Podcasts about third symphony

Alan Gilbert is Chief Conductor of the NDR Elbphilharmonie Orchestra, as well as Music Director of the Royal Swedish Opera. Gramophone's James Jolly caught up with him during a run of Wagner's Die Walküre in Stockholm, where he lives. They talked about his Hamburg-based orchestra, the role today of a radio orchestra and also about the work orcherstra and conductor have just released (on the NDR Elbphilharmonie Orchester label to stream and download), Brahms's Third Symphony.

In his Third Symphony, Mahler portrays the whole of earthly existence. Its six movements — written for a massive orchestra, two choruses and a contralto soloist — explore humanity's relationship with nature using fanfares, marches, folk dances and bird calls. Children's voices portray angels while the sixth movement is a pantheistic love song to all of creation. Learn more: cso.org/performances/24-25/cso-classical/makela-conducts-mahler-3

Brahms and a world premiere! Experience a Grand Teton Music Festival Orchestra concert performed at Walk Festival Hall in 2024, featuring Brahms' Third Symphony and the premiere of Vexierbild, a companion piece written by German composer Detlev Glanert.This episode features:Grand Teton Music Festival OrchestraSir Donald Runnicles, conductorDetlev GlanertVexierbild (World Premiere)Johannes BrahmsSymphony No. 3 in F Major, Op. 90Live from the Grand Teton Music Festival is hosted by Music Director Sir Donald Runnicles and GTMF General Manager Jeff Counts. Episodes premiere on Wednesdays at 8 PM MT on Wyoming Public Radio and are available the next day wherever you get your podcasts.The Grand Teton Music Festival, founded in 1962, unites over 250 celebrated orchestral musicians led by Music Director Sir Donald Runnicles in Jackson Hole, Wyoming each summer. Stay connected for the latest Festival updates: Instagram Facebook Email List GTMF Website

Step into a charming world where classical music meets whimsy! In our latest episode, we recount the delightful tale of a curious dog that wandered onto the stage during a grand performance of Beethoven's Third Symphony. As the Lipzig Grand House Orchestra was about to begin, this playful pup made his presence known, creating an unforgettable moment of laughter and joy for both the musicians and the audience.We would love to hear your comments. Send us a Text MessageSupport the show

Orchestra Iowa welcomes Grammy-winning violinist Melissa White to perform Max Bruch's Scottish Fantasy. Samuel Barber and Beethoven's Third Symphony, which introduced the Romantic era, brings the concert to an epic close. Nov. 23 at the Paramount, Nov. 23 at the Coralville Center for the Performing Arts. Tickets and more info at orchesraiowa.org. Subscribe to The … Continue reading

Inside this Episode with host, Mitch Hampton Christoph Schülren, one of the guests to whom I was so kindly introduced by pianist Beth Levin, will be the first time on our podcast that a musician whose professional career is devoted to the art and practice of conducting has been featured.  I thought it indispensable for many reasons to feature him: musical conducting is ubiquitous in many styles of music yet is perhaps little understood or appreciated outside of the worlds of music.  I was most happy with our discussion: he is quite articulate and able to get into the details of his craft in a relatable way to a most general audience and he has quite an intriguing biography as can be gleamed from our episode. Christoph Schlüren's Biography  “Uniting the well-known with the unknown” Conductor, Music Researcher,Musical Mentor, Music Editor, Program Adviser, Chamber Music, Coach  Christoph Schlüren studied with the late Sergiu Celibidache from 1981 to 1996. Other strong influences were the composers Anders Eliasson, Pehr Henrik Nordgren, and Per Nørgård, the musicians Paul Zukofsky, Sándor Végh, Murray Perahia, Juha Kangas, and many more.  As a conductor (Symphonia Momentum, Deutsche Kammerakademie Neuss am Rhein, St Michel Strings Mikkeli) Christoph Schlüren led first performances of works by Peter Michael Hamel and Anders Eliasson. Some of the lesser established composers he particularly favors are:Heinz Tiessen, Eduard Erdmann, Anders Eliasson, Jean-Louis Florentz, Paul Büttner, John Foulds, Vittorio Giannini, Nicolas Flagello, Giorgio Federico Ghedini, Peter Mennin, Bernard Stevens, Felix Draeseke, Heinrich Kaminski, Max Butting, Reinhard Schwarz-Schilling , Heinz Schubert, Philipp Jarnach,  Emil Bohnke, Matthijs Vermeulen, Harald Sæverud, Georges Migot, Eduard Tubin, Vagn Holmboe, Douglas Lilburn, Robert Simpson, Per Nørgård, Boris Tishchenko, Ketil Hvoslef, Pehr Henrik Nordgren, Tristan Keuris, Halvor Haug, Peter Michael Hamel, John Pickard, Håkan Larsson, and Juan José Chuquisengo.  He combines their works in dramaturgically correlated programs with the established great composers. Read more about conducting He is a music researcher, author and journalist as well (Frankfurter Rundschau, Gramophone, Tempo, Fono Forum, Crescendo, Neue Musikzeitung, Bayerischer Rundfunk, Deutschland Radio, etc.) and works as main editor and researcher on the rare music scores series Repertoire Explorer. Christoph Schlüren wrote the first basic introduction into Musical Phenomenology as it was created as a universal approach to music by Sergiu Celibidache developing further on. As a program adviser he collaborates with orchestras and conductors (Bavarian Radio Symphony Orchestra, Münchner Philharmoniker, Ostrobothnian Chamber Orchestra, Arcos Orchestra, Münchener Kammerorchester, etc.; Lavard Skou Larsen, Juha Kangas, José Serebrier , Mario Venzago, Christoph Poppen, Israel Yinon, etc.), and created commissions for the Musica Viva series of the Bavarian Radio Symphony Orchestra (Anders Eliasson's Fourth Symphony, Cynthia Lee Wong, and Onute Narbutaite, as well as arranging the world première of Artur Schnabel's Third Symphony). Read more essays and evaluations Christoph Schlüren works as a musical mentor with soloists and  chamber ensembles (Rebekka  Hartmann, Ottavia Maria Maceratini, David Frühwirth, Masha Dimitrieva, Omar Rahbany, Margarita Oganesjan, etc.). Read more about mentorship Links to more about Mr. Schlüren's beautiful works  www.christophschlueren.com #classicalmusic #music #opera #bartok #germany #progrock #rock #symphony #classicalmusic #orchestra #strings #brass #woodwind #percussion #piano #concert #theatre #fritzbrun #bethlevin #mozart #whiplash #donellis #tar #cateblanchett #leonardbernstein #brunowalter #frankzappa #contemporarymusic #modernmusic #romanticism #navarrastringquartet #igorstravinsky #antonbruckner #vienna #schoenberg #webern #serialism #tonality #meoldy #harmony #rhythm #baroque #earlymusic  --- Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

Send us a Text Message.https://www.ivanrodriguezmusic.com/What if classical music has always been a subtle yet powerful form of activism? Join us as we explore this fascinating idea with our special guest, Iván Enrique Rodríguez, a talented composer, mental health advocate, and activist from Puerto Rico. Iván shares his incredible journey, starting from the challenges of navigating a colonized education system and cultural identity in Puerto Rico to making his mark in the classical music world in the United States. Listen as he reflects on the resilience required to thrive as a person of color in predominantly white spaces and the continuous struggle for representation and recognition in the arts.Iván's story is one of triumph over adversity. Raised in a strict Pentecostal family while discovering his identity as a gay man, Iván faced profound challenges, including family rejection and homelessness. Despite these obstacles, his passion for music never wavered. A life-changing encounter with Mahler's Third Symphony ignited his commitment to composition, leading to a prolific portfolio and formal studies in music composition. Iván gives us an intimate look into his creative process, from his preferred composition software to the transformative moments that have defined his career.The episode also delves into the diverse influences that shape Iván's music, from Puerto Rican folk traditions to modern genres. We discuss the critical role of empathy in the arts and the importance of genuine outreach by orchestras to black and brown communities. Iván's latest work, "Casting the Dice," commissioned by the Cabrillo Festival, tackles themes of immigration and asylum seeking, drawing from real-life stories to create a powerful narrative. Tune in for an inspiring conversation that highlights music's ability to foster empathy, drive social change, and transform lives.Cabrillo Festival of Contemporary Music Transform the orchestral experience for artists & audiences by building a vibrant community &more Ignite NexusConsulting, life & executive coaching for organizations & individuals. Start the journey today!Everyone's Music School Creating positive and lasting change in people's lives with music!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the Show.

There has always been a debate about “The Great American Symphony.” By the time most prominent American composers got around to writing large scale symphonic works, the symphony had very nearly gone out of fashion. To many musicians and thinkers, the symphony had passed on with the death of Mahler. With the advent of atonality, which essentially destroyed the developmental structure that symphonies rested on, there seemed to be nowhere for the symphonic genre to go. The traditional udnerstanding is that composers like Shostakovich, Prokofiev, and Sibelius, among others, picked the symphony back up from its deathbed and resurrected it. But there was a generation of American composers also writing symphonies around this time, and many of them have never quite gotten the consideration they deserve. Ives wrote 4 brilliant symphonies, Bernstein wrote 3 ambitious symphonies, there are the symphonies by the first generation of Black American composers, namely William Dawson's Negro Folk Symphony, and then there are much less known symphonies by composers like Roy Harris, which were huge successes at the time of their premiers, but which have faded into obscurity. Despite many strong efforts, very few American symphonies have made their way into the standard “canon.” That is, except for one: Copland's 3rd Symphony, which is almost certainly the most played American symphony. It was written as World War II was coming to an end, and it is one of Copland's most ardent and life-affirming works. Naturally, connections were made to the Allied triumph in World War II, but Copland insisted that the symphony wasn't a reflection of the era, writing: "if I forced myself, I could invent an ideological basis for the Third Symphony. But if I did, I'd be bluffing—or at any rate, adding something ex post facto, something that might or might not be true but that played no role at the moment of creation." Whatever the inspiration, this symphony has become one of Copland's most enduring works, even though it is also in many ways one of his most complex. It is a massive work, nearly 40 minutes in length, and it requires a huge and virtuosic orchestra. It also features some of Copland's most recognizable tunes, including of course, the Fanfare for the Common Man, which permeates the symphony and is in many ways its central theme. So today, on this Patreon Sponsored episode, we'll dig deep into this symphony, mapping out its unusual form, and savoring the energy, optimism, and creativity with which Copland attacked the well-worn genre of the symphony. Join us! 

