Podcasts about teldec

durée : 00:18:48 - Disques de légende du jeudi 15 mai 2025 - Au début des années 80 paraissaient chez Teldec les Symphonies de Mozart d'Harnoncourt, avec le Concertgebouw d'Amsterdam. Un orchestre moderne pour une approche inspirée de la musique ancienne. Liberté et accomplissement.

durée : 00:18:48 - Disques de légende du jeudi 15 mai 2025 - Au début des années 80 paraissaient chez Teldec les Symphonies de Mozart d'Harnoncourt, avec le Concertgebouw d'Amsterdam. Un orchestre moderne pour une approche inspirée de la musique ancienne. Liberté et accomplissement.

Su mundo interior—inquietante, tenebroso, apocalíptico, espejo de los horrores de la guerra que ha vivido—queda plenamente patente en su obra. Amplia es su paleta de intereses y técnicas, que va del serialismo al collage, del cine a la electrónica, del jazz a la radio._____Has escuchadoConcerto for Trumpet and Orchestra: Nobody Knows the Trouble I See (1954). Hakan Hardenberger, trompeta; SWF Sinfonieorchester Baden-Baden; Michael Gielen, director. Philips (1993)Concerto pour violoncelle et orchestre en forme de “pas de trois” (1965). Siegfried Palm, violonchelo; Rundfunk-Sinfonieorchester Saarbrücken; Hans Zender, director. CPO (1997)Die Soldaten. Primer acto, primera escena: Strofe (1991). Milagro Vargas, mezzo-soprano; Nancy Shade, soprano [et al.]; Chor des Staatstheaters Stuttgart; Staatsorchester Stuttgart; Bernhard Kontarsky, director. Teldec (1991)Requiem für einen jungen Dichter. Prolog a Ricercar (1967-1969). SWF-Sinfonieorchester Baden-Baden; Michael Gielen, director. Sony (1995)_____Selección bibliográficaBERGÉ, Pieter et al., “Bernd Alois Zimmermann: Requiem für einen jungen Dichter”. En: Dies Irae: Kroniek van Het Requiem. Leuven University Press, 2021*EBBEKE, Klaus, Sprachfindung. Studien zum Spätwerk Bernd Alois Zimmermanns. Schott, 1986GRUHN, Wilfried, “Integrale Komposition. Zu Bernd Alois Zimmermanns Pluralismus-Begriff”. Archiv für Musikwissenschaft, vol. 40 (1983), pp. 287-302HELLEU, Laurence, “Les Soldats de Bernd Alois Zimmermann”; une approche scénique. Éditions mf, 2011HIEKEL, Jörn Peter, Bernd Alois Zimmermanns “Requiem für einen jungen Dichter”. Franz Steiner, 1995KONOLD, Wulf, Bernd Alois Zimmermann (1986). Michel de Maule, 1998KORTE, Oliver, “Zu Bernd Alois Zimmermanns später Reihentechnik”. Musiktheorie, vol. 15 (2001), pp. 19-39LOSADA, C. Catherine, “Between Modernism and Postmodernism: Strands of Continuity in Collage Compositions by Rochberg, Berio, and Zimmermann”. Music Theory Spectrum, vol. 31, n.º 1 (2009), pp. 57-100WENZEL, Silke, Text als Struktur. Der Kohelet im Werk Bernd Alois Zimmermanns. Weidler, 2001ZIMMERMANN, Bernd Alois, Écrits. Editado por Philippe Albèra. Contrechamps, 2010 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

durée : 00:19:33 - Disques de légende du mardi 04 juin 2024 - Nikolaus Harnoncourt a enregistré 2 Messie, le 1er chez Teldec en 1983, le second 2005. Celui de 2005 est très étonnant, par sa chaleur, sa sérénité et le lyrisme souple de la performance.

durée : 00:17:49 - Le Disque classique du jour du lundi 18 mars 2024 - Pour célébrer le centenaire du légendaire Sir Neville Marriner, voici un coffret de 80 Cds qui rassemble tous les enregistrements du chef britannique réalisés entre 1970 et 2000 pour EMI, Erato, Virgin et Teldec

Ein Museum rund um das Thema Schallplatten und Vinyl-Technik? Das gibt es im norddeutschen Nortorf. Denn da liegt das Deutsche Schallplattenmuseum, das sich über ganze drei Etagen mit der Geschichte rund um das schwarze Gold beschäftigt. Grund genug, den zweiten Vorsitzenden des Museums, Dr. Thomas Perkuhn, zum Gespräch im kHz & Bitgeflüster Podcast einzuladen, um ausführlicher über Vinyl zu sprechen. Die Geschichte des Deutschen Schallplattenmuseums geht weit zurück. Denn kurz nach dem Zweiten Weltkrieg entstand in Nortorf eine Plattenfirma in einer ehemaligen Lederfabrik. Auf den Lederpressen wurden dort wieder die ersten Schallplatten hergestellt. Über vier Jahrzehnte produzierte TELDEC in diesem Werk über 850 Millionen von Schallplatten, bis die Fabrik Ende der 80er-Jahre geschlossen wurde. Rund 10 Jahre später wurde das Nortorfer Schallplattenmuseum gegründet. Heute sitzt das Museum im historischen Kesselhaus der TELDEC und klärt auf rund 800 Quadratmetern Ausstellungsfläche über die Geschichte der Schallplatte auf. Olaf hat für diese Folge Dr. Thomas Perkuhn vom Deutschen Schallplattenmuseum auf den Norddeutschen HiFi-Tagen getroffen. Sie sprechen über die Entstehung des Museums, welche antiken Raritäten und Highlights Besucher:innen dort erwarten, sowie welche Schwierigkeiten sich für den Verein, der hinter dem Museum steckt, in seiner Arbeit ergibt. Alle Shownotes sowie Thomas' Musiktipps kannst du wie immer auf HIFI.DE nachlesen: Folge #55 Ausblick auf Folge #56In der nächsten Folge von kHz & Bitgeflüster begrüßt Olaf mal wieder einen prominenten Gast im virtuellen Podcast-Studio: den Schauspieler, Synchronsprecher, Comedian und ausgewiesenen Kino-Fan Oliver Kalkofe. Eigentlich sollte es bei dem Gespräch vor allem um Filmmusik und die anstehende SchleFaZ-Live-Tour gehen. Doch wie das eben so ist, wenn zwei Film-Nerds aufeinandertreffen, kommen die beiden noch auch jede Menge andere Themen zu sprechen. Folge #56 von kHz und Bitgeflüster erscheint am 27.03.2024 Hosted on Acast. See acast.com/privacy for more information.

SynopsisAntonio Lucio Vivaldi came into the world on today's date in 1678 a few days after an earthquake shook Venice. The newborn was baptized immediately — just in case little Antonio's first day also turned out to be his last.Vivaldi's father was a violinist, and even though Antonio quickly became a virtuoso on that instrument himself, he became a Roman Catholic priest.Vivaldi complained of chest pains whenever he celebrated Mass — a medical excuse that allowed him to forgo his priestly duties and to concentrate on writing music, including dozens of operas and hundreds of concertos.By his mid-40s, Vivaldi was a major figure on the European musical scene, but his fortunes gradually took a turn for the worse. The church ordered him to stop composing music for the theater and, for heaven's sake, to stop gadding around Europe in the company of female opera singers!Vivaldi went to Vienna in 1740, hoping to find a court position with Emperor Charles VI, a big fan of his music, but after eating some bad mushrooms, the emperor died. And the following year, Vivaldi died — from an internal infection, not an earthquake — at 63 and heavily in debt.Music Played in Today's ProgramAntonio Vivaldi (1678-1741): ‘The Four Seasons'; Enrico; Onofri, violin; Il Giardino Armonico; Giovanni Antonini, cond. Teldec 97671

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

SynopsisIn Berlin on today's date in 1915, prolific German composer Max Reger conducted the premiere performance of what would become his most popular orchestral work.Like Bach, Reger was a master of counterpoint and the fugue, and, like Beethoven, loved writing variations. Reger's Variations and Fugue on a Theme of Mozart starts off simple enough, quoting a familiar theme from one of Mozart's piano sonatas. About 30 minutes later, the simple theme develops into a massive fugue. It's all grand and clever if you like it, or bombastic and tiresome if you don't.The witty Nicolas Slonimsky, in his book Music Since 1900, described it as follows: “Mozart's ingenuous theme … is subjected to torturous melodic anamorphoses, contrapuntal contortion, canonic dislocation, rhythmic incrustation and harmonic inspissation.”To save you the trouble of Googling the definition of “inspissation,” let's just say it's not a condition you would wish on anybody!Whether you're a fan or not, Variations and Fugue on a Theme of Mozart is quintessential Reger, and one is tempted to say, “What did you expect? It's Reger to the Max!”Music Played in Today's ProgramMax Reger (1873-1916): Variations and Fugue on a Theme by Mozart; New York Philharmonic; Kurt Masur, cond. Teldec 74007

