royal Concertgebouw Orchestra; Sir Colin Davis, cond.) Philips 442 614 Daniel Asia (b. 1953) — Symphony No. 4 (New Zealand Symphony; James Sedares, cond.) Summit 256

durée : 01:58:30 - Relax ! du lundi 20 décembre 2021 - par : Lionel Esparza - Pour cette première émission de la semaine de Noël, Lionel vous propose une programmation pas exclusive ! En disque de légende, nous écouterons Les Troyens de Berlioz enregistré intégralement en studio sous la direction de Sir Colin Davis ! - réalisé par : Vivian Lecuivre

durée : 00:21:09 - Disques de légende du lundi 20 décembre 2021 - Aujourd'hui dans Disques de légende, l'opéra de Berlioz : Les Troyens. Une version datant de 1969, le premier enregistrement studio en intégral et sans coupures !

Hailed by the New York Times as a soprano of “gleaming sound, free and easy high notes, agile coloratura runs and lyrical grace,” Jessica Pratt is considered one of today's foremost interpreters of some of bel canto's most challenging repertoire.Since her European debut in 2007 as Lucia di Lammermoor, Ms Pratt's schedule has included performances at opera theatres and festivals such as the Teatro alla Scala of Milan, Zurich Opera, Deutsche Oper Berlin, the Vienna State Opera and the Royal Opera House Covent Garden, working with conductors such as Daniel Oren, Nello Santi, Kent Nagano, Sir Colin Davis, Christian Thielemann, Donato Renzetti, Pier Giorgio Morandi, Carlo Rizzi, Antonino Fogliani, Wayne Marshall and David Parry.The 2012/13 season brought several acclaimed debuts at Festival Verdi in Parma, including Gilda to Leo Nucci's Rigoletto, at Deutsche Oper Berlin as Lucia, at Vlaamse Opera in New Year's Eve Concert, at Teatro de la Maestranza in Sevilla (Gilda, once more next to Leo Nucci), in the role of Matilde in Guillaume Tell next to Juan Diego Florez interpreting Arnold in Lima, Giulietta in I Capuleti e i Montecchi in Reims, in the role of Lisinga in Demetrio e Polibio of Rossini in Neaples, and in the role of the protagonist in Giovanna d'Arco at Festival della Valle d'Itria in Martina Franca.In the 2013/14 season Ms Pratt could be heard in new productions of Lucia di Lammermoor at La Scala and in Amsterdam, as Amina in La sonnambula in Bari, Gilda in Padova, in the season opening of La Fenice as Inès in Meyerbeer's L'Africaine, as Musetta in La Bohème in Salerno, in her role debut as Violetta in La Traviata in Melbourne, as Zenobia in Aureliano in Palmira at the Pesaro Rossini Opera Festival as well as in recitals in Tokyo and Florence with Vincenzo Scalera.In 2014/15 the soprano made her role debuts as Cleopatra in Handel's Giulio Cesare at the Teatro Regio in Turin and as Amenaide in Rossini's Tancredi at the Opéra de Lausanne. Other performances included Donna Anna in Don Giovanni and Giulietta in I Capuleti e i Montecchi at the Teatro La Fenice in Venice; Elvira in I Puritani in Florence and in Melbourne; Lucia di Lammermoor at the Rome Opera House and at the Festival Granda in Lima; her role and festival debut as Rosina in Il barbiere di Siviglia at the Arena di Verona, where she could also be heard as soprano soloist in Carmina Burana; the soprano solo in Rossini's Messa di Gloria alongside Juan Diego Florez and La morte di Didone at the Rossini Opera Festival; as well asconcerts in Milan, Bonn, and London.Performances of the 2015/16 season included Jessica Pratt's returns to Florence, Turin and Melbourne as Lucia di Lammermoor, her debuts at the Gran Teatre del Liceu Barcelona as Desdemona in Rossini's Otello, at the Palau de les Arts Reina Sofia Valencia in Mozart's Davidde penitente and at the ABAO Bilbao as Amina in La sonnambula, her role debuts as Semiramide at the Opéra de Marseille and later at the Washington Concert Opera and as Linda di Chamounix at the Rome Opera House; and concerts in Oviedo and Moscow.More recently, Semiramide and Rosmonda d'Inghilterra at the Florence Opera House, a concert with the Queensland Symphony Orchestra, Rosmonda d'Inghilterra at the Donizetti Festival Bergamo, her debut at the Metropolitan Opera House New York as Queen of the Night in The Magic Flute, and Rigoletto in Oviedo.The STAGES podcast is available from Apple podcasts, Spotify and Whooshkaa. Also where you find your favourite podcasts. www.stagespodcast.com.au

This week Seb and Verity chat to a true London Symphony Orchestra legend, cellist Jennie Brown. Jennie joined the LSO in 1982 and is currently the longest serving female player, having been one of only two women in the orchestra when she arrived. She started her career getting a job at the Royal Opera House whilst still in her fourth year at the Royal Academy....not bad eh?!Jennie discusses working with John Williams on Return of the Jedi, Sir Colin Davis and the legendary trumpeter Maurice Murphy.....you may not recognise his name but you’ll definitely have heard him playing on any number of epic movie soundtracks. They also chat about her very first opera at ROH with none other than Luciano Pavarotti, being the third generation in her family to be a member of the LSO and a sickening experience for Jennie when a top fixer called and she completely lost her voice.....pre mobile phones and diary services, eurgh. Seb and Verity try to dig some dirty from the so-called "bad old days" in the LSO and - despite Jennie being extremely discreet - hear a few snippets of what that title alluded to. SUPPORT THREE IN A BAR ON PATREONThis Show is purely funded by our patrons. Join our Members’ Club for a bonus podcast feed plus many more rewards.Click here: https://www.patreon.com/threeinabarMEZZO PIANO PATRONSLeonie Hirst Anita PhilpottLinksLondon Symphony Orchestra: https://lso.co.uk/Instagram: https://www.instagram.com/Twitter: https://www.twitter.com/londonsymphony/Pavarotti - Tosca - E lucevan le stelle: https://m.youtube.com/watch?v=oLP1951ZxIEReturn of the Jedi Soundtrack - The LSO conducted by John Williams: https://open.spotify.com/album/1gt4PAxdMmq5DUV7tyuNxx?si=GD_IYOeyQfm0q5kvqiqX7AScore: A Film Music Documentary - https://www.imdb.com/title/tt4207112/ Click here to join the Members' Club on Patreon! See acast.com/privacy for privacy and opt-out information.