SynopsisWhen Franz Schubert died in Vienna in 1828, he left behind several manuscripts of symphonies unpublished and, in some cases, unperformed during his short lifetime. It wasn't until today's date in 1865 — 37 years after Schubert's death — that his most famous symphony received its premiere performance in his hometown of Vienna.This Symphony in B-minor came to be called the Unfinished, since its manuscript score contained only two completely finished movements. A normal Viennese symphony of Schubert's time should contain four movements, and, in fact, a fairly complete piano sketch of the third movement exists, as does a full score of just the first nine measures of that same movement.When Johann van Herbeck conducted the Vienna Philharmonic in the first performance in 1865, he tacked on the last movement of Schubert's Third Symphony as a finale. More recently, some scholars have argued that a portion of Schubert's Rosamunde incidental music was in fact the missing final movement of his symphony.Despite these attempts to finish the Unfinished, most performers and audiences seem content to hear the score as Schubert left it — romantically cut short, just like the composer's tragically short life.Music Played in Today's ProgramFranz Schubert (1795-1828) Symphony No. 8 (arr. Brian Newbould); Academy of St. Martin-in-the-Fields; Neville Marriner, cond. Philips 412 176

Rachmaninov's poignant Third Symphony evokes the Russia he left behind. Violinist Karen Gomyo, hailed by the Chicago Tribune as “a first-rate artist of real musical command, vitality and brilliance,” joins the CSO for Philip Glass' Violin Concerto No. 1. From its exciting first movement to its thrilling finale, this is one of Glass' most powerful and captivating concertos. Complementing these works is Sibelius' atmospheric Pohjola's Daughter. Learn more: cso.org/performances/23-24/cso-classical/glass-rachmaninov

Jess Gillam and pianist Karim Kamar share some of their favourite music. Karim has an amazing musical story - after loving playing as a kid but never studying properly, at 25 he decided to quit his job and learn the piano seriously to become a professional musician. He spent years painstakingly learning how to play - and has since released 6 albums and performed at some of the most iconic music venues from Ronnie Scott's to the Royal Albert Hall. He's also a bit of a star on social media with millions of fans who follow his adventures of him playing the many street pianos you find around the country. His music picks are all based around the piano - from the pure romance of Rachmaninov's Second Piano Concerto, to the video game imagination of Ryuichi Sakamoto and the latin funk of Stevie Wonder. Meanwhile Jess finds a new inspiration in Sibelius's Third Symphony, one of her teenage soundtracks in Massive Attack and an uneasy waltz by Shostakovich. Playlist: MILES DAVIS: Nardis [Bill Evans Trio] SHOSTAKOVICH: Jazz Suite no.2 – Waltz no 2 [Royal Concertgebouw Orchestra / Riccardo Chailly (conductor)] RUYICHI SAKAMOTO: Seven Samurai: Ending Theme RACHMANINOV: Piano Concerto no 2 – 2nd mvt Adagio sostenuto [Khatia Buniatishvilli (piano), Czech Philharmonic Orchestra, Paavo Jarvi (conductor)] MASSIVE ATTACK: Hymn of the Big Wheel CHOPIN: Waltz op.64 no.2 in C sharp minor [Arthur Rubinstein (piano)] SIBELIUS: Symphony no.3 – 2nd mvt Andantino [BBC Philharmonic /John Storgards (conductor)] STEVIE WONDER: Another Star

In this episode, Mary, Hunter, and Shaun analyze Beethoven's Third Symphony in Eb. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

SynopsisBy the time of his death in 1998, pop singer Frank Sinatra was such a domineering figure in his field that he was known as “The Chairman of the Board.” By the time of his death in 1992, the same nickname might have applied to the American composer William Schuman, who was, at various times, director of publications for G. Schirmer, president of the Juilliard School, president of Lincoln Center, and on the board of many other important American musical institutions. William Schuman even looked the part of a distinguished, well-dressed CEO. Oddly enough, he came rather late to classical music.Schuman was born on today's date in 1910, and, as a teenager in New York City, was more interested in baseball than music, even though his dance band was the rage of Washington High School. It was with some reluctance that 19-year old Billy Schuman was dragged to a New York Philharmonic concert conducted by Arturo Toscanini. The program included a symphony by someone named Robert Schumann, and Billy was pretty impressed. A few years later, in 1933, when he heard the First Symphony of the contemporary American composer Roy Harris, Schuman was hooked, and soon was writing concert music himself. By 1941, when his Third Symphony premiered, Schuman was recognized as a major talent, and in 1943 he was awarded the first Pulitzer Prize for Music.Music Played in Today's ProgramWilliam Schuman (1910-1992) Symphony No. 3 New York Philharmonic; Leonard Bernstein, conductor. Sony Classical 63163Robert Schumann (1810 – 1856) Symphony No. 1 (Spring) Berlin Philharmonic; James Levine, conductor. DG 435 856Roy Harris (1899-1979) Symphony No. 1 Louisville Orchestra; Jorge Mester, conductor. Albany/Louisville First Edition 012

DescriptionBruckner's third symphony did not make the splash that he had hoped. Many factors came into play to cause a complete flop of a premier. Take a minute to get the scoop!Fun FactStunned by this debacle, Bruckner made several revisions of his work, leaving out significant amounts of music including most quotations from Wagner's Tristan und Isolde and Die Walküre. The original 1873 score was not published until 1977.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

In our final episode of Toledo SymphonyLAB, we once again dive into the music of Gustav Mahler - whose Third Symphony brings the TSO season to a close. Special return guest (and musicologist) Effie Papanikolaou shines light both on the man and the music, joining conductor Alain Trudel and Mahler enthusiast Zak Vassar (who also happens to be the TSO's President and CEO).

Synopsis Although contemporaries, Gustav Mahler and Richard Strauss were two VERY different human beings.  Mahler was tormented by self-doubt and existential angst; Strauss was a placid soul, self-confident to the point of complacency.  Still, Mahler and Strauss admired and conducted each other's music, and their odd friendship is reflected in their published correspondence.On today's date in 1911, for example, on learning that Mahler had been ill, but was recovering, Strauss wrote a gracious letter to his fellow composer-conductor:“I learn with great pleasure that you are recovering from your long illness. Perhaps it might be a happy diversion for you during the melancholy hours of convalescence to know I plan to perform your Third Symphony with the Royal Orchestra in Berlin next winter. It is an excellent orchestra. If you would like to conduct yourself, it would be my pleasure to hear your lovely work again under your own direction – much as I would like to conduct it myself. I would be glad to rehearse the orchestra for you, so you would have no trouble and only the pleasure of conducting.”Sadly, Strauss was poorly-informed about Mahler's recovery and the gravity of his illness. Mahler died seven days after Strauss penned the letter. Music Played in Today's Program Gustav Mahler (1860 – 1911) Symphony No.3 in D Minor London Symphony Orchestra; Jascha Horenstein, conductor Unicorn 2006-7

Synopsis At London's St. James's Hall on today's date in 1885, the Czech composer Antonin Dvorak conducted the London Philharmonic Society's orchestra in the premiere of his Seventh Symphony, a work they had commissioned. The Society had also commissioned Beethoven's Ninth Symphony decades earlier, a fact of which Dvorak was quite aware, and just before starting work Dvorak heard and was bowled over by the brand-new Third Symphony by his friend and mentor Johannes Brahms.  In other words… “No pressure!”Dvorak felt he must do his very best, and, judging by the warm reception at its London premiere, the new work was a success, with one reviewer calling it “one of the greatest works of its class produced in the present generation.”But not all reviews were glowing. Another wrote, “the entire work is painted grey on grey: it lacks sweetness of melody and lightness of style.” And Dvorak's German publisher complained that big symphonies were not profitable and advised Dvorak write only shorter piano pieces that had a ready market.But subsequent performances helped establish the new symphony as the masterwork it is, and although not as often-played as his “New World” Symphony, today Dvorak's Seventh ranks among his finest creations. Music Played in Today's Program Antonin Dvorak (1841-1904) Scherzo (3rd mvt), from Symphony No. 7 in d, Op. 70 Berlin Philharmonic; Rafael Kubelik, conductor. DG 463158-2

Synopsis For the 1958-59 season of the New York Philharmonic, Leonard Bernstein, the orchestra's newly-appointed music director, was eager to program as much new American music as he dared. As luck would have it, early in 1958, the 35-year old American composer Ned Rorem had just returned from Europe with a new symphonic score. “I wrote most of my Third Symphony in France,” recalled Rorem. “It's a big piece but not a commission—I was still writing for the love of it in those days… So I showed it to Lenny and he said ‘OK, I'll do it, but I wish you would re-orchestrate the slow movement entirely for strings.' I replied ‘Sure,' but didn't, because Bernstein was always saying things like that and then would forget all about it.” The premiere of Rorem's Third Symphony—as written—occurred at Carnegie Hall on today's date in 1959, but for its composer, the thrill was tempered by some harsher realities. Rorem recalled, “I came late to the first rehearsal because in those days I was living off unemployment insurance … and I had to go down and stand in line to pick up my check. I guess they managed without me because Lenny conducted four wonderful performances.” Music Played in Today's Program Ned Rorem (b. 1923) Symphony No. 3 Utah Symphony; Maurice Abravanel, conductor. Vox Box 5092

Synopsis On today's date in 1887, Florence Beatrice Smith was born in Little Rock, Arkansas. She would grow up to be the first African-American woman to win widespread recognition as a symphonic composer. All that happened under her married name: Florence Price. Price studied at the New England Conservatory, with the noted American composers Frederick Converse and George Whitefield Chadwick, but settled in Chicago. In 1933, the Chicago Symphony premiered her First Symphony. In 1940, her Third Symphony premiered in Detroit, and First Lady Eleanor Roosevelt, who was in Detroit that week, was so impressed by a rehearsal of Price's symphony that she altered her schedule to stay for that evening's performance, and even wrote about it in her newspaper column, “My Day.” And speaking of Eleanor Roosevelt, on today's date in 1939, which fell on Easter Sunday that year, the First Lady and then Secretary of the Interior Harold L. Ickes arranged for the famous African-American contralto, Marion Anderson, to perform a free, open-air recital at the Lincoln Memorial in Washington, D.C. 75,000 people attended. Marion Anderson admired Florence Price's work, and sang some of Florence Price's songs, including Songs to the Dark Virgin, a setting of a text by Langston Hughes. Music Played in Today's Program Florence Price (1887 – 1953) Symphony No. 3 The Women's Philharmonic; Apo Hsu, conductor. Koch 7518