SynopsisNov. 17, 1878, marked a milestone in the career of 37-year old Czech composer Antonin Dvorak. For the first time, he engaged and conducted the orchestra of the Provisional Theater in Prague in a concert entirely of his own works, including the premiere performance of a new Serenade for Winds.Earlier that year, Dvorak heard a performance of a Mozart wind serenade in Vienna and was so taken by the sound of Mozart's double-reeds and horns that he wrote a similar work in just two weeks.Dvorak added to the open-air feel of Mozart's 18th-century wind serenade some lively 19th-century Czech dance rhythms. But he also chose the key of D minor, reserved by Mozart for some of his most serious works. That enables Dvorak's Serenade to seem both somber and upbeat, infused with musical shadows and sunlight.The new work was well received in Prague and also in Vienna, where one its biggest fans was Johannes Brahms, who wrote: ``A more lovely, refreshing impression of real, rich and charming creative talent you can't imagine. I think it must be a pleasure for the wind players!''Music Played in Today's ProgramAntonin Dvorak Serenade for Winds; St. Paul Chamber Orchestra; Hugh Wolff, cond. Teldec

Synopsis On today's date in 1723, Johann Sebastian Bach began his formal duties as the new Cantor of the St. Thomas School in Leipzig, a city that would remain his home for the next 27 years. A newspaper item datelined Leipzig had appeared the previous day, noting: "This past Saturday at noon, four wagons loaded with household goods arrived here from Cöthen; they belonged to the former Princely Cappelmeister Johann Sebastian Bach, now called to Leipzig as Cantor. He himself arrived with his family on two carriages at 2 o'clock and moved into the newly renovated apartment in the St. Thomas School." Bach was not the first choice for the appointment, and it's clear from the proceedings of the Leipzig Town Council that they were more concerned with Bach as a teacher rather than Bach as a composer. Providing quality music for services at St. Thomas Church might have been foremost in Bach's mind, but the council seemed to think that was definitely not as important as teaching Latin to the young students of the St. Thomas School. One council member, a certain Dr. Steger, after reluctantly voting for Bach, even wanted it on record that in his opinion, (quote) "Bach should make compositions that were NOT theatrical." It's not on record what poor Dr. Steger thought of Bach's intensely dramatic St. Matthew Passion, or the hundreds of brilliant crafted cantatas that Bach would provide, week in and week out, for the next 20 years. Music Played in Today's Program J.S. Bach (1685 - 1750) Cantata No. 73 Leonhardt Consort; Gustav Leonhardt, conductor. Teldec 44279

Synopsis At Westminster Abbey on today's date in 1998 a haunting new setting of the Latin mass written by the British composer Roxanna Panufnik received its premiere performance. Roxanna Panufnik was born in London in 1968, and if her family name sounds familiar, it's because her father was Andrzej Panufnik, one of the greatest Polish composers of the 20th century. Roxanna's interest in music began early: “I was three years old ... when I said ‘Mummy, I want a violin with a stick to make it sing!' I started violin, piano and flute. But I only wanted to make up my own music. When I was 12, [the composer] Oliver Knussen, visiting my parents, told me I should write down my improvisations. It all went from there.” And in response to questions about having a famous composer as her father, she says: “My father had enormous integrity, always teaching me to be myself... Early in my career I was very sensitive to being compared to him and a few stray remarks about nepotism dented my confidence. However, I plodded on and now I'm thrilled to be regularly programmed alongside him and I'm so proud of where and who I came from.” Music Played in Today's Program Roxanna Panufnik (b. 1968) Westminster Mass Westminster Cathedral Choir; James O'Donnell, conductor. Teldec 28069

Synopsis Today, a tip of the hat to the persistence of Ms. Elisa Hall, who lived in Boston from 1853 to 1924. Hall was a Francophile and championed the best and the latest in French music. Sadly, Elisa Hall suffered from a hearing ailment, which would eventually result in complete deafness. At the advice of her doctor, who thought it might stimulate her ears, Hall took up the saxophone – and with typical enthusiasm soon began commissioning the leading French composers of the day for new pieces for her instrument. In all, she commissioned 22 works, the most famous being by Claude Debussy. Debussy at first refused Ms. Hall's persistent offers of a commission, pleading the saxophone was “a reed animal with whose habits he was poorly acquainted.” Debussy was paid in advance, but it was years before delivered a short rhapsody in a vaguely Moorish style. In May of 1919, one year after Debussy's death, the orchestration of the piece was completed by Debussy's friend, Jean Roger-Ducasse, and premiered in Paris. Ms. Hall apparently never performed it herself. Maybe she was exasperated by the long delay or perhaps, by 1919, her own hearing had deteriorated to the point where she no longer could. Music Played in Today's Program Claude Debussy (1862 - 1918) Rhapsody for Saxophone and Orchestra Kenneth Radnofsky, alto saxophone; New York Philharmonic; Kurt Masur, conductor. Teldec 13133

Synopsis Benjamin Britten was the most famous English opera composer of the 20th century, but ironically his first opera, Paul Bunyan, had an American theme and premiered at Columbia University in New York City on today's date in 1941. Britten lived in America from 1939 to 1942. When his American publisher suggested he write something that could be performed by any high school, Britten's good friend, the British poet W. H. Auden, also living in the U.S., fashioned a libretto around the tall tales of the mythical American folk hero, the giant logger Paul Bunyan and his blue ox, Babe. The New York Times review of the premiere of Paul Bunyan was a mixture of praise and pans. “Mr. Britten is a very clever young man,” wrote Olin Downes, but firmly suggested the young composer was capable of much better things. Britten's next opera, Peter Grimes, would receive its world premiere in London, in 1945, by which time Britten was back in England for good, but like Paul Bunyan had an American connection: it was originally commissioned for $1000 by the Koussevitsky Foundation of Boston, and so received its American premiere at the Berkshire Music Festival in 1946 under the baton of Leonard Bernstein. Music Played in Today's Program Benjamin Britten (1913 - 1976) Paul Bunyan Overture English Chamber Orchestra; Philip Brunelle, conductor. Virgin 45093 Benjamin Britten (1913 - 1976) Sea Interludes, fr Peter Grimes, Op 33a BBC Symphony; Andrew Davis, conductor. Teldec 73126

Synopsis These days fallen American soldiers are often honored in silence, as their photos, names, ages, and hometowns are flashed on the TV screen during news programs. During World War I, the French composer Maurice Ravel served as an ambulance driver, and saw many soldiers die. He wanted to honor some of his fallen comrades, namely Jean Cruppi, Jean Dreyfus, the brothers Pierre and Pascal Gaudin—who were both killed by the same German artillery shell, Lieutenants Jacques Charlot and Gabriel Deluc, and Captain Joseph de Marliave.  Being a composer, Ravel chose music rather than silence to honor his war dead and wrote a suite of piano pieces he titled Le tombeau de Couperin — a joint tribute to his fallen comrades and a famous 18th century French composer. The resulting suite was premiered in 1919 by the great French pianist Marguerite Long, who was also Captain Marliave's widow. That same year, Ravel orchestrated four movements of his suite, and this orchestral version of Le Tombeau received its first performance in Paris on today's date in 1920. When criticized for composing a light-hearted, albeit reflective work, rather than a somber one, perhaps more appropriate for such somber topic, Ravel replied: "The dead are sad enough, in their eternal silence." Music Played in Today's Program Maurice Ravel (1875 - 1937) Le tombeau de Couperin Saint Paul Chamber Orchestra; Hugh Wolff, conductor. Teldec 74006

Synopsis On today's date in 1893, Anton Seidl conducted the New York Philharmonic in the first performance of Antonin Dvořák's Symphony No. 9, a work subtitled From the New World. This was an afternoon concert, meant as a public dress rehearsal for the work's "official" premiere the following evening. Among the Dec. 15th audience was Dvořák's eight-year old son, Otakar, who had a special interest in the success of his father's new symphony. In the preceding weeks, Otakar had accompanied his father to a New York café, where Dvořák met Anton Seidl to go over the new score. Young Otakar amused himself at a nearby toyshop, where a seven-foot long model of the ocean liner Majestic was on display, complete with its own miniature steam-chamber and working propellers. It cost a whopping $45—a HUGE amount of money in those days, and the answer from papa was always: NO! Seeing that the boy's heart was set on having the toy, Anton Seidl suggested to Otakar that he wait until after the premiere and then ask his father again. Seidl told Otakar that if all went well at the premiere, Dvořák would be in a generous mood. The premiere was a great success, and, as Otakar recalled: "When Seidl offered to pay half the cost of the Majestic, Father could not say no. So that is how the three of us celebrated the success of the first performance of the New World Symphony." Music Played in Today's Program Antonin Dvořák (1841-1904) Symphony No. 9 (From the New World) New York Philharmonic; Kurt Masur, cond. Teldec 73244