Sandy Burnett is a Man of Music, especially amphibious in classical waters and jazz streams of consciousness. He is one of the most authoritative classical music broadcasters in the UK, with a huge and impressive CV, which he wears lightly. He is also an outdoor swimmer, Summer and Winter. In this conversation we discuss great rivers like the Thames and the Rhine, the ocean at Aldeburgh, Suffolk, and music that has been inspired by the flow of water. The music in this podcast is Sandy himself, improvising, opening of Sea Interlude III, 'Sunday Morning by the Beach' from Benjamin Britten's opera Peter Grimes (Royal Opera House Covent Garden, Conducted by Sir Colin Davis), opening of Bach Cello Suite I (played by Pieter Whispelwey), and Noe Noe and Vienna Beat, both of Blue Note Sessions. Find Sandy at - www.sandyburnett.com https://www.sandyburnett.com/listeningclub https://twitter.com/sandy_burnett?lang=en

I have known Ben Gernon since he was a teenager and have always loved chatting to him about music and conducting. I discovered what lessons with Sir Colin Davis were like, which orchestra saw him through his "nappy years and on to being a toddler", and which famous conductor once gave him invaluable advice whilst he was eating a doner kebab! If you would like to hear the Patreon exclusive mini-episode and support the podcast, why not subscribe at https://www.patreon.com/amiconthepodium, and for the price of a glass of wine once a month, you can access two new series of interviews, articles, and much more. Alternatively, if you would prefer to make a one-off donation, go to https://www.justgiving.com/crowdfunding/a-mic-on-the-podium and any donation you make will be greatly appreciated!

Beethoven als rebel en idealist. c.   1. 6 Bagatellen, Op. 126 Alfred Brendel 2. Fidelio: Ouverture London Symphony Orchestra, Sir Colin Davis 3. Grosse Fuge, opus 133. Tokyo Strijkkwartet. 4. Opferlied op.121b Ingeborg Springer (mezzo), Groszer Chor des Berliner Rundfunks, Rundfunk-Symphonie-Orchester Berlin olv. Helmut Koch.  

We're on our tenth episode! Blimey that's flown. To celebrate, out big guest chat of the ep is with the award winning Australian-British conductor Jessica Cottis who has, among others, performed with the Sydney Symphony Orchestra, London Philharmonic Orchestra, BBC Symphony Orchestra, Royal Philharmonic Orchestra, BBC National Orchestra of Wales, and the BBC Concert Orchestra, and has been described as “cool, contained, super-articulate and engaging” - given that the first three at least are the opposite of us, she seemed like the perfect guest.The early morning recording (read 11:30am) also sent us somewhat giddy, so expect our most consistently lewd recommendations chat yet, complete with inappropriate underwear and EE Cummings - don't worry though, we're not quite as randy as Bernadine Evaristo. If that's not ringing any bells, well you'll just have to listen to the show, won't you?Links:E. E. Cummings poem - https://www.google.co.uk/amp/s/fieldnotesandfootnotes.wordpress.com/2011/10/20/e-e-cummings-being-cheeky/amp/Bernardine Evaristo: ‘How often do I have sex? Eight times a day’ - https://www.google.co.uk/amp/s/amp.theguardian.com/books/2020/jul/25/bernardine-evaristo-how-often-have-sex-eight-times-a-dayAngie Wickenden ceramics - https://instagram.com/angiewickenden?igshid=7aawybicnsztSarah Cooper Twitter - https://twitter.com/sarahcpr?s=21Outlander - https://www.channel4.com/programmes/outlanderJurassic Park Updates - https://twitter.com/JurassicPark2go?s=21Will Hislop Twitter - https://twitter.com/WillDHislop?s=21Marie-Claire Alain - https://www.theguardian.com/music/2013/mar/04/marie-claire-alainStrauss: Der Rosenkavalier - https://www.youtube.com/watch?v=3D7abQTy71I Vladimir Ashkenazy - http://www.vladimirashkenazy.com/ Sir Colin Davis - https://www.theguardian.com/music/2013/apr/14/sir-colin-davis-obituary Peacock butterflies - https://butterfly-conservation.org/butterflies/peacock Vladimir Nabokov, Butterfly Illustrator - https://www.newyorker.com/tech/annals-of-technology/vladimir-nabokov-butterfly-illustrator#:~:text=A%20drawing%20by%20Vladimir%20Nabokov,at%20the%20age%20of%20seven.&text=Petersburg%20for%20Crimea%2C%20where%20he,seven%20species%20of%20Crimean%20butterflies. Irkanda 1 by Peter Sculthorpe - https://www.australianmusiccentre.com.au/workversion/sculthorpe-peter-irkanda-i/2207 The Monstrous Child - https://www.roh.org.uk/productions/the-monstrous-child-by-timothy-sheader#:~:text=Background,her%20own%20darkly%20humorous%20novel. BBC Philharmonic Orchestra do David Bowie's 'Sound and Vision' -https://m.youtube.com/watch?v=otTiodsb-sUAs always, we'd love to hear from you! Get in touch via email at calmdowndearpodcast@gmail.com, or by following us on Twitter and Facebook @calmdowndearpod, and Instagram @calmdowndearpodcast. See acast.com/privacy for privacy and opt-out information.

durée : 01:58:33 - Sir Colin Davis - par : Frédéric Lodéon - Les multiples talents du chef d'orchestre britannique Colin Davis. Au programme : des œuvres de Mozart, Brahms, Sibelius et Rodrigo par l'English Chamber Orchestra, la Staatskapelle de Dresde... - réalisé par : Vivian Lecuivre