Synopsis We probably have the irrepressible playwright, music critic, and ardent socialist George Bernard Shaw to thank for this music—the Third Symphony of Sir Edward Elgar. Shaw had been trying to persuade Elgar to write a Third Symphony, and, early in 1932, had written to Elgar: "Why don't you make the BBC order a new symphony. It can afford it!" A few months later, Shaw dashed off a postcard with a detailed, albeit tongue-in-cheek program for the new work: "Why not a Financial Symphony? Allegro: Impending Disaster; Lento mesto: Stone Broke; Scherzo: Light Heart and Empty Pocket; Allegro con brio: Clouds Clearing." Well, there was a worldwide depression in 1932, but the depression that had prevented Elgar from tacking a new symphony was more personal: the death of his beloved wife in 1920. Despite describing himself as "a broken man," unable to tackle any major projects, when Elgar died in 1934, he left behind substantial sketches for a Third Symphony, commissioned, in fact, by the BBC. Fast forward 64 years, to February 15th, 1998, when the BBC Symphony gave the premiere performance of Elgar's Third at Royal Festival Hall in London, in a performing version, or "elaboration" of Elgar's surviving sketches, prepared by the contemporary British composer Anthony Payne. It was a tremendous success, and, we would like to think, somewhere in the hall the crusty spirit of George Bernard Shaw was heard to mutter: "Well—about time!" Music Played in Today's Program Edward Elgar (1857-1934) Symphony No. 3 (elaborated by Anthony Payne) BBC Symphony; Andrew Davis, conductor. NMC 053 On This Day Births 1571 - possible birth date of German composer Michael Praetorius, in Creuzberg an der Werra, near Eisenach; 1847 - Austrian composer Robert Fuchs, in Frauenthal, Styria; 1899 - French composer Georges Auric, in Lodève; 1907 - French composer and organist Jean Langlais, in La Fontenelle; 1947 - American composer John Adams, in Worcester, Mass.; 1949 - American composer Christopher Rouse, in Baltimore, Maryland; Deaths 1621 - German composer Michael Praetorius, supposedly on his 50th birthday, in Wolfenbüttel; 1857 - Russian composer Mikhail Glinka, age 52, in Berlin; 1887 - Russian composer Alexander Borodin (Gregorian date: Feb. 27); 1974 - Swedish composer Kurt Atterberg, age 86, in Stockholm; 1992 - American composer William Schuman, age 81 in New York; He won the first Pulitzer Prize for Music in 1943 for his Walt Whitman cantata, "A Free Song"; Premieres 1686 - Lully: opera "Armide et Renaud," (after Tasso) in Paris; 1845 - Verdi: opera "Giovanna D'Arco" (Joan of Arc) in Milan at the Teatro all Scala; 1868 - Tchaikovsky: Symphony No. 1 ("Winter Dreams") (first version), in Moscow (Julian date Feb. 3); A revised version of this symphony premiered in Moscow on Nov. 19/Dec. 1, 1883; 1874 - Bizet: "Patrie" Overture, in Paris, by the Concerts Pasedeoup; 1884 - Tchaikovsky: opera "Mazeppa" in Moscow at the Bolshoi Theater (Julian date: Feb. 3); 1919 - Loeffler: "Music for Four Stringed Instruments" at New York's Aeolina Hall by the Flonzaley Quartet; 1939 - Miakovsky: Symphony No. 19 for wind band, in Moscow; 1945 - Paul Creston: Symphony No. 2, by the New York Philharmonic, with Arthur Rodzinski conducting; 1947 - Korngold: Violin Concerto, by the St. Louis Symphony, with Jascha Heifetz as soloist; 1958 - Diamond: orchestral suite "The World of Paul Klee," in Portland, Ore.; 1965 - B.A. Zimmermann: opera "Die Soldaten" (The Soldiers), in Cologne at the Städtische Oper; Others 1940 - American Music Center, a library and information center for American composers, is founded in New York City. Links and Resources On Elgar

In the sixth and final movement of Gustav Mahler's Third Symphony, he reaches the top rung on his ladder of consciousness. This glorious adagio is Mahler's celebration of God's perfect love.

Angels are the next step on Gustav Mahler's ladder of consciousness. In the joyful fifth movement of his Third Symphony, the orchestra is joined by a children's choir and a women's choir giving voice to the angels.

In the fourth movement of his Third Symphony, Gustav Mahler's ladder of consciousness reaches humanity. It is a dramatic orchestral song for mezzo soprano that explores the meaning of existence, with lyrics from Nietzsche's book “Thus Spoke Zarathustra.”

Gustav Mahler made animals the next step upward on his ladder of consciousness in the third movement of his Third Symphony. Summoning both humor and tragedy, he portrays the sounds of the forest, from sweetly singing nightingales to fearsome creatures.

Synopsis There's an old joke that Schubert wrote two symphonies: one unfinished, and the other endless—the reference being to Schubert's Unfinished Symphony which lasts about 20 minutes, and his Great Symphony in C Major, which can run about an hour in performance. It was Antonio Salieri, one of Schubert's composition teachers in Vienna, who encouraged the young composer to date his manuscripts, so we know that Schubert's Unfinished Symphony was written in 1822. It wasn't performed in public, however, until December 17th, 1865—some 43 years later. The manuscript was known to exist, but no one bothered much about it until Josef von Herbeck tracked it down and conducted its first performance in Vienna. At its premiere, Herbeck added the last movement of Schubert's Third Symphony in D as a kind of makeshift finale. Many others have tried to "finish" the Unfinished Symphony, but more often than not, it is performed as an incomplete, yet oddly satisfying, work. The Icelandic composer Jon Leifs, who died in 1968, apparently worried that he might leave some unfinished orchestral score behind. Therefore, he composed not one but TWO works he titled Finale. These were intended as a kind of "musical insurance policy." To each score, Leifs attached a note suggesting that if he died and left behind any unfinished orchestral projects, either of these two Finales could be used. Music Played in Today's Program Franz Schubert (1797-1828) Symphony No. 9 Berlin Philharmonic; Karl Böhm, cond. DG 419 318 Jón Leifs (1899-1968) Fine I, Op. 55 and Fine II, Op. 56 Iceland Symphony; Petri Sakari, cond. Chandos 9433

In the second movement of his Third Symphony, Gustav Mahler begins the upward journey on the ladder of consciousness. He considers flowers the first step and portrays them in musically charming ways.

Gustav Mahler's Third Symphony is the story of creation, with each movement a higher rung on the ladder of consciousness. It begins with lifeless matter and the struggle for life to emerge, portrayed as a musical battle between winter and summer.

Season 3 focuses on Mahler's Third Symphony in D minor (1895-1896), exploring Mahler's unique perspective on the different orders of being, from lifeless matter to highest consciousness. Each episode is devoted to a movement of the symphony. Guests include conductors Kent Nagano and Michael Tilson Thomas; principal musicians of the New York Philharmonic, the Berlin Philharmonic, the Boston Symphony Orchestra, the Chicago Symphony, the Los Angeles Philharmonic, and the Royal Concertgebouw Orchestra of Amsterdam; scholars from New York City and St. Louis in the United States, Oxford, England and Athens, Greece; and featuring James Lurie as the voice of Gustav Mahler, with Paul Hecht as the voice of Friedrich Nietzsche.

Synopsis On today's date in 1943, the Boston Symphony and conductor Serge Koussevitzky gave the first performance of a Symphony for Strings by the American composer William Schuman. Schuman was just 33 years old at the time, but Koussevitzky had already been programming and commissioning Schuman's music for about 5 years. Koussevitzky had already given the premiere performances of his popular “American Festival Overture” and the Third Symphony. Schuman's Symphony for Strings is dedicated to the memory of Koussevitzky's wife, Natalie, whose family fortune that enabled Serge Koussevitzky to establish himself as a conductor, found a publishing house, and commission many of the 20th century's most significant works, including Stravinsky's Symphony of Psalms and Bartok's “Concerto for Orchestra.” In Russia, the Koussevitzkys championed Russian music. In France, they supported French composers. And, beginning in 1924, when Koussevitzky became the music director of the Boston Symphony, many American composers benefited from this remarkable couple's enthusiasm for new music. Schuman's Symphony for Strings is just one of a long list of the Koussevitzky's American commissions, which includes works by Aaron Copland, Roy Harris, Samuel Barber, Walter Piston, and Leonard Bernstein. Taken as a whole, the concert music commissioned by Serge and Natalie Koussevitzky remains one of the most remarkable musical legacies of the 20th century. Music Played in Today's Program William Schuman (1910-1992) Symphony No. 5 (Symphony for Strings) I Musici de Montreal; Yuli Turovsky, cond. Chandos 9848

It's tour time! While you're listening, we'll be flying, driving, and playing our way through Boston, New York, Mexico City, and Guanajuato. So to kick off the trip, let's talk tour repertoire and hand out some awards. Tour rep includes Copland's Third Symphony and Mahler 1 as the "big pieces", plus violin concertos from Arturo Marquez and Gabriela Ortiz. Which composers would we love to have dinner with? What are the scariest moments in these concerts? And what was the most memorable on-stage exchange during tour prep?

It's tour time! While you're listening, we'll be flying, driving, and playing our way through Boston, New York, Mexico City, and Guanajuato. So to kick off the trip, let's talk tour repertoire and hand out some awards. Tour rep includes Copland's Third Symphony and Mahler 1 as the "big pieces", plus violin concertos from Arturo Marquez and Gabriela Ortiz. Which composers would we love to have dinner with? What are the scariest moments in these concerts? And what was the most memorable on-stage exchange during tour prep?

Join us for our last conversation of the season with Petronela Sandulache, tech-entrepreneur and multi-passionate woman who is the founder of Cordifio Health. Cordifio Health is a digital health start-up focused on supporting women with their heart health through education, empowerment and patient advocacy. Petronela's personal journey demonstrated the need for change in this area, and it is her mission to globally raise awareness in order to make women's hearts beat longer. Show Notes: The music that Petronela enjoys listening to is classical music with The Third Symphony of Beethoven being one of her favourites. She also enjoys vintage Italian music by day and jazz music by night. She is currently reading the biography of Shackleton who is the man whose goal was to conquer the South Pole. One of the books that she highly recommends is The One World Schoolhouse by Salman Khan. She would also recommend the Netflix documentary Daughters of Destiny, which is the story of the Shanti Bhavan school. A few books that she suggests our listeners to look out for is Sex Matters by Professor Alyson McGregor, "A Woman's Heart” by Professor Angela Maas, “Invisible Women” by Caroline Criado Perez, Go Figure - the astonishing science of the female body by Lisa Falco and The Woman Who Changed Her Brain and other inspiring stories of pioneering brain transformation by Barbara Arrowsmith-Young. To connect with Petronela, you can find her on LinkedIn. You can also find the Cordifio Health on their website, Instagram and LinkedIn. To read the full episode transcript visit our podcast website.

Synopsis On today's date in 1992, Joel Revzen conducted the Albany Symphony in the premiere of the Third Symphony of American composer Libby Larsen. Larsen subtitled her new work a “Lyric Symphony.” Now, the early 20th century Viennese composer Alexander Zemlinsky had written a “Lyric Symphony,” one that involved vocal soloists. As a composer, Libby Larsen is noted for her songs and choral works, but for her own “Lyric Symphony” she opted for a purely instrumental work that would be somehow quintessentially “American.” In program notes for her new symphony, Larsen wrote: “As I struggle with the definition of ‘American' music, it occurs to me that in all of our contemporary American genres, the dominating parameter of the music is rhythm. Rhythm is more important than pitch. This is a fundamental change in the composition of music in the 20th century. Here we speak American English, an inflected, complex, rhythmic language. “What is lyric in our times?” continued Larsen. “Where is the great American melody? Found, I would say, in the music of Chuck Berry, Robert Lockwood, Buddy Guy, George Gershwin, Dolly Parton, Hank Williams, James Brown, Aaron Copland, Walter Piston, and those composers who create melodies that are defined more by the rhythm than their pitch. My Symphony No. 3—the Lyric, is an exploration of American melody.” Music Played in Today's Program Libby Larsen (b. 1950) — Symphony No. 3 (Lyric) (London Symphony; Joel Revzen, cond.) Koch 7370

