Podcasts about Symphonic Dances

Earth, in all its marvelous vitality and fragility, has inspired generations of composers. In The Oceanides, Sibelius conjures the water nymphs of Greek mythology and the broad majesty of the sea. Dvořák's The Wild Dove is based on a dark folktale about a dove's prophetic song. Childhood memories shape Rachmaninov's Symphonic Dances, his sumptuous masterpiece. Learn more: cso.org/performances/24-25/cso-classical/canellakis-and-rachmaninov

The La Jolla Symphony & Chorus presents "This Soil," conducted by Arian Khaefi. The program features a stunning array of works, including Kristen Kuster's Moxie, Samuel Barber's Knoxville, Summer of 1915, Gabriela Lena Frank's Escaramuza, Gala Flagello's Bravado, Florence Price's Piano Concerto in One Movement, and Leonard Bernstein's “Symphonic Dances” from West Side Story. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 39112]

The La Jolla Symphony & Chorus presents "This Soil," conducted by Arian Khaefi. The program features a stunning array of works, including Kristen Kuster's Moxie, Samuel Barber's Knoxville, Summer of 1915, Gabriela Lena Frank's Escaramuza, Gala Flagello's Bravado, Florence Price's Piano Concerto in One Movement, and Leonard Bernstein's “Symphonic Dances” from West Side Story. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 39112]

The original production of Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky on the Rite of Spring.  No Broadway show had ever been so gritty, so tragic, and so raw.  The first performances of Westside Story were done against the backdrop of a rise in gang violence in New York City.  The socio-economic aspects of the show were evident to everyone who watched it, and I always like to remind people that the location where Bernstein, Arthur Laurents, who adapted Shakespeare's Romeo and Juliet for this show, and Sondheim imagined the story taking place is where Lincoln Center now sits, a seat of opulence and extravagance. Simply put, this was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  Today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story, an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere.  The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since.  So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

The Mid-Texas Symphony kicks off the season with a technicolor concert on Sunday, Sept. 8, at 4 p.m. in Jackson Auditorium, 1000 W. Court St. in Seguin. The concert begins with the brilliant fanfare of the “Light Cavalry Overture,” the vibrant and kinetic rhythms of the “Symphonic Dances” from “West Side Story,” and the miraculous transformation of a Spanish dance in Ravel's “Bolero.” The first concert will also pay tribute to the late Anita Windecker, the symphony's founder, who passed away on May 11, with a performance of Liszt's Piano “Concerto No. 1” featuring virtuoso pianist Young Sun Choi, Bronze...Article Link

We're back! Welcome to Season 10! Leonard Bernstein to his wife: "These days have flown so -- I don't sleep much; I work every -- literally every -- second (since I'm doing four jobs on this show -- composing, lyric-writing, orchestrating and rehearsing the cast). It's murder, but I'm excited. It may be something extraordinary. We're having our first run thru for PEOPLE on Friday -- Please may they dig it!."  Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky with the Rite of Spring.  Simply put, no Broadway show had ever been so gritty, so tragic, and so raw. This was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  And today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story; an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere.  The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since.  So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

SynopsisOn today's date in 1941, the final orchestral work of Russian composer Sergei Rachmaninoff received its premiere performance by the Philadelphia Orchestra, led by Eugene Ormandy.It was an orchestral suite, Symphonic Dances, and was originally planned as a triptych depicting the passage of time, with its three sections to be titled “Midday,” “Twilight” and “Midnight.” For this new work, Rachmaninoff recycled music from an older one: an unfinished ballet from 1915.Rachmaninoff was an unabashed and unrepentant Romantic at heart, with his musical style grounded in the late 19th-century tradition. Oddly enough, in all other matters Rachmaninoff was modern — even trendy. When living in Russia, he owned the first automobile in his rural part of the country. After settling in Switzerland, the home he built on Lake Lucerne was designed in the ultra-modern Bauhaus style, and Rachmaninoff liked to zoom around the lake in a snappy little speedboat.And, when in New York City, rather than sipping borscht at the Russian Tea Room, he would more likely be seen at a corner drug store, indulging in a quintessential American treat: ice-cream sodas.Music Played in Today's ProgramSergei Rachmaninoff (1873-1943) Symphonic Dances; Minnesota Orchestra; Eiji Oue, cond. Reference 96

Marina Frolova-Walker chooses her favourite recording of Rachmaninov's Symphonic Dances.

Je dagelijkse portie muzikale verwondering. Welkom in mijn wonderkamer, vol muziek, verhalen en voorwerpen. Een muzikale reis door eeuwen, windstreken en genres. ‘De laatste verjaardag van Sergei R.' Het is geen grap, maar op 1 april viert Sergei Rachmaninov zijn 150ste geboortedag. In deze aflevering enkele unieke, recent ontdekte opnamen van deze romantische alleskunner op de piano. Zo ga je naar zijn laatste verjaardag, in 1942… Meer zien? Klik hier (https://www.nporadio4.nl/klassiek/podcasts/f32bc497-7b61-4ffb-99d4-16b765eb0c53/dit-hoor-je-deze-week-in-franks-klassieke-wonderkamer-week-13-27-t-m-31-maart) Sergei Rachmaninov Pianoconcert nr.2, II. Adagio sostenuto Sergei Rachmaninov, piano Philadelphia Orchestra olv Leopold Stokowski (opn.1929) (album: Rachmaninov plays Rachmaninov)   Sergei Rachmaninov div. historische uitvoeringen Sergei Rachmaninov, piano  (album: Rachmaninov plays Symphonic Dances; newly discovered 1940 recording)   Sergei Rachmaninov 10 Preludes op.23; IV. Andante cantabile Sergei Babayan, piano (album: Babayan plays Rachmaninoff) Franks Klassieke Wonderkamer is straks niet meer via de Bach van de Dag feed te beluisteren. Niks missen? Abonneer je dan op de podcast Franks Klassieke Wonderkamer.

