Podcasts about staatskapelle berlin

Premiérou inscenace opery Výlety páně Broučkovy v režii Roberta Carsena bude zítra zahájen 9. ročník mezinárodního operního a hudebního festivalu Janáček Brno 2024. Do moravské metropole přijede i proslulá Staatskapelle Berlin se svým novým šéfdirigentem Christianem Thielemannem. Na podrobnosti jsme se ptali uměleckého šéfa opery Národního divadla Brno Jiřího Heřmana.Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Premiérou inscenace opery Výlety páně Broučkovy v režii Roberta Carsena bude zítra zahájen 9. ročník mezinárodního operního a hudebního festivalu Janáček Brno 2024. Do moravské metropole přijede i proslulá Staatskapelle Berlin se svým novým šéfdirigentem Christianem Thielemannem. Na podrobnosti jsme se ptali uměleckého šéfa opery Národního divadla Brno Jiřího Heřmana.

Die Soloflötistin Claudia Stein, der Oud-Spieler Bakr Khleifi und der Pianist Jascha Nemtsov. Über kulturelle Grenzen hinweg, ist ihre Musik Mutter- und Weltsprache zugleich. Sie können engagiert über ihre Leidenschaft reden, aber ihre eigentliche Botschaft verkünden sie mit Tönen: Claudia Stein, Soloflötistin der Staatskapelle Berlin, will mit ihrem Instrument Menschen für die Musik aller Epochen, insbesondere aber für die Musik der Gegenwart begeistern. Der Deutsch-Palästinenser Bakr Khleifi beweist mit der Oud, der arabischen Kurzhalslaute, dass Musik kulturelle Grenzen überwindet. Der Musikwissenschaftler und Pianist Jascha Nemtsov lässt die untergegangene Vielfalt jüdischer Musik aus Osteuropa wiedererklingen. Ein Leben ohne Musik ist für sie nicht vorstellbar.

Im vierten Teil unserer ARD-Sommerreihe „Wofür ich lebe“ geht es um Menschen, für die ein Leben ohne Musik nicht vorstellbar ist. Sie können engagiert über ihre Leidenschaft reden, aber ihre eigentliche Botschaft verkünden sie mit Tönen. Zum Beispiel Claudia Stein, Soloflötistin der Staatskapelle Berlin, will mit ihrem Instrument Menschen für die Musik aller Epochen, insbesondere aber für die Musik der Gegenwart begeistern. Der Deutsch-Palästinenser Bakr Khleifi beweist mit der Oud, der arabischen Kurzhalslaute, dass Musik kulturelle Grenzen überwindet. Der Musikwissenschaftler und Pianist Jascha Nemtsov lässt die untergegangene Vielfalt jüdischer Musik aus Osteuropa wiedererklingen. Für alle ist Musik Muttersprache und Weltsprache, mit der sich der interkulturelle Dialog auch ohne Worte führen lässt. „Wofür ich lebe“: Musik! Sigrid Hoff stellt uns Menschen vor, für die ein Leben ohne Musik nicht vorstellbar ist.

Sie können engagiert über ihre Leidenschaft reden, aber ihre eigentliche Botschaft verkünden sie mit Tönen: Claudia Stein, Soloflötistin der Staatskapelle Berlin, will mit ihrem Instrument Menschen für die Musik aller Epochen, insbesondere aber für die Musik der Gegenwart begeistern. Der Deutsch-Palästinenser Bakr Khleifi beweist mit der Oud, der arabischen Kurzhalslaute, dass Musik kulturelle Grenzen überwindet. Der Musikwissenschaftler und Pianist Jascha Nemtsov lässt die untergegangene Vielfalt jüdischer Musik aus Osteuropa wiedererklingen. Für alle ist Musik Muttersprache und Weltsprache, mit der sich der interkulturelle Dialog auch ohne Worte führen lässt. Ein Leben ohne Musik ist für die drei Profis nicht vorstellbar.

Michaela Špačková is a curious and creative artist who seamlessly integrates her passions for music, humanity and nature into her musical work, lifestyle and intercultural activities – from music education concerts to her development of permaculture gardening. She regularly performs works dedicated to her for solo bassoon by contemporary composers, She began playing the bassoon at the age of 12 and made her debut five years later with the PKF Prague Philharmonia, following appearances with the ORF Vienna, Munich Chamber Orchestra and Czech Philharmonic, receiving more than 20 prizes at various competitions such as the ARD Music Competition and Prague Spring Competition, and performing worldwide in the most prestigious halls such as the Berlin Philharmonie, Philharmonie de Paris, Suntory Hall Tokyo, etc. She was solo bassoonist in the Konzerthausorchester Berlin with Christoph Eschenbach and Academist with the Staatskapelle Berlin under Daniel Barenboim, played with conductors such as Sir S. Rattle, Z. Mehta, I. Fischer, W. Jurowski and others. In this episode, we speak about her start on the bassoon, her experiences and insights on taking part and winning numerous competitions, some of her favorite contemporary composers, educational music concerts, her passion for permaculture gardening, how she overcome a challenging moment in her career and we are joined by a super-cute guest right at the end! Legends of Reed is sponsored by Barton Cane. Use coupon code "legendsofreed" for free shipping. https://www.bartoncane.com Find out more about Michaela here: https://www.michaelaspackova.com

Wagner: Der Fliegende Holländer (selezione/selection)Dietrich Fischer-Dieskau (The Dutchman), Gottlob Frick Daland (Norwegian sea captain), Fritz Wunderlich (Daland's steersman), Marianne Schech (Senta, Daland's daughter), Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin, Franz Konwitschny (conductor)1. Ouverture2. Act 1: Aria: Die Frist ist um (Dutchman/Chorus)3. Act 2: Ballad: Johohoe!… Traft ihr das Schiff im Meere an (Senta)4. Act 2: Aria: Mögst du, mein Kind, den fremden Mann (Daland)5. Act 2: Duet: Wie aus der Ferne längst vergangner Zeiten (Dutchman/Senta)6. Act 2: Trio: Verzeiht! Mein Volk hält draußen sich nicht mehr (Daland/Senta/Dutchman)7. Act 3: Introduction (Orchestra)8. Act 3: Scene and Chorus: Steuermann, laß die Wacht! (Chorus/Steersman)9. Act 3: Finale: Was muß ich hören! Gott, was muß ich sehn! (Erik/Senta)10. Act 3: Cavatina: Willst jenes Tags du nicht dich mehr entsinnen (Erik)11. Act 3: Verloren! Ach, verloren! (Dutchman/Erik/Senta/Daland/Mary/Chorus)