Music heard on this week's episode: Imperial March, Op. 32 (Edward Elgar) LONDON SYMPHONY ORCHESTRA & BARRY TUCKWELL ℗ 2005 London Symphony Orchestra Ltd || Enigma Variations, Op. 36 - Variations IX and XII (Edward Elgar) LONDON SYMPHONY ORCHESTRA & SIR COLIN DAVIS ℗ 2007 London Symphony Orchestra Ltd || Cello Concerto in E minor, Op. 85 (Edward Elgar) JEAN-GUIHEN QUEYRAS, THE BBC SYMPHONY ORCHESTRA & JIRÍ BELOHLÁVEK ℗ 2013 harmonia mundi

durée : 01:58:33 - Sir Colin Davis - par : Frédéric Lodéon - Deux heures d'émission aujourd'hui autour du chef d'orchestre britannique Colin Davis. Au programme : des œuvres de Mozart, Brahms, Sibelius et Rodrigo par l'English Chamber Orchestra, la Staatskapelle de Dresde... - réalisé par : Vivian Lecuivre

Today's quote comes from longtime London Symphony conductor Sir Colin Davis - "The road to success and the road to failure are almost exactly the same.” The road traveled is almost exact in both cases, but you choose the final destination. Now, let's get out there and #bebettertoday!

Ribbons & Bows Podcast 5  In this episode,   women violinists who hailed from other countries in the late 19th and early 20th centuries. Because no history of women violinists in this period would be complete without at least nod to the international women on the scene, in this program, we will meet five superlative Russians: Nathalie Boshko, Cecelia Hansen, Margaret Pardee, Lea Luboshutz, and Frances Berkova. Three greats from Great Britain, Isolde Menges , Orrea Pernel, Ida Haendel;.  Two French fiddlers: Genette Neveu &  Renee Chemet. Two Hungarian Rhapsodizers, Jelly D’Aranyi, Stefi Geyer. And Italian immortal Valentina Crespi.  We’ll cover a lot of ground, in this international survey so we hope you’ll join us! Let’s pack up our bags and get going! Podcast 5 Featured Violinists Isolde Menges, Orrea Pernel, Ida Haendel, May Harrison, Valentina Crespi, Sefi Geyer, Lea Luboshutz, Frances Berkova, Nathalie Boshko, Cecelia Hansen, Margaret Pardee, Jelly d’Aranyi, and Renee Chemet Podcast 5 Other Mentions Leopold Auer, Carl Flesch, John Eliot Gardiner, Sir Colin Davis, Joyce Rathbone, Andre Tchaikowsky, Sir William Glock, Miecyzslaw Michalowicz, George Enesco, Hubay, Bela Bartok, Hans-Heinz Schneeberger, Othmar Schoeck, Efrem Zimbalist, Mischa Elmann, David Oistrach, Eugene Ysaye, Ivan Galamian, Louis Persinger, Sascha Jacobsen, Albert Spalding, Myra Hess, Joseph Joachim, Robert Schumann, Yehudi Menuhin, George Kulenkampff, Jules Boucherit, Nadia Boulanger, Line Talluel Podcast 5 Music & Credits Maud Powell- Souvenir (Drdla) Deborah Tien-Price/Karen Shinozaki Sor – Sonata for Violin KV454 2nd Movement (Mozart), Romanze (Kreisler), Concerto Op 64 (Mendelssohn), Symphonie Espagnole (Lalo), Nocturne in C#m (Chopin), Violin Concerto No 1 in D major Op 6 (Paganini) Deborah Tien-Price – Partita No 1 in Bm (Bach) Josh Workman – War Theme Ginette Neveu – Violin Concerto in D major Op 61 (Beethoven) ### About Ribbons & Bows  An exciting new podcast series from Elfenworks Productions, LLC “Ribbons & Bows ~ American Women in Violin History”  delves into the stories of dozens of pioneering American women who helped shape today’s robust violin scene.  These are fabulous tales of perseverance,  vision, and hope.   Why has so little been said about them, in history books, until today?  More importantly, won’t you please join us for an enchanting trip down memory lane as we call them back to us to tell their stories, ensuring they’ll never be lost in the mists of time?  You’ll love these brave and beautiful souls, as you share their experiences back in the days when little girls were not encouraged to play violin.  After all, who among us hasn’t felt like the odd one out, the person interested in trying something different, in going where they didn’t exactly fit in?  Ribbons & Bows… a Podcast Series with accompanying downloadable CD release from Elfenworks Productions, LLC,  expected in 2018.

Två norska världsstjärnor i veckans Musikrevyn - vi har träffat violinisten Vilde Frang och lyssnat på gossopranen Aksel Rykkvins sista skiva innan målbrottet. Veckans skivor: WALTON, SYMPHONIES 1 & 2 Symfonier 1 & 2 av William Walton Bournemouth symfoniorkester Kirill Karabits, dirigent Onyx ONYX4168 LIGHT DIVINE Musik av G F Händel, Tomaso Albinoni och Jean-Philippe Rameau Ensemblen MIN Aksel Rykkvin, gossopran Mark Bennett, trumpet Lazar Miletic, ensembleledare Signum Classics SIGCD526 RAUTAVAARA Musik för cello och piano av Einojuhani Rautavaara Tanja Tetzlaff, cello Gunilla Süssman, piano Ondine ODE1310-2 THE GERSHWIN MOMENT Musik av George Gershwin, Rhapsody in Blue och Pianokonsert i F Kirill Gerstein, piano St Louis symfoniorkester David Robertson, dirigent Myrios Classics MYR022 Sofia möter: Vilde Frang. I veckan gjorde den norska stjärnviolinisten Vilde Frang en bejublad insats i Bartoks första violinkonsert i Stockholms konserthus. Sex år efter sitt stora internationella genombrott med Wienerfilharmonikerna känns varje konsert fortfarande som den första, säger hon. Med Musikrevyns Sofia Nyblom pratar hon om hur trött hon är på indelningen i manliga och kvinnliga violinister och varför hon inte gillar att vara för uppklädd på scen. Referensen: Nutid vs dåtid Panelen jämför Kirill Karabits och Bournemouth symfoniorkesters inspelning av William Waltons symfonier med premiärinspelningen av andra symfonin från 1964 med Cleveland-orkestern, dirigerad av George Szell. Och så ställs pianisten Kirill Gersteins aktuella inspelning av George Gershwins Rhapsody in blue mot pianosolisten Peter Donohues inspelning med London Sinfonietta från 1986. Andra i programmet nämnda och rekommenderade inspelningar: William Waltons två symfonier med BBC:s symfoniorkester under ledning av Edward Gardner, utgivna på Chandos. William Waltons första symfoni med London symfoniorkester, dirigerad av Andre Previn eller Sir Colin Davis.

