Podcasts about tchaikowsky

Je suis très heureuse de partager avec vous mon interview de la violoniste Marie-Annick Nicolas. Enregistrée à distance en octobre dernier, elle sera diffusée en deux épisodes. Marie- Annick Nicolas représente pour moi LA grande violoniste française actuelle. Entrée au CNSM de Paris à 11 ans, elle est lauréate du Grand Prix Jacques Thibault 1973 à l'âge de 17 ans, puis lauréate du grand prix du concours Tchaikowsky en 1974 à Moscou. Elle rencontre David Oistrackh qui dira d'elle “ qu'elle joue du violon comme chantent les oiseaux “. Elle est lauréate du concours Reine Élisabeth et grand prix du public belge en 1976. A 23 ans, elle est lauréate du concours de Montréal. En 1980, à l'âge de 24ans, elle est la première femme à être nommée supersoliste à l'orchestre philarmonique de Radio France, poste qu'elle occupera jusqu'en 1986. Elle joue dans une quarantaine de pays au cours de sa carrière, se produisant aussi bien en soliste avec orchestre qu'en récital violon piano. Elle enseigne par la suite à la Haute-École de Musique de Genève pendant 25 ans. Marie-Annick a été décorée de la légion d'honneur en 2013. La Nasa lui a également rendu hommage en baptisant une planète de son nom. Les pièces diffusées dans cet épisode sont extraits de la discographie de Marie-Annick Nicolas. Vous entendez successivement: SARASATE Introduction et tarantelle pour violon et piano BACH Sonate 3 c dur bwv 1005 -allegro assai - largo CRAS Évocation Avec JP Ferey au piano Rendez-vous au mois d'avril pour la deuxième partie de cet interview! ⏩Si cet épisode vous a plu:

De Petar Pejčić ass 22 Joer jonk a spillt Cello zanter sengem 4. Liewensjoer. Concerte gëtt hie ronderëm d'ganz Welt, an den 22. Oktober kënnt hie fir d'alleréischte Kéier op Lëtzebuerg. An der Philharmonie trëtt hien zesumme mam Ensemble Esperanza vu Liechtenstein op, an dat ass och hiren alleréischte gemeinsame Concert. Am Mëttelpunkt vum Owend stinn dem Tchaikowsky seng Rokoko Variatiounen. De Petar Pejčić huet dem Marie Schockmel ënnert anerem verroden, wéi hie sech physesch a mental op Concerte virbereet a firwat hien als Kand den Cello gewielt huet.

Viele hinterlassen ein Testament, in dem sie ihren letzten Willen erklären - auch in der Musikgeschichte. So bat beispielsweise Ludwig van Beethoven in seinem Heiligenstädter Testament darum, dass seine Krankheitsgeschichte veröffentlicht werde. Der selbstkritische Johannes Brahms hingegen verfügte, dass alles von ihm Handgeschriebene nach seinem Tod zu verbrennen sei. Doch während diese Wünsche vielleicht noch nachvollziehbar sind, hat der letzte Wille eines Musikers in jüngerer Vergangenheit für ziemlichen Wirbel gesorgt.