SynopsisIn September 2001, American composer Elliott Carter was just a few months shy of his 93rd birthday, but still busy composing new works both large and small.On today's date that year, Carter's Cello Concerto received its premiere in Chicago with cellist Yo-Yo Ma and Daniel Barenboim conducting the Chicago Symphony.Now, Carter's music is technically challenging for performers, and its complexity can make it equally challenging for audiences, especially at first hearing. Despite all that, Carter's comments on his music were usually quite straightforward:“In this score I have tried to find meaningful, personal ways of revealing the cello's vast array of wonderful possibilities,” he wrote. “My Concerto is introduced by the soloist alone, playing a frequently interrupted cantilena that presents ideas later to be expanded into movements.”A month after its premiere, Ma, Barenboim, and the Chicago Symphony brought the new work to Carnegie Hall, and the New York Times reviewer Anthony Tommasini wrote:“For all its complexities … the cello part has a rhapsodic, improvisatory quality …. At its conclusion, when Mr. Carter, who is 92, climbed the steps to the stage with a cane to steady him, he received a prolonged standing ovation.”Music Played in Today's ProgramElliott Carter (1908 – 2012) Cello Concerto Alisa Weilerstein; Staatskapelle Berlin; Daniel Barenboim cond. Decca 478 2735

Staatsoper Unter den Linden und BMW laden ein zur 17. Ausgabe von STAATSOPER FÜR ALLE am 8. und 9. Juli auf dem Bebelplatz mit der Opernübertragung von Verdis »Don Carlo« sowie mit dem Live-Konzert der Staatskapelle Berlin dirigiert von Zubin Mehta mit Bruckners Sinfonie Nr. 7 und Richard Wagners Ouvertüre zu »Rienzi«. Ohne beschränkte Platzkapazität und Kartenpflicht. Der Eintritt ist kostenfrei.  Sitzgelegenheiten sind nicht vorhanden, können aber mitgebracht oder ab drei Stunden vor Veranstaltungsbeginn erworben werden. Gastronomisches Angebot sowie (barrierefreie) Toiletten sind vorhanden. Bitte beachten Sie, dass die Straße Unter den Linden ab ca. zwei Stunden vor Veranstaltungsbeginn gesperrt ist.  Wir haben mit dem Intendanten Matthias Schulz gesprochen.

Einer der Größten in der klassischen Musik, Daniel Barenboim tritt als Generalmusikdirektor der Staatskapelle Berlin ab. Michel Houellebecq hat mal wieder provoziert. Alexander Mayer blickt in die Feuilletons des Tages.

Deutsche Grammophon is proud to be honoring the supreme artistry of Daniel Barenboim as he approaches his 80th birthday on 15 November. The great pianist and conductor's remarkable legacy of recordings for the Yellow Label remains the focus of a major campaign comprising three albums, two DG Stage concerts, and a series of e-video releases. Today, DG will release Barenboim's latest readings of Schumann's four symphonies, recorded live with the Staatskapelle Berlin over three evenings at the Staatsoper Berlin and Philharmonie Berlin. The album will be available as a 3-CD set and in digital format, including a Dolby Atmos version.Purchase the music (without talk) at Itunes or Amazon.Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

durée : 01:29:26 - En pistes ! du mardi 15 novembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Aujourd'hui, nous fêtons les 80 ans du chef d'orchestre Daniel Barenboim. Pour l'occasion, nous l'écouterons dans le répertoire de Robert Schumann en compagnie de la Staatskapelle Berlin. Egalement au programme : Pierre Gallon et Kenji Miura entre autres.

Mehr als ein Jahrzehnt engagieren sich die Musiker:innen der Staatskapelle Berlin für den Klima- und Umweltschutz. Aus ihrer Initiative "Orchester des Wandels" sind seitdem zahlreiche Projekte und weitere "Orchester des Wandels" in ganz Deutschland erwachsen. Für ihr zehntes Klimakonzert bespielen die Musiker:innen der Staatskapelle Berlin heute einen Ort Berliner Industriegeschichte: Das Kraftwerk Berlin. In unserem heutigen rbbKultur-Klimagespräch zu Gast ist der Hornist Markus Bruggaier, Mitglied der Staatskapelle Berlin und Gründer des "Orchester des Wandels".

We begin the Bonus Room by asking Elena about her first job, principal cello with the Deutsche Oper Berlin, which was followed by her principal position at the Staatskapelle Berlin... but not before a year in and out of Los Angeles playing electric cello in her brother's rock band! She now plays with the Hegel String Quartet and is Professor of Cello at the Freiburg Musik Hochschule, where in addition to teaching cello she also explores new ways of creative teaching.

Cellist Elena Cheah has had a marvelous and broad career. After graduating from Juilliard, she was appointed principal cello of the Deutsche Oper Berlin and later was principal of the Staatskapelle Berlin under Daniel Barenboim. She is currently a professor at the Freiburg Musik Hochschule in Germany and a member of the Hegel String Quartet. In addition, she was a member of the West-Eastern Divan Orchestra, an ensemble consisting of Israelis, Palestinians and people from other Arab countries. She has written a beautiful and moving book about the experiences and views of a number of the orchestra's members.In Part 1 of our conversation, we discuss how she first entered the Divan orchestra and then focus on the experiences of several people in the orchestra.