Revolutionary times call for revolutionary music, and Beethoven was living in revolutionary times. At the beginning of the 19th century, he quickly became disillusioned by Napoleon Bonaparte — a leader who initially seemed concerned with freedom but was ultimately obsessed with his own power. Beethoven's political anguish rang out in his music, as did his deeply-held beliefs about the heroic power of ordinary people.  Beethoven spent more than 10 years revising Fidelio, the only opera he ever wrote. This was about more than music for the great composer. It was about freedom, devotion and the triumph of human dignity over tyranny. In this episode, host Merrin Lazyan speaks with Jessica Phillips, second clarinetist in the Metropolitan Opera Orchestra, about Beethoven's revolutionary sound. We also hear from soprano Adrianne Pieczonka, who sings the lead role of Leonora, about the most moving musical moments in Fidelio. “O namelose Freude!” (Adrianne Pieczonka and Klaus Florian Vogt):  “Nur hurtig fort, nur frisch gegraben” (Adrianne Pieczonka and Falk Struckmann):  This episode features excerpts from the following album: Beethoven: Fidelio (Sony Classical, 1996)— Deborah Voigt, soprano; Ben Heppner, tenor; Matthias Hölle, bass; Elizabeth Norberg-Schulz, soprano; Michael Schade, tenor; Thomas Quasthoff, bass-baritone; the Bavarian Radio Symphony Orchestra and Chorus conducted by Sir Colin Davis. 

When Johann Wolfgang von Goethe's epistolary novel The Sorrows of Young Werther was published in 1774, it became an overnight sensation. Men wore yellow waistcoats and leather breeches to look like the novel's lovelorn hero, they carried vials of their own tears to display the depth of their feelings, and they even killed themselves in solidarity with the title character. The story of passionate, unrequited love was equally resonant when Jules Massenet's opera premiered a century later, and the glorious music is still just as heart-rending today.  On this week's episode of He Sang/She Sang, Merrin Lazyan and Jeff Spurgeon speak with writer James Kuslan about Massenet's Werther. We also hear from mezzo-soprano Isabel Leonard about the magnetic power of love at first sight.   Kuslan's first YouTube pick (Tatiana Troyanos, 1982): Kuslan's second YouTube pick (Christa Ludwig and Franco Corelli, 1971): Spurgeon's YouTube pick (Lisette Oropesa and Jonas Kaufmann):  This episode features excerpts from the following album: Massenet: Werther (Philips, 1981)— José Carreras, tenor; Frederica von Stade, mezzo-soprano; Isobel Buchanan, soprano; Orchestra of the Royal Opera House conducted by Sir Colin Davis

Sparks fly in Hector Berlioz’s witty, offbeat opera Béatrice et Bénédict. Taking inspiration from one of the greatest comic works ever written – William Shakespeare’s Much Ado about Nothing – it’s a meditation on the complexities of love and partnership. Actress Zoe Wanamaker, music critic David Cairns, conductor Robin Ticciati and Glyndebourne’s dramaturg Cori Ellison explore the characters and music of this concise gem from the master of epic composition. Presenter: Katie Derham ​​Produced by Katherine Godfrey for Whistledown Productions for Festival 2016. Music from the LSO Live recording of Béatrice et Bénédict., conducted by Sir Colin Davis

Sir Colin Davis explores the psychological aspects of life as a music conductor with Professor Anthony Clare. Psychiatrist Dr Anthony Clare's in depth interviews with prominent people from different walks of life. Born in Dublin, author Anthony held a doctorate in medicine, a master's degree in philosophy and was a fellow of the Royal College of Psychiatrists. After becoming a regular on BBC Radio 4's Stop the Week in the 1980s, he became Britain's best-known psychiatrist and earned his own vehicle, In the Psychiatrist's Chair. Starting in 1982, this series ran until 2001 and also transferred to TV. Anthony Clare died suddenly in Paris aged 64 in 2007. First broadcast on BBC Radio 4 in August 1994.

  Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient piece is given new life by each new musician who plays it. Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient piece is given new life by each new musician who plays it. Audio production by Todd “Toddy Ruxpin” Hulslander, with kind of creepy hovering during the editing process by Dacia Clay. Music in this episode: – “Life Carries On” from Dismal Times, by Earthen Grave – Brahm’s Violin Concerto, Rachel Barton Pine with Chicago Symphony Orchestra. Carlos Kalmar conducting. – “Rock You Like a Hurricane” from Love at First Sting by the Scorpions. – “Ice Cream Man” from Van Halen by Van Halen. – Mendelssohn’s Violin Concerto in E Minor as performed (not necessarily in this order) by: — Rachel Barton Pine with Gottinger Symphonie Orchester. Christoph-Mathias Mueller conducting. — Joshua Bell with Camerata Salzburg. Roger Norrington conducting. — Fritz Kreisler with Berlin State Opera Orchestra. Leo Blech conducting. — Jascha Heifetz with Boston Symphony Orchestra. Sir Thomas Beecham conducting. — Maxim Vengerov with Leipzig Gewandhaus Orchestra. Kurt Masur conducting. — Isaac Stern with Philadelphia Orchestra. Eugene Ormandy conducting. — Henryk Szeryng with London Symphony Orchestra. Antal Dorati conducting. — Nathan Milstein with New York Philharmonic. Bruno Walter conducting. — Anne-Sophie Mutter with Berlin Philharmonic. Herbert von Karajan conducting.  — Itzhak Perlman by London Symphony Orchestra. Andre Previn conducting. — Maud Powell For more information about Classical Classroom: www.houstonpublicmedia.org/classroom For more information about Rachel Barton Pine: www.rachelbartonpine.com But wait! There’s more! In this short Classical Classroom, she talks about the most important thing her two musical loves share in common: emotional power. Audio production by Todd “Goes to 11” Hulslander with lighters in the air by Dacia Clay. Music in this episode: – “Death Is Another Word” from Earthen Grave, by Earthen Grave – Brahm’s Violin Concerto, Chicago Symphony Orchestra, Carlos Kalmar conducting. – “Rock You Like a Hurricane” from Love at First Sting by the Scorpions – “Ice Cream Man” from Van Halen by Van Halen – “Arpeggios from Hell” by Yngwie Malmsteen – Tchaikovsky’s Violin Concerto in D major, Vadim Repin with Kirov Orchestra. Valery Gergiev conducting. – Sibelius’ Violin Concerto in D minor, Salvatore Accardo with London Symphony Orchestra. Sir Colin Davis conducting. – “Wasted Years” from Somewhere in Time by Iron Maiden – “Ozzy/ Black Sabbath Medley” by Rachel Barton Pine