We welcome dynamic pianist/composer Stewart Goodyear back to Toledo to perform his own music: the Caribbean-inspired dance suite for piano and orchestra, Callaloo. Not only do we hear what went into the creation of this saucy dish, we get to know Stewart himself through personal stories and shared insights. We also talk about two other "dance" works on the program: John Adams' The Chairman Dances, and Sergei Rachmaninoff's Symphonic Dances. And in keeping with tradition, we have a trivia-filled quiz of the day, Guess the Rock. Is it Sergei Rachmaninoff (AKA "Rach"), Dwayne Johnson (AKA "The Rock"), or Elvis (AKA "The King of Rock...")? Listen in and find out!

In a program celebrating the 150th anniversary of Sergei Rachmaninov's birth, Lahav Shani conducts the composer's Symphonic Dances, which marries diabolical, jazzy melodies with plush, old-world grandeur. Italian pianist Beatrice Rana is soloist in Rachmaninov's Paganini Rhapsody, a set of 24 variations that crackle with wit and furious energy. Prokofiev's delightful Classical Symphony opens the program. Explore the music in the free preconcert conversation featuring Kyle Dzapo in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets are needed. Learn more: cso.org/performances/22-23/cso-classical/shani-conducts-rachmaninov-symphonic-dances

Listen as host Russell Gant presents our Tuesday Concert with the Florida Orchestra with Michael Francis conducting the Violin Concerto in D by Tchaikovsky featuring guest violinist Stefan Jackiw, and Rachmaninoff's final work, the Symphonic Dances. Originally broadcast August 23rd at 8:00 on Classical WSMR 89.1 & 103.9, online at wsmr.org.

Join Marquette for an hour of mindset, attitude, discipline from Dallas Native ballerina and entrepreneur, Julia Cinquemani. Julia joined the corps de ballet in 2017 following her tenure at Los Angeles Ballet. Julia will always treasure the special camaraderie and community unique to Miami City Ballet and her sense of artistic accomplishment amongst friends. Career highlights at MCB include Aria 1 in Stravinsky Violin Concerto, Hippolyta in A Midsummer Night's Dream, and War Girl in Symphonic Dances. Julia is the CEO & Founder of Jule Dancewear @juledancewear. Jule is founded on the principles of self-love, confidence, and body positivity. Established in 2011, Julia addressed a need in the dancewear space: Apparel that appealed to women of all shapes and sizes, offering them functionality without compromising fashion and quality. She has now expanded to activewear as well. She tells us all about Ballet: as a girl, a teen, a woman and also tells us about the mindset of a #bossbabe in the business world. • • • #mindset #mindbodydallas #businessmindset #entrepreneurmindset #SheEO #businesswoman #ballet #ballerina #dancewear #activewear #podcast #spotifypodcast #applepodcast

Bernstein's Symphonic Dances from West Side Story (Cacophony ep.117) features the driving funky rhythms at the expense of the wit, poetry and driving funky rhythms of the song numbers... so this episode features four of my favourites. Listening time 22 minutes (podcast 7', music 15')   Here are complete performances of my choices on Youtube and Spotify from the soundtrack album of Steven Spielberg's 2021 movie. What do you think? Let me know with an easy voicemail or comment at Cacophonyonline.com, Facebook or Twitter. If you'd like to support Cacophony there are easy, great, ways: - share this episode - share the 100 second trailer - buy us a cuppa at ko-fi.com - subscribe/ review and keep listening!   Thanks to NY resident, Emma Cotter for the photo - actually taken from Queensboro bridge, so it's an East Side Manhattan photo, but in the right uptown/ downtown area!   Thanks for listening!

I played this over a week ago and still the tunes dance around inside my head - it's the jazz- and latin-fuelled brilliance of the Symphonic Dances from Leonard Bernstein's smash hit musical, West Side Story - perhaps the greatest musical there is? Let me know! Listening time 34 minutes (podcast 10', music 24')   Complete performances of the music on Youtube (filmed concert performance with The Orchestre philharmonique de Radio France, conducted by Mikko Franck), Spotify and Apple Music (Royal Liverpool Philharmonic Orchestra and Christian Lindberg, conductor). The Apple link only plays the first track - you'll have to work out the rest, sorry.   What do you think? Let me know with an easy voicemail or comment at Cacophonyonline.com, Facebook or Twitter. If you'd like to support Cacophony there are easy, great, ways: - share this episode - share the 100 second trailer - buy us a cuppa at ko-fi.com - subscribe/ review and keep listening!   Thanks to NY resident, Emma Cotter for the photo - actually taken from Queensboro bridge, so it's an East Side Manhattan photo, but in the right uptown/ downtown area!   Thanks for listening!