Episode 86 Merry Moog 2022 Vintage Holiday Music Performed on the Moog and other Synthesizers Playlist Frank Luther with Zora Layman, “Christmas Bells” from Christmas In Song (1939 Decca). This is the original 78 RPM release featuring a vocal quartet, bells, and music played on the Hammond Novachord. 0:38 Frank Luther with Zora Layman, “Christmas Day in the Morning” from Christmas In Song (1958 Vocalion). This is a reissue of the 1939 release featuring a vocal quartet, Zora Layman, bells, and music played on the Hammond Novachord. The stereo is simulated. There are some nice moments for the Novachord on this record. 3:12 Paul Tanner, “Holiday on Saturn” from Music for Heavenly Bodies (1958 Omega). This rare disc features Tanner playing the Electro-theremin, an imitation of the Theremin that was a box with an audio oscillator inside and a rotary dial to control the pitch. Tanner, a renown studio musician and trombone player, later provided the sound of the Electro-theremin on the Beach Boys hit Good Vibrations (1966). 4:16 Greg Lake, Emerson, Lake & Palmer, “I Believe In Father Christmas” from I Believe in Father Christmas (1995 Rhino). Produced by Keith Olsen; written by Greg Lake, Peter Sinfield; vocals, Bass, Acoustic Guitar, Electric Guitar, Greg Lake; Drums, Percussion, Carl Palmer; Hammond organ, Piano, Moog Synthesizer, Keith Emerson. This is the original version released in 1975 with a choir and Moog Modular. It differs significantly from the stripped-down mix, also included on this CD, originally appearing on Works Vol. 2 in 1977 and then later in 1994. Rhino Records was kind enough to package all of ELP's X-Mas related tunes onto a CD EP in 1995, from which this version comes. 3:34 Keith Emerson, “Troika (From Prokofiev's Lieutenant Kije Suite)” from The Christmas Album (1995 Rhino). This is the Prokofiev composition that Greg Lake adapted into “I Believe in Father Christmas.” Later on, Emerson released this interpretation of the Prokofiev piece on The Christmas Album” that appeared in the US in 1995. It doesn't appear on the original UK version in 1988. And again, this is taken from the nifty holiday CD EP also released in 1995 by Rhino. This album was made with instruments from Korg, Ensoniq, Alesis, and Opcode. 4:19 Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:44 Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 4:46 Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:52 Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Don wrote the original synthesized version of the NPR “All Things Considered” theme. It was created in his Electronic Studio of the University of Wisconsin. He used a Moog Modular Synthesizer plus a Fender Rhodes, Polymoog, and ARP string synthesizer and 16-track recorder. 1:02 Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:34 Douglas Leedy, “Good King Wenceslas” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. Leedy was an American composer, performer and music scholar. He founded the electronic music studio at UCLA where he had access to both Moog Modular and Buchla synthesizers, and it was during this period from about 1969-71 that he was commissioned to create several albums of electronic music. His training as a minimalist and experimental composer always flavored his music with unexpected sounds and patterns. 3:05 Moog Machine, “O Holy Night” from Christmas Becomes Electric (1970 Columbia). Moog Modular Synthesizer. 2:43 Armen Ra (Armen Hovanesian), “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). Moog Etherwave Pro Theremin. Armen Ra is an American artist and performer of Iranian-Armenian descent. He plays Theremin. His music fuses Armenian folk music with modern instrumentation, along with melodic lounge standards and classical arias. 4:43 Don Voegeli, “Carol of the Drum” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Philippe Renaux, “Noël Blanc” (“White Christmas”) from We Wish You A Cosmic Christmas (1977 Sinus). Belgium. Minimoog, Arp Axe, Arp Soloist, EMS Synthesizer, Stringman Crumar, Fender Rhodes, Electronic Drums. 3:21 Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:58 Joseph Byrd, “Carol of the Bells” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:12 Андрій Кок (Andriy Kok), “Небо І Земля” (“Heaven and Earth”) from Різдво На Галичині. Колядки (Christmas in Galicia. Christmas carols) (2006 Ліда). Folk singer, accordion and synth player Andriy Kok has recorded many albums of Ukrainian folk music in addition to a number of holiday songs and carols. 5:00 Douglas Leedy, “In Dulci Jubilo” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 1:14 Bernie Krause, Philip Aaberg, “Deck the Halls” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. He later turned his attention to audio ecology and the recording of nature sounds, particularly of animals. This very special Holiday recording is composed entirely of animal sounds. Some you'll recognize as the natural animal voices themselves. Others may sound like instruments, but they are actually digitally transformed animal sounds. Wild Sanctuary Productions invites you to enjoy a truly unique celebration of both the wild kingdom and Holiday Spirit. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (K 2000/Emulator III) Phil Aaberg. 8:12 The Royal Philharmonic Orchestra, Paul Freeman, and The Chicago Synthesizer-Rhythm Ensemble, John Tatgenhorst, “The Little Drummer Boy” from Turned On Christmas (1985 Columbia). Conductor, Paul Freeman; synthesizers, The Chicago Synthesizer-Rhythm Ensemble; Orchestra, The Royal Philharmonic Orchestra. Keyboards & Synthesizer Concepts: Ed Tossing; Electric Bass, Steve Rodby or Bob Lizik; Drums, Tom Tadke; Guitars, Ross Traut and Bill Ruppert; Percussion, Russ Knutson. 4:08 Montana Sextet, “Little Drummer Boy Jam” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor And Bass Drum, Gene Leone. 8:46 Montana Sextet, “Have Yourself a Merry Little Christmas” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor and Bass Drum, Gene Leone. 4:56 Mannheim Steamroller, “Good King Wenceslas” from Christmas (1984 American Gramaphone). Arranged, conducted, produced by, Chip Davis; Drums, Percussion, Soloist Recorder, Black Oak Hammered Dulcimer, Soprano Dulcian, Crumhorn, Bells, Vocals, Dry Ice, Chip Davis; Lute, Bass, Eric Hansen; Baldwin SD-10 Synthesizer, Harpsichord, Clavichord, Toy Piano, Prophet 5 Synthesizer, Fender Rhodes, Vocals, Bells, Jackson Berkey; Classical Guitar, Twelve-String Guitar, Ron Cooley; Flute, Willis Ann Ross; French Horn, David (High D) Kappy; Harp, Mary Walter; Oboe, Bobby Jenkins; Strings, Bill Ritchie, Grace Granata, Michael Strauss, Michelle Brill, Richard Altenbach, Richard Lohmann, Roxanne Adams, Wayne Anderson. 3:39 Don Voegeli, “Jingle Bells” long, short, and tag from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:56 Don Voegeli, “Lully, Lullay - The Coventry Carol” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Fossergrim, “Ave Maria” (2020 Bandcamp). Fossegrim is billed as “Dungeon Synth music from the Adirondack Mountains.” In Scandinavian folklore, Fossergrim is is described as an exceptionally talented fiddler. No fiddles here. I think Fossergrim is one Ian Nichols of Albany, New York. Check out his Bandcamp presence. 3:54 Phillip Fraser, “Rub A Dub Christmas” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. 2:53 Phillip Fraser, “The Lord Will Provide” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. There is some crazy synth material on this track. Despite it being recorded in 1985, it sounds quite analog for a synth. 3:17 Unconditional Loathing, “Carol, with the bells” from Holiday Mood (2018 Bandcamp). Every artist dreams of releasing an album of hit holiday songs that will surprise the world and bring great wealth. This is not that album. But it is remarkably noisy and dark. Check out Unconditional Loathing, from Fargo North Dakota, on Bandcamp. Self-described as “A footnote in the history of Midwestern noise that refuses to completely go away.” 1:51 The Smurfs, “Deck the Halls” from Merry Christmas With The Smurfs (1983 Dureco Benelux). This album is in English from the Netherlands. 2:17 Vatto Lofi, “Holiday Lofi” from A Merry Lofi Christmas EP (2021 Bandcamp). Providing a low-fidelity tune for the holidays, but I don't know if “lofi” refers to the low-fidelity sound that is currently a thing (and it does sound like that) or is the actual name of this Icelandic musician. 2:21 Rotary Connection, “Silent Night” from Peace (1968 Cadet Concept). I think this holiday album from the famed psychedelic soul ensemble was perhaps only their second album. Produced by Charles Stepney and Marshall Chess, I've included this track not only because it features some crazy electric guitar but also because Minnie Riperton's five-1/2-octave vocal range could effectively imitate a Theremin, which begins in this track around 1:30 into it. In an interview I once heard her say that one of her childhood fascinations was imitating that “science fiction stuff” with her voice. Interestingly, Charles Stepney also included a Moog synthesizer, used sparingly, on some Rotary Connection tracks, but I've heard none on this album. Co-producer Marshall Chess often added Theremin to Rotary songs but this is not one of them. It's pure Ripperton. The Rotary Connection vocalists: Bobby Simms, Jim Donlinger, Jim Nyeholt, Minnie Riperton, Mitch Aliota, Sidney Barnes, Tom Donlinger; The studio band, Leader, David Chausow; Bill Bradley, electronic effects; guitar, Bobby Christian; bass, Louis Satterfield; bass, Phil Upchurch; bass vocals, Chuck Barksdale. 3:52 Klaus Wunderlich, “Sleigh Ride” from Multi Orchestral Organ Sound (1982 Teldec). Wunderlich was a prolific musician who mastered the Hammond Organ. Occasionally, he performed with a synthesizer and this track comes from an album not of holiday music but of various favorites, performed in the style of the original artists. This is a Leroy Anderson song arranged in the Anderson style. The MOOS (Multi Orchestral Organ Sound) was produced by the Wersi organ company in Germany. This organ/synth/drum machine hybrid was also known as the Wersi Galad and play both synth and traditional organ sounds. There is a current musician advocate for this instrument in Florian Hutter (listen to the next track), of Germany. 3:11 Florian Hutter, “Frosty the Snowman” privately released (2022 No Label). Florian is a living master of the vintage Wersi Delta and Atlantis synthesizer/organ hybrids with a built-in rhythm box. In recent years he has begun to release his music on Spotify. This is taken from the first or second day of his Christmas Special 2022 during which he releases a new tune every day. I don't normally feature tracks recorded from YouTube, but this was too good to pass by and it fits with the vintage music played in the previous track by Wunderlich. Check him out. 2:34 Edwin Hawkins, “The Christmas Song” from The Edwin Hawkins Christmas Album (1985 Birthright). Produced when the Yamaha DX-7 became the top selling synthesizer on the planet, this is a great example of its tidy, digital sound. Richard Smallwood, keyboards, synthesizer; Edwin Hawkins, keyboards, synthesizer; Joel Smith, Drums and Fender bass; Kenneth Nash, percussion. Sounds like one or two Yamaha DX-7s. 3:57 Ryuichi Sakamoto (坂本龍), “Father Christmas” from Merry Christmas Mr. Lawrence (戦場のメ)(1983 Virgin). Music By, Composed By, Performer, Ryuichi Sakamoto. Our best wishes to Mr. Sakamoto who is suffering from Stage 4 cancer. In June he said, “Since I have made it this far in life, I hope to be able to make music until my last moment, like Bach and Debussy whom I adore.” 2:06 Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Not be confused with an album by the same name by The Moog Machine in 1969. Unnamed synthesizer programmed and performed by Bob Wehrman and John Bezjian. From Marina Del Rey in California. 1:46 Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 Keith Emerson, Emerson Lake & Palmer, “Nutrocker” (live) from Pictures at an Exhibition (1972 Cotillion). A fitting reworking of Tchaikovsky arranged by Kim Fowley and performed live, Newcastle City Hall, 26 March 1971. Hammond C3 and L100 organs, Moog modular synthesizer, Minimoog, Clavinet, Keith Emerson; bass guitar, acoustic guitar, vocals, Greg Lake; drums, percussion, Carl Palmer. "Nut Rocker", a rock adaptation of The Nutcracker originally arranged by Kim Fowley and recorded by B. Bumble and the Stingers in 1962. 3:48 Richie Havens, “End of the Season” from Alarm Clock (1970 Stormy Forest). A melancholic reflection on life from Mr. Havens, totally synthesized on the Moog Modular by Bob Margoleff. 3:32 Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 Opening background music: Jean Jacques Perrey and Sy Mann, “Rudolf the Red-Nosed Reindeer” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 2:16 Moog Machine, “Twelve Days Of Christmas” from Christmas Becomes Electric (1970 Columbia). Arranged by Alan Foust; Synthesizer Tuner, Norman Dolph; Moog Modular Synthesizer, Kenny Ascher. 3:55 Jean Jacques Perrey and Sy Mann, “Silent Night” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 1:52 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation For additional notes, please see my blog, Noise and Notations.