With Mark Lawson. Front Row reveals the Best of Young British Novelists, as selected by Granta magazine, and featuring 20 writers under 40. The prestigious list, which was first published in 1983, is released once a decade: the class of 1983 included Martin Amis, Salman Rushdie and Rose Tremain. The editor of Granta John Freeman and writer A L Kennedy, who was selected in both 1993 and 2003, unveil the new list and reflect on their judging process. The White House is the setting for the action film Olympus Has Fallen, starring Gerard Butler, Aaron Eckhart and Morgan Freeman. After the US president is taken hostage by terrorists, a disgraced former guard (Butler) finds himself playing a vital role. Elaine Showalter reviews. Mark reports from Derry-Londonderry, as it celebrates its 100th Day as City of Culture 2013. Throughout the year hundreds of events will take place, involving both international artists and local people. Mark speaks to the organisers of a photography project which aims to show the personal history of the city, not the news headlines from the Troubles. A record shop owner and local band Strength discuss their participation, and author Brian McGilloway talks about the City of Culture legacy. The conductor Sir Colin Davis died yesterday at the age of 85. Nicholas Kenyon, director of the Barbican Centre, London, reflects on the career of a musician who won international acclaim, most notably for his performances of works by Berlioz and Sibelius. Producer Nicki Paxman.

Die 4. Symphonie von Jean Sibelius wird gerne avantgardistisch genannt. Sir Colin Davis sieht in ihr die Reise in den Tod. Mit ihm hat Elgin Heuerding über das Starke Stück gesprochen.

David Cairns delivers this lecture ahead of the City of London Festival performance of Berlioz's Grande Messe des Morts Op. 5 (Requiem) by the London Symphony Orchestra and Chorus conducted by Sir Colin Davis, which took place at St. Paul's Cathedral.This is a part of the series of...

Was das potentielle Ausdrucksspektrum seiner Musik anging, hatte man Vaughan Williams unterschätzt. Die vierte Sinfonie war sein bisher wildestes, harschestes, aufwühlendstes Werk. Andreas Grabner führt gemeinsam mit Sir Colin Davis in dieses Starke Stück ein.