A prolific concert performer, Andrew has appeared with the Berliner and Wiener Philharmoniker, the Symphonieorchester des Bayerischen Rundfunks and the Orchestra of the Age of Enlightenment with Sir Simon Rattle; the Orchestre de Paris, Swedish Radio Symphony Orchestra and London Symphony Orchestra with Daniel Harding; the Deutsches Symphonie-Orchester Berlin and the ScottishChamber Orchestra with Robin Ticciati; the Rotterdams Philharmonisch Orkest, the Orcherstre Métropolitain and the Philadelphia Orchestra with Yannick Nézet-Séguin; the Accademia Santa Cecilia with Semyon Bychkov; and the Staatskapelle Berlin with Daniel Barenboim. Andrew made his debut at the Royal Opera House, Covent Garden as Jacquino Fidelio, returning for Flamand Capriccio, Tamino Die Zauberflöte, Tichon Katya Kabanova and Narraboth Salome. He has also appeared at the Metropolitan Opera, the National Theatre Prague; La Monnaie Brussels; the Salzburger Festspiele; Hamburgische Staatsoper, Theater an der Wien, the Lucerne Festival and the Lyric Opera of Chicago. Staples has staged Le nozze di Figaro, Così fan tutte, Cenerentola and La bohème in London, at the Jordan Music Festiavl, Musique Cordiale in Provence and the Menton Festival. His celebrated semi-staging of Die Zauberflöte for the Lucerne Festival, conducted by Daniel Harding culminated in a full staging in Stockholm's Drottningholm Palace Theatre with the Swedish Radio Symphony Orchestra. Andrew believes firmly in the evolution of cultural content for screen. Bringing his experience on stage both as a performer and director, he has made a series of music films. Aiming to bring cinematic techniques and rigour to the pre- and post-production phase of his projects, his films aim to capture the thrill of live performance and present it to an audience on screen who desire something more than an archive or stream of the event. The potential to create and evolve in this space is huge and he enjoys the opportunity to collaborate with artists, organisations and cultural broadcasters. In 2021 he received the Royal Philharmonic Society Enterprise Fund Trailblazer Grant, presented in association with Harriet's Trust, in order to support and advance the making of such music films. As a photographer, Staples' work has been featured in the Times, The Evening Standard, Lawyer Magazine, the front cover of The Strad, the BBC Music Magazine, various CD cover images, The National Portrait Gallery's magazine and a number of artist's and ensembles photographs including Tim Mead, Mary Bevan, the Borodin Quartet, The King's Singers, The Gabrieli Consort and Players and Voces8. Follow us on Twitter and Instagram.

Yulia Deyneka, die Solo-Bratschistin der Berliner Staatskapelle, erzählt, wie sie von Sachalin über Moskau und Rostock nach Berlin kam, warum sie als Solistin eines der besten Orchester der Welt wieder begann zu studieren, warum sie ihren Schülern rät, unbedingt ins Orchester zu gehen, was den Berliner Boulez-Saal einzigartig macht, wie sie sich gerade auf eine Eötvös-Uraufführung als Solistin vorbereitet, warum ihr das Quartettspiel so wichtig ist und wieviel sie im Orchestergraben von der Aufführung mitbekommt.

Kleines Orchester, große Aufregung: Seit Monaten kämpft die Staatsbad Philharmonie in Bad Kissingen um höhere Löhne und eine Verbesserung der Arbeitsbedingungen. Nun hat sich sogar die Staatskapelle Berlin mit dem Orchester solidarisiert. BR-KLASSIK Experte Tobias Stosiek über die Details.

In this episode, we discuss recordings of “Beyond the Limits: CPE Bach: Complete String Symphonies” by Amandine Beyer/Gli Incogniti, “Debussy: Fantaisie, Violin Sonata, Cello Sonata, La Mer” by Daniel Barenboim (piano), Michael Barenboim (violin), Kian Soltani (cello), Martha Argerich (piano), and Staatskapelle Berlin, “Lindberg: Aura, Marea & Related Rocks” by the Finnish RSO/Hannu Lintu, “Straight Off” by Martin Jacobsen, “Happy Destination” by Rich Perry, and “Straight Gonz” (With Jerry Bergonzi) by The Modern Jazz Trio.   The Adult Music Podcast is featured in: Feedspot's Top 25 Jazz Podcasts   Episode 22 Deezer Playlist   “Beyond the Limits: CPE Bach: Complete String Symphonies” (Harmonia Mundi) Amandine Beyer, Gli Incogniti https://open.spotify.com/album/1qZUBLprwqOZJRQLPva7gq https://music.apple.com/us/album/c-p-e-bach-beyond-limits-complete-symphonies-for-strings/1557910646   “Debussy: Fantaisie, Violin Sonata, Cello Sonata, La Mer” (Deutsche Grammophon) Daniel Barenboim (piano), Michael Barenboim (violin), Kian Soltani (cello), Martha Argerich (piano), Staatskapelle Berlin https://open.spotify.com/album/62gx1Tcv01zltxFwcHSquS https://music.apple.com/us/album/debussy-fantaisie-violin-sonata-cello-sonata-la-mer/1562826999   “Lindberg: Aura, Marea & Related Rocks” (Ondine) Finnish Rso/Hannu Lintu https://open.spotify.com/album/3wobwdmNpzkTM5eChxA9om https://music.apple.com/us/album/lindberg-aura-marea-related-rocks-live/1560684514   “Straight Off” (Steeplechase) Martin Jacobsen     https://open.spotify.com/artist/5T7JQhBKXb6pCCSxe0ZB7J https://music.apple.com/us/album/straight-off/1574516915   “Happy Destination” (SteepleChase) Rich Perry https://open.spotify.com/artist/5T7JQhBKXb6pCCSxe0ZB7J https://music.apple.com/us/album/straight-off/1574516915   “Straight Gonz” (With Jerry Bergonzi) (AMM) The Modern Jazz Trio https://open.spotify.com/album/20IrPO86VVO2S3MJBCFZyN https://music.apple.com/us/album/straight-gonz/1550902652