Synopsis On today's date in 2004, the Utah Symphony and conductor Keith Lockhart premiered “Three Latin-American Dances” by the American composer Gabriela Lena Frank. Just a few days later, the same forces recorded Frank's music for a release, to be sandwiched between Bernstein's Symphonic Dances from “West Side Story” and Rachmaninoff's “Symphonic Dances.” Frank's first dance, entitled “Jungle Jaunt” opens with what she calls “an unabashed tribute” to the URBAN jungle evoked in Bernstein's “West Side Story.” Her second dance, “Highland Harawi,” is more melancholy, perhaps a nod to that strain in Rachmaninoff's music, and evokes the sounds of the bamboo quena flute of the Andes. Her third dance is titled “The Mestizo Waltz,” a pun on the famous “Mephisto Waltz” by Franz Liszt. As Frank explains: “This final [dance] is a lighthearted tribute to the mestizo or mixed-race music of the South American Pacific coast. It evokes the romancero tradition of popular songs and dances that mix influences from indigenous Indian cultures, African slave cultures, and western brass bands.” Frank herself is of mixed Peruvian and Jewish background. When asked about how her heritage affects her music, she replied: “Sometimes the Latin influences are quite evident, and sometimes they are quite subtle. And of course, ‘Latin' can mean so many different things. There is no one single Latin identity, as any Latino/Latinoamericano would tell you.” Music Played in Today's Program Gabriela Lena Frank (b. 1972) — Three Latin American Dances (Utah Symphony; Keith Lockhart, cond.) Reference Recording 105

DescriptionSergei Rachmaninoff had an unmistakable connection to writing in minor keys. In fact, his three symphonies, Symphonic Dances, four piano concertos, and the Rhapsody on a Theme of Paganini are all written in minor keys. But why you may ask? Join me, Steven Hobé, as we take a minute to get the scoop!Fun FactBy 1900 Rachmaninoff was paralyzed with self-doubt and unable to compose. After professional help, his creative juices were rekindled. The Piano Concerto No. 2, completed in 1901 and performed by Rachmaninoff himself, was a success and led to a Glinka Award. About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)

In this episode, I talk about the unavoidable Russian invasion of Ukraine to the sound of, quite adequately, the Symphonic Dances of Russian composer Sergei Rachmaninoff.

David Newman has written music for over 100 films. But in addition, he is a conductor and has conducted West Side Story with major orchestras around the world 40-50 times. So it makes sense that John Williams would recommend him to Steven Spielberg to oversee the music for his recent West Side Story film (and produce the album). I already interviewed David about the aspects of writing music for film, so this time we focused on West Side Story and what it was like to collaborate with some of the most revered people in the history of film and theater.I first ask David how he first came to know West Side Story, how he was contacted to work on the film, and what exactly that work entailed. Of particular interest was the order of how things are put together for a film such as West Side Story, and how he and his collaborators needed to be flexible. Always remaining faithful to the score of Leonard Bernstein, David at times had to take the material from either the musical version, the 1961 movie, or Bernstein's Symphonic Dances. Since a lot of the post production occurred during the beginning of Covid, he explains why most of the recording was done with the New York Philharmonic, but also with the Los Angeles Philharmonic.

DescriptionIf you are a Rachmaninoff fan, his Symphonic Dances are worth a listen to gain further insight into the many shades of this dynamic composer. Join me, as we take a minute to get the scoop!Fun FactThe Symphonic Dances combine energetic rhythmic sections, reminiscent of Stravinsky's The Rite of Spring, with some of the composer's lushest harmonies. He also may have included material intended for a ballet entitled The Scythians, begun in 1914–15 but abandoned before he left Russia. About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)

Em 1949, Leonard Bernstein e seus amigos Jerome Robbins (o coreógrafo) e Arthur Laurents (o libretista) debateram a ideia de criar uma releitura musical de Romeu e Julieta de Shakespeare ambientada em meio às tensões de grupos sociais rivais na moderna Nova York Cidade. Era o começo da Symphonic Dances, aqui na versão do grande maestro Gustavo Dudamel A ideia do programa foi do padrinho Gustavo Klein. Conversa de Câmara é apresentado por Aroldo Glomb com o Eduardo Masses na unibancada! Estamos também no programa Antigas Novidades! ESSE PROGRAMA É PRODUZIDO POR NA PAUTA PODCAST! FAÇA PARTE DO CONVERSA DE CÂMARA COM O NOSSO PADRIM! Então entre na conversa! No Padrin.com.br você pode ajudar o Conversa de Câmara a crescer e seguir divulgando ainda mais a boa música da humanidade. Mostre que você tem um gosto refinado apoiando a gente no Padrim.com.br https://www.padrim.com.br/conversadecamara RELAÇÃO DE PADRINS Karollina Coimbra, Aarão Barreto, Gustavo Klein, Eduardo Barreto, Ediney Giordani, Tramujas Jr, Brasa de Andrade Neto, Thiago Pacheco e Aldo França