In this episode we wanted to celebrate the upcoming holidays with a few of our favorite pieces. We have also included a special sneak peak to Agustin Hadelich's new album, "Echoes of Paris"! We hope you enjoy the music. Everyone have a wonderful holiday and a fantastic New Year! Harry Christophers, The Sixteen "In Dulci Jubilo" from "A Traditional Christmas Carol Collection, Vol. II" (The Sixteen Productions Ltd.)    There is such an abundance of festive music available to us that sometimes one wishes Christmas did not come but once a year! The Sixteen’s first volume of traditional Christmas carols contains some of our most favorite pieces but there is so much more wonderful festive music that deserves to be better known. So we decided to make a second volume. On this disc you will discover familiar seasonal favorites such as ‘Unto us a boy is born’ and ‘It came upon the midnight clear’ but we have also included some less well-known gems like ‘Cherry Tree Carol’ and ‘Gloucestershire Wassail’.Woody Phillips "Dance Of The Sugar Plum Fairy" (mp3) from "A Toolbox Christmas" (Gourd Music) Buy at Amazon MP3 Buy at eMusic More On This AlbumA Toolbox Christmas - Liner Notes: A Toolbox Christmas marks Woody Phillips' breathtaking debut into a world of repertoire and instrumentation only dreamed of by composers who have gone before him. True, Beethoven gave us the 'Hammer (klavier) Sonata' -- but Phillips has dared to explore the full range of the workbench's symphonic palette. Never before have your ears experienced the the exquisite marimba-like 2x4's in Jingle Bells ; the majestic table saw duet in Joy to the World ; the sensitive counterpoint provided by the power planer in I Saw Three Ships ; the filigreed ornamentation of the clanking pipes in We Wish You a Merry Christmas ; the uniquely persuasive percussion of the pneumatic nailer in Patapan ; the panoply of hand and power tools in The Twelve Days of Christmas -- listen and you'll know you're in a new and extraordinary realm of holiday music. Tchaikowsky's beloved Dance of the Sugar Plum Fairy may never sound the same to you again once you've experienced Phillips' ensemble of antique hand drill, mandolin, anvil, t-square, level and pipes. Will an eye remain dry as Auld Lang Syne, ethereal and poignant on the musical saw, shimmers over the drone of the shop vac? Phillips' ear is impeccable, perfectly attuned to nuances of tone and subtle differences of timbre among the various power tools, always employing the right tool for each job. Never, however, does Phillips disdain the traditional instruments of the concert hall. Though purists may balk at the sound of actual musical instruments on A Toolbox Christmas , when Phillips senses the need for a cello, mandolin, oboe or flute, in it goes, without regard for mere commercial considerations. His generous, all-encompassing love of beautiful sounds permits no petty divisions in his artistic kingdom. Above all, Phillips' true genius in A Toolbox Christmas has been to include the entire ambiance of the workshop on this recording. He has drawn not only on the incomparable sonorities of the tools themselves, but adds sounds every home-improver will recognize with delight: a tape measure retracting; duct tape tearing; the little ball bearing rolling as the spray paint can is shaken. He has created choirs of bottles and chiming sacks of 10d nails. Perhaps most inspired of all is his brilliant use of the perfectly-timed pop-top. The resulting magic awaits you in A Toolbox Christmas .Sir Colin Davis, London Symphony Orchestra "Messiah" from "Handel: Messiah" (LSO Live) Buy at iTunes Music Store Buy at Amazon MP3 Buy at eMusic More On This Album Handel's masterpiece uses short texts from the Bible to tell the story of Christ's birth, death and resurrection. Imbued with a deep humanity and written with the imagination of a composer at the peak of powers, Messiah is intimate yet dramatic and includes some of Handel's best-loved music.Hallé, Carl Davis"The Nutcracker" from "Hallé Christmas Classics" (Halle Concerts Society) Buy at iTunes Music Store Buy at Amazon MP3 More On This AlbumA wealth of Christmas favourites, under the direction of BAFTA award-winning conductor and composer, Carl Davis.'Claire Rutter... thrilling confidence and elan... a true prima donna... [with] spine tingling top notes...' Sunday Times Augustin Hadelich, Robert Kulek"Poulenc: Sonata for Violin and Piano, Op. 119" from "Echoes of Paris" (AVIE Records) More On This Album Augustin Hadelich, Robert Kulek"Stravinsky: Suite After Themes, Fragments and Pieces by Giambattista Pergolesi" from "Echoes of Paris" (AVIE Records) More On This AlbumI chose the four works on this recording because I think they fit together really well. After having played many combinations of them in recitals, I started wondering about the connection between these pieces - why are they so compatible? Almost immediately, Paris came to mind. All of these composers lived in Paris during the early part of the 20th century, when that city was a magnet for creative artists: painters like Matisse, Dali, Chagall, and Picasso, the writers Proust, Joyce, and Hemingway, and composers such as Debussy, Ravel, Satie, Poulenc, Copland, and many others. Stravinsky and Prokofiev were also among the many expatriate musicians who flocked to Paris at that time. They drew inspiration from the city’s electric atmosphere and cultural ferment, and then went off in their own amazing, revolutionary directions. I think that these French and Russian pieces form such a good program because there are echoes of Paris in these four works that help tie them together: puppet-like dances in both Debussy and Stravinsky; percussive, as well as militaristic and march-like sections in Stravinsky's Suite and the sonatas of Poulenc and Prokofiev; jazz references in Debussy and Prokofiev; and hints of Spanish flavor in both Debussy and Poulenc, so popular among French composers at that time. The key signatures also help to unify the program - g minor, G Major, D Major, and d minor. Claude Debussy sought to develop a style that was free of German compositional influences. Drawing inspiration from Spanish, jazz, and gypsy music, the violin sonata of 1917 (his last work) certainly bears the imprint of that philosophy. Avoiding the conventional sonata form, the structure of the piece is quite fractured and rhapsodic - the result is unique and fascinating. I love the sonata for all of its sudden twists and delicate turns. The second movement makes me think of puppets engaged in a dance. In 1920, two years after Debussy's death, Igor Stravinsky wrote his ballet Pulcinella, a humorous neo-classical work, that premiered in Paris the same year with sets and costumes designed by Pablo Picasso. In this work, he used music from an obscure 18th-century commedia dell'arte opera, assumed to have been written by Pergolesi, but probably written by other, lesser-known composers. By altering this material in various ways, Stravinsky created something completely new. He called the composition of Pulcinella an "epiphany through which my late work became possible" - for the first time, borrowed style became a compositional element. Most often, violinists play Samuel Dushkin’s 1932 transcription of Pulcinella, modeled after the transcription for cello and piano. Because many of the quirky dissonances are removed, it turns out to be a rather toned-down version of the work. On this recording, I am playing the earlier 1925 transcription that was made in collaboration with the violinist Paul Kochanski; it is much closer to Stravinsky’s original orchestral work. It is more difficult for both the violinist and the pianist, but well worth the effort! Sometimes I think the awkwardness of the writing is intentional, to make the piece seem slightly askew, making both the player and the listener a little bit uncomfortable. I am again reminded of puppets, but larger and clumsier than Debussy's. I also love how Stravinsky composes apparent mistakes into the piece. Having fled Russia after the revolution in 1917, Sergei Prokofiev spent many years living in Paris before returning to his homeland in 1935. Very much admired by Stravinsky and other composers who lived in Paris at the time, his first symphony (1917) is considered to be one of the first neo-classical works, even pre-dating Stravinsky's Pulcinella. His second violin sonata is, however, a late work. Originally written in 1942 for flute and piano, it was transcribed for violin at the request of David Oistrakh. It is a large, powerful work that is, in turn, sweet, happy, sad, passionate, even violent and militaristic. The march in the last movement, however, makes me think more of tin soldiers than real ones! In the sonata by Francis Poulenc, the soldiers are very real. Composed in 1942-1943, it is Poulenc’s homage to the great Spanish poet, Federico Garcia Lorca, who was executed in 1936 by the fascist government in Spain. The percussive opening of the sonata owes something to Stravinsky and Prokofiev, who were among his formative influences. Throughout the first movement, militaristic passages are juxtaposed with more lyrical, salon-like themes; perhaps these represent the socialist and fascist forces at war in Spain when Lorca was killed. Showing the impressionist influence of Debussy, the beautiful second movement was inspired by one of Lorca's poems: It has been speculated that the two triple-forte notes in the piano towards the end of the last movement ("Presto tragico") are the gunshots of the firing squad. Following exclamations of pain, a few sweet memories briefly return in the sorrowful coda. Poulenc himself was actually quite unhappy with the sonata, which was written for the French violinist Ginette Neveu, and after many revisions concluded that it was an "utter failure". I think he was being a little too hard on himself, and history has not agreed with him. It is one of my favorite sonatas, and I perform it often. Likewise, audiences are extremely enthusiastic and deeply moved by it. Coincidentally, I played a recital in Paris in April 2010 at the Louvre, also with Robert Kulek. We couldn't resist taking some photos while we were there. I hope you enjoy this recording! Augustin Hadelich