Riccardo Muti presents two groundbreaking pieces by the first African American composers to have symphonic works performed by major orchestras. William Grant Still's Mother and Child is a gentle, lilting work inspired by a painting by Sargent Johnson. Florence Price's expressive Third Symphony gives a powerful voice to the African American experience. The first half includes Beethoven's Fourth Symphony, a work of grace, subtlety and drive, whose smallest gestures have large implications. Florence Price was a pioneer in the world of classical music: the first African-American woman to be recognized as a symphonic composer and the first to have her work played by a major orchestra. In honor of these special performances of Price's Symphony No. 3, arrive early to learn more about this fascinating composer. The complete experience will include a free preconcert panel discussion in Orchestra Hall 90 minutes before each performance. The event is moderated by Dr. Toni-Marie Montgomery, Dean of the Henry and Leigh Bienen School of Music, Northwestern University, and featuring Florence Price scholars Dr. Tammy L. Kernodle, Distinguished Professor of Music, Miami University, and Dr. Douglas W. Shadle, Associate Professor of Musicology, Blair School of Music, Vanderbilt University, as well as special guest Jessie Montgomery, CSO Mead Composer-in-Residence. No additional tickets required. Following the discussion, enjoy chamber music performances by Civic Orchestra of Chicago and Chicago Musical Pathways Initiative String Quartets performing works by Price and Montgomery in the Grainger Ballroom and Rotunda at Symphony Center. Thursday, May 5 6:00-6:45p Panel Discussion 6:45-7:15p Preconcert Chamber Performances Friday, May 6 12:00-12:45p Panel Discussion 12:45-1:15p Preconcert Chamber Performances Saturday, May 7 6:30-7:15p Panel Discussion 7:15-7:45p Preconcert Chamber Performances Learn more: cso.org/performances/21-22/cso-classical/muti-conducts-beethoven-still-price

★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on:  Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion/ PodBean: https://atpercussion.podbean.com/ Hosts: Karli Viña and Ben Charles Producer: Ben Charles Guest: Shannon Wood https://www.malletshop.com Watch here  Listen below  0:00 Introduction and welcome 1:17 Today in history: Birthday of Billie Holiday, Mongo Santamaria, Spencer Dryden; Beethoven's Third Symphony premieres 3:59 Beethoven or Nay-toven game 8:25 Welcome Shannon Wood! 9:01 The start of malletshop.com 12:21 Why vintage instruments over new instruments? 15:25 The Gigster 25:24 Unusual instruments that have come through Mallet Shop 32:41 Pricing of vintage instruments 36:09 Richard Holmes's legacy as the St. Louis Symphony Orchestra timpanist 40:03 Timpani concerti: Michael Daugherty's Raise the Roof and William Kraft's Timpani Concerto No. 2 49:45 Dealing with the Florida Philharmonic dissolving 58:40 Lessons learned via musical stepping stones

Synopsis On today's date in 1968, a 72-year-old Italian-born American composer named Mario Castelnuovo-Tedesco died in Beverley Hills. As a young man, Castelnuovo-Tedesco was already known as a rising composer, concert pianist, music critic and essayist. In 1939 he left Mussolini's Italy and came to America, and like a lot of European musicians of the time, he found work writing film scores for major Hollywood studios. Castelnuovo-Tedesco became an American citizen, and eventually taught at the Los Angeles Conservatory, where his pupils included many famous names from the next generation of film composers, including Jerry Goldsmith, Henry Mancini, Andre Previn, Nelson Riddle and John Williams. In addition to film scores, Castelnuovo-Tedesco composed a signifigant body of concert music, including concertos for the likes of Heifetz and Segovia. A number of Castelnuovo-Tedesco's works are directly related to his Jewish faith, including a choral work from 1947, entitled “Naomi and Ruth.”  The composer's mother was named Naomi, and he claimed the faithful Ruth in the Biblical story reminded him of his own wife, Clara. “In a certain sense,” he wrote, “it was really my symbolic autobiography, existing before I decided to write – to open my heart – in these pages.” Music Played in Today's Program Mario Castelnuovo-Tedesco (1895 - 1968) — Naomi and Ruth (St.Martin's Academy and Chorus; Sir Neville Marriner, cond.) Naxos 8.559404 On This Day Births 1937 - American composer David Del Tredici, in Cloverdale, Calif.; Deaths 1736 - Italian composer Giovanni Battista Pergolesi, age 26 (of consumption), in Pozzuoli; 1881 - Russian composer Modest Mussorgsky (Gregorian date: Mar. 28) 1968 - Italian-born American composer Mario Castelnuovo-Tedesco, age 62, in Los Angeles; 1985 - American composer Roger Sessions, age 88, in Princeton, N.J.; Premieres 1735 - Handel: Organ Concertos Op. 4, nos. 2-3 (Julian date: March 5); 1750 - Handel: oratorio "Theodora," in London at the Covent Garden Theater; At the same event, the possible premiere of Handel's Organ Concerto Op. 7, no. 5, as well (Gregorian date: March 27); 1751 - Handel: oratorio "The Choice of Hercules" in London at the Covent Garden Theater; At the same event, Handel's Organ Concerto Op. 7, no. 3 premieres following Act II of a revival performance of Handel's cantata "Alexander's Feast" on the same program (Gregorian date: March 27); 1833 - Bellini: opera "Beatrice di Tenda" in Venice at the Teatro la Fenice; 1870 - Tchaikovsky: fantasy-overture "Romeo and Juliet," in Moscow, with Nicolas Rubinstien conducting (Julian date: Mar. 4); 1871 - Tchaikovsky: String Quartet in D, Op. 11, in Moscow, by members of the Russian Musical Society (Gregorian date: Mar. 28); 1879 - Dvorák: choral setting of Psalm No. 149, Op. 79, in Prague; 1888 - American premiere of the revised version of Bruckner: Symphony No. 4 ("Romantic"), with New York Philharmonic-Society conducted by Anton Seidl; In the preface to a book on Bruckner, the elderly conductor Walter Damrosch claimed he conducted the American premiere of this symphony (His memory played him false: Damrosch led the first American performance of Bruckner's THIRD Symphony; 1894 - Massenet: opera "Thaïs," at the Paris Opéra; 1938 - Martinu: opera "Julietta," in Prague at the National Theater; 1942 - Martinu: "Sinfonietta giocosa," for piano and chamber orchestra, in New York City; 2002 - Paul Schoenfield: "Nocturne" for solo cello, oboe and strings, by cellist Peter Howard, with oboist Kathryn Greenbank and the Saint Paul Chamber Orchestra, Gilbert Varga conducting. Links and Resources On Mario Castelnuovo-Tedesco

Synopsis Like Rodney Dangerfield, the viola is often an instrument that “gets no respect“ – so no viola jokes, today, folks. Quite the opposite, in fact. For its 150th Anniversary celebration, the New York Philharmonic commissioned a number of new orchestral works. One of them premiered at New York's Avery Fisher Hall on today's date in 1993:  the Third Symphony of the American composer Ellen Taaffe Zwilich. It's no exaggeration to suggest that Zwilich knows the symphony orchestra from inside out: for seven years she was a violinist in the American Symphony Orchestra, a New York-based ensemble conducted by Leopold Stokowski when Zwilich was a player. For her Third Symphony, Zwilich confessed she had an often-neglected section of the orchestra in mind: “I had noticed over the years the rising quality of viola playing,” she said in an interview, “and I thought that the Philharmonic's section was absolutely amazing. So when I had this commission .... I really wanted to put the spotlight on the viola section and give THEM a great deal to do, not only in terms of virtuosity, but of importance and centrality to the piece. This symphony really grew out of my love for this section of the orchestra.” Music Played in Today's Program Ellen Taaffe Zwilich (b. 1939) — Symphony No. 3 (Louisville Orchestra; James Sedares, cond.) Koch 7278

Synopsis Today's date marks the birthday of Abraham Lincoln, the 16th President of the United States. It is also the birthday of the famous American symphonist Roy Harris, who stated he was born in Lincoln County near Chandler, Oklahoma, on February 12th in 1898. Some have challenged the accuracy of the date, as a land deed associated with his family suggests his birth year might have been 1901, and Harris himself was the main source of information regarding the actual day of his birth. There's also some confusion about exactly how many symphonies Harris wrote, since he didn't assign numbers to some of the works he labeled “symphonies” or “symphonic” – and in 1976 deliberately misnumbered his Symphony No. 13 as being his Symphony No. 14, because he considered 13 an unlucky number. Despite all this, Harris's Third Symphony from 1938 is regularly cited as one of the best American symphonies of the 20th century. As the most recent Grove Dictionary of Music and Musicians puts it, “the musicality, breadth of vision, and generosity of impulse that form his best music assure him long-term recognition.” So, whether or not it was in 1898 or 1901, or even on February 12 – Happy Birthday, Mr. Harris! Music Played in Today's Program Roy Harris (1898 — 1979) — Symphony No. 3 (Dallas Symphony; Eduardo Mata, cond.) Dorian 90170

Synopsis Franz Berwald was a Swede who lived in the early 19th century and who made his living first as an orthopedic surgeon and later as the manager of a sawmill and glass factory. But these days, nobody cares very much about all that. Berwald's true passion was music, and in addition to operas and concertos, he wrote four symphonies, only one of which was performed during his lifetime, and that to mixed reviews. Berwald spent some years in Vienna, where a few of his works were performed. After Berwald's death in 1868, the crusty, conservative Viennese music critic Eduard Hanslick appraised him as (quote) "a man stimulating, witty, prone to bizarrerie, [but who] as a composer lacked creative power and fantasy". Oddly enough, it's exactly Berwald's “bizarrerie,” or amusing strangeness, that appealed to later generations – and likewise his creative power and fantasy. For many music lovers today, Berwald ranks as Sweden's first great Romantic composer and symphonist. This did not happen overnight, however. Berwald's Third Symphony, nicknamed “The Singular One,” was written in 1845, but had to wait 37 years after the death of its composer for its first public performance in Stockholm on today's date in 1905. Music Played in Today's Program Franz Berwald (1796 – 1868) — Symphony 3 in C (Singulière) (Helsingborg Symphony Orchestra; Okko Kamu, cond.) Naxos 8.553052

Aaron Copland, American composer, was born in 1900 in New York. He was taught to play the piano by his elder sister, and when he was 15 years old he decided he wanted to be a composer. In 1921 he went to Paris to study with the famous teacher Nadia Boulanger, and during his 3 years in Paris he was at the forefront of the mucical avant-garde. After his return to the United States he produced his first major work, the Symphony for Organ and Orchestra which was first performed at Carnegie Hall in 1925.Copland, like Bach, assimilated all the important musical trends of his lifetime. Jazz, Stravinsky's neoclassicism, American folklore, and finally Schoenberg's 12-tone system, all made their imprint on his music, and yet his style remained unique, personal, and instantly recognizeable. He stopped composing in 1970, but continued conducting and lecturing for more than 10 years, as well as promoting modern American works and establishing the composition department at Tanglewood. He died in 1990 in the Phelps Memorial Hospital in Tarrytown (New York).Copland is rightly considered the most important American composer of the mid 20th century. He produced masterpieces in most musical genres. His most enduringly popular works are those of his 'Americana' period : Rodeo, Billy the Kid, Appalachian Spring, Danzon Cubano, El Salon Mexico, the film scores Our Town and The Red Pony, and the incidental music for Irwin Shaw's play Quiet City. The 'Fanfare for the Common Man' from his imposing Third Symphony has become an icon of American music, played at countless celebratory occasions. His concerti include a Piano Concerto and a Clarinet Concerto written for Benny Goodman. He also left a sizable body of chamber music, songs, and piano music.His piano works span the better part of his career. Between the early frolic of The Cat and the Mouse (1920) to the serial 10-tone Piano Fantasy (1957), we find these major landmark works : Passacaglia (1922), Piano Variations (1930), Sonata (1941), and the ever popular Four Piano Blues (1948), all of which are among the most important American piano works of the time.