Synopsis In the year 1900, a German-born conductor named Fritz Scheel arranged for two orchestral programs in Philadelphia billed as the “Philippines Concerts.” These were benefits, as contemporary ads put it: “for the relief of families of the nation's heroes killed in the Philippines.” The previous year U.S. troops had fought a guerrilla army in the Philippines and had suffered heavy casualties.   The concerts proved so successful that Philadelphians decided that Scheel's pick-up orchestra should become instead a permanent ensemble, similar to the orchestras of New York and Boston. And so, on today's date in 1900, the first official concert of the Philadelphia Orchestra took place at the Academy of Music, offering a program of Goldmark, Beethoven, Tchaikovsky, Weber, and Wagner. During the century that followed, the fame of the Philadelphia Orchestra spread worldwide via recordings made by the orchestra's famous maestros Leopold Stokowski and Eugene Ormandy,  who gave many U.S. and world premiere performances of new works by both European and American composers. In 1940, the Russian composer Sergei Rachmaninoff, on the occasion of the premiere of his “Symphonic Dances” by the Philadelphians, paid the orchestra this compliment: “Today, when I think of composing, my thoughts turn to you, the greatest orchestra in the world.” Music Played in Today's Program Richard Wagner (1813 – 1883) — Act I Prelude, from Die Meistersinger (Philadelphia Orchestra; Eugene Ormandy, cond.) CBS 38914 Sergei Rachmaninoff (1873 – 1943) — Symphonic Dances (Philadelphia Orchestra; Charles Dutoit, cond.) London 433 181

Rachmaninoff's music is often described as many different kinds of chocolate cake, but this piece, if it's chocolatey at all, would be that 85% dark chocolate - more bitter than sweet. It might be Rachmaninoff's greatest orchestral work, and one that is inextricably linked to his tumultuous life. Throughout the Dances we hear references to war, to nostalgia, to Rachmaninoff's past failures, and so much more. This is one of the underrated masterpieces of the 20th century - join us to learn all about it!

Our sponsor: Houghton Hornswww.houghtonhorns.comHoughton Horns TMEA videoswww.youtube.com/houghtonhornsWith playing hailed as "invigorating and clear" by Naples Daily News, Yamaha Artist David Dash performs in orchestras and chamber music concerts across the United States. David is the Assistant Professor of Trumpet at the University of North Carolina School of the Arts and a member of the Grammy Award-winning Santa Fe Opera Orchestra. David is also Principal Cornet of the North Carolina Brass Band and Principal Trumpet of the Chamber Orchestra of the Triangle. Prior to his UNCSA appointment, he served as Assistant Principal Trumpet of the Naples Philharmonic and was a member of "The President's Own" United States Marine Band, where he performed as a soloist and toured much of the United States. David has also performed with the symphonies of Atlanta, Baltimore, Charleston, Charlotte, Greensboro, Richmond, Sarasota, San Francisco and Winston Salem; the Florida Orchestra; and the Los Angeles Philharmonic. He has performed as a soloist with the UNCSA Wind Ensemble, "The President's Own", Naples Philharmonic, Richmond Philharmonic and many community groups. As a member of the Naples Philharmonic, David performed in a wide variety of genres, including pops, opera, ballet, baroque, educational concerts and masterworks. While in "The President's Own" Marine Band, he performed "Taps" at the nationally broadcast PBS National Memorial Day Concert and performed frequently at the White House and state functions. An avid chamber musician, David performs with his wife Mary Elizabeth Bowden in the Dash Duo and Watson Brass, the faculty brass quintet at UNCSA. While in the Naples Philharmonic, he performed several annual recitals with the Naples Philharmonic Brass Quintet. He was a member of the Bay Street Brassworks and the Echelon Brass Quintet and has performed with the Santa Fe Chamber Music Festival. His recordings with the Santa Fe Opera include Cold Mountain and The (R)evolution of Steve Jobs, which won a Grammy for best opera recording. Additional recordings include American Anthems with the Gramercy Brass Band (Koch International), albums with the Manhattan School of Music Opera Theater (Albany Records), Carmen Symphony and Other Classics (Naxos Records) and Symphonic Dances with "The President's Own" Marine Band. David received his Bachelor of Music from Rice University and his Master of Music from the Manhattan School of Music. He attended the Orchestra Institute in Attergau, Austria and the Norfolk Chamber Music Festival. His teachers include Armando Ghitalla, Robert Sullivan, Mark Niehaus, Tim White, Jim Hamlin, René Shapiro, Andy Balio and John Morrison.  Support the show (https://thatsnotspit.com/support/)

An introduction to the Symphonies and Dances of composer Malcolm Arnold featuring conductor Andrew Penny who recorded all these works for Naxos. Arnolds orchestral works are a study in contrasts, from his optimistic and tuneful dance suites to his deeply personal symphonies.

Folks, do we have a treat for y'all today or WHAT? The number 7 is said to be lucky, and we were very lucky indeed to snag an interview with none other than the trumpet queen herself, Mary Elizabeth Bowden! (Brass aficionados, you're welcome.) You MIGHT know Mary from her extensive solo career.....OR from her touring with the Kassia Ensemble....OR from her popular Instagram account, @marytrpt.....OR from.....(Okay, we'll stop now. You'll have to listen to the full episode to hear about her 3469873 other projects.)  Highlights include: a special performance from Mary's album Radiance, the number of trumpets and mouthpieces that can fit in a single tiny backpack, and a deep-dive into Rachmaninoff's "Symphonic Dances". Get more Mary at www.marybowden.com, on IG at @marytrpt, and on Facebook and YouTube at Mary Elizabeth Bowden.Celebrate the 4th with us at Crump Park this Sunday at Red White and Lights. No ticket required!Single tickets go on sale August 2nd. Keep an eye on our calendar for more info.Please enjoy this image of "Rock Mannenough".Got a burning classical music question? Email us at podcast@richmondsymphony.com with the subject line "Question of the Week" and we might answer your question in a future episode. (Please be sure to indicate if you are comfortable with your name being shared.) All questions welcome!See ya next time!