London Symphony Orchestra Today's episode will be a special feature on the London Symphony Orchestra, also known as LSO. LSO is widely regarded to be one of the world's leading orchestras, with over 100 years of performing experience. LSO has performed all across the world and even recorded soundtracks for films, such as Star Wars: Revenge of the Sith and Harry Potter and The Goblet of Fire. In 2000, LSO launched their own classical label, LSO Live. Since then LSO Live has become one of the world's most talked about classical labels. Today we will be celebrating LSO Live's 10 year anniversary by playing samples from some of their best recordings and featuring a track from their newest release titled Verdi: Otello. Enjoy! video platform video management video solutions video player Sir Colin Davis, London Symphony Orchestra "Enigma Variations" from "Elgar: Enigma Variations" (LSO Live) Buy at iTunes Music Store Buy at eMusic Buy at Amazon MP3 More On This Album During his time as Principal Conductor of the LSO, Sir Colin Davis gained a reputation as the leading interpreter of Elgar’s music and recorded the composer’s symphonies and Dream of Gerontius for LSO Live. Elgar himself was one of the LSO’s first Principal Conductors and the orchestra premiered many of his works, including the Introduction & Allegro for Strings. June 2007 sees the 150th anniversary of Elgar’s birth. The Enigma Variations was Elgar’s breakthrough work and remains one of his most popular. Although it is often thought of as whimsical and the epitome of “Englishness”, in reality it is a thrilling and ravishingly beautiful masterpiece. Sir Colin Davis, London Symphony Orchestra "Messiah" from "Handel: Messiah" (LSO Live) Buy at iTunes Music Store Buy at Amazon MP3 Buy at eMusic More On This Album Handel’s masterpiece uses short texts from the Bible to tell the story of Christ's birth, death and resurrection. Imbued with a deep humanity and written with the imagination of a composer at the peak of powers, Messiah is intimate yet dramatic and includes some of Handel's best-loved music.Sir Colin Davis, London Symphony Orchestra "Má vlast" from "Smetana: Má vlast" (LSO Live) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album Inspired by the mythology and pastoral beauty of his Czech homeland, Smetana’s six tone poems that form Ma vlást (My Fatherland) is one of the best examples of Nationalism in music. The stirring second movement depicts the river Vltava as it flows through the countryside and into Prague. Struck with deafness in 1874, Smetana would never hear a performance of what would become his most popular work. Concert Reviews ‘Colin Davis's performance of Smetana’s Má Vlast with the London Symphony Orchestra was an irresistible pageant of Czech patriotic fervor, a depiction of ancient battles and pastoral idylls, as well as a revelation of the work’s symphonic integrity ’The Guardian (UK), 12 May 2005 ‘the LSO’s unforced brilliance constantly shining forth … The players rose to the occasion with the virtuosity and commitment that are their hallmark. Under Davis’s direction, Smetana’s depiction of natural phenomena and rustic scenes sprang to life’ Evening Standard (UK), 11 May 2005 ‘Yet the Smetana itself holds no terrors, least of all for Sir Colin Davis and the London Symphony Orchestra. In the first poem, how proudly Vysehrad, the guardian rock of Prague, stood out fortissimo on the skyline! And few musical rivers have accelerated with the natural grace of Davis’s Vltava, or begun its course with such lightly charming trickling flutes’ The Times (UK), 12 May 2005 Valery Gergiev, London Symphony Orchestra, Elena Mosuc, Zlata Bulycheva, London Symphony Chorus "Symphony No. 2" from "Mahler: Symphony No. 2" (LSO Live) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album ‘Faced with the London Symphony Orchestra's concentrated glare and attack, I considered cowering under my seat ’The Times (UK) ‘an account of searing intensity ... The pure, visceral thrill of the final bars,greeted with an enthusiastic ovation from the packed audience,crowned a very fine performance of this great work’ MusicalCriticsm.com (UK)Bernard Haitink, Twyla Robinson, Karen Cargill, John Mac Master, London Symphony Orchestra, London Symphony Chorus "Symphony No. 9 "Choral"" from "Beethoven: Symphonies Nos. 1-9" (LSO Live) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album Benchmark Beethoven Cycle - BBC Music Magazine (UK) Classical Recordings of the Year - New York Times (US) CDs of the Year - Svenska Dagbladet (Sweden) ‘a towering achievement’ The Times (UK) CDs of the Year ‘Few music lovers saw this one coming ... Haitink has rarely sounded more suitably agitated. Even the problematic Triple Concerto has rare drama and purpose; this recording may be the best ever’ Philadelphia Enquirer (US) ‘simply masterful Beethoven … Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set’ Chicago Tribune (US) Beethoven redefined what a symphony could be, giving his works a dramatic narrative and emotional intensity that sent blood flowing through the veins of music and set the tone for Romanticism in music. Many of the symphonies have their own journeys; from darkness to light in the Fifth symphony, from death to rebirth in the Eroica, or from a bleak void to a glorious vision of love and tolerance in the Choral Symphony. London Symphony Orchestra "The Planets, Op. 32: IV. Jupiter, the Bringer of Jollity" from "Holst: The Planets" (LSO Live) Buy at iTunes Music Store Buy at eMusic Buy at Amazon MP3 More On This Album Gustav Holst's The Planets was born of his fascination with astrology. His portrayal of the planets of the solar system, from the serene, romantic venus to the warlike Mars and the magisterial Jupiter, has become an absolute classic and contains some of the most well-known music of the 20th centruy. London Symphony Orchestra, London Symphony Chorus, Sir Colin Davis, Gerald Finley, Allan Clayton, Ben Johnson, Matthew Rose "Otello" from "Verdi: Otello" (LSO Live) More On This Album The release of Sir Colin Davis’s eagerly anticipated recording of Verdi’s Otello marks the 10th anniversary of the LSO Live label. Opera has always formed a major part of the label’s output and among Sir Colin’s greatest triumphs was his Grammy Award-winning recording of Verdi’s final opera, Falstaff. One of the world’s most exciting young tenors joins Sir Colin to sing the title role on the new recording. New Zealander Simon O’Neill stepped in at short notice to the concerts, making his debut in the role (although he had studied it with Domingo), delivering what was universally acclaimed as a sensational performance. The villainous Jago is sung by Gerald Finley and Otello’s wife Desdemona by Anne Schwanewilms. Verdi had retired from opera following the premiere of Aida in 1871 but was eventually persuaded by his publisher to work with the librettist Arrigo Boito. As with Falstaff, Verdi’s final opera on which they would subsequently collaborate, they turned to Shakespeare for inspiration. Otello, which was premiered in 1887, marked a significant evolutionary development in Italian opera and is widely regarded as one of the great operatic masterpieces. Simon O’Neill joins Sir Colin and the LSO again for performances of Janáček’s Glagolitic Mass in October before singing Siegmund in Die Walküre in a production at La Scala conducted by Daniel Barenboim. Gerald Finley performs in Guillaume Tell in Rome in October and Pelléas et Mélisande at the Metropolitan Opera in New York in December. ‘This was an electrifying account of a masterpiece, conducted with an explosive energy that belies Sir Colin’s eighty years and pushed the LSO to the top of its game. Simon O’Neill made a tremendous debut in the title-role, giving notice that he is the best heroic tenor to emerge over the last decade … Gerald Finley was an arrestingly crisp and snakily plausible Iago … Verdi’s great music drama shone in all its power and glory’ Daily Telegraph (UK) concert review ‘a performance of Verdi’s opera that had finesse, fervour and glorious lyricism … Such is Davis’s rapport with the LSO and its rapant Chorus that he can unleash greater musical power with an elegant flick of the baton than most conductors muster with flailing arms. Gerald Finley was a superb Iago: insiduously sinister, yet sustaining a wonderfully suave line. And the New Zealand tenor Simon O’Neill gave an immense performance … he will make the Moor his own’ The Times (UK) concert review ‘a thrilling performance from beginning to end … an evening to treasure; not just for Davis’s contribution, but for an impressive debut from the young New Zealand tenor Simon O’Neill. O’Neill mastered Otello’s many moods with a striking musicality and an eveness of tone throughout the range. He will go far, and promises to be the outstanding Wagner Heldentenor we have been longing far … the men, led by Gerald Finley’s totally convincing and committed Iago, were splendid’ Mail on Sunday (UK) concert review