Beethoven was angry. He’d intended to name his Third Symphony “The Bonaparte.” In an age of religious and political tyranny, he saw Napoleon as a hero of the people and champion of freedom. But when the French general declared himself emperor, the celebrated composer changed his mind. Denouncing his former hero as a rascal and tyrant, he rubbed so hard to erase Bonaparte’s name that he left a hole in the original score. Early believers in Jesus must have been disappointed when their hopes of political reform were dashed. He had stirred such hopes of life without the tyranny of Caesar’s heavy-handed taxes and military presence. Yet, decades later, Rome still ruled the world. Jesus’ messengers were left with fears and weakness. His disciples were marked by immaturity and infighting (1:11–12; 3:1–3.) But there was a difference. Paul saw beyond what remained unchanged. His letters began, ended, and overflowed with the name of Christ. Christ resurrected. Christ with a promise to return in power. Christ in judgment of everything and everyone. First and foremost, however, Paul wanted believers in Jesus to be grounded in the meaning and implications of Him crucified (2:2; 13:1–13). The love expressed in Jesus’ sacrifice made Him a different kind of leader. As Lord and Savior of the world, His cross changes everything. The Name of Jesus will forever be known and praised above every name.

It's our special anniversary episode! We decided it was high time we figured out if we were doing this whole friendship thing right, so we checked in with the ancient Roman philosopher Cicero. Rachel refuses to relitigate the major theme of The Odyssey. Jackie gets TWO more cats, seriously! Theo reveals what he values above all else. Topics include: limericks yet again, two wolves, the fall of the Roman Empire, Caesar himself, Facebook vs. Meta, chickpeas, gorgeous beans, senex amators, chickpea money, Dr. Decenex, the freaking human centipede, street smarts, shameful sexual rendezvous, Golden Corral nepotism, elephants, Lord of the Rings (as usual), shufflating, Beethoven's Third Symphony, the transitive property, Over the Garden Wall, Jacques Tati, the First Triumvirate, the first appearance of Theo's Jimmy Stewart impression, our rival Obama, and the final fun-tier. Content warning: cannibalism, cancer, death

Synopsis On today's date in 1945, Serge Koussevitzky conducted the Boston Symphony in the premiere performance of the Third Symphony of the Czech composer Bohuslav Martinu. Martinu had finished the first two movements of his symphony as the Second World War was rushing to a close and later claimed he had Beethoven's Third, the “Eroica,” very much on his mind, convinced that there was somehow an ethical force at work in the creation of a symphony, and, just as in Beethoven's “Eroica,” it was possible to express moral and ethical ideals in music. As an exile from Nazi-occupied Czechoslovakia and France, Martinu had come to the United States in 1941, and his mood is understandable in the anxious yet hopeful spring and summer of 1945. After liberation of Czechoslovakia, Martinu returned to his homeland and was offered a teaching post in Prague. Martinu, unhappy with Czechoslovakia's new Communist rulers, declined the offer, and returned to America, where he became a naturalized citizen in 1952.  After his death in 1957, Martinu's remains were eventually returned to his family mausoleum in Czechoslovakia, and in 1990, the Centenary of his Birth was celebrated in that country as a major cultural event. Music Played in Today's Program Bohuslav Martinu (1890 – 1959) — Symphony No. 3 (National Orchestra of Ukraine; Arthur Fagen, cond.) Naxos 8.553350

When BBC Music Magazine asked one hundred fifty-one of the world’s leading conductors to list twenty of what they believed to be the greatest symphonies ever written, Beethoven’s Third, Eroica, came out on top. The work, whose title means “heroic,” was written during the turmoil of the French revolution. But it also came out of Beethoven’s own struggle as he slowly lost his hearing. The music evokes extreme swings of emotion that express what it means to be human and alive while facing challenges. Through wild swings of happiness, sadness, and eventual triumph Beethoven’s Third Symphony is regarded as a timeless tribute to the human spirit. Paul’s first letter to the Corinthians deserves our attention for similar reasons. Through inspired words rather than musical scores it rises in blessing (1:4–9), falls in the sadness of soul-crushing conflict (11:17–22), and rises again in the unison of gifted people working together for one another and for the glory of God (12:6­–7). The difference is that here we see the triumph of our human spirit as a tribute to the Spirit of God. As he urges us to experience together the inexpressible love of Christ, Paul helps us see ourselves as called together by our Father, led by his Son, and inspired by his Spirit—not for noise, but for our contribution to the greatest symphony of all.

Synopsis On this date in 1842 that Felix Mendelssohn presented himself at Buckingham Palace in London, as the invited guest of Queen Victoria and the royal consort, Prince Albert.  In 1842 Victoria was not the plump matron so familiar from later portraits, but a slim woman of 23.  Elegant Prince Albert, a fine amateur musician and composer of some charming songs, was the same age.   Mendelssohn himself was 33, although the 20-something Queen wrote in her diary that she thought he looked  “a bit older.” Mendelssohn played some of his “Songs Without Words,” and improvised on “Rule Britannia” and the “Austrian National Anthem.” Victoria and Albert were impressed, so Mendelssohn was invited back for more visits. Victoria presented him with a ring engraved “V.R. 1842”—the initials standing for “Victoria Regina.”  In return, Mendelssohn dedicated to her his newly completed Third Symphony, the “Scottish,” a work he had begun many years earlier during a walking tour of Scotland during his first visit to Britain. Curiously, although this “Scottish” Symphony was the fifth and final of Mendelssohn's symphonies to be completed, it was the third to be published, and so has subsequently been known as Symphony No. 3. Music Played in Today's Program Felix Mendelssohn (1809 – 1847) — Symphony No. 3 (Scottish) (London Symphony Orchestra; John Eliot Gardiner, cond.) LSO 765

Synopsis On this date in 1842 that Felix Mendelssohn presented himself at Buckingham Palace in London, as the invited guest of Queen Victoria and the royal consort, Prince Albert.  In 1842 Victoria was not the plump matron so familiar from later portraits, but a slim woman of 23.  Elegant Prince Albert, a fine amateur musician and composer of some charming songs, was the same age.   Mendelssohn himself was 33, although the 20-something Queen wrote in her diary that she thought he looked  “a bit older.” Mendelssohn played some of his “Songs Without Words,” and improvised on “Rule Britannia” and the “Austrian National Anthem.” Victoria and Albert were impressed, so Mendelssohn was invited back for more visits. Victoria presented him with a ring engraved “V.R. 1842”—the initials standing for “Victoria Regina.”  In return, Mendelssohn dedicated to her his newly completed Third Symphony, the “Scottish,” a work he had begun many years earlier during a walking tour of Scotland during his first visit to Britain. Curiously, although this “Scottish” Symphony was the fifth and final of Mendelssohn's symphonies to be completed, it was the third to be published, and so has subsequently been known as Symphony No. 3. Music Played in Today's Program Felix Mendelssohn (1809 – 1847) — Symphony No. 3 (Scottish) (London Symphony Orchestra; John Eliot Gardiner, cond.) LSO 765

Synopsis Wynton Marsalis says it all began with a dare in the 1990s from the late German conductor Kurt Masur, then the music director of the New York Philharmonic.  “He came to a concert of mine,” said Marsalis, “when I was like 28 or 29, and said he wanted me to write for the New York Philharmonic. I started laughing like, man, I have never even written for a big band.” Well, since then jazz trumpeter Marsalis has written more than one work for a big bands like the New York Philharmonic, and in 2010 that ensemble, along with the Los Angeles Philharmonic, the London Symphony, and the Berlin Philharmonic commissioned his Third Symphony, a work titled “Swing Symphony.” It was the Berlin Philharmonic who gave the first performance of the work, and on today's date in 2010 encored their premiere on the internet. Said Wynton Marsalis, “Swing to a jazz musician means ‘coming together, and in this case it's about TWO orchestras coming together.” Marsalis included parts for himself and his Jazz at Lincoln Center Orchestra in his new score, in contrast – and in harmony – with the forces of a traditional symphony orchestra. Music Played in Today's Program Wynton Marsalis (b. 1961 ): Swing Symphony (Symphony No. 3) (Jazz at Lincoln Center Orchestra; St. Louis Symphony; David Robertson, cond.) Blue Engine Records BE-0017

Synopsis Wynton Marsalis says it all began with a dare in the 1990s from the late German conductor Kurt Masur, then the music director of the New York Philharmonic.  “He came to a concert of mine,” said Marsalis, “when I was like 28 or 29, and said he wanted me to write for the New York Philharmonic. I started laughing like, man, I have never even written for a big band.” Well, since then jazz trumpeter Marsalis has written more than one work for a big bands like the New York Philharmonic, and in 2010 that ensemble, along with the Los Angeles Philharmonic, the London Symphony, and the Berlin Philharmonic commissioned his Third Symphony, a work titled “Swing Symphony.” It was the Berlin Philharmonic who gave the first performance of the work, and on today's date in 2010 encored their premiere on the internet. Said Wynton Marsalis, “Swing to a jazz musician means ‘coming together, and in this case it's about TWO orchestras coming together.” Marsalis included parts for himself and his Jazz at Lincoln Center Orchestra in his new score, in contrast – and in harmony – with the forces of a traditional symphony orchestra. Music Played in Today's Program Wynton Marsalis (b. 1961 ): Swing Symphony (Symphony No. 3) (Jazz at Lincoln Center Orchestra; St. Louis Symphony; David Robertson, cond.) Blue Engine Records BE-0017

www.classicalmusic.network LIVE 24/7 Sergei Rachmaninoff composed his Symphony No. 3 in A minor, Op. 44 between 1935 and 1936. The Third Symphony is considered a transitional work in Rachmaninoff's output. In melodic outline and rhythm it is his most expressively Russian symphony, particularly in the dance rhythms of the finale. What was groundbreaking in this symphony was its greater economy of utterance compared to its two predecessors. This sparer style, first apparent in the Rhapsody on a Theme of Paganini, enhances the emotional power of the work. The symphony was premiered on November 6, 1936, with Leopold Stokowski conducting the Philadelphia Orchestra. Critical opinion was divided and public opinion negative toward the work. Rachmaninoff remained convinced of the piece's worth, however, and conducted the Philadelphia Orchestra in the first recording of the work in 1939. Following the reevaluation of Rachmaninoff's work in the 1970s, the symphony has been viewed in a more favorable light and has been frequently played and recorded.