Andrzej Czajkowski nie cierpiał muzyki Piotra Czajkowskiego. Łączyło ich nazwisko, queerowość i talent muzyczny, dzieliło ich wszystko inne... Może pomijając trudny charakter, rozdarcie w sprawie własnej tożsamości seksualnej czy fascynację Szekspirem, spędzanie wolnego czasu na grze w brydża i spisywaniu tysięcy stron listów oraz dzienników. Andrzej nie chciał zapewne być przyćmiony przez rosyjskiego kompozytora i porównywany do niego. Szczególnie, że jego życiorys był nie mniej nadzwyczajny. Urodził się w Warszawie jako Robert Krauthammer, kilka lat przed II wojną światową. Przetrwanie jej zawdzięcza babci, Celinie*, która wyprowadziła go z getta i przez dwa lata ukrywała w szafie u obcych ludzi. Po wojnie Andrzej całe życie poświęcił grze na fortepianie. Młody geniusz już w 1955 r. został jednym z laureatów Międzynarodowego Konkursu Pianistycznego im. Fryderyka Chopina, co rozpoczęło długi okres koncertowania po całym świecie. W tym samym czasie próbował „wyleczyć się” z „homoseksualizmu”, przez kilka dekad planował z przyjaciółką dziecko, a jednocześnie przeżywał kolejne silne zauroczenia i zakochiwał się w mężczyznach – z biegiem lat akceptując i coraz bardziej celebrując swoją queerowość.*w odcinku parę razy, nie wiedzieć czemu, zamieniliśmy imię Celiny na Cecylię, przepraszamy za zamieszanieokładka to zdjęcie z ok. 1966r. / TCHAIKOWSKY ESTATEBibliografia:Ferré, D. A.,”The Other Tchaikowsky - A Biographical Sketch of André Tchaikowsky", Labyrinth Enterprises, 2008Krall, H., „Hamlet” w:  "Portret z kulą w szczęce i inne historie”, Polityka, 2008Janowska, A. H., „…mój diabeł stróż. Listy Andrzeja Czajkowskiego i Haliny Janowskiej”, Warszawa, Wydawnictwo W.A.B., 2011.Tchaikowsky, A, „A Musician Divided: André Tchaikowsky in his Own Words”, red. Belina-Johnson, A., Londyn, Toccata Press, 2013.Wspomnienia wojenne Andrzeja Czajkowskiego z 1947 r. dla Żydowskiego Instytutu Historycznego: andretchaikowsky.com/miscellaneous/1947_testimony.pdf

Les salons d'ambiance : Pandora Cyberpunk Le Seigneur des anneaux Harry Potter Lofi hip hop radio Phil Collins & George Harrison : Art of dying acoustic demo Art of dying session outtakes All things must pass : Art of dying Art of dying take 1 Covers : Quatuor Debussy : Beatles go baroque Avicii : Feeling good Lewis Bissett : No tears left to cry Mr Acordion : Kass' theme A horse with no name in Latin Ace of spades au carillon The Heimatdamisch : Sweet child o' mine Helen Birath & the Shadow Cats : Like a virgin Bricoleurs hardcore : I put hammers on a piano Vinheteiro bricole son mélodica avec un sèche-cheveux et avec sa voiture Instruments zarbi : Crazy train au graveur laser Musicien de rue aux poulets Jurassic Park aux poulets Tchaikowsky sur verres de cristal Skate sur barcodes Mama Mia sur tubes PVC LudoTune Won't get fooled again - guitare seule Truc en vrac : GOAT Polyphia flamenco guitar Bob Marley & Billy Idol : With a rebel yell, she cried Don't give up the fight ! Sacred heart flute Davie504 : Japanese bassists GirlFriend : 4 sur la guitare Santiago Moreno, homme orchestre Falling in love with you music box La +BCdM : Yves Montand : Les feuilles mortes par Cora Vaucaire - Juliette Gréco - Johnny Mercer - Roger Williams - Ahmad Jamal Jules Massenet : Poème d'octobre n°4 Le rendez-vous (extrait) Les portes de la nuit (extrait) Joseph Kosma : Les portes de la nuit (générique) Les portes de la nuit : Les enfants qui s'aiment La Playlist de la +BCdM : sur le Tube à Walter sur Spotify (merci John Cytron) sur Deezer (merci MaO de Paris) sur Amazon Music (merci Hellxions) et sur Apple Music (merci Yawourt) Le son mystère (45'17) : Hanni Autere : Ievan Polka tutoriel Avec : Aude Michidar Miss Podcat MaO Pincho Daouda David Grincheux Mogore Merci à : Hervé Coiral Michel Buffa Pop goes the WZA Stéphane Lali Krisquette Fendoel Phil Goud Armos Barberouss Dewey LYC Fanny Pat Hogun Dananja K_Rot Drudentoon Spookymic Laurent Doucet Fendoel Podcasts et liens cités : Les sons de plage du Studio TJP Les Yeux Clos Passion Médiévistes La Playlist Cyclocast Oxymut C'Tout Comme Le générique de fin est signé Cousbou walter@linaudible.com

That riff can only mean one thing…you're listening to Chuck Berry…and you're on the Sound Beat. Okay, two things.