Bernardo Alviz was born and raised in Bogota, Colombia.  He started his music studies at the age of 17 and holds a Bachelor's degree from the Universidad Javeriana in Bogota as well as a Bachelor's and Master's degree from the Hochschule für Musik Hanns Eisler Berlin in Germany. Bernardo is a passionate performer of contemporary music and has performed in some of the most renowned festivals including the Lucerne festival in 2017 with Heinz Holliger and Mathias Pintcher as chief conductors; as principal bass with the Solistenensemble Kaleidoskop at the Donaueschingen Musiktagen in 2017 as well as at the Rainy Days music festival in Luxembourg 2014; as principal bass of the Staatskapelle Berlin during the Infektio! Music festival in Berlin in 2016; and as principal bass with the Mahler Chamber Orchestra at the Malmo International Chamber music festival 2016 in Sweden.   We talk about growing up in Colombia, his training in Germany, meeting his wife Phoebe Russell, and their subsequent move to Australia, and getting established as a bassist there.  We also dig into his struggles with a performance injury and the mystery surrounding it, the struggles and discoveries that have come from it, and his move into teaching a large studio of young bassists and doing a PHD in composition.   Enjoy, and be sure to check out Bernardo’s website to learn more about this work!   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 80+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Dorico - Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism. It is easy enough for anyone to learn, yet has hundreds of advanced notations, features, options and sounds to satisfy even the most demanding professionals.  With its streamlined, natural user interface, students and those with less experience in scoring can compose and arrange straight into Dorico, making learning the language of music notation much faster and more intuitive. Editing and making changes — such as instrument, time signature or key — are straightforward, with the notation instantly and correctly adapting to include them, reinforcing the learning outcome.   Ear Trumpet Labs - They make hand-built mics out of Portland, OR and they have an excellent mic for upright bass called Nadine. The Nadine is a condenser mic with a clear natural sound and incredible feedback rejection. This mic is a completely new design -- the head mounts in between the strings above the tailpiece with a rubber grommet, and the body securely straps to the tailpiece with velcro elastic. A 14-inch Mogami cable connects the two parts making it easy to place on any bass. It’s durable and holds up to the demanding needs of the instrument while offering excellent sound quality. Ear Trumpet Labs is offering a free t-shirt just for Contrabass listeners with the purchase of a mic, just visit EarTrumpetLabs.com/contrabass to claim yours and check out the Nadine!   Modacity - Are you a practice-savvy musician? Get Modacity – the music practice app that organizes, focuses, and tracks your progress.  Recorder… metronome… tone generator… timer… note taking… Do away with the random assortment of music practice apps in your arsenal. Modacity™ combines all the tools you need into one easy to use, music practice tool.  Organize, focus, and reflect on your practice – motivating you to increase retention in less time.  Modacity has a special offer for Contrabass Conversations listeners that includes lifetime access to the app.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion theme music by Eric Hochberg

🔴 #Fitz45 A 45 revoluciones por minuto giran los singles 45 mm es el calibre de la pistola Browning cuya bala es capaz de derribar a cualquier hombre. 45 cm mide la lengua de las jirafas 45 minutos es la duración máxima de los sueños Aventuras y celebraciones varias. Recordamos a Bertrand Tavernier, el gran cineasta francés y estudioso del cine que nos dejaba esta semana. Nuestros pensamientos están también con el capitán del Ever Given , nos imaginamos el terrible marrón en el que se encuentra después atravesar su barco en mitad del Canal Suez, nos trae a la memoria aquel otro capitán del Costa Concordia. Comenzamos la selección musical de esta semana con una maravillosa versión de “Graceland" de Paul Simon, a cargo del talentoso y tristemente malogrado Justin Townes Earle, fallecido el año pasado con tan sólo38 años a consecuencia de sus problemas con las drogas que le perseguían desde la adolescencia, hijo de Steve Earle y bautizado así por el cantante tejano, amigo de su padre, Townes Van Zandt. El sello 4AD celebra sus 40 años con disco muy especial, un recopilatorio de versiones llamado “Bills & Aches & Blues”. Cocteau Twins, Pixies, Camera Obscura This Mortail Coils, The Breeders, Bon Iver… son sólo algunos de los muchos grupos que forman parte de la escudería de 4AD. De este disco de versiones elegimos para compartir la que Dry Cleaning hace del “Oblivion” de Grimes. La discográfica alemana, Deutsche Grammophon - DG fundada en 1898, tiene una de las colecciones de material grabado más antiguas del mundo. Coincidiendo con su 120 aniversario se restauraron y digitalizaron grabaciones legendarias de la era de las grabaciones de shellac (discos anteriores al vinilo, realizado con goma laca que giraban a 78 RPM ) Dentro de ese proyecto ,el músico y productor techno Christian Löffler procesó y mezcló obras de Beethoven registradas por la Staatskapelle Berlin y la Filarmónica de Berlín en la década de 1920 el resultado es “Parallels”, un disco fascinante, compartimos unos de sus cortes la “Pastoral”. Hace unas semanas Ellen Kempner de Palehound y Melina Duterte de Jay Som anunciaron la formación de un nuevo grupo llamado Bachelor. Es la segunda formación en la que se involucra la hiperactiva Melina, pocos meses, después de anunciar Routine, su grupo con Annie Truscott, bajista de Chastity Belt . Bachelor lanza ahora ‘Stay In The Car' adelanto de su disco de debut “Doomin’ Sun” que verá la luz el 28 de mayo a través de Polyvinyl Record Co. Kid Loco es el alias Jean Yves Prieur, músico, DJ y productor francés que trabajó entre otros con Jarvis Cocker (de Pulp) y con los grupos de Glasgow, Quinn y Mogwai, además de desarrollar una amplia carrera en solitario. Compartimos una remezcla suya “Youpi” a partir de la canción de Cornu , un tema que escuchamos mucho en su momento y que nos trae gratos recuerdo , perteneciente a su disco de 1999 “Jesus Life for Children Under 12 Inches”. Donny Benet , es todo un personaje con look ochentero, mostacho incluido, un artista singular, australiano de Sydney . Se destaca por un estilo musical anacrónico, que toma prestado mucho de los sonidos post-disco de los 80. Cerramos nuestra selección musical con un tema suyo “Santorini” del disco 2018, “The Don”. 49:22’ ▶▶▶The Mauritanian de Kevin Macdonald, basada en la increíble historia real de Mohamedou Ould Slahi, prisionero en Guantánamo, sin cargos, durante 14 años y que el mismo relató en un su famoso Diario de Guantánamo. 'The Mauritanian’, supone el regreso a la pantalla grande de Jodie Foster que ganó el Globo de Oro por su interpretación, además cuenta en su elenco con los magníficos, Tahar Rahim y Benedict Cumberbatch. Kevin Macdonald ilustra el caso de Mohamedou Ould Slahi, pero olvida reflexionar sobre la frontera entre la seguridad nacional y las demandas de la sociedad estadounidense

Nové dvořákovské CD, jehož protagonisty jsou violoncellista Kian Soltani, Staatskapelle Berlin a dirigent Daniel Barenboim. Poslechněte si recenzi Petra Vebera.

durée : 01:56:45 - En pistes ! du lundi 14 décembre 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme aujourd'hui : de la musique pour orchestre avec une sélection d'enregistrements légendaires de la Staatskapelle Berlin, une symphonie de Franz Schreker et une folie d'Espagne par l'orchestre de la radio de Francfort sous la baguette de Reinhard Goebel... - réalisé par : Lionel Quantin