In this episode, Dave and Andrew return to Walter Piston, who first won the Pulitzer in 1948 for his Third Symphony. In 1961, not even a year into his retirement, Piston won again for his Seventh Symphony. Although Piston's music isn't performed much today, Carol Oja has argued that "From the perspective of the early 21st century, the music of Walter Piston sounds mighty appealing." Will Dave and Andrew agree? If you're interested in more information about Walter Piston's teaching, we recommend: Piston/DeVoto, Harmony Piston, Counterpoint  Piston, Orchestration

On today’s date in 1946, composer Lou Harrison conducted the premiere performance of an orchestral work written some 45 years earlier. It was the Third Symphony of Charles Ives, composed between 1901 and 1904. Early in 1911, Ives had sent the score for his symphony for consideration to the major New York orchestras of his day, Walter Damrosch’s New York Symphony and Gustav Mahler’s New York Philharmonic. Damrosch never responded, but it seems Mahler took notice. In 1911, the gravely ill Mahler took Ives’ score with him when he returned to Vienna for treatment, apparently with the intention of performing it. Sadly, Mahler died before that could happen, and Ives’ Third would have to wait another 35 years for its premiere. Lou Harrison’s 1946 performance was given by the Little Symphony of New York at Carnegie Hall’s smaller chamber music room. The critic for Musical America wrote: “Ives’ Third is an American masterpiece . . . as unmistakably a part of our land as Huckleberry Finn or Moby Dick.” Ives’s Symphony won the 1946 Pulitzer Prize for Music. When notified of the award, the crusty Mr. Ives, then elderly, ill, and living in retirement, responded: “Prizes are for boys—I’m grown up.”

On today’s date in 1977, the Third Symphony of the Polish composer Henryk Gorecki was performed for the first time in Royan, France, by the Southwest German Radio Orchestra. Gorecki’s Symphony has a subtitle—“Symphony of Sorrowful Songs”—and sets three texts set for solo soprano voice: a 15th century Lamentation from a Polish monastery; a prayer inscribed on the wall of a WW II prison cell at the headquarters of the Polish Gestapo; and a sad Polish folk song. Fifteen years after its 1977 premiere, a recording of Gorecki’s symphony featuring the American soprano Dawn Upshaw and conductor David Zinman received some airplay on a British radio station and quickly soared to the top of the pop charts in the U.K. Radio stations in the U.S. started playing it as well, with the same effect. Was it a sign of an international religious revival? A delayed reaction to the collapse of Communism in Europe? Even Gorecki himself was perplexed: “Perhaps people find something they need in this piece of music,” he wrote. “Somehow I hit the right note—something, somewhere that had been lost to them. I feel they instinctively knew what they needed.”

Very comfortably. Strophic. The fourth movement opens with a relaxed, bucolic scene in G major. A child, voiced by a soprano, presents a sunny, naive vision of Heaven and describes the feast being prepared for all the saints. The scene has its darker elements: the child makes it clear that the heavenly feast takes place at the expense of animals, including a sacrificed lamb. The child's narrative is punctuated by faster passages recapitulating the first movement.Unlike the final movement of traditional symphonies, the fourth movement of Mahler's No. 4 is essentially a song, containing verses, with interludes, a prelude, and a postlude (a strophic structure). By the time the postlude is heard, there is a modulation to E major (the tonic major of the relative minor) and unusually stays in this key, ending the symphony away from the tonic of G major. Several ties to the Third Symphony can be heard in these passages as well.---A listening guide of Symphony No. 4 - 4th Movement with Lew Smoley.

When Franz Schubert died in Vienna in 1828, he left behind several manuscripts of symphonies unpublished, and in some cases unperformed during his short lifetime. It wasn’t until today’s date in 1865—37 years after Schubert’s death—that his most famous Symphony received its premiere performance in his hometown of Vienna. This Symphony in B minor came to be called the “Unfinished,” since its manuscript score contained only two completely finished movements. A normal Viennese Symphony of Schubert’s time should contain four movements, and, in fact, a fairly complete piano sketch of the third movement exists, as does a full score of just the first nine measures of that same movement. When Johann van Herbeck conducted the Vienna Philharmonic in the first performance in 1865, he tacked on the last movement of Schubert’s Third Symphony as a finale. More recently, some scholars have argued that a portion of Schubert’s “Rosamunde” incidental music, was in fact the missing final movement of his symphony. Despite these attempts to finish the “Unfinished,” most performers and audiences seem content to hear the score as Schubert left it—romantically cut short, just like the composer’s tragically short life.

When Franz Schubert died in Vienna in 1828, he left behind several manuscripts of symphonies unpublished, and in some cases unperformed during his short lifetime. It wasn’t until today’s date in 1865—37 years after Schubert’s death—that his most famous Symphony received its premiere performance in his hometown of Vienna. This Symphony in B minor came to be called the “Unfinished,” since its manuscript score contained only two completely finished movements. A normal Viennese Symphony of Schubert’s time should contain four movements, and, in fact, a fairly complete piano sketch of the third movement exists, as does a full score of just the first nine measures of that same movement. When Johann van Herbeck conducted the Vienna Philharmonic in the first performance in 1865, he tacked on the last movement of Schubert’s Third Symphony as a finale. More recently, some scholars have argued that a portion of Schubert’s “Rosamunde” incidental music, was in fact the missing final movement of his symphony. Despite these attempts to finish the “Unfinished,” most performers and audiences seem content to hear the score as Schubert left it—romantically cut short, just like the composer’s tragically short life.

In 2019, the Vandegrift High School Marching Band from Austin, TX won the Bands of America Grand National Class 4A Championship sweeping all captions and was named Grand National Champion with a score of 97.18 winning the award for Outstanding General Effect with their show, ‘Aria: Queen of the Night.’ After bursting onto the scene in 2010, the Vandegrift Viper Band has won countless contests & Bands of America Regionals and has also been a consistent UIL State Marching Band finalist winning bronze in 2018, silver in 2015, and gold in 2013. In 2019 the Vandegrift Band was the recipient of the prestigious International Sudler Shield. The wind ensemble has also been a consistent TMEA state honor band finalist culminating in being named the 2018 TMEA 6A Honor Band. The Vandegrift wind ensemble was also invited to perform at the 2020 Midwest Band & Orchestra Clinic in Chicago, IL. In 2009 Vandegrift High School opened, splitting from the nationally-known Cedar Park High School in the Leander Independent School District, and the Vandegrift marching band began competing in their first year as a school. Their 2009 production featured "Finale, The Promise of Living from The Tender Land," and "Third Symphony" by Aaron Copland. On October 24th at Hays High School, the band placed 5th in prelims and 5th in finals, earning State Alternate, at their very first Area D Marching Contest. Joining me today is Jeremy Spicer who was the director of bands for Vandegrift HS from 2009-2014 and prior to his appointment at Vandegrift, he spent eight years as a member of the staff at Cedar Park High School. On this episode of Storybook, we discuss the Vandegrift High School's 2009 production, “Remembered.” --- Send in a voice message: https://anchor.fm/sketchbookpodcast/message

On today’s date in 1941, the Boston Symphony gave the first performance of a new symphony by a 31-year old American composer named William Schuman. It is numbered as Schuman’s Third Symphony but, in reality, you might as well say it’s his First. Now, Schuman was not an early devotee of the New Math. The explanation is a fairly simple one: Schuman had written two earlier symphonies, but these were composed very much under the influence of his teacher, the American composer Roy Harris. Schuman wrote his first symphony in 1935 and a second in 1937. The Second was very well received, and had even been played by the Boston Symphony under Serge Koussevitzky. It was Koussevitzky who commissioned Schuman to write a Third Symphony, and conducted its premiere on today’s date in 1941. It was with this work that Schuman felt he really found his own distinct voice as a composer. He withdrew his two earlier symphonies, and they were never published. By the time of his death in 1992, William Schuman had completed a Symphony No. 10. So—subtract the first two, and that makes eight “authentic” and “officially authorized” William Schuman symphonies in all.

In this fifth episode of Dr. Music, we discuss the Romantic Period aesthetic of "striving for the unattainable." Beethoven was the pioneer of the Romantic style, his Third Symphony igniting what became the Romantic ideal of stirring the imagination, visiting ancient times and exotic locations, and opening up a rich palette that was able to delve deeper into the artists's personal emotions. Reaching for what is unattainable, whether it is a reach through time, space, or emotional expression, is what we will experience in the podcast's musical examples.

By the time of his death in 1998, pop singer Frank Sinatra was such a domineering figure in his field that he was known as “The Chairman of the Board.” By the time of HIS death in 1992, the same nickname might have applied to the American composer William Schuman, who was, at various times, director of publications for G. Schirmer, president of the Juilliard School, president of Lincoln Center, and on the board of many other important American musical institutions. William Schuman even LOOKED the part of a distinguished, well-dressed CEO. Oddly enough, he came rather late to classical music. Schuman was born on today’s date in 1910, and, as a teenager in New York City, was more interested in baseball than music, even though his dance band was the rage of Washington High School. It was with some reluctance that 19-year old Billy Schuman was dragged to a New York Philharmonic concert conducted by Arturo Toscanini. The program included a symphony by someone named ROBERT Schumann, and Billy was pretty impressed. A few years later, in 1933, when he heard the First Symphony of the contemporary American composer Roy Harris, Schuman was hooked, and soon was writing concert music himself. By 1941, when his Third Symphony premiered, Schuman was recognized as a major talent, and in 1943 he was awarded the first Pulitzer Prize for Music.

By the time of his death in 1998, pop singer Frank Sinatra was such a domineering figure in his field that he was known as “The Chairman of the Board.” By the time of HIS death in 1992, the same nickname might have applied to the American composer William Schuman, who was, at various times, director of publications for G. Schirmer, president of the Juilliard School, president of Lincoln Center, and on the board of many other important American musical institutions. William Schuman even LOOKED the part of a distinguished, well-dressed CEO. Oddly enough, he came rather late to classical music. Schuman was born on today’s date in 1910, and, as a teenager in New York City, was more interested in baseball than music, even though his dance band was the rage of Washington High School. It was with some reluctance that 19-year old Billy Schuman was dragged to a New York Philharmonic concert conducted by Arturo Toscanini. The program included a symphony by someone named ROBERT Schumann, and Billy was pretty impressed. A few years later, in 1933, when he heard the First Symphony of the contemporary American composer Roy Harris, Schuman was hooked, and soon was writing concert music himself. By 1941, when his Third Symphony premiered, Schuman was recognized as a major talent, and in 1943 he was awarded the first Pulitzer Prize for Music.

This is a special 5-minute Tuesday edition of What In God's Name.

Although contemporaries, Gustav Mahler and Richard Strauss were two VERY different human beings. Mahler was tormented by self-doubt and existential angst; Strauss was a placid soul, self-confident to the point of complacency. Still, Mahler and Strauss admired and conducted each other’s music, and their odd friendship is reflected in their published correspondence. On today’s date in 1911, for example, on learning that Mahler had been ill, but was recovering, Strauss wrote a gracious letter to his fellow composer-conductor: “I learn with great pleasure that you are recovering from your long illness. Perhaps it might be a happy diversion for you during the melancholy hours of convalescence to know I plan to perform your Third Symphony with the Royal Orchestra in Berlin next winter. It is an excellent orchestra. If you would like to conduct yourself, it would be my pleasure to hear your lovely work again under your own direction – much as I would like to conduct it myself. I would be glad to rehearse the orchestra for you, so you would have no trouble and only the pleasure of conducting.” Sadly, Strauss was poorly-informed about Mahler’s recovery and the gravity of his illness. Mahler died seven days after Strauss penned the letter.