Viele hinterlassen ein Testament, in dem sie ihren letzten Willen erklären. Normalerweise handelt es hierbei um finanzielle Fragen. Doch während die Wünsche der meisten doch nachvollziehbar sind, hat der letzte Wille eines 1982 verstorbenen polnischen Komponisten und Pianisten für ziemlichen Wirbel gesorgt.

Plenitud y éxito para la orquesta de Duke en los 40, llega Billy Strayhorn, pianista y compositor con educación musical formal. El alter ego de Duke, al que ayuda a pulir ideas, contribuye clásicos como Take the A train, Lush life y Chelsea bridge. Lo acompaña toda su vida. Llega el fabuloso trompetista Clark Terry y Cat Anderson con sus agudos imposibles. Giras mundiales. Decadencia en el primer lustro de los 50? Como sea, el renacer luego del concierto de Newport en 1956, Paul Goncalves en tenor sustituye a Ben Webster. Experimenta con el uso del reverb y el estéreo en los anos 30! Duke llega a la perfecta amalgama entre composición e improvisación, lograda por muy pocos.  Musica de la película Anatomy of a Murder. Con Strayhorn arreglan Peer Gynt de Grieg y Cascanueces de Tchaikowsky. 

That riff can only mean one thing…you’re listening to Chuck Berry…and you’re on the Sound Beat. Okay, two things.

London Piano Festival (5-8 Oct) returns to Kings Place with an underlying Russian theme. Ben Eshmade chats to the acclaimed pianists Ilya Itin and Nelson Goerner about their exciting solo recitals. kingsplace.co.uk/lpf

He was born into an Armenian family living in the Russian city of Vladikavkaz, where his father was a mineworker. Pavel first worked in diamond drilling, then as a welder apprentice hoping to follow his father's steps. He first began to sing in a church choir before moving to Leningrad to study cello (1930). As a strong-voiced soloist of a local amateur group he was commissioned to the Leningrad Conservatory. He started his vocal career in the Maly Leningrad State Opera Theatre and then in the Yerevan Opera House, where he performed the leads for three years. From 1940 to 1966, Pavel Lisitsian was the soloist of the Bolshoi Theatre and performed parts of Yeletsky, Onegin, Mazepa, and Robert (in Tchaikovsky's The Queen of Spades, Evgenie Onegin, Mazepa, and Iolanta respectively), Germont and Amonasro (in Verdi's Traviata and Aida), Escamilo (in Bizet's Carmen), Tatul (Spendiarov's Almast), Arsaces II (Arshak II) (Chuhadzhyan's Arshak II), Napoleon (in Prokofiev's War and Peace), and others. During a concert tour of the USA in 1960, he appeared at the Metropolitan Opera as Amonasro. He died in Moscow.   Tchaikowsky and Rachmaninoff Songs.   Since he lived from 1911-2004, Dmitri Hvorostovsky told me he knew him;there are similarities, since these two have gorgeous voices.

Illustration musicale : Tchaikowsky, Valse sentimentale, Pierre Fournier & Lamar Crowson

C'est la semaine de Walter, c'est la saison 3, et c'est l'épisode 89 !et c'est le premier de l'année !

  A fine performance (in Italian) of Tchaikowsky's Eugen Onegin from RAI Milano 1953 under Nino Sanzogno. The cast features Giuseppe Taddei, Cesare Valletti, Rosanna Carteri, Eugenia Zareska, and Rafael Arie.   (68 min.)

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

Crosswinds Intermediate Orchestra performs "The 1812 Overture" by Tchaikowsky, arranged by Richard Meyer. Performed as part of the Crosswinds Arts and Science School Winter Concert, February 9, 2010, in Woodbury, MN.

The beautiful aria of Prince Yeletsky in act two of Tchaikowsky's "Pique Dame" as sung by: Dmitri Hvorostovsky(in photo), Hugo Hasslo, Bernd Weikl,William Walker, Pavel Lisitsian, Ettore Bastianini,Heinrich Schlusnus, Vladimir Chernov, Nikola Mitic,Andrei Fedosoyev, and Hans Herman Nissen.                              (53 minutes)