Vandaag: Beethovens Missa Solemnis, deel 1   1. Cantate – Der glorreiche Augenblick op. 136 deel 2 Alla Simoni, Francesca Pedaci, Jeremy Ovenden, Robert Gierlach. Coro Della Radiotelevisione Svizzera. Orchestra Della Svizzeria Italiana, Diego Fasolis. 2. Es ist vollbracht Wo0 97 Siegfried Vogel, bas. Staatskapelle Berlin, Chor der Deutschen Staatsoper Berlin olv. Arhur Apelt 3. […]

Berlin ist die Orchesterhauptstadt der Welt. Die Berliner Philharmoniker sind dabei nur das berühmteste dieser Orchester – das älteste ist jedoch die Staatskapelle, das Orchester der Staatsoper Unter den Linden, das seit 1992 von Daniel Barenboim geleitet wird. Das Ensemble wurde als Hofkapelle eines Kurfürsten gegründet – vor rund 450 Jahren. In einer Stadt, die im Ruf steht, ihre kulturellen Traditionen gerne mal zu vergessen, ist so ein Alter schon erstaunlich. Nun ist ein Buch über die wechselvolle Geschichte der früheren preußischen Hof- und jetzigen Staatskapelle erschienen. Matthias Nöther hat es gelesen.

De Beethovenweek van Aukelien van Hoytema. a   1. Kwartet uit de eerste acte van de opera Fidelio Soile Isokoski-sopraan; Waltraud Meier-mezzo/sopraan; René Pape-bas/bariton; Werner Güra-tenor; Staatskapelle Berlin olv. Daniel Barenboim. 2. O welche Lust uit Fidelio Chor der Deutsche Staatsoper Berlin; Staatskapelle Berlin olv. Daniel Barenboim. 3. Ouverture Leonore 3 op. 72 Staatskapelle Berlin […]

Chaque jour Nicolas Blanmont met en avant une nouveauté parmi les sorties discographiques classiques.

durée : 00:29:34 - Staatskapelle de Berlin (5/5) - Né en 1570, la Staatskapelle Berlin est un des orchestres des plus anciens au monde. A l'occasion de son 450e anniversaire, Deutsche Grammophon présente une anthologie en 15 CD réunissant les enregistrements de l'orchestre, issus des 100 dernières années de son histoire.

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

durée : 00:26:59 - Staatskapelle de Berlin (4/5) - Né en 1570, la Staatskapelle Berlin est un des orchestres des plus anciens au monde. A l'occasion de son 450e anniversaire, Deutsche Grammophon présente une anthologie en 15 CD réunissant les enregistrements de l'orchestre, issus des 100 dernières années de son histoire.

durée : 00:25:54 - Staatskapelle de Berlin (3/5) - Né en 1570, la Staatskapelle Berlin est un des orchestres des plus anciens au monde. A l'occasion de son 450e anniversaire, Deutsche Grammophon présente une anthologie en 15 CD réunissant les enregistrements de l'orchestre, issus des 100 dernières années de son histoire.

durée : 00:24:42 - Staatskapelle de Berlin (2/5) - Né en 1570, la Staatskapelle Berlin est un des orchestres des plus anciens au monde. A l'occasion de son 450e anniversaire, Deutsche Grammophon présente une anthologie en 15 CD réunissant les enregistrements de l'orchestre, issus des 100 dernières années de son histoire.

durée : 00:23:17 - Staatskapelle de Berlin (1/5) - Né en 1570, la Staatskapelle Berlin est un des orchestres des plus anciens au monde. A l'occasion de son 450e anniversaire, Deutsche Grammophon présente une anthologie en 15 CD réunissant les enregistrements de l'orchestre, issus des 100 dernières années de son histoire.

Die Staatskapelle Berlin feiert in diesem Jahr ihr 450. Jubiläum und gehört damit zu den ältesten Orchestern der Welt. Schon Richard Strauss war hier Generalmusikdirektor. Die Klangtradition des Orchesters wurde später geprägt von Dirigenten wie Carlos Kleiber, Wilhelm Furtwängler oder dem jungen Karajan. Der heutige Generalmusikdirektor Daniel Barenboim ist fasziniert von dem Klang des Orchesters: „Das ist eines der wenigen Orchester der Welt, das wirklich denkt in und mit der Musik.“ Wir blicken auf die 450-jährige Geschichte des Orchesters zurück – Zeitgeschichte mitten in Berlin, zwischen Kriegen, Krisen und politischen Umbrüchen.

Auch im Beethoven-Jahr setzen die Staatskapelle Berlin und Daniel Barenboim sich kontinuierlich mit den sinfonischen Werken des Wiener Klassikers auseinander. Gestern erklang die monumentale Sinfonie Nr. 3 "Eroica" , mit der Beethoven ein neues Kapitel der Sinfoniekomposition aufschlug, und die Sinfonie Nr. 4. Unser Kritiker Andreas Göbel war dabei.

durée : 00:17:36 - "Concerto pour violoncelle" : Dvorák - Kian Soltani, Staatskapelle Berlin, Daniel Barenboim - Deuxième opus sur le label Deutsche Grammophon, Kian Soltani interprète le Concerto pour violoncelle op.104 de Dvořák aux côtés de Daniel Barenboim. Le concerto est accompagné de cinq arrangements pour violoncelle et ensemble de violoncelles composé de six musiciens de la Staatskapelle de Berlin.

Der Start vom "Musikfest Berlin" mit der Staatskapelle Berlin unter der Leitung von Daniel Barenboim war eines der Großereignisse, mit der die neue Spielzeit eröffnet wurden. Auf dem Programm standen die letzten Sinfonien von Mozart, die in diesem Jahr im Licht von Beethoven gespielt und gehört werden. Andreas Göbel war in der Philharmonie dabei.

Das Musikfest Berlin holt - mit strengen Corona-Auflagen - derzeit ganze Orchester auf die Bühne. Am Samstagabend ist die Staatskapelle Berlin mit Dirigent Daniel Barenboim zu Gast. Ein Heimspiel mit Mozart, von dem Kulturkorrespondentin Maria Ossowski berichtet.

Der österreichische Cellist Kian Soltani ist einer der herausragenden Interpreten seiner Generation. Auf seinem aktuellen Album spielt er Werke von Antonín Dvořák.

