Podcasts about stravinksy

Happy Birthday Greg!Greg dissects “The Lick,” the musical phrase found in countless jazz and pop songs over the past century. It's been used by Stravinksy & Coltrane, Santana & Herbie Hancock, Pink Floyd & Prince. What is it and why has it been described as the Wilhelm Scream of jazz?Song: Alex Heitlinger - “The Lick” (YouTube compilation of past performances of “The Lick”)Jay brings us another birthday celebration, as June 4 marked the 40th anniversary of Bruce Springteen's iconic album “Born in the U.S.A.” The album was recorded over a two year period between 1982 and 1984, with songs originating from the same demos that became the album “Nebraska,” Jay's favorite Springsteen album. “Born in the U.S.A.” is an album that Jay came to appreciate later in life, but one that he's come to love as much as millions of other fans around the world.Songs:Bruce Springsteen - “Downbound Train”Bruce Springsteen - “Born in the U.S.A. (1982 demo)”Before jumping into our final topic, the guys discuss last week's homework, Billie Eilish's new album, “Hit Me Hard and Soft.” The reviews are mixed. Then Nick presents the details of the Justice Department's case against Live Nation/Ticketmaster, which appears to aim to re-breakup the merged organization. The implications of the lawsuit can't be underestimated and could reshape the future of live music.Song: Billie Eilish - “Lunch”

Goldfeather is the work of vocalist and composer Sarah Goldfeather and guitarist/producer Mike Tierney. Sarah Goldfeather is also a founding member of the ensemble Excpetet, a group modeled on the instrumentation of Stravinksy's "L'Histoire du Soldat" and created to commission new works by living composers. In fact, all of the band members are classically trained, with experience and interests from bluegrass to experimental pop. Goldfeather's new album, Change, is a head-spinning blend of hyperpop filtered through the lens of contemporary classical and electronic music. With its processed voices, sudden shifts in rhythm and harmony, and catchy pop hooks, the new songs are off-kilter fun, even as they tell a serious tale of "uncomfortable self-reflection" The band plays some of these tunes in-studio.   Set list: "Who Am I When I Am All Alone", "The Animal", "Beautiful Tree" Watch "Who Am I When I Am All Alone": Watch "Animal": Watch "Beautiful Tree":

Averil Mansfield was the UK's first woman vascular surgeon and first female professor of surgery. She qualified as a surgeon in the early 1970s, at a time when only two per cent of her colleagues were female – and was often met with disbelief bordering on amusement when telling people what she did. She talks to Woman's Hour about her medical achievements, which she downplays to, ‘It's just glorified plumbing,' as detailed in her memoir ‘Life in Her Hands.' A a new app to block child abuse images has received £1.8m pounds of EU funding, with the aim to help combat what has been described as a "growing demand" for child abuse images. According to the NSPCC, child abuse image offences have reached record levels with more than 30,000 reported in the last year. It also revealed that the police have recorded the first child abuse crimes in the metaverse, with eight instances recorded last year. We hear from Rani Govinder, Senior Child Safety Online policy officer from the NSPCC and John Staines, former police officer from E-Safety Training who goes into schools to educate children and teens about online safety. Dada Masilo is a South African choreographer, who is known for her re-working of classic stories to reflect black female identity. Her latest show is called Sacrifice, inspired by Stravinksy's iconic ballet Rite of Spring is on a national tour of the UK, and will be performed at the Sadler's Wells in London this weekend. Plus the new study from the Cambridge Centre for Family Research which shows that having an older sibling helped keep children well-adjusted during lockdown. Prof Claire Hughes joins Nuala to discuss how older siblings can provide protection from stress. Presenter Hayley Hassall Producer Beverley Purcell

Russian composer Igor Stravinsky had a big hit with his first ballet, The Firebird. Stravinksy kept on writing ballets, followed by operas, and orchestral and choral music.

 David Homan is the CEO of Orchestrated Connecting, which is a community of influencers, family offices, CEOs, artists and many others. He is the co-founder of Orchestrated Opportunities, an advisory firm working at the intersection of impact and access after incubating an impact film company for the Dalio Family. He serves on boards for Ariel Rivka Dance, the Arthur Miller Foundation, First Republic FEA New York and is an active classical composer most recently commissioned to re-score Stravinksy's Firebird for Ballet Vero Beach. He is NYC Ambassador for NEXUS along with advising several other companies including VC firms and today he speaks to us about the impact ask!