YolanDa Brown gets under the skin of one of the most popular of Rachmaninoff's orchestral pieces, his Symphonic Dances. Together with timpanist Simon Carrington, violinist Laura Vallejo and trombone player Dave Whitehouse they open up a piece about which Rachmaninoff said “I don't know how it happened, it must have been my last spark.” Indeed it was the last piece he wrote and it's a work that many people now think of as one of his greatest orchestral works. Simon, Laura and Dave have played this work many times and they offer some fascinating insights, and we hear plenty of music from the LPO's recent recording of this piece too. Produced by Tandem Productions for the London Philharmonic Orchestra. #OffstagePodTwitter: @LPOrchestraInstagram: @londonphilharmonicorchestraFacebook: @londonphilharmonicorchestra Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

On today’s date in 1941, the final orchestral work of the Russian composer Sergei Rachmaninoff received its premiere performance by the Philadelphia Orchestra, led by Eugene Ormandy. It was an orchestral suite, entitled “Symphonic Dances,” and was originally planned as a triptych depicting the passage of time, with its three sections to be titled: Midday, Twilight, and Midnight. For this new work, Rachmaninoff recycled some music from older one: an unfinished ballet from 1915. Rachmaninoff was an unabashed and unrepentant Romantic at heart, with his musical style grounded very much in the late 19th century tradition. Oddly enough, in all other matters Rachmaninoff was very modern — even trendy. When living in Russia, he owned the first automobile in his rural part of the country. After settling in Switzerland, the home he built on Lake Lucerne was designed in the ultra-modern Bauhaus style, and Rachmaninoff liked to zoom around the lake in a snappy little speedboat. And, when in New York City, rather than sipping borscht at the Russian Tea Room, Rachmaninoff would more likely be seen at a corner drug store, indulging in a quintessential American treat: ice-cream sodas.

On today’s date in 1941, the final orchestral work of the Russian composer Sergei Rachmaninoff received its premiere performance by the Philadelphia Orchestra, led by Eugene Ormandy. It was an orchestral suite, entitled “Symphonic Dances,” and was originally planned as a triptych depicting the passage of time, with its three sections to be titled: Midday, Twilight, and Midnight. For this new work, Rachmaninoff recycled some music from older one: an unfinished ballet from 1915. Rachmaninoff was an unabashed and unrepentant Romantic at heart, with his musical style grounded very much in the late 19th century tradition. Oddly enough, in all other matters Rachmaninoff was very modern — even trendy. When living in Russia, he owned the first automobile in his rural part of the country. After settling in Switzerland, the home he built on Lake Lucerne was designed in the ultra-modern Bauhaus style, and Rachmaninoff liked to zoom around the lake in a snappy little speedboat. And, when in New York City, rather than sipping borscht at the Russian Tea Room, Rachmaninoff would more likely be seen at a corner drug store, indulging in a quintessential American treat: ice-cream sodas.

For the 69th opus of TRILLOQUY, the guys decide to spend some time at the intersection of music and sex, featuring a few of Scott's favorites by Donna Summer. Special guest, Derek Menchan talks with Garrett about how he utilizes Afro-centrism and his ability to overlay his multi-talents to create new recordings of the "classics", and a scene from the film, "The Prince of Egypt" serves as the frame for pretty difficult conversation between the hosts. Playlist: Terence Blanchard - "Ron's Theme" from Blackkklansman arr. Justin Holland - "Rochester Schottische" Addison H. Douglass - "Go Gopher Victory" Richard Strauss - "Dance of the Seven Veils" Maurice Ravel - "Bolero" Aram Khachaturian - "Dance of the Young Kurds" Thomas Adès - Overture to "Symphonic Dances from Powder Her Face" Ariana Grande ft. Lil Wayne - "Let Me Love You" Donna Summer - "Love to Love You Baby" Donna Summer - "I Feel Love" Foxy - "Get Off" LaTour - "People Are Still Having Sex" Prince and the New Power Generation – "Gett Off" George Michael - "I Want Your Sex" George Michael ft. Steve Gregory (sax) - "Careless Whisper" Divinyls - "I Touch Myself" Jeremih - "Fuck You All the Time" Derek Menchan - "The Griot Swings the Classics" More: Derek Menchan: https://www.derekmenchan.com The Prince of Egypt: https://www.dreamworks.com/movies/the-prince-of-egypt For the Met Opera, the Pandemic Could Be a Necessary Reset: https://www.nytimes.com/2020/09/29/arts/music/met-opera-coronavirus-pandemic.html?fbclid=IwAR1q0MQbRy4y7ntXiSkOUpgqwuuyIrO4Ih_PAvd0BNrXuGQNDFKYu7gb7LI Orchestras Are Rushing to Add Black Composers. Will It Last?: https://www.nytimes.com/2020/10/02/arts/music/orchestra-livestreams-black-composers.html?referringSource=articleShare Gopher band returns with instrument wraps: https://www.fox9.com/news/gopher-band-returns-with-instrument-wraps-designed-by-minnesota-company?fbclid=IwAR0uhBj1BgxjzuMovoOVRF4JzksWT3CZxa2wUhEAUWJyvP5YG8wqn9IKqBE

There is perhaps no more iconic musical than West Side Story. The team of Bernstein, Sondheim, Laurents, and Robbins collaborated on a show that combined humor and menace and love and violence in a way that revolutionized the stage. The film adaptation of the musical won 11 Academy Awards. But, in my opinion, what drives West Side Story is the scintillating score from Leonard Bernstein. Today we explore the Symphonic Dances, a suite put together for the concert stage. We'll talk shofars, tritones, and more!