Kian Soltani hat das Cellokonzert h-Moll op. 104 von Antonín Dvořák, eines der wichtigsten Repertoire-Stücke für Violoncello, zusammen mit mit der Staatskapelle Berlin unter der Leitung seines Mentors Daniel Barenboim eingespielt.

Eine gute Nachricht für Staatsoperfans: Auf der Bühne der derzeit geschlossenen Staatsoper Unter den Linden wird wieder gespielt. Gestern startete das Haus sein Konzertprogramm, das nun regelmäßig am Freitagabend auf der Staatsopern-Website ausgestrahlt wird. Den Auftakt machten gestern der Tenor Stephan Rügamer und Mitglieder der Staatskapelle Berlin mit Werken von Beethoven. Andreas Göbel berichtet vom Konzertabend.

An das Ende des Zweiten Weltkriegs vor 75 Jahren erinnerten Daniel Barenboim und die Staatskapelle Berlin gestern mit einem Gedenkkonzert. In der leeren Staatsoper Unter den Linden erklangen zwei der berühmtesten Werke für Kammerorchester, das "Siegfried-Idyll" von Richard Wagner und Wolfgang Amadeus Mozarts "Eine kleine Nachtmusik". Ein Gespräch dazu mit Andreas Göbel.

In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Grand opera developed in the mid-19th century and centered on performances at the Opéra in Paris. The roots of the genre stretch back to the opulent court of France’s Sun King, Louis XIV, and continue to influence how opera is presented to this day. Verdi’s Aida (1871) is probably the world’s favorite grand opera (although it’s not necessarily a textbook example of the genre, since it wasn’t written for the Opéra, is sung in Italian, and is briefer and more straightforward than most grand operas). Another beloved masterpiece is Wagner’s Tannhäuser (1845), a work retro-fitted in 1861 for performance at the Opéra. Musical examples on the podcast drawn from recordings of Verdi’s Don Carlos (first entrance of Philip II), Vienna Staatsoper performance conducted by Bertrand De Billy, (Premiere Opera Ltd. 2004); “Le divertissement royal – Danse de Neptune” from Lully: l’Orchestre du Roi Soleil, Le Concert des Nations led by Jordi Savall (Alia Vox Spain 1999); Don Carlos (conclusion), soloists, chorus, and orchestra of La Scala conducted by Claudio Abbado (Deutsche Gramophon, 1984); Seattle Opera’s 2018 Aida, starring Alexandra LoBianco, David Pomeroy, Elena Gabouri, chorus and orchestra of Seattle Opera conducted by John Fiore; and Tannhäuser (Venusberg Ballet), Staatskapelle Berlin conducted by Daniel Barenboim (Teldec 2002).

Panelen känner sig attackerad av en dansk mästares filmmusik, dividerar om smärtan i en ny Orfeus och Eurydike och gillar hur dirigenten Daniel Barenboim lyfter fram den dramatiska sidan hos Brahms. Veckans skivor: BRAHMS - THE SYMPHONIES Symfonier 1-4 av Johannes Brahms Berliner Staatskapelle, orkester  Daniel Barenboim, dirigent Deutsche Grammophon 4835251 Betyg: 4 WHIRL'S WORLD Musik av Per Nörgård MidtVest-ensemblen DaCapo 8.226136 Betyg: 5 ORFEO ED EURIDICE Opera av Christoph Willibald Gluck  Sångare: Iestyn Davies, Sophie Bevan La Nuova Musica, orkester och kör David Bates, dirigent Pentatone PTC 5186805 Betyg:4 Veckans val: Berlioz stora dödsmässa i allhelgonatid Vi fördjupar oss i amerikanske John Nelsons sprillans nya tolkning av Berlioz "Requiem" som spelades in i St Pauls Cathedral i London i mars. Referensen: Brahms fjärde symfoni - Det perfekta tempot Vi jämför Staatskapelle Berlin och Daniel Barenboims aktuella inspelning av Brahms symfonier med en äldre version, den inspelning som gjordes 1968 av Cleveland Orchestra under ledning av George Szell. Referensen: Klagoarian i Orfeus och Eurydike - Countertenor vs sopran Den älskade arian "Che farò senza Euridice" ur Glucks opera "Orfeus och Eurydike" har spelats in hur många gånger som helst och alla tänkbara sångare från Janet Baker till Pavarotti har sjungit den. Vi jämför den aktuella inspelningen med countertenoren Iestyn Davies med en inspelning från 1975 med den stora Dame Janet Baker, tillsammans med English Chamber Orchestra under ledning av Raymond Leppard. En svalt återhållen tolkning möter en romantisk, utlevande version av arian.

Gramophone's Orchestra of the Year Award is the only one offered as a public vote. Our editorial team has produced a short list of ten ensembles which have particularly impressed for their work on record over the past 12 months and, with Apple Music, has created ten playlists featuring each of the orchestras' work (as well as an 11th which includes all ten ensembles and which is updated regularly). In this, the second of three podcasts dedicted to the Award, Gramophone's Contributing Editor, the critic and broadcaster Rob Cowan, joins Gramophone's James Jolly to talk about the nominated ensembles. This week their focus is on three major European ensembles, the Staatskapelle Berlin, the Orchestra dell'Accademia Nazionale di Santa Cecilia and the Gothenburg Symphony Orchestra. To listen to these three playlists (as well as the other eight) and to vote, just visit the Apple Music page on Gramophone's website, where you can also start your free three-month trial to Apple Music. 

Daniel Barenboim bleibt bis 2027 Generalmusikdirektor der Berliner Staatsoper und der Staatskapelle Berlin. Kultursenator Klaus Lederer und der Orchestervorstand haben sich entschieden, den Vertrag des Dirigenten trotz massiver Kritik an dessen Führungsstil zu verlängern. Die richtige Entscheidung?

Der Führungsstil von Daniel Barenboim steht massiv in der Kritik. Mehrere ehemalige Mitglieder der Staatskapelle Berlin erheben bei BR-KLASSIK Vorwürfe wegen respektloser und demütigender Behandlung. Gerald Mertens, Geschäftsführer der Deutschen Orchestervereinigung (DOV), erklärt im Interview, was er von der aktuellen Debatte hält und wie sich das Verhältnis zwischen Musikern und Dirigenten in den letzten Jahren gewandelt hat.