Although contemporaries, Gustav Mahler and Richard Strauss were two VERY different human beings. Mahler was tormented by self-doubt and existential angst; Strauss was a placid soul, self-confident to the point of complacency. Still, Mahler and Strauss admired and conducted each other’s music, and their odd friendship is reflected in their published correspondence. On today’s date in 1911, for example, on learning that Mahler had been ill, but was recovering, Strauss wrote a gracious letter to his fellow composer-conductor: “I learn with great pleasure that you are recovering from your long illness. Perhaps it might be a happy diversion for you during the melancholy hours of convalescence to know I plan to perform your Third Symphony with the Royal Orchestra in Berlin next winter. It is an excellent orchestra. If you would like to conduct yourself, it would be my pleasure to hear your lovely work again under your own direction – much as I would like to conduct it myself. I would be glad to rehearse the orchestra for you, so you would have no trouble and only the pleasure of conducting.” Sadly, Strauss was poorly-informed about Mahler’s recovery and the gravity of his illness. Mahler died seven days after Strauss penned the letter.

We continue today with the massive Third Symphony of Mahler, starting with the enormous first movement. Later today we will review movements two-six, so be sure to stay tuned! www.attentiontodetailpod.com 

We continue on with the second half of Mahler's massive Third Symphony, movements 2-6. Enjoy! www.attentiontodetailpod.com

La Jolla Symphony has not performed Brahms’ mighty Third Symphony, considered one of his most lyrical works, in a quarter of a century. The Symphony also premiered two commissioned works: a new piece by emerging Iranian composer Anahita Abbasi entitled "why the trees were murmuring," and Michael Pisaro’s "Umbra & Penumbra," featuring percussionist Greg Stuart. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34848]

La Jolla Symphony has not performed Brahms’ mighty Third Symphony, considered one of his most lyrical works, in a quarter of a century. The Symphony also premiered two commissioned works: a new piece by emerging Iranian composer Anahita Abbasi entitled "why the trees were murmuring," and Michael Pisaro’s "Umbra & Penumbra," featuring percussionist Greg Stuart. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34848]

La Jolla Symphony has not performed Brahms’ mighty Third Symphony, considered one of his most lyrical works, in a quarter of a century. The Symphony also premiered two commissioned works: a new piece by emerging Iranian composer Anahita Abbasi entitled "why the trees were murmuring," and Michael Pisaro’s "Umbra & Penumbra," featuring percussionist Greg Stuart. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34848]

La Jolla Symphony has not performed Brahms’ mighty Third Symphony, considered one of his most lyrical works, in a quarter of a century. The Symphony also premiered two commissioned works: a new piece by emerging Iranian composer Anahita Abbasi entitled "why the trees were murmuring," and Michael Pisaro’s "Umbra & Penumbra," featuring percussionist Greg Stuart. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34848]

La Jolla Symphony has not performed Brahms’ mighty Third Symphony, considered one of his most lyrical works, in a quarter of a century. The Symphony also premiered two commissioned works: a new piece by emerging Iranian composer Anahita Abbasi entitled "why the trees were murmuring," and Michael Pisaro’s "Umbra & Penumbra," featuring percussionist Greg Stuart. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34848]

La Jolla Symphony has not performed Brahms’ mighty Third Symphony, considered one of his most lyrical works, in a quarter of a century. The Symphony also premiered two commissioned works: a new piece by emerging Iranian composer Anahita Abbasi entitled "why the trees were murmuring," and Michael Pisaro’s "Umbra & Penumbra," featuring percussionist Greg Stuart. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34848]

In this week’s episode, Scott and Karl talk with Michelle Hawkins, music professor and Online Great Book’s member. The trio listen and discuss Beethoven’s Third Symphony and read The Heiligenstadt Testament, a heartbreaking letter written by Beethoven to his brothers.  Beethoven's Third Symphony is regarded as a turning point in musical history, the ideas for which began during his tumultuous "Heiligenstadt Testament" period. Why is it that so few of us are listening to this landmark symphony? In today's music climate, understanding and enjoying classical music may seem far-fetched for some. Michelle has a theory: “We’re living in a post-musical culture now… people are not growing up in the same musical atmosphere that used to be the case. It is harder to listen to these pieces of music because you do need to have a little bit of context. They are complex, it may be hard to enjoy something so complex when you have no context and no exposure.” What if you want to explore classical music, but you’re not sure where to begin? We approach great music the way we approach great books— you don’t have to be an expert before going out and encountering the thing.  If you are interested in starting your journey with the Great Books, use the discount OGBPODCAST to save 25% on enrollment at Online Great Books.

Chicago Symphony Orchestra We are honored to welcome Frank Villella, Director of the Rosenthal Archives of the Chicago Symphony Orchestra to the show! This CSO-themed episode was written by Frank and has a bounty of great classical music and CSO trivia. Frank co-hosts with David to bring you 20 great questions. For instance: How many movements are in Holst’s The Planets? The Chicago Symphony Orchestra has made commercial recordings for several labels, including RCA. The iconic image used by RCA for many years showed a dog listening to a gramophone. What breed of dog was it, and for bonus points, what was the name of the dog? During the current season, the Chicago Symphony Orchestra is performing all of Ludwig van Beethoven's symphonies. He named his Third Symphony the "Eroica" or "Heroic," but to whom was the work originally dedicated? Find out the answers to these questions and more in this magically musical episode of Quiz Quiz Bang Bang! And here's a link to Barber's Adagio for Strings, which is referenced in the episode. Music Hot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ Don't forget to follow us on social media: Patreon - patreon.com/quizbang - Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support! Website - quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question! Facebook - @quizbangpodcast - we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess. Instagram - Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess. Twitter - @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia - stay for the trivia. Ko-Fi - ko-fi.com/quizbangpod - Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!

About this Performance: Trifonov has the reputation of taking a beloved classic like Tchaikovsky's popular Piano Concerto and imbuing it with fresh new life. L.A. favorite Michael Tilson Thomas also leads Copland's Third Symphony, built on the composer's stirring Fanfare for the Common Man.    Program: RIMSKY-KORSAKOV Dubinushka TCHAIKOVSKY Piano Concerto No. 1  COPLAND Symphony No. 3   Artists: Los Angeles Philharmonic Michael Tilson Thomas, conductor Daniil Trifonov, piano

Music grows out of the silence that precedes it, so says Mr. Somers in this discussion how silence, or hesitation, can make a piece of music extraordinary. We listen to the Mahler's Third Symphony to hear how pauses can make the musical experience so powerful. Beethoven was a master of using pauses as emphatic gestures, particularly in his 7th Symphony and Egmont Overture. Contact the show at yccb@mauriceriverpress.com Read the New York Times story: https://www.nytimes.com/2019/10/02/arts/music/silence-classical-music.html

What does Harry Styles have in common with 19th-century Romantics? What does Ode to Joy sound like sung in Arabic? What is a duduk? A zurna? A yangqin? Sam and Tim reveal all in their latest batch of classical goodness. Harry Styles's ‘Lights Up': https://www.youtube.com/watch?v=9NZvM1918_E Music Credits: ‘Tim and Sam's Podcast' written and performed by Harry Sever ‘Ganymede' by Carl Loewe and Franz Schubert‘Mondnacht' by Schumann, performed by Hans Hotter and Gerald Moore ‘The Diva Dance' by Éric Serra performed by Laura Workman Avet Terterian, Symphony No 3 ‘Shoger jan Shoger jan' by Soghomon Komitas, performed by Tigran Aleksanyan and Vahe Hovanesian Overture to Bastien und Bastienne by W.A. Mozart performed by the Berlin Chamber Orchestra Beethoven's Third Symphony, ‘Eroica', Mov. 1 performed by the Wiener Philharmoniker under Wilhelm Furtwängler Jean Sibelius, Symphony No. 5, Mov. 3 performed by Timmy FisherFollow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/

Following a "blistering" (Chicago Tribune) CSO podium debut, David Afkham returns to lead a diverse program featuring Haydn's emotionally charged Mourning Symphony, Strauss' tone poem portraying a man's journey through death and Brahms' radiant Third Symphony, which Clara Schumann described as "one beat of the heart, every movement a jewel!"

***We just launched a brand new Brass Junkies newsletter! It will change your life. Like, it's life-changing! Subscribe today to stay in the loop on all things Brass Junkies!*** Sign up by 10/31 for a chance for you and a friend to chat with The Brass Junkies! TBJ121: Trumpeter Wayne du Maine on working with Bernstein and Prince, but not at the same time. He is one of the busiest and most successful musicians working today and he shares how he balances it all with a smile on his face. From his bio: A native of St. Louis, Wayne J. du Maine currently performs with the Metropolitan Opera Orchestra, Orpheus Chamber Orchestra, American Composers Orchestra, New York City Opera, Rodney Mack Philadelphia Big Brass, Chamber Music Society of Lincoln Center and with contemporary music ensembles such as Speculum Musicae, Sospeso, and ST-X Xenakis. Mr. du Maine is a member of the Manhattan Brass and with Mercury and the Brooklyn Philharmonic Brass Quintets, he is dedicated to performing and introducing live music to thousands of school children in the NYC area, NJ and PA. Wayne has worked with a broad spectrum of artists ranging from Leonard Bernstein and Leonard Slatkin to Hank Jones, Wynton and Branford Marsalis, Patti Lupone and Audra MacDonald. He has been a soloist with the orchestras of St. Louis, Cincinnati and Pittsburgh. He can be heard on recordings with the New York Philharmonic, Met Opera Orchestra, numerous commercials, motion pictures and with Prince on his New Power Soul recording. Mr. du Maine is on the faculty of Columbia and Princeton Universities as well as Bar Harbor Brass Week. At the Juilliard School, Wayne teaches trumpet in the Music Advancement Program and serves as a teaching assistant in the Instrumental Music Program. He is also on the conducting faculty of the Elisabeth Morrow Summer Strings and now is Music Director of the Concert Band and Jazz Ensemble at the Elisabeth Morrow School. Recently, Wayne made his Brooklyn Philharmonic conducting debut to critical acclaim and will make his Westchester Philharmonic debut in Spring, 2011. Mr. du Maine has performed at music festivals in Aspen, Spoleto, Tanglewood, Vermont Mozart, Bowdoin, Marlboro, Berkshire Choral, and the Manchester (VT) Music Festival. Wayne just completed a two year run of Fiddler on the Roof where he was associate conductor. He is currently a member of the show How The Grinch Stole Christmas and has served as associate conductor at the hit revival of South Pacific at Lincoln Center. Highlights of recent performances include the Boys Choir of Harlem, Take 6, Martha's Vineyard Chamber Music Society, Absolute Ensemble, soloist with the Cincinnati Symphony, Peter, Paul and Mary, and the rock band Jesus H. Christ, where he plays keyboards. A member of two softball leagues in Central Park, Wayne resides in New Jersey with his wife, Sharon and daughter Sequoia. In this fun and lively discussion, we cover: Stanley Cup/St. Louis Blues NYU brass program Learning the ropes as an administrator Recruiting and fundraising Negotiating and the art of pricing 1990 Tanglewood performance of Copland's Third Symphony under Bernstein Conducting Scotch and cigarettes Prioritization and scheduling Playing in the stage bands at The Met Mark Gould Portfolio career/freelancing Looking 7-9 months ahead to manage uneven income Playing on Broadway while still in school The importance of sightreading How he guides his students Wayne du Maine's Beer Course With Trumpet Recording with Prince Links: NYU Steinhardt Brass page Manhattan Brass Westchester Philharmonic NY Times article Wayne du Maine's Beer Course With Trumpet Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. We just launched a brand new Brass Junkies newsletter! It will change your life. Like, it's life-changing! Subscribe today to stay in the loop on all things Brass Junkies! Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

A listener's guide to  Saint-Saëns' famous and popular Third Symphony, known commonly as the 'Organ' Symphony. After a quick overview of the historical context and position of this symphony, this episode will guide you through Saint-Saëns' 'Organ' Symphony, with plenty of musical examples, and recommended recordings at the end.    