Episode 04 Summary    0:00 - Intro  0:35 - Defining Timbre Timbre refers to color for sound Imagine you have a 128 pack of crayons, Instead of different shades of red, blue, and orange, imagine that you have “sound crayons” Each one is a different timbre One could be the sound of a violin bowing One could be a trumpet fanfare One could be muted trumpet Each of these are different crayons, and each of them are different timbres Some of the “colors” can be similar, but they’re still distinct timbres. Garrett points out that cerulean and cyan are different shades of blue. Amanda draws a similar comparison with the sounds of string instruments Garrett points out that different instruments can play the same written pitch, but they’ll still have a different tone Amanda agrees and points out that timbre is what allows you to tell different instruments and voices apart, even if they’re singing the exact same pitch Garrett does a terrible Amanda impression to illustrate that their voices are distinct Garrett does a better Mickey and Kermit Timbre is a musical term, but you can use it for any distinct sounds 6:21 - The Spelling and Pronunciation of Timbre It rhymes with amber It’s a French word Garrett casually alienates French listeners Most musicians will pronounce it the way Garrett and Amanda are in this episode. We apologize to the French for bastardizing this pronunciation. 8:10 - Human Ears The human ear is probably more attuned to voice for most people Garrett points out that it’s what we listen to the most Garrett gives examples of how dogs and cats like squeaky sounds because they sound like prey Humans have lived in communities for so long that we’re now extremely attuned to human voices It’s probably pretty easy to tell most men’s voices apart from most women’s Garrett points out the power of Mom Ears for their own babies Garrett and Amanda can even tell their cats’ meows apart The same thing that makes it easy of you to tell voices apart, that’s the human ear’s ability to tell apart different timbres. This is very helpful for music. With practice, listeners can learn to differentiate between different instruments, though some will be trickier than others. While it may be easier to differentiate vocalists, chances are you can tell your favorite musicians/bands apart from other similar bands if you’re experienced with the genre Garrett points out that many people’s preferences for or against certain genres have to do with timbral considerations Example: the twang of country music 12:08 Singing Voices We’re pretty picky with vocal styles Examples: Opera Country Music Vibrato The hours we spend talking and communicating probably greatly outweigh the hours we spend listening to music, so it’s not surprising that people get really picky with voice type 13:03 Telling Instruments Apart It takes a more trained ear to hear a difference in instruments than in voices Garrett gives the example of 1980s rock bands and how he can now pick out Brain May’s guitar playing (Queen) The more you listen to certain bands and genres, the easier it will get to tell apart different instrumentalists and vocalists Amanda gives the examples of Freddie Mercury and Louis Armstrong, and how identifiable their voices are for most people Amanda shares a story about successfully identifying an individual trumpet player (Freddie Hubbard) Garrett does his Louis Armstrong impression 15:05 Musical Timbres We Love Garrett likes: A good French horn Garrett calls this instrument “An ugly girl with a pretty voice” (and acknowledges how problematic that description is) French horn is difficult to play, but it’s a very in demand sound Amanda adds that she loves horn “rips” Garrett describes how this sound is made Example: Music at the end of Star Wars Episode I Amanda likes: Brian May’s guitar The guitar’s unique construction and Brian May’s use of a coin instead of a pick helped make his unique timbre Amanda calls this a wailing sound and attributes that common descriptor to guitarists like Brian May 18:54 Musical Timbres We Hate Garrett points out that many people pick on woodwinds Garrett dislikes the high register of the violin Amanda hates the harpsichord Amanda argues that it’s okay to have different ears from your neighbor and prefer different timbres Amanda can still appreciate good harpsichord playing even if she doesn’t like the sound of the instrument Amanda points out that the difference in sound between a harpsichord and a piano  has to do with how the sound is produced (plucking internal strings vs. striking internal strings) Amanda and Garrett lightly make fun of Bassoonists for the second time in this episode (though they do enjoy the bassoon's timbre) 23:04 Recap Timbre is the sound equivalent of color Just like there are many different shades of the colors we all know, there are many different shades that can be achieved by each instrument and by the human voice Thanks to technology, new timbres are created all the time Garrett asks if being tone-deaf is like being colorblind Amanda says yes, and a very small fraction of people are truly tone-deaf (comparable to how many people claim to have OCD tendencies) Timbre is the different sounds that different instruments and voices make and what lets you differentiate between them, even when they are playing/singing the exact same pitch    24:20 - Listening Recommendations 24:26 Amanda’s 1st rec: (Movement I from) “Symphonic Dances” by Sergei Rachmaninoff (1940) Specific timbre(s) to listen for: orchestral alto sax! (3:35 into the track) 26:53 Garrett’s 1st rec: IV. "Hoe Down" from “Rodeo” by Aaron Copland (1942) Specific timbre(s) to listen for: violin, xylophone, trumpet 29:06 Amanda’s 2nd rec: “Black and Tan Fantasy” by Duke Ellington (both 1927 and 1945 versions on Spotify) Specific timbre(s) to listen for: Bubber Miley’s trumpet solo and Tricky Sam Nanton’s trombone solo (gutbucket style, mutes, growling/flutter-tongue) 32:08 Garrett’s 2nd rec: Victor Wooten’s performance of "Amazing Grace" (1999 on) Youtube Link Specific timbre(s) to listen for: melodic electric bass 34:08 Amanda’s 3rd rec: Movement I (“Turning”) from “Roda” by Elliot Cole, performed by Projeto Arcomusical (2019) Specific timbre(s) to listen for: Berimbau! YouTube Link 36:27 Garrett’s 3rd rec: “Sheep Go To Heaven” by Cake (1998) Specific timbre(s) to listen for: chunky guitar, muted trumpet, distinct vocals 38:29 Amanda’s 4th rec: Louis Armstrong’s Performance of “You Rascal You” (1950) Specific timbre(s) to listen for: Louis’s voice and his lead trumpet playing Youtube Link 41:27 Garrett’s 4th rec: “Human” by Rag’n’bone Man (2017) Specific timbre(s) to listen for: Rag’n’bone man’s voice   43:42 Answering Listener Questions! 44:03 Danni G wants to know: If someone was looking to dip their toes back into the music world, what would be some of your tips?  A place to find local concerts or music groups to join? 44:12 Amanda: Visit Your Local Music Store When local musicians want to promote a concert or group, they’ll do it at the music store Garrett points out that they may need their instrument repaired or maintained, so they’ll visit there Amanda says it’s a good place to stay in touch with the musical community and the employees usually know all the groups and teachers in town Consider grabbing a lesson just to refresh your skills and find out more about what’s available for you Try to find a shop that stocks your instruments if you’re looking for info on musical groups you can join.  Guitar Center might not be the best pick. Garrett points out that lessons don’t have to be a huge commitment, so don’t be afraid to take just one lesson. 46:22 Garrett: Colleges and the Elderly Hit up the local college because colleges promote music, and they often have ensembles that community members can join The senior sampler (or whatever your equivalent is) is a good resource too, since retirees often have the time and means to support/pursue the arts Community bands and orchestras will be listed in the senior sampler 47:30 Amanda: Considerations We took this as more of a band/orchestra question. If you’re trying to get into the rock scene, that might require different resources The music store is still a helpful place to start!  Grab a lesson! Also, college faculty often direct these community groups, so stopping by the university is a good first step (or e-mail if you don’t have a connection yet/you’re shy) 48:26 Amanda: It’s Never Too Late! It’s never too late to get back into your instrument or pick up a new one! Amanda mentions retirees who rock out It’s not about how good you are… music is fulfilling and fun! It’s probably more fun now that your parents aren’t forcing you to do it 49:37 Sign Off Thanks for listening and thanks for your feedback!  We appreciate you! New episodes will be released on the 1st and 15th of every month! Spotify Playlist Special thanks to OpenMusicRevolution.com for our intro and outro music and to the guys at Better Podcasting for being such great guides to us.  Special thanks to you, our listeners, too! Visit our Website! Follow us on social media! Instagram: @uptoyourearspodcast  Twitter @uptoyourears  Email us! uptoyourearspodcast@gmail.com