Synopsis On today's date in 1873, a new piece by the German composer Johannes Brahms received its first performance by the Vienna Philharmonic. The piece was titled Variations on a Theme by Haydn, and was a big success at its premiere. Brahms must have heaved a great sigh of relief. For the previous 18 years, Brahms had struggled to complete his First Symphony, unconvinced that he had “the right stuff” to pull it off. In the summer of 1873, he wrote his Haydn Variations as a kind of personal test to see how audiences would react—and to bolster his own confidence. Lucky for us, it worked: Brahms returned to work on his First Symphony and went on to write four symphonies in all! On today's date in 1990, the Fourth Symphony of American composer Lou Harrison received its premiere by the Brooklyn Philharmonic. Much of Harrison's music has been influenced by non-Western traditions, especially the Javanese gamelan music, and his Symphony No. 4 is no exception. Harrison was 73 when this symphony premiered, and he dubbed it his “Last Symphony” —apparently agreeing with Brahms that four was enough. When asked what would happen should he decide to write still another, Harrison quipped, “I'll call it the ‘VERY Last Symphony.” Music Played in Today's Program Johannes Brahms (1833-1897) Variations on a theme by Haydn, Op. 56a Cleveland Orchestra; Christoph von Dohnanyi, conductor. Teldec 8.44005 Lou Harrison (1917-2003) Symphony No. 4 (Last Symphony) California Symphony; Barry Jekowsky, conductor. Argo 455 590

Synopsis On this date in 1831, the 21-year-old Felix Mendelssohn conducted a concert in Munich consisting entirely of his own works — a concert that included the premiere of his “Piano Concerto in G Minor”, with its composer as the soloist. Mendelssohn was in high spirits and wrote these lines to family: “It is a glorious feeling to waken in the morning and to know that you are going to write the score of a grand allegro with all sorts of instruments … while bright weather promises a cheering, long walk in the afternoon. On the evening of the October 17th at half-past six, think of me, for then I will dash off with thirty violins and two sets of wind instruments [for] my new concerto in G minor. Every morning I have to write, correct and score till one o'clock, when I go to Scheidel's coffee house in Kaufinger Gasse, where I know each face by heart and find the same people every day in the same position: two playing chess, three looking on, five reading the newspapers, six eating their dinner — with me making up the seventh.” Unfortunately for posterity, Mendelssohn never said if he recognized any of that coffeehouse crowd sitting in the audience for the performance of his new concerto! Music Played in Today's Program Felix Mendelssohn (1809-1847) Piano Concerto No. 1, Op. 25 Cyprien Katsaris, piano; Leipzig Gewandhaus Orchestra; Kurt Masur, cond Teldec 8.43681

durée : 00:21:25 - Disques de légende du mardi 11 octobre 2022 - Jean Sebastien Bach. Gustav Leonhardt un enregistrement de 1968

durée : 00:16:01 - Disques de légende du mercredi 05 octobre 2022 - Nikolaus Harnoncourt, chef d'orchestre - Concentus Musicus De Vienne

Unterwegs in Schleswig-Holsteins Schallplattenstadt. In vierzig Jahren produzierte das Werk in Nortorf hunderte Millionen von Tonträgern. Das Aus kam 1989. Nun kehrt die Schallplatte auf das Gelände der einstigen Teldec-Press Schallplattenfabrik zurück. Wir trafen Dr. Thomas Perkuhn vom Deutschen Schallplattenmuseum in Nortorf.

Synopsis On today's date in 1733, Georg Friderich Handel paid a visit to Oxford to conduct the premiere performance of his new oratorio, “Athalia,” at the Sheldonian Theater. Handel had been invited by the University to add some musical pizzazz to an elaborate ceremony know as “The Publick Act,” during which honorary degrees were bestowed on worthy individuals. It was apparently a terrific performance, with one visitor from London reporting: “Never has there been such applause and marks of admiration.” But not everyone in Oxford was happy. One crusty don, apparently not a fan of new music, complained of the presence of “Handel and his lousy crew – a great number of foreign fiddlers.“ Handel was offered an honorary degree by Oxford, but he did not accept, claiming he was “too busy,” but maybe he just balked at paying the University's required fee of 100 pounds to receive the honor. In the 19th century, Oxford and its rival Cambridge would bestow honorary degrees on other major composers like Tchaikovsky and Dvorak, and, in our own time, between 1949 and 1990, one American composer, William Schuman received no fewer than 28 honorary degrees. In fact, Schuman had so many that he had a quilt sewn together from pieces of his ceremonial gowns, so that, as he liked to quip, “He could take his naps by degrees.” Music Played in Today's Program George Frideric Handel (1685-1759) – Sinfonia, from Athalia (Academy of Ancient Music; Christopher Hogwood, cond.) L'Oiseau-Lyre 417 126 William Schuman (1910-1992) – Chester (Variations for Piano) (Alexei Sultanov, piano) Teldec 46103