Sir Clive Gillinson began his musical life as a cellist, holding positions in the Philharmonia Orchestra and the London Symphony Orchestra. When that orchestra got into financial difficulties in the 1980s he was asked to become Managing Director. He held the position for twenty years, turning around the fortunes of the orchestra and establishing relationships with some of the leading conductors like Michael Tilson Thomas, Mstislav Rostropovich and Sir Colin Davis. He also helped plan some of the most innovative and succesful concert series in London musical life, developed the orchestra's education department and established LSO St Luke's in a previously derelict church. Gillinson was also behind of the launch of the LSO's own CD label. In 2005 he became Chief Executive and Artistic Director of Carnegie Hall in New York one of the leading concert venues in the world. It actually consists of three halls and presents hundreds of events every year. Clive Gillinson talks to Norman Lebrecht about his life and career, the challenges he's faced in his various orchestral roles and the differences between working in the arts in the UK and America. Producer Tony Cheevers.

„Am schönsten ist: die Damen sind verdammt gut“ – Sir Colin Davis spricht über das London Symphony Orchestra.„Dirigieren kann man nicht unterrichten. Vielleicht ein wenig Schlagtechnik, aber nicht die Fähigkeit, Musik zu verstehen, und vor allem nicht die Leidenschaft zur Musik“ – sagte er in einem Interview der „Süddeutschen Zeitung“ vom 6. November 1995. Und er wusste sicherlich wovon er sprach, denn als Dirigent ist er ein Autodidakt. Colin Davis wurde am 25. September 1927 in Weybridge in der Grafschaft Surrey geboren. Nach der Schule nahm er ein Studium im Fach Klarinette am Royal College of Music in London auf. Doch das Dirigieren war sein eigentliches Ziel – er hat es sich nach dem Studium selbst beigebracht. Seit 1949 steht er nun am Dirigentenpult, und das mit großem Erfolg. Einige Stationen zu Beginn seiner internationalen Karriere: das schwedische Kammerorchester "Kalmar Orchestra", die Chelsea Opera Group, die Londoner Philharmoniker oder auch das Königliche Philharmonische Orchester. Der Aufstieg in die Reihen der bedeutendsten Dirigineten war nicht mehr aufzuhalten. Bereits im Januar 1966 nannte ihn die „Frankfurter Allgemeine Zeitung“ einen „der beliebtesten und begabtesten unter den jüngeren Dirigenten.“ In den Jahren 1967-1971 übernahm er die Leitung des Symphonie-Orchesters der BBC, davor gastierte er unter anderem in der UdSSR. Gastdirigate bei den namhaftesten Orchestern folgten. Im September 1983 trat Davis die Stelle des Chefdirigenten des Symphonieorchesters des Bayerischen Rundfunks an - neun Jahre blieb er in München. Den französischen Komponisten Hector Berlioz hat Davis insbesondere ins Herz geschlossen und spielte sein Gesamtwerk auf Schallplatte ein. 1980 wurde Davis von der britischen Königin in den Adelsstand erhoben. Doch der Ehrungen waren noch nicht genug: die Staatskapelle Dresden ernannte ihn zum Ehrendirigenten – dem ersten in der Geschichte des Orchesters. Neben zahlreichen weiteren Ehrungen ist Davies unter anderem mit dem Bundesverdienstkreuz ausgezeichnet worden. Im September 1997 porträtierte DW-Redakteurin Inge Ivanovic Colin Davis anlässlich seines 70. Geburtstages und sprach mit dem Dirigenten unter anderem über die Stationen seines musikalischen Weges und seine weiteren Pläne.

Maestro Classical Podcast: Episode 4 feat. Mozart's "Requiem" and Shostakovich's "Symphony No. 5 in D Minor, Op. 47". 1. Sir Colin Davis, London Symphony Orchestra "Requiem" (mp3) from "Mozart: Requiem" (LSO Live) Buy at iTunes Music Store More On This Album 2. Chicago Symphony Orchestra "Symphony No. 5 in D Minor, Op. 47" (mp3) from "CSO Resound / Shostakovich: Symphony No. 5" (CSO Resound) Buy at iTunes Music Store Stream from Rhapsody Buy at Amazon More On This Album