In this episode of Director's Pointe of View, BalletMet Artistic Director talks about the upcoming by Liang.In a celebration of creative vision, by Liang features three works from globally celebrated choreographer and BalletMet Artistic Director Edwaard Liang. Two works with an understated poignancy, Symphonic Dances and Beautiful Child, will be premiering for the first time in Columbus. Wunderland, Liang’s first ballet set on BalletMet dancers, will make its triumphant return to the Columbus stage with incredible beauty and stirring precision.May 24, 2019- June 1, 2019 at the Davidson TheatreTickets are available at https://www.balletmet.org/performances/tickets/

In this episode of Director's Pointe of View, BalletMet Artistic Director talks about the upcoming by Liang.In a celebration of creative vision, by Liang features three works from globally celebrated choreographer and BalletMet Artistic Director Edwaard Liang. Two works with an understated poignancy, Symphonic Dances and Beautiful Child, will be premiering for the first time in Columbus. Wunderland, Liang’s first ballet set on BalletMet dancers, will make its triumphant return to the Columbus stage with incredible beauty and stirring precision.May 24, 2019- June 1, 2019 at the Davidson TheatreTickets are available at https://www.balletmet.org/performances/tickets/

When the urge to compose finally struck again, Rachmaninoff took a little theme by Nicolo Paganini and turned it into a tour de force for the piano and orchestra, called Rhapsody on a Theme of Paganini. In this final episode of the Great Composers series on Rachmaninoff, we also explore Rachmaninoff’s final masterpiece -- the Symphonic Dances. Rachmaninoff reaches back to the debilitating early failure of Symphony No. 1 and brings those early musical ideas to a glorious new realization.

Western Piedmont Music Director candidate Arthur Post speaks about the concert he’ll conduct at Lenoir Rhyne University. For this “audition” of his talents, he’s selected a varied program of Copland, Haydn and Rachmaninoff’s Symphonic Dances . Learn more about Masterworks II: Fall