Synopsis The reign of the Roman emperor Nero, notorious for his horrific deeds, was chronicled by the historian Tacitus. His account of the rise of the courtesan Poppea from Nero's mistress to his empress, provides the plot of one of the operas written by the 17th century Italian composer Claudio Monteverdi. Monteverdi's “The Coronation of Poppea” was first performed in Venice at the Teatro Sanctae Giovanni e Paolo in the autumn of 1643. The first performance of Monteverdi's “Poppea” in modern times had to wait until 1913, when the French composer Vincent d'Indy presented his arrangement of “Poppea” in Paris. In America and Britain, “Poppea” was first staged in 1927, at Smith College in Northampton, Massachusetts and at Oxford University in England. It wasn't until today's date in 1962 that a full professional staging of “Poppea” occurred at the Glyndebourne Festival in England, in a version prepared and conducted by Raymond Leppard. Monteverdi did not prescribe specific vocal ranges for the characters, and since there was no standardized orchestra in the 17th century, it was customary back then to simply give a list of some suggested instruments and leave it to the performers to decide who played what and when. Therefore, any MODERN performance of a Monteverdi opera is always somebody's “version” of the surviving notes, based on educated guesswork and the available performers. Music Played in Today's Program Claudio Monteverdi (1567 – 1643) –L'incoronazione di Poppea (soloists; Vienna Concentus Music Vienna; Nikolaus Harnoncourt, cond.) Teldec 42547

Synopsis In the late 19th Century, there were two rival musical camps: one favored “absolute music” like the symphonies, concertos, and chamber music of Brahms; the other the “music of the future,” namely the operas of Wagner and the tone poems of Liszt, works that told dramatic stories in music. Now, Dvorak's mentor was Brahms, and Dvorak was famous for his symphonies, concertos, and chamber music. But on today's date in 1896, at a concert of the Prague Conservatory Orchestra, three tone poems by Dvorak premiered: “The Water Goblin,” “The Noonday Witch,” and “The Golden Spinning Wheel,” all three based on Czech folk legends – and rather lurid, even gruesome ones at that. Not surprisingly, the “absolute music” camp was shocked. The Viennese critic Eduard Hanslick lamented: “It is strange that Dvorak now indulges in ugly, unnatural, and ghastly stories which correspond so little to his amiable character and to the true musician that he is. In ‘The Water Goblin' we are treated to a fiend who cuts off his own child's head!” But another Czech composer, Leos Janacek, heard something quite different: “In all the orchestral tone poems that I have known, the ‘direct speech' of the instruments, if I might describe it thus, has never sounded with such certainty, clarity and truthfulness within the wave of melodies, as it does in ‘The Water Goblin.'” Music Played in Today's Program Antonin Dvorak (1841 - 1904) – The Water Goblin (Royal Concertgebouw Orchestra; Nikolaus Harnoncourt, cond.) Teldec 25254

Synopsis Maurice Ravel's orchestral suite "Le Tombeau de Couperin" was premiered in Paris on this day in 1920. It had started out as a suite of solo piano pieces, intended as a tribute to the great French Baroque composer François Couperin – or, as Ravel wrote, “not so much to Couperin himself, as to 18th-century French music in general.” Although the French word “tombeau” translates literally as “tomb,” it also signifies a musical piece paying tribute to a past master, in the English sense of “in memoriam.” In that spirit, Ravel dedicated each movement of his suite to friends of his  killed during World War I. Although the “tombeau” as a musical form has been associated almost exclusively with French composers, one contemporary American composer has used the form as well, albeit with more wickedly satirical intent. Michael Daugherty's “Tombeau de Liberace” jokingly references the late pianist and showman, a kitschy icon of 20th century American pop culture. Michael Daugherty says (quote), “Starting from the vernacular idiom, I have composed ‘Le Tombeau de Liberace' as a meditation on the American sublime: a lexicon of forbidden music. It is a piano concertino in four movements, each creating a distinct Liberace atmosphere.” Music Played in Today's Program Maurice Ravel (1875 - 1937) — Le tombeau de Couperin (Saint Paul Chamber Orchestra; Hugh Wolff, cond.) Teldec 74006

1. La flute enchantée – Ouverture Scottish Chamber Orchestra and Chorus – Sir Charles Mackerras (Dir.) Brillant classics 92633/41 2.Idomeneo - Tutte nel cor vi sento & Pietà, Numi Pietà Felicity Palmer (Sol.) - Mozartorchester und chor des Opernhauses Zürick Nikolaus Harnoncourt (Dir.) - TELDEC 6.35547 3. Idomeneo - D'Oreste, d'Ajace Hildegard Behrens (Sol.) - James Levine (Dir.) - MET de New-York (Fond) La flute enchantée – Ouverture du 2nd acte Scottish Chamber Orchestra and Chorus – Sir Charles Mackerras (Dir.) Brillant classics 92633/41 4. La flute enchantée – Mann und Weib Kiri Te Kanawa & Thomas Allen 5.La flute enchantée – Air de la Reine de la nuit Barbara Hendriks (Sol.) Scottish Chamber Orchestra and Chorus – Sir Charles Mackerras (Dir.) Brillant classics 92633/41 6.La flute enchantée – Ach ich wuhl's Teresa Stich-Randall (Sol.) - André jouve (Dir.) Orchestre du Théatre des Champs-Elysées 7. Cantate Laut verkünde unsre Freude Kurt Equiluz (sol.), Peter Maag (dir.), chœur et orchestre de l'opéra populaire de Vienne VoxBox CDX5055 8.MOZART/LISZT Requiem arr. Piano – Lacrymosa Marilyn Frascone – TransArt TR149

Synopsis On today's date in 1843, Richard Wagner's opera “The Flying Dutchman” had its premiere performance in Dresden. The opera's sea-swept overture was supposedly inspired by a stormy voyage Wagner and his wife Minna took from Riga to Paris, their journey interrupted by an emergency stop in a Norwegian fjord due to rough weather, as well as a longer layover in London. As usual, Wagner was fleeing creditors, and made the cramped voyage – as usual – in extravagant style, namely in the company of a huge Newfoundland dog he named Robber. Imagine, if you will, being cheek-by-jowl with a wet, sea-sick Newfie. That North Sea crossing must have seemed as interminable as the Flying Dutchman's eternal wanderings! Negotiating London also proved a challenge, as Wagner recounted in his memoirs: “The dog whisked round every corner and dragged us every which way. So the three of us sought refuge in a cab, which took us to the Horseshoe Tavern, a sailor's pub recommended to us by our captain... The narrow London cabs were meant to carry two people facing each other, so we had to lay Robber across our laps, his head through one window and his tail through the other...” Music Played in Today's Program Richard Wagner (1813-1883) — The Flying Dutchman Overture (Berlin State Orchestra; Daniel Barenboim, cond) Teldec 88063

Läti iseseisvuspäeval kuulame kuulsaima lätlase Peteris Vasksi orkestrimuusikat läti interpreetide Gidon Kremeri ja Kremerata Baltica esituses.

Synopsis Few 19th century composers chose their parents as wisely as Felix and Fanny Mendelssohn. Papa was a wealthy banker in Berlin, who held Sunday afternoon chamber concerts for his musically gifted children at their home. The kids could perform their own pieces, and if young Felix had composed a little symphony for strings, why Papa would just hire the necessary musicians to have it performed. In July of 1826, when he was 17, Felix Mendelssohn wrote to a friend: “I have grown accustomed to composing in our garden. Today or tomorrow I am going to dream there ‘A Midsummer Night's Dream.'” Mendelssohn had been reading a German translation of Shakespeare's comedy, and on today's date in 1826, completed a concert overture for the play. Felix and Fanny gave the first performance in a two-piano version at one of the family concerts, and a private home orchestral reading followed later. Mendelssohn intended his piece to represent the whole of the drama in miniature: “At the end,” he wrote, “after everything has been satisfactorily settled and the principal players have joyously left the stage, the elves and fairies bless the house, and disappear with the dawn. So the play ends, and my overture, too.” Music Played in Today's Program Felix Mendelssohn (1809 - 1847) – A Midsummer Night's Dream Overture (Leipzig Gewandhaus Orchestra; Kurt Masur, cond.) Teldec 46323