I programmet diskuteras violinsonater med Ehnes och Armstrong, pianokonserter av Medtner och Rachmaninov samt Alban Bergs Wozzeck med Hans Graf på pulten. Hanna Höglund har valt galenskap som tema. I panelen Camilla Lundberg, Rainer Clute och Tithi Hahn som tillsammans med  programledaren Johan Korssell betygsätter följande skivor: ELGAR DEBUSSY - RESPIGHI Violinsonater James Ehnes, violin Andrew Armstrong, piano Onyx ONYX 4159 MEDTNER RACHMANINOV Pianokonserter Marc-André Hamelin, piano Londons filharmoniker Vladimir Jurowski, dirigent Hyperion CDA 68145 Referensen Johan jämför med och refererar till en inspelning av Rachmaninovs tredje pianokonsert med pianisten Martha Argerich tillsammans med Berlin-radions symfoniorkester ledda av Riccardo Chailly och inspelad på Philips.  ALBAN BERG Wozzeck Roman Trekel, baryton, Anne Schwanewilms, sopran, m.fl. Houstons symfoniorkester Hans Graf, dirigent Naxos 8.660390-91 Referensen Johan jämför med och refererar till en inspelning där Wozzecks roll sjungs av Dietrich Fischer-Dieskau och Marie görs av Evelyn Lear. Vidare hörs kör och orkester från Deutsche Oper och allt leds av Karl Böhm. Inspelningen gjordes 1965 på DG.  Hannas val Hanna Höglund väljer ur två album med tema  galenskap i musiken. Vi hör valda delar ur Tales of Sound and Fury med Camerata Nordica och Terje Tönnesen, dirigent och violin, Karin Dahlberg, sopran, m fl. inspelad på Bis samt ur The Raven av Toshio Hosokawa med Charlotte Hellekant, mezzosopran, United Instruments of Lucilin och dirigenten Kentaro Kawase. Inspelad på Naxos.  Andra i programmet nämnda eller rekommenderade inspelningar: Nikolai Medtners stycke Skazka (Saga) Rachmaninovs tredje pianokonsert med Grigorij Sokolov och BBCs filharmoniker, Manchester ledda av Yan-Pascal Tortelier på DG. Debussys violinsonat med violinisten Joseph Szigety och Béla Bartók vid flygeln, inspelad på Vanguard Classics. Elgars violinsonat med violinisten Daniel Hope och pianisten Simon Mulligan på Nimbus. Alban Bergs Wozzeck med solister, Wiens filharmoniker och Statsoperas kör under ledning av Claudio Abbado på DG samt med solister, Paris-operans kör och orkester dirigerade av Pierre Boulez på CBS. Svepet Johan sveper över en box innehållande 9 CD med Bruckners nio symfonier där Daniel Barenboim står på pulten framför Staatskapelle Berlin. Utgiven på DG.

"Willkommen in unserer Mitte": Unter diesem Motto luden die drei großen Orchester in Berlin am Dienstagabend Flüchtlinge und ihre Helfer ein zu einem Konzert in der Berliner Philharmonie. Mit dabei waren die Berliner Philharmoniker, das Konzerthausorchester Berlin und die Staatskapelle Berlin.

The Berlin Philharmonic announced last week that it is launching an in-house record label, starting on May 23 with concert recordings of the complete Schumann symphonies conducted by Simon Rattle. Days later, Daniel Barenboim said that he's getting his own record label – a digital-only venture called Peral Music – which starts with the conductor's third Bruckner symphony set, recorded by the Staatskapelle Berlin. That same week, the Seattle Symphony released the first CDs in its new in-house label, consisting of music by Ravel, Saint-Saëns, Gershwin, Ives and Dutilleux, recorded in concert at its home, Benaroya Hall. The artist-led recording phenomenon has had mixed results since it took hold in the orchestra world more than a decade ago, and some observers have suggested that both Berlin and Barenboim aren't exactly showcasing neglected repertoire. But these and other ventures arrive in a shifting landscape. As major labels have retrenched or disappeared, orchestras seek new revenue streams and record sales have moved almost exclusively online. Anastasia Tsioulcas, who covers classical music for NPR Music, says in this podcast that in-house labels potentially lack the checks and balances of a traditional record company and "lead to a more myopic view of the universe." "One thing that's come up since the Berlin announcement," she added, "is 'do we need another Schumann set – or in the case of Daniel Barenboim, a third Bruckner cycle?' Is the market, is the audience really crying out a need for those things?" At the same time, Tsioulcas noted, the Internet has helped level the playing field and allowed budget-conscious orchestras to cut out the middle man in getting recordings of their performances to the public. Marc Geelhoed, who manages the Chicago Symphony house label CSO Resound, said that it's extremely difficult to avoid replicating repertoire. But a goal of any recording is to document how an orchestra sounds at a given point in time: "What we try to do is say, 'what do we do as an orchestra that's distinctive?'" CSO Resound has released 15 albums since its launch in 2007, among the most successful being a rendition of Verdi's Requiem conducted by Riccardo Muti. It won two Grammy Awards in 2011, for Best Classical Album and Best Choral Performance. Geelhoed declined to cite specific sales figures, but noted that "it has vastly exceeded the hopes and goals of selling maybe 10 to 15 thousand copies." Successful orchestra-led labels are designed to build an organization's brand, not make a profit, said Matt Whittier, the senior marketing manager at Naxos of America. And while digital sales grow, orchestras must also think about "merch sales" – using CDs as souvenirs for patrons to pick up as they're leaving the hall. "Those audience members would like to walk away with a tangible memento of a concert," he noted. "It's very possible that we can chart a record from the sales of one concert or one weekend of concerts for an artist." While orchestras in Chicago, San Francisco and London have maintained a steady recorded presence, other in-house labels have faltered because they lack sufficient marketing and distribution, say all three guests in this podcast. The Berlin Philharmonic should benefit from having a distribution platform already in place with its Digital Concert Hall. It just shouldn't expect to make lots of money. "An orchestra with its own record label in this day and age is about creating memories," said Geelhoed. "It's not just the here and now...but that an album's going to be around." Listen to the full segment above and tell us what you think in the comments box below. Do you buy orchestra-produced recordings? Do you care if an ensemble is recording the same repertoire over again?

This week’s Contrabass Conversations episode features an interview with and music from Chicago Symphony bassist Rob Kassinger. Rob’s musical interests span many genres and include both the electric bass and the double bass. You will learn about Rob’s early years on the bass and how working in jazz and rock settings led to an interest in orchestral double bass playing in this fascinating interview. This episode also features Rob playing the first movement of the Breval Sonata in a live performance, and it includes a track from NYCO, a rock band that Rob was a member of for several years. You will be hearing People We Knew from their recent album “Two". You can purchase “Two" by following this link. Enjoy! About Rob: Robert Kassinger was appointed to the Chicago Symphony Orchestra in 1993. Prior to Chicago, Rob performed as assistant principal bass with the Colorado Symphony and also played with the New Orleans Symphony. In addition to his busy schedule with the Orchestra, Rob is an active chamber musician. He performs with the Revolution Ensemble, the Orion Ensemble, Fulcrum Point, Ars Viva, Music of the Baroque, the Callisto Ensemble, MusicNOW, and broadcasts on WFMT and WTTW. Most recently he has been a featured guest with Yo-Yo Ma’s Silk Road Ensemble, and has performed Schubert’s Trout Quintet with Daniel Barenboim. In July 2006, Rob served as double bass professor at the Canton International Summer Music Academy, led by Charles Dutoit. Rob grew up in a family of musicians in Boulder, Colorado. He began his bass studies with Frank Carroll at the University of Colorado. In 1985 he moved to New York to study with Homer Mensch at the Manhattan School of Music, where he received his bachelor of music degree. Rob then pursued his master’s degree at the Juilliard School, continuing his studies with Mr. Mensch. He later went on to study with Bruce Bransby at Indiana University. Some of his most influential experiences as a student were his two years as principal bass of the New York String Orchestra Seminar, conducted by Alexander Schneider, and the two summers he spent as a fellowship student at the Aspen Music Festival, studying with Stuart Sankey and Bruce Bransby. In 1989 Rob was the winner of the Aspen Double Bass Competition. Rob’s experience as a jazz performer dates back to his early teens, working in the house rhythm section at the infamous Denver jazz club El Chapultapec, and over the years he has performed with Wynton Marsalis, Branford Marsalis, Kenny Burrell, the Woody Herman band, Conte Candoli, Charlie Rouse, Teddy Edwards, Harold Land, Red Holloway, Charles Brown, Art Lande, Richard Stoltzman, Gary Burton, Alex Acuna, Laurence Hobgood, and Bobby Lewis. In 1998 and 2000, Rob toured India with the Chicago Jazz Express, and he can be heard on their recordings Voyage to India and The Rhythm Section. He also appears on Bobby Lewis’ latest CD, Just Havin’ Some Fun. In addition, Rob is featured on Daniel Barenboim’s Brazilian Rhapsody on the Teldec label, and Kabbalah Blues/Quantum Funk by the Revolution Ensemble. Rob’s latest project has given him a chance to spend more time with the bass guitar. His alternative rock group NYCO has released its debut album Two, available through nycomusic.com and at Itunes.com. Rob is professor of double bass at DePaul University. He is also in demand as a coach and master clinician, serving in this capacity for the Chicago Youth Symphony Orchestras, the Juilliard School, and the Mannes School of Music. In the summers of 1999 through 2002, it was Rob’s honor to teach at the West-Eastern Divan, a ground-breaking workshop that brings young musicians from Israel and various Arab countries together to study orchestral music with Daniel Barenboim, Yo-Yo Ma, and members of the CSO, Berlin Philharmonic, and Staatskapelle Berlin.

This year's lecturer is Daniel Barenboim, who has become known as one of the most versatile pianists of his generation. His skill as a conductor and a musician has led him to world recognition and the appointment as Chief Conductor for Life by the Staatskapelle Berlin. He has also won a Grammy for his recording of Wagner's Tannhäuser and received the Wilhelm Furtwängler Prize for his work with the Staatskapelle Berlin. In his final lecture, delivered in Jerusalem's International YMCA, Daniel Barenboim discusses the power music has beyond words. Music is more than just a physical power it is also has an emotional strength. He explores the hold music has over us and the association that music can evoke. He distinguishes between the substance of music and our perceptions of it.

This year's lecturer is Daniel Barenboim, who has become known as one of the most versatile pianists of his generation. His skill as a conductor and a musician has led him to world recognition and the appointment as Chief Conductor for Life by the Staatskapelle Berlin. He has also won a Grammy for his recording of Wagner's Tannhäuser and received the Wilhelm Furtwängler Prize for his work with the Staatskapelle Berlin. In his fourth Reith Lecture, delivered from Jerusalem, Daniel Barenboim talks about co-founding the West Eastern Divan Orchestra and how it represents his central belief that music has the power to bring people together. He explains how his chance meeting with the late Palestinian-born writer Edward Said attempted to changed the political and musical landscape of the Middle East by promoting music and co-operation through projects targeted at young Arabs and Israelis.

This year's lecturer is Daniel Barenboim, who has become known as one of the most versatile pianists of his generation. His skill has led him to world recognition and the appointment as Chief Conductor for Life by the Staatskapelle Berlin. He has also won a Grammy for his recording of Wagner's Tannhäuser and received the Wilhelm Furtwängler Prize for his work with the Staatskapelle Berlin. Speaking from Berlin, Daniel Barenboim argues in his third Reith Lecture that classical music is not an exclusive language. He explains that given the right attitude it can be understood by everyone and not just the musical elite. He also examines how political correctness and bad education have caused the inability to make value judgements about public standards in music appreciation.

This year's lecturer is Daniel Barenboim, who has become known as one of the most versatile pianists of his generation. His skill as a conductor and a musician has led him to world recognition and the appointment as Chief Conductor for Life by the Staatskapelle Berlin. He has also won a Grammy for his recording of Wagner's Tannhäuser and received the Wilhelm Furtwängler Prize for his work with the Staatskapelle Berlin. In his second lecture, delivered from Chicago, Daniel Barenboim argues that we rarely listen to the music of our choosing and that too often we hear music which we have no control over. He argues that this unwelcome 'muzak' is largely responsible for encouraging people not just to neglect the ear but to repress it.

This year's lecturer is Daniel Barenboim, who has become known as one of the most versatile pianists of his generation. His skill as a musician and a conductor has led him to world recognition and the appointment as Chief Conductor for Life by the Staatskapelle Berlin. He has also won a Grammy for his recording of Wagner's Tannhäuser and received the Wilhelm Furtwängler Prize for his work with the Staatskapelle Berlin. In the first of his five Reith Lectures, Daniel Barenboim explores the physical phenomenon of sound. He contends that: In the beginning was sound.