Today on Access Utah: the music of Gustav Mahler from his Third Symphony. Our guests include USU Music Professor Sergio Bernal, Austrian conductor Christoph Campestrini with Vienna Hofmusikkapelle, and mezzo-soprano and USU Alumna Tamara Mumford of Metropolitan Opera. Immerse yourself in a universe of awakenings, nature, humankind, and eternity envisioned by Mahler, a composer for whom ''a symphony must be like the world. It must embrace everything.''

About the Performance: The colorful, iconoclastic Cameron Carpenter shows off Walt Disney Concert Hall's awe-inspiring pipe organ with the crushing power chords of Poulenc's idiosyncratic Concerto and Saint-Saëns' beloved, melody-rich Third Symphony. Program: Christopher CERRONE : The Insects Became Magnetic (World premiere, LA Phil commission with generous support from Elizabeth and Justus Schlichting) POULENC : Organ Concerto Intermission SAINT-SAËNS : Symphony No. 3, “Organ” Artists: Los Angeles Philharmonic Roderick Cox conductor Cameron Carpenter organ SUN / NOV 18, 2018 - 2:00PM Upcoming concerts: www.laphil.com/calendar Upbeat Live schedule, details, and speaker bios: www.laphil.com/ubl

When Riccardo Muti and Yo-Yo Ma join forces, it is "music-making at the highest level" (Chicago Tribune). The incomparable cellist, renowned for his "technical command, purity of tone and generosity of spirit" (Chicago Sun-Times), collaborates with Muti and the CSO in Shostakovich's introspective and dark-hued Second Cello Concerto. This program of works by 20th-century Russian masters also features Shostakovich's buoyant Festive Overture and Prokofiev's thrilling Third Symphony, a work of dramatic climaxes, rich melodies and vivid orchestral color.

Submissions range from the peaks of the tallest mountains to the hidden depths of the middle of the ocean. The team record at night for the first time. Listener requests are torn through at the same pace as the drinks.

It was a fateful September in 1983 when Esa-Pekka Salonen received a call from his agent saying the Philharmonia Orchestra needed someone to replace conductor Michael Tilson Thomas at the last minute, performing Mahler's Third Symphony in London. He said yes and the rest is history. Hear the story from the Philharmonia's now Principal Conductor and Artistic Advisor, Esa-Pekka Salonen, who took a moment out of his busy schedule this summer to share the ups and downs of that fateful decision and his enduring relationship with the Philharmonia Orchestra. Salonen conducts Mahler's Third Symphony on Sunday 1 October 2017 at Royal Festival Hall, Southbank Centre, London: https://www.philharmonia.co.uk/concerts/1714

Dedicated to his hero Wagner, Bruckner revised his Third Symphony several times.

It was on this day in 1947 that Gustav Mahler's monumental Third Symphony had its first performance in England, marking a significant moment in the canonization of Mahler's works after World War II.  Learn more on today's "A Classical Day in the Life".

From George Miller, the creator of Mad Max and The Road Warrior comes Babe, a film without a single truck chase or sharp-edged boomerang (although it does have at least one feral child)! Arguably the best talking pig movie ever, it was one of the first to successfully mix traditional puppetry, animatronics, computer animation AND actual live animals to tell this heart-warming but not mushy or cloying story of a young pig’s adventures on the Hogget’s farm. Top it off with a score built around Camille Saint-Säens’ beautiful Third Symphony and you have a perfect film the whole family can treasure!

Intro: Emperor's Main Course - Kid Koala// Welcome to episode 40 Junior, Episode Milkwater, the Second Movement in the Third Symphony of Errand of Mercy. Shit Symphony. G is almost a minor celebrity now and wants people to set up creepy shrines to him, dreaming of hitting the Big Average Hundo, John "Sexual Volcano" Cherry takes us back to the good old days of confused, genteel, ignorant racism with help from Simon's uncle, lady in Texas claims she is too racist to touch kids, Illegal meat boat rams protected coral reef: crew attempt to bribe the Coastguard, Simon gets real angry about Patsy Kensit and Midday TV, Friends is coming back, Niel Patrick Harris and Matt LeBlanc and pokemon Jaybubs and Will-E-Um make #shitmusicforterriblepeople to kill E users and Simon translates dirty bass beats.// Outro - Faithless: The Man in You The Doubling up Pokemon Show

An hour-long interview wasn't enough to cover but a fraction of Lou Harrison's many accomplishments, but Eva Soltes and I did our best to hit some of the high points. Her new documentary, "Lou Harrison: A World of Music," uses footage she shot during her decades-long friendship with the eminent American composer, musical innovator and political activist, who died in 1982. The film was recently screened as part of the Cabrillo Festival of Contemporary Music, which Harrison helped found and which is honoring him this year with a performance of his Third Symphony.

The third of the 2010-11 season's "Explore the Symphony" podcasts examines the 3rd and 4th Symphonies of Johannes Brahms. In this podcast, the NAC Orchestra's assistant principal double bass Marjolaine Fournier and one of Canada's foremost music journalists, Jean-Jacques van Vlasselaer, discuss Symphony No. 3, which was written in 1883, polished after each performance, and published the following year. Music critic Eduard Hanslick said “ … the Third [Symphony] strikes me as being artistically the most nearly perfect.” The NAC Orchestra (under conductor Andrew Grams) performed Symphony No. 3 by Brahms in late October of this year. Still to come – on January 26 and 27 – is Brahms’s Symphony No. 4, with Pinchas Zukerman conducting the Orchestra. Brahms composed this deeply emotional symphony – his final symphony -- right after the Third, in 1885. Dramatic and passionate, mournful and joyful, the Fourth Symphony was conducted by Brahms himself at its premiere. It was very well received and has remained popular ever since.

Beethoven's Third Symphony in Eb Major, the “Eroica” is one of the most influential works of the 19th century. It marked the beginning of the symphony as a new monumental art form, capable of a seriousness and depth of expression that was previously associated only with epic poetry. As far as Beethoven's personal style is concerned, it also ushered in his “heroic” period of composition, the features of which have come to be accepted as the essence of the composer's unique musical personality. Moreover, these features, which created the music's great power, were in turn taken up as the guiding principles of symphonic writing by many later composers, continuing well into the twentieth century. The Symphony's dynamism owes much to French revolutionary music and above all reflects the inspiration Beethoven drew from the figure of Napoleon Bonaparte, to whom the Symphony was to be dedicated. However, when Napoleon crowned himself Emperor, Beethoven tore out the dedication page in disgust and instead dedicated the Symphony to “the memory of a great man.” This talk will look at the circumstances surrounding the composition of the Symphony and will show how its new musical style expresses many of the ideas and intellectual currents of the revolutionary era in European history. It will then explore the continuing relevance of Beethoven's great achievement in today's world. Speaker: Brian Black Ph.D. Brian Black is currently Associate Professor of Musicology at the University of Lethbridge. He studied piano first at McGill University under Charles Reiner, earning a Bachelor of Music in performance. He then studied in London at the Guildhall School of Music and Drama under Brigitte Wild, one of Claudio Arrau's first student and his assistant at the Stern Conservatory in Berlin. Brian earned a Licentiate from the Guildhall School and an Associate Diploma from the Royal College of Music in London, before returning to Montreal, where he completed his Ph.D. in Musicology at McGill University. Brian has performed in London and Montreal and has been heard on Radio Canada, the French arm of the CBC. His main research interest is the instrumental music of Schubert, on which he has given papers at meetings of the American Musicological Society and the Society for Music Theory. Brian has published articles in Durch die Brille, a publication of the Internationales Franz Schubert Institut in Vienna and Intersections, the Journal of the Canadian University Music Society. Moderator: Tad Mitsui Date: Thursday September 30, 2010 Time: 7:00 – 9:00 PM Location: Lethbridge Public Library, Theatre Gallery, 810 – 5 Ave S Cost: Free, donations gratefully accepted

Beethoven's Third Symphony in Eb Major, the “Eroica” is one of the most influential works of the 19th century. It marked the beginning of the symphony as a new monumental art form, capable of a seriousness and depth of expression that was previously associated only with epic poetry. As far as Beethoven's personal style is concerned, it also ushered in his “heroic” period of composition, the features of which have come to be accepted as the essence of the composer's unique musical personality. Moreover, these features, which created the music's great power, were in turn taken up as the guiding principles of symphonic writing by many later composers, continuing well into the twentieth century. The Symphony's dynamism owes much to French revolutionary music and above all reflects the inspiration Beethoven drew from the figure of Napoleon Bonaparte, to whom the Symphony was to be dedicated. However, when Napoleon crowned himself Emperor, Beethoven tore out the dedication page in disgust and instead dedicated the Symphony to “the memory of a great man.” This talk will look at the circumstances surrounding the composition of the Symphony and will show how its new musical style expresses many of the ideas and intellectual currents of the revolutionary era in European history. It will then explore the continuing relevance of Beethoven's great achievement in today's world. Speaker: Brian Black Ph.D. Brian Black is currently Associate Professor of Musicology at the University of Lethbridge. He studied piano first at McGill University under Charles Reiner, earning a Bachelor of Music in performance. He then studied in London at the Guildhall School of Music and Drama under Brigitte Wild, one of Claudio Arrau's first student and his assistant at the Stern Conservatory in Berlin. Brian earned a Licentiate from the Guildhall School and an Associate Diploma from the Royal College of Music in London, before returning to Montreal, where he completed his Ph.D. in Musicology at McGill University. Brian has performed in London and Montreal and has been heard on Radio Canada, the French arm of the CBC. His main research interest is the instrumental music of Schubert, on which he has given papers at meetings of the American Musicological Society and the Society for Music Theory. Brian has published articles in Durch die Brille, a publication of the Internationales Franz Schubert Institut in Vienna and Intersections, the Journal of the Canadian University Music Society. Moderator:Tad Mitsui Date:Thursday September 30, 2010 Time: 7:00 – 9:00 PM Location: Lethbridge Public Library, Theatre Gallery, 810 – 5 Ave S Cost:Free, donations gratefully accepted

Beethoven's Third Symphony in Eb Major, the “Eroica” is one of the most influential works of the 19th century. It marked the beginning of the symphony as a new monumental art form, capable of a seriousness and depth of expression that was previously associated only with epic poetry. As far as Beethoven's personal style is concerned, it also ushered in his “heroic” period of composition, the features of which have come to be accepted as the essence of the composer's unique musical personality. Moreover, these features, which created the music's great power, were in turn taken up as the guiding principles of symphonic writing by many later composers, continuing well into the twentieth century. The Symphony's dynamism owes