Jennifer Larmore was one of my first opera idols, and I am so privileged to sit down with her for this episode of Technique Talks. She is so intelligent, talented, funny, and full of incredible technical advice! I hope you enjoy this conversation where we discuss breathing optimization, clear vowels, coloratura, and more! Jennifer Larmore is an American mezzo-soprano, with a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart's La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and Covent Garden. Hear Jennifer sing live here: https://youtu.be/ByPRpeI64Ic She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as numerous DVDs With her frequent collaborator Antoine Palloc, she has made many International recital tours at major cities throughout the world, as well as all the major American venues. Symphonic repertoire plays a large role in this mezzo's career and she has enjoyed great collaborations with world orchestras under the direction of Muti, Bernstein, Runnicles, Masur, Barenboim, Bonynge, Maazel, and Osawa, to name a few. Miss Larmore is widely known for teaching and giving master classes at the most prestigious conservatories and major cities throughout the world. Miss Larmore lives in Paris with her husband and little Opera dog Buffy. Her book "Una Voce" is available at Barnes & Noble, Amazon, and Lulu.com and explores the world and psychology of the performer. Show Notes: 00:00 Jennifer Larmore's Bio 8:00 How to find individual technique success 14:20 How to have a margin of error in practice and performance 18:13 How to breathe when singing 24:14 How shoulder blades assist in a singing breath 28:05 How to develop coloratura 33:27 How to manage coloratura in the passaggio 35:21 How to balance a singers registration 37:54 How to develop your voice overtime 42:12 How to manipulate your individual physiology 46:56 How to sing low notes 49:04 How to sing high notes 51:21 How to modify vowels 54:04 How to sing when you have a natural accent 57:26 What is your desert island vocalise ❤️  JOIN my FB Group: https://www.facebook.com/groups/techniquetalksforsingers/ ❤️  Subscribe to never miss a video: https://www.youtube.com/channel/UCGibxkvaN8KVff0ztzYznMg ❤️  More at https://www.voicewithjulia.com ❤️  To stay in the know, and gain behind-the-scenes access to upcoming guests: https://www.voicewithjulia.com/techniquetalks/ ❤️  Instagram: @voicewithjulia  ❤️  Facebook: Voice With Julia

Een van de leukste edoch vreemdste stukken van Bach, is ‘Opbouwende gedachten van het pijproken’, waarin blijkt dat het pijproken gepaard gaat met allerlei theologische en beschouwelijke gedachten. Misschien nog opmerkelijker: het stuk is ‘misschien’ mede gecomponeerd door Bach’s gehandicapte zoon Gottfried Heinrich. Johann Sebastian Bach Erbauliche Gedanken eines Tobackrauchers Tragicomedia Teldec 4509-91183-2 4’39’’

durée : 00:14:13 - Disques de légende du jeudi 24 octobre 2019 - Ce disque enregistré en 1970 est le premier volume d'un projet discographique pharaonique mené par les chefs Nikolaus Harnoncourt et Gustav Leonhardt : enregistrer l'intégralité des Cantates de Jean-Sébastien Bach pour la collection 'Das Alte Werk' du label Teldec.

I programmet diskuterades Haydn-symfonier med Il Giardino Armonico, Alice Coote sjunger sångcykler av Mahler, Krystian Zimerman spelar Schubert samt sena verk av Elliott Carter. Johan möter Schwabe. I panelen Alexander Freudenthal, Evert van Berkel och Johanna Paulsson som tillsammans med programledaren Johan Korssell betygsätter följande skivor:  GUSTAV MAHLER Sångcykler Alice Coote, mezzosopran Nederländska filharmonikerna Marc Albrecht, dirigent Pentatone PTC 5186 576 FRANZ SCHUBERT Pianosonater D 959 och D 960 Krystian Zimerman DG 479 7588 JOSEPH HAYDN DOMENICO CIMAROSA Il Distratto Symfonier nr 60, 70, 12 Il Maestro di Cappella Riccardo Novaro, baryton Il Giardino Armonico Giovanni Antonini, dirigent Alpha Classics ALPHA 674 ELLIOTT CARTER Late Works Pierre-Laurent Aimard, Colin Currie, Isabelle Faust, Jean-Guihen Queyras Birmingham Contemporary Music Group BBC symfoniorkester Oliver Knussen, dirigent Ondine ODE 1296-2 Johan möter Gabriel Schwabe Johan Korssell träffade den 29-årige cellisten på Stockholms-visit, ett samtal om sin alldeles färska CD där han är solist i Saint-Saëns cellokonserter. Schwabe spelar tillsammans med Malmö symfoniorkester under ledning av Marc Soustrot. Inspelningen är gjord på Naxos.  Referensen Schuberts Sonat D 960 Johan jämför med och refererar till Schuberts pianosonat nr 21 D 960 B-dur, med pianisten Wilhelm Kempff. Inspelad 1967 på DG. Andra i programmet nämnda eller rekommenderade inspelningar: Haydns symfonier i komplett utgivning (box med 32 CD) med The Academy Of Ancient Music, London, ledd av Christopher Hogwood på skivmärket Oiseau Lyre. Il Giardino Armonico ledd av Giovanni Antonini i Mozarts violinkonserter med Isabelle Faust som solist, inspelad på Harmonia Mundi. Mahlers sångcykler med mezzosopranen Christa Ludwig tillsammans med Philharmonia Orchestra i inspelningar ledda av Otto Klemperer och Adrian Boult på märket EMI samt med Berlins filharmoniker ledda av Herbert von Karajan på DG. Vidare rekommenderades Christa Ludwig ackompanjerad på piano av Leonard Bernstein på Sony; Janet Baker tillsammans Halléorkestern under John Barbirolli på EMI; Brigitte Fassbaender med Deutsche Sinfonieorchester ledda av Riccardo Chailly på Decca samt med barytonen Thomas Hampson ackompanjerad av Wiens filharmoniker dirigerade av Leonard Bernstein på DG. Schuberts pianosonater med Wilhelm Kempff på skivmärke DG (Referensen); Andreas Staier, hammarklaver, på Teldec; Alfred Brendel på Philips; Svjatoslav Richter på Music & Arts; Clara Haskil på Archipel; Artur Rubinstein på Philips samt med András Schiff på Decca. Nelson Freire spelar Bach på Decca. Arkadij Volodos spelar Brahms på Sony Classical. Elliott Carters klarinettkonsert med solisten Michael Collins och Londons Sinfonietta ledda av Oliver Knussen på DG. Elliott Carters orkestermusik med Londons Sinfonietta ledd av Oliver Knussen på Virgin Classics. Inget Svep denna vecka

I programmet diskuteras ungersk kammarmusik med Notos-kvartetten, Ester Yoo tolkar Tjajkovskij, orkestermusik av Chaminade samt Barbara Hannigan som både sjunger och dirigerar på ny skiva. I panelen Ditte Hammar, Edward Klingspor och Per Lindqvist som tillsammans med programledaren Johan Korssell betygsätter följande skivor: HUNGARIAN TREASURES Kammarmusik av Dohnányi, Kodály och Bartók Notos-kvartetten RCA 88985411882 PETER TJAJKOVSKIJ Violinkonsert D-dur m.m. Esther Yoo, violin Philharmonia Orchestra Vladimir Ashkenazy, dirigent DGG 481 5032 CÉCILE CHAMINADE Callirhoë, Konsertstycke för piano och orkester Victor Sangiorgio, piano BBCs konsertorkester Martin Yates, dirigent Dutton CDLX 7339 CRAZY GIRL CRAZY Musik av Luciano Berio, Alban Berg och George Gershwin Barbara Hannigan, sopran och dirigent Ludwig Orchestra Alpha ALPHA 293 Referensen Tjajkovskijs violinkonsert Johan jämför med och refererar till en inspelning där Maxim Vengerov är solist och spelar tillsammans med Berlins filharmoniker allt under ledning av Claudio Abbado. Inspelad på skivmärke Teldec.  Sofia möter Anders Hillborg Sofia Nyblom träffade kompositören Anders Hillborg dagen efter uruppförandet av det nya verket Aeterna. Samtalet kretsar runt arbetet som tonsättare, samarbetet med violinisten Lisa Batiasjvili i den andra violinkonserten samt lite tankar om framtiden och det kommande verket som är beställt av Londons symfoniorkester.   Andra i programmet nämnda eller rekommenderade inspelningar: Chaminades Konsertstycke med pianisten Danny Driver tillsammans med BBCs skotska symfoniorkester, Glasgow, ledda av Rebecca Miller på märket Hyperion. Tjajkovskijs violinkonsert med Maxim Vengerov tillsammans med Berlins filharmoniker under ledning av Claudio Abbado på Teldec (Referensen); Vilde Frang och Danmarks radios symfoniorkester ledda av Eivind Gullberg Jensen på EMI; Janine Jansen och Mahler Chamber Orchestra under Daniel Harding på Decca; Hilary Hahn tillsammans med Liverpools filharmoniker ledda av Vasily Petrenko på DG; Lisa Batiasjvili och Berlins statskapell dirigerade av Daniel Barenboim på DG; Jascha Heifetz och Chicagos symfoniorkester under Fritz Reiner på RCA; David Oistrach och Sovjetunionens statliga symfoniorkester under Kirill Kondrasjin på Melodija; Pinchas Zuckerman och Israels filharmoniker under ledning av Zubin Mehta på Columbia samt med Itzhac Perlman tillsammans med Israels filharmoniker allt under Zubin Mehta på Angel. Ester Yoo spelar Sibelius och Glazunovs violinkonserter på DG. Barbara Hannigans framträdande i Berwaldhallen i Stockholm, då hon också sjöng och dirigerade samtidigt. Berios Sequenza III med Cathy Berberian på märket Stradivarius. Inget Svep denna vecka