Donald Macleod explores Sergei Rachmaninov’s years in America. Reluctant even to visit at first, and once there always more than a little homesick, this proudly Russian composer in fact lived in the United States of America for 25 years, from the end of the First World War until his death in 1943. His life there was principally that of a virtuoso performer, not a composer; and Rachmaninov gave recitals for presidents, recorded discs for Thomas Edison, and felt obliged to rattle off his “hated” Prelude in C sharp minor for concert audiences wherever he went. All this week, Donald looks at Rachmaninov’s equivocal relationship with his adopted homeland. Rachmaninov’s first toured the USA in 1909, but it was only when he fled the 1917 revolution that he had to properly adjust to life as a concert pianist there. His intense performing schedule left him exhausted – we hear about the year 1926, which dedicated solely to composition, and how he found productive solace during his in summers in Switzerland. Although Rachmaninov was slow to embrace his adopted country, never really learning proper English and always looking back longingly to mother Russia, he did come to love the United States, and eventually, in the final year of his life, became a citizen. By then he’d become immersed in American cultural life, relishing jazz music and even admiring Mickey Mouse’s take on his ubiquitous Prelude. Music featured: Prelude in C sharp minor Piano concerto in D minor, 1st movement The Isle of the Dead, Op 29 A Dream (6 Songs, Op 38 No 5) The Star-Spangled Banner for piano Piano Concerto No 2 in C minor, 1st movement Polichinelle in F sharp minor, Op 3 No 4 Lento a capriccio (The Bells) Hungarian Rhapsody No 2 in C sharp minor (Liszt, arr. Rachmaninov) Liebeslied (arr. for piano) Etudes Tableaux, Op 33, Nos 2 and 7 3 Russian Songs, Op 41 Marche (Etudes Tableaux, orch. Respighi) Variations on a theme of Corelli, Op 42 Rhapsody on a theme of Paganini, Op 43 Symphony No 3 in A minor, Op 44, second movement Prelude in C sharp minor (arr. Barnet) 3 Symphonic Dances, Op 45 The Muse; What Happiness; Vocalise (14 Songs, Op 34) Lilacs Presenter: Donald Macleod Producer: Dominic Jewel for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Rachmaninov: https://www.bbc.co.uk/programmes/m0000hb7 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

In summer 1940, while enjoying a very busy career as a pianist and conductor, Rachmaninoff finally found time to compose while vacationing on Long Island.  Following the successful dance production of his Rhapsody on a Theme of Paganini, choreographed by Mikhail Fokine, Rachmaninoff started work on what he called his Fantastic Dances, planning a Philadelphia Orchestra premiere complete with Fokine’s choreography.  After the death of Fokine, this last work of Rachmaninoff’s became the Symphonic Dances, a three-movement work which showcases Rachmaninoff’s mastery of orchestral color and includes buried secret references and codes.

Season 3 begins next week on Sticky Notes, but for now, revisit a classic from Season 1 - a deep dive into Rachmaninoff's last work and his greatest orchestral masterpiece, the Symphonic Dances.  This piece is a culmination of all of Rachmaninoff's genius, and is a testament to his orchestration, melodic gift, and ability to combine the sacred and the profane.   We take a look at just about every note of this incredible work, so I hope you enjoy it!    

Join conductor and host Joshua Weilerstein as he takes you through Rachmaninoff's last work and his greatest masterpiece, the Symphonic Dances.  Written in 1940, the music reflects a world at war and marks a completely stylistic change for the famously romantic composer.  We will dig inside the music, exploring the story behind the music, and of course, the music itself.  Enjoy!  

선곡표 1.리우 올림픽 주제가 - Rise - Katy Perry 2.Dvorak -슬라브 무곡 op.46 중 8번 G단조 Presto 3.Mozart -클라리넷 협주곡 A장조 2악장(Clarinet Concerto in A KV622) 4.Saint-Saens - 바이올린 협주곡 3번 B단조 op.61 중 3. Molto moderato e maestoso 5.Rachmaninoff -피아노협주곡 3번 D단조 op.30 중 1. Allegro ma non tanto 6.Bernstein -Mambo (웨스트사이드 스토리 - 교향적 무곡 Symphonic Dances from West Side Story - 4. Mambo. Presto) 7.Richard Strauss -Violin Sonata in E-flat Major, Op. 18 II. Improvisation: Andante cantabile 8.Tchaikovsky -Symphony No.6 in B Minor, Op.74 `Pathétique` IV. Finale. Adagio lamentoso - Andante 9.Beethoven-Piano Sonata No. 8 in C minor, Op. 13 ‘Pathétique' III. Rondo: Allegro 10.영화 우리 생애 최고의 순간 메인 타이틀

Pierre-Nicolas Colombat, Stefano Patrizio, and JingXuan Zhang see the Boston Symphony's performance of Alexander Nevsky and Rachmaninov's Symphonic Dances. There is also a mystery guest who slightly derails the conversation......

선곡표 카에타노 벨로조- Cucurrucuc Paloma Leonard Bernstein- 뮤지컬 웨스트사이드스토리 중 교향적 무곡 Symphonic Dances from West Side Story - 2. Somewhere Mahler- 교향곡 5번 4. Adagietto Schubert- 즉흥곡 Impromptu in G flat Major D.899-3 R. Strauss- Befreit 자유로운 기분으로 Op.39-4 Schubert- Der Wanderer 방랑자 D.493 라흐마니노프 - 교향곡 2번 e minor Op.27-3 영화 미션 중 On Earth As it is in Heaven 하늘에서와 같이 땅에서도

Principal Dancer Tiit Helimets discusses his roles in Val Caniparoli’s Ibsen’s House and Edwaard Liang’s Symphonic Dances; his ongoing ties […]

This program features Symphonic Dances a world premier by emerging choreographer Edwaard Liang. Ballet Master Katita Waldo shares how a […]

In today's Proms Music Guide, Andrew McGregor looks at Rachmaninov's Symphonic Dances.