Guitarist James Sherlock and Double Bass player Ben Hanlon have released their 2nd Duo album – STRAVINKSY – a collection of pieces inspired by the Petrushka and Rite Of Spring... LEARN MORE The post Sherlock & Hanlon's Stravinsky appeared first on Bent Notes.

STRAVINSKY: Concierto para dos pianos (19.31). I. Stravinksy (p.), S. Stravinksy (p.). Concierto para orquesta de cámara en Mi bemol mayor “Dumbarton Oaks” (14.02). Orq. de Cámara Inglesa. Dir.: C. Davis. Tango (3.11). M. Beroff (p.). Escuchar audio

Russian composer Igor Stravinsky had a big hit with his first ballet, The Firebird. Stravinksy kept on writing ballets, followed by operas, and orchestral and choral music.

Esta semana en Mucho más que Mozart en Noche tras Noche de RPA celebramos el Día Internacional del Jazz descubriendo una serie de obras escritas a medio camino entre la música clásica y el jazz, como el concierto de Ébano de Stravinksy o la ópera Porgy and Bess de Gershwin. ¡Feliz Día Internacional del Jazz! Con Ana Laura Iglesias.

ECM recording artist Nik Bartsch speaks of his early interest in drums, the differences between Japan and his native Switzerland, the importance of practising the non-violent martial art Aikido, and the influence of composers like Stravinksy, Feldman and Thelonious Monk on his approach to composition… Part 2 to follow in #Episode 35.

One two three, step two three, one two three, I’m so sorry, I’ve crushed your toes. Swing your partners round and round this week, it’s time for us to chassis our way into the World’s Worst Dance. Grabbing us round the waist and clinging on for dear life is our guest, the comedian, writer and actress Abigail Burdess, who has a few choice words for Morris dancers everywhere. Meanwhile, Ben takes us to the early days of modern dance with a look at Stravinksy’s ‘Rite of Spring’ as choreographed by a horse, and Barry diagnoses dancing plagues and broken penises. Follow us on Twitter: @worstfoot @bazmcstay @benvandervelde @AbigailBurdess Visit www.worstfootforwardpodcast.com for all previous episodes and you can now donate to us on Patreon if you’d like to support Ben’s new baby and Barry’s crippling trivia addiction: https://www.patreon.com/WorstFootForward Worst Foot Forward is part of Podnose: www.podnose.com

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky’s life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis’s edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu’s theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers’ lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky’s compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy’s scores containing Boulanger’s comments with Francis’s explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society’s Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph’s award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky's life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis's edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu's theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers' lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky's compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy's scores containing Boulanger's comments with Francis's explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society's Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph's award-winning journal, Critical Voices: The University of Guelph Book Review Project.

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky's life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis's edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu's theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers' lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky's compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy's scores containing Boulanger's comments with Francis's explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society's Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph's award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky’s life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis’s edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu’s theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers’ lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky’s compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy’s scores containing Boulanger’s comments with Francis’s explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society’s Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph’s award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky’s life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis’s edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu’s theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers’ lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky’s compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy’s scores containing Boulanger’s comments with Francis’s explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society’s Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph’s award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky’s life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis’s edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu’s theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers’ lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky’s compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy’s scores containing Boulanger’s comments with Francis’s explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society’s Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph’s award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky’s life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis’s edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu’s theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers’ lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky’s compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy’s scores containing Boulanger’s comments with Francis’s explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society’s Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph’s award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nueva batalla musical en El Duelo de Clásica FM, hoy Dvorak vs Tchaikovsky. Repasamos las mejores obras de dos compositores de estilos muy distintos entre sí, que vivieron en épocas paralelas vidas muy diferentes. Descubrimos la soñada américa de Dvorak frente al drama ruso que plantea siempre Tchaikovsky en su música. Además, viajamos por la historia del gran Royal Albert Hall de Londres con Berta Herrero en Las Cuatro Columnas, y nos adentramos en las Cartas de Stravinksy en Música en las Letras de la mano de María Del Ser.

Nueva batalla musical en El Duelo de Clásica FM, hoy Dvorak vs Tchaikovsky. Repasamos las mejores obras de dos compositores de estilos muy distintos entre sí, que vivieron en épocas paralelas vidas muy diferentes. Descubrimos la soñada américa de Dvorak frente al drama ruso que plantea siempre Tchaikovsky en su música. Además, viajamos por la historia del gran Royal Albert Hall de Londres con Berta Herrero en Las Cuatro Columnas, y nos adentramos en las Cartas de Stravinksy en Música en las Letras de la mano de María Del Ser.