I programmet diskuteras Bachs franska sviter med Ashkenazy, Vivaldis och Haydns Årstiderna; violinkonserter resp. oratorium samt Stravinskys Historien om en soldat. Magnus väljer ur 1900-talsboxar. I panelen Bodil Asketorp, Hanns Rodell och skådespelaren Katarina Ewerlöf som tillsammans med programledaren Magnus Lindman betygsätter följande skivor: JOHANN SEBASTIAN BACH Franska sviterna Vladimir Ashkenazy, piano Decca 00289 483 2150 JOSEPH HAYDN Årstiderna Carolyn Sampson, Jeremy Ovenden, Andrew Foster-Williams National Forum of Music Choir Wroclaw Baroque Orchestra Gabrieli Consort and Players Paul McCreesh, dirigent Signum SIG CD 480 ANTONIO VIVALDI FRANTISEK JIRÁNEK De fyra årstiderna Violinkonsert d-moll Ars Antiqua Austria Gunar Letzbor, dirigent Challenge Classics CCD 72700 IGOR STRAVINSKY Historien om en soldat Harriet Walter, Harrison Birtwistle, George Benjamin Royal Academy of Music Manson Ensemble Oliver Knussen, dirigent Linn CKD 552 Referensen Vivaldi Magnus refererar till och jämför med en inspelning av Vivaldis Årstiderna med violinisten Alan Loveday och Academy of Saint-Martin-in-the-Fields, allt under ledning av Neville Marriner. Inspelad på skivmärke Argo. Magnus val Magnus väljer och spelar valda delar ur två (!) boxar med 28 resp. 26 CD; Shaping the Century vol 1, 1900-1949 och vol 2, 1950-2000, vilka innehåller 1900-talsmusik av olika karaktär och upphov. Alla inspelade på Decca och DG och är utgivna på dito.  Andra i programmet nämnda eller rekommenderade inspelningar: Vivaldis Årstiderna med Nils Erik Sparf och Drottningholms barockensemble inspelad på Bis; Fabio Biondi och Europa Galante på Opus 111; Il Giardino armonico på Teldec samt med Alan Loveday och Academy of Saint-Martin-in-the-Fields allt under Neville Marriner på Argo (Referensen). Stravinskys Historien om en soldat med Gérard och Guillaume Depardieu som Djävulen respektive Soldaten och med Shlomo Mintz vid rodret utgiven på märket Valois. Bachs franska sviter med Glenn Gould på skivmärket Sony Classical, Andrej Gavrilov på DG samt med András Schiff på Decca. Haydns Årstiderna med bl.a. Marlis Petersen, RIAS kammarkör och Freiburgs barockorkester allt under René Jacobs på Harmonia Mundi  samt med bl.a. Barbara Bonney, Monteverdi-kören och Engelska barocksolisterna ledda av John Eliot Gardiner på Archiv.  Inget Svep denna vecka

I programmet diskuteras bl.a. Vincent D'Indys andra symfoni, mässor av Pierre de la Rue och Vadim Gluzman som solist i Prokofjevs violinkonserter. Nadja Boulanger och Schönberg i I mindre skala. I panelen Anna Nyhlin, Camilla Lundberg och Tony Lundman som tillsammans med programledaren Johan Korssell betygsätter följande skivor:VINCENT DINDY Symfoni nr 2, m.m. Skotska Nationalorkestern Jean-Luc Tingaud, dirigent Naxos 8.573522SERGEJ PROKOFJEV Violinkonserterna, Soloviolinsonat Vadim Gluzman, violin Estniska symfoniorkestern Neeme Järvi, dirigent Bis SACD 2142JOHANN SEBASTIAN BACH De franska sviterna Murray Perahia, piano DG 479 6565PIERRE DE LA RUE Mässor, Salve Regina och Magnificat sexti toni Brabant-ensemblen Stephen Rice, dirigent Hyperion CDA 68150I mindre skala Johanna Paulsson och Alexander Freudenthal vänder och vrider på några av Arnold Schönberg och Nadja Boulangers arrangemang av stort och smått.Andra i programmet nämnda eller rekommenderade inspelningar: DIndys orkesterverk med Islands symfoniorkester under ledning av Rumon Gamba, inspelad på Chandos. Prokofjevs violinkonserter med Jascha Heifetz och Bostons symfoniorkester ledda av Sergej Kussevitskij (nr 2) på RCA; David Ojstrach och Londons symfoniorkester under ledning av Lovro von Matacic på märket Warner Classics; Lidija Mordkovitj och Skotska nationalorkestern, Glasgow, under Neeme Järvi på Chandos; Janine Jansen tillsammans med Londons filharmoniker ledda av Vladimir Jurowski (nr 2) på Decca samt med Maxim Vengerov som solist tillsammans med Londons symfoniorkester allt under Mstislav Rostropovitj på Teldec. Prokofjevs symfonier med Neeme Järvi och Skotska nationalorkestern, Glasgow, på Chandos.Svepet Johan sveper över ett album med musik av Claude Debussy; Image, Jeux och La plus que lente. Det är San Franciscos symfoniorkester under Michael Tilson Thomas som framför dessa. Inspelningen är gjord på det egna märket San Francisco Symphony. I Johans julspecial nästa vecka får vi höra mer ur denna CD.

I programmet diskuterar panelen Salonens tolkningar av Bartók, Bachs Goldberg-variationerna med Esfahani, operaarior med Matshikiza o Tippetts fem stråkkvartetter. Sofia möter dirigenten Simone Young, BÉLA BARTÓK Den sällsamme mandarinen, Danssvit, Kontraster Philharmonia Orchestra Esa-Pekka Salonen, dirigent Signum Classics SIGCD 466 J S BACH Goldberg-variationerna Mahan Esfahani, cembalo DG 479 5929 PUMEZA MATSHIKIZA Operaarior m.m. Pumeza Matshikiza, sopran Århus symfoniorkester Tobias Ringborg, dirigent Decca 478 8964MICHAEL TIPPETT Stråkkvartetterna Heath-kvartetten Wigmore Hall WH live 0080 (2 CD)Sofia möter Simone Young Sofia Nyblom träffade och samtalade med den australiska dirigenten när hon gästade Stockholms konserthus i oktober där och då hon ledde Kungliga filharmonikerna i en konsert som  innehöll musik av Alban Berg, Richard Wagner, Anton Webern och Robert Schumann. Andra i programmet nämnda eller rekommenderade inspelningar: Bartóks Den sällsamme mandarinen med BBCs symfoniorkester ledd av Antal Dorati på skivmärke Mercury samt med Budapests festivalorkester dirigerad av Iván Fischer på Philips och Chicagos symfoniorkester ledd av Jean Martinon (sviten) på RCA. Bartóks Kontraster med Béla Bartók, Joseph Szigeti och Benny Goodman på Columbia. Bachs Goldberg-variationerna med Ton Koopman på Erato; Gustav Leonhardt på Teldec; Wanda Landowska på RCA; Glenn Gould på Sony samt med Richard Egarr på Harmonia Mundi. Tippetts stråkkvartetter med Lindsay-kvartetten på ASV. Svepet Johan sveper över ett album med  fransk kammarmusik på vilken violinisten Christian Svarfvar och pianisten Roland Pöntinen spelar musik av Fauré, Debussy och Ravel. Johan bjuder oss smakprov ur Faurés Après un Reve samt ur Ravels violinsonat. Skivan är utgiven på Bis.

I programmet diskuteras bl.a. blåsmusik av Beethoven med Il Gardellino och Nicola Benedetti som solist i Sjostakovitjs och Glazunovs violinkonserter. Johan Korssell möter också Nicola Benedetti. I panelen Camilla Lundberg, David Björkman och Evert van Berkel som tillsammans med programledaren Johan Korssell betygsätter följande skivor: LUDWIG VAN BEETHOVEN Oktett Rondino Kvintett Il Gardellino Arthur Schoonderwoerd m.fl. Passacaille 1016GUSTAV MAHLER Symfoni nr 1 D-dur Bayerska radions symfoniorkester Yannick Nézet-Séguin, dirigent BR Klassik 900143 G F HÄNDEL Imeneo Ann Hallenberg m.fl Europa Galante Fabio Biondi, violin och dirigent Glossa GCD 923405SJOSTAKOVITJ GLAZUNOV Violinkonserter Nicola Benedetti, violin Bournemouth symfoniorkester Kirill Karabits, dirigent Decca 478 8758 Johan möter Nicola Benedetti Johan Korssell träffade den skotska violinisten i samband med hennes gästspel i Stockholms konserthus i augusti då hon framträdde som solist i Szymanowskis andra violinkonsert tillsammans med Kungliga filharmonikerna och dirigenten Lahav Shani. Andra i programmet nämnda eller rekommenderade inspelningar: Sjostakovitjs första violinkonsert med solisten Maxim Vengerov tillsammans med Londons symfoniorkester under Mstislav Rostropovich inspelad på Teldec samt med David Ojstrach och New Yorks filharmoniker ledda av Dimitri Mitropoulos på Sony.  Glazunovs violinkonsert med violinisten Esther Yoo som spelar tillsammans med Philharmonia Orchestra ledd av Vladimir Ashkenazy på skivmärket DG. Mahlers första symfoni med Concertgebouw-orkestern dirigerad av Bernard Haitink på Philips; Concertgebouw-orkestern ledd av Leonard Bernstein på DG; Berlins filharmoniker under Bernard Haitink på Philips; San Fransiscos symfoniorkester dirigerad av Michael Tilson Thomas på SFS Media samt med Concertgebouw-orkestern under ledning av Mariss Jansons på RCO Live. Inget svep denna vecka      

I programmet diskuteras bl. a. Franz Schmidts Das Buch mit sieben Siegeln, Händels Water Music med Akademin för tidig musik i Berlin samt ny Suk- Dvorak-skiva med Tetzlaff. Johan möter Yuja Wang. I panelen Bengt Forsberg, Camilla Lundberg och Niklas Lindblad som tillsammans med programledaren Johan Korssell betygsätter följande skivor:ALBERTO GINASTERA Modern Times Maria Isabel Segarra, sopran Tyska statsfilharmonin, Rheinland-Pfalz Karl-Heinz Steffens, dirigent Capriccio C 5244 FRANZ SCHMIDT Das Buch mit sieben Siegeln Klaus Florian Vogt m.fl. Hamburgs filharmoniker Simone Young, dirigent Oehms Classics OC 1840G F HÄNDEL Water Music Akademin för tidig musik, Berlin Harmonia Mundi HMC 902216 SUK - DVORÁK Fantasi g-moll Violinkonsert a-moll, Romans f-moll Christian Tetzlaff, violin Helsingfors filharmoniker John Storgårds, dirigent Ondine ODE-1279-5Johan möter Yuja Wang Johan Korssell träffade pianisten i samband med hennes framträdande tillsammans med Sveriges Radios Symfoniorkester och dirigenten Esa-Pekka Salonen i Berwaldhallen i Stockholm under Östersjöfestivalen. Wang var solist i Bartóks Pianokonsert samt i Messiaens Turangalila-symfonin.Andra i programmet nämnda eller rekommenderade inspelningar: Händels Water Music med orkestern Concert Spirituel ledd av Hervé Niquet på skivmärke Glossa. Ginasteras orkestermusik med Londons symfoniorkester dirigerad av Gisele Ben-Dor. Dvoráks Violinkonsert med Anne-Sophie Mutter och Berlins filharmoniker ledd av Manfred Honeck på DG; Isabelle Faust och Prags filharmoniker under Jirí Belohlávek på märket Harmonia Mundi; Itzhak Perlman och Londons filharmoniker ledda av Daniel Barenboim på Warner Classics samt med David Ojstrach och Ryska statliga symfoniorkestern dirigerad av Kirill Kondrasjin på Omega. Schmidts Das Buch mit sieben Siegeln med bl.a. Wiens filharmoniker ledd av Dimitri Mitropoulos på Sony;  Bayerska radions symfoniorkester under ledning av Franz Welser-Möst på EMI; Wiens filharmoniker ledd av Nicolaus Harnoncourt på Teldec samt med bl.a. Tonkünstler-orchester dirigerad av Kristjan Järvi på Chandos. Svepet Johan sveper över en CD med titel Arias for Luigi Marchesi utgiven på Glossa. Mezzosopranen Ann Hallenberg sjunger arior som den italienske kastraten Luigi Marchesi sjöng. Hon ackompanjeras av Stile Galante, dirigent Stefano Aresi. Vi serveras ett smakprov ur Giuseppe Sartis opera Armida och Rinaldo. 

I programmet diskuterar panelen bl.a. Ysayes soloviolinsonater med Alina Ibragimova och den nykomponerade operan Anna Liisa av Veli-Matti Puumala. Dessutom väljer Johan ur ny Nielsen-symfoni-box. I panelen Camilla Lundberg, Evabritt Selén och Magnus Lindman som tillsammans med programledaren Johan Korssell betygsätter följande skivor: EUGÈNE YSAYE Sex soloviolinsonater op 27 Alina Ibragimova, violin Hyperion CDA 67993ANTONIO VIVALDI Teatro Alla Moda, Violinkonserter Amandine Beyer, violin, Gli Incogniti Harmonia Mundi HMC 902221VELI-MATTI PUUMALA Anna Liisa, opera i 3 akter Helena Juntunen, Jorma Hynninen, m.fl Helsingfors kammarkör, Tapiola Sinfonietta Jan Söderblom, dirigent ANTONÍN DVORÁK Symfoni nr 1 c-moll, Rapsodi op 14 Tyska radions filharmoniker, Kaiserslautern Karel Mark Chichon, dirigent Hänssler Classic CD 93.330Johans val Johan Korssell spelar valda delar ur boxen med 3 CD - The Complete Symphonies 1 6, innehållande Carl Nielsens alla symfonier framförda av Hessiska radions symfoniorkester i Frankfurt under ledning av Paavo Järvi. Utgiven på skivmärket RCA.Andra i programmet nämnda eller rekommenderade inspelningar: Dvoráks första symfoni med Londons symfoniorkester under ledning av Istvan Kertész,på Decca samt med Berlins filharmoniker dirigerad av Rafael Kubelik på DG. Ysayes soloviolinsonater med Leonidas Kavakos på skivmärke Bis. Vivaldis violinkonserter med Il giardino armonico på Teldec.

Veckans panel lyssnar på körmusik av Arvo Pärt och Yuja Wang i Ravels vänsterhandskonsert. Och så har The Who's klassiska rockalbum Quadrophenia fått ny orkesterskrud. I panelen sitter Boel Adler, Hanns Rodell och Nicholas Ringskog Ferrada-Noli som tillsammans med programledaren Johan Korssell betygsätter följande skivor:MAURICE RAVEL GABRIEL FAURE Pianokonsert G-dur Ballad Fiss-dur - Vänsterhandskonserten  Yuja Wang, piano Tonhalle-Orchester, Zürich Lionel Bringuier, dirigent DG 00289 479 4954JOHANNES BRAHMS Stråkkvartetter nr 1 och 3 Artemis-kvartetten Erato 0825646126637TINTINNABULI Körmusik av Arvo Pärt The Tallis Scholars Peter Philips, dirigent Gimell CDGIM 049ROBERT SCHUMANN Das Paradies und die Peri, oratorium i tre delar Sally Matthews, Mark Padmore m.fl. Londons symfoniorkester Simon Rattle, dirigent LSO Live LSO 0782Hannas val Hanna Höglund spelar valda delar ur The Whos  klassiska rockalbum, Pete Townshends Classic Quadrophenia som nu fått ny orkesterskrud. Royal Philharmonic Orchestra under Robert Ziegler spelar och i  huvudrollen hör vi brittiske tenoren Alfie Boe." Albumet är utgivet på Decca.Andra nämnda eller rekommenderade inspelningarRavels pianokonserter med solisten Martha Argerich som spelar tillsammans med Londons symfoniorkester ledda av Claudio Abbado på DG; Krystian Zimerman och Londons symfoniorkester under Pierre Boulez på DG samt med pianisten Samson Francois och Orchestre de la Société des Concerts du Conservatoire dirigerad av André Cluytens på EMI.Brahms stråkkvartetter med Belcea-kvartetten (nr 1) inspelad på EMI samt med Borodin-kvartetten (nr 1 och 3) på skivmärke Teldec.Schumanns Das Paradies und die Peri med Bayerska radions kör och symfoniorkester under Nikolaus Harnoncourt på RCA; Monteverdikören och Orchéstre Revolutionnaire et Romantique under John Eliot Gardiner på märke Archiv.Dessutom nämns Daniel Harding och Sveriges Radios Symfoniorkesters framförande i Berwaldhallen 2007 med en önskan om utgivning på CD. 

Series exploring famous pieces of music and their emotional appeal. When Mendelssohn wrote his Violin Concerto in 1844 he could hardly have imagined how famous and well loved it would become. In this programme, people tell how it has played an important part in their lives. Violinist Daniel Hope tells how he got caught practising this concerto secretly locked in the bathroom at school. Harry Atterbury remembers hearing the Mendelssohn for the first time on the night before a Second world War air raid which turned his life upside down. Composer Stephen Pratt describes discovering that his father had played this concerto to cheer fellow soldiers in the jungle in Burma, and explains how this inspired him to write his own violin concerto. To find out more about Stephen Pratt's Violin Concerto, go to: http://www.liverpoolphil.com./1132/rlpo-recordings/stephen-pratt-lovebytes.html The recording of the Mendelssohn Violin Concerto featured in this programme was by violinist Maxim Vengerov with the Leipzig Gewandhaus Orchestra conducted by Kurt Masur. Teldec 4509-90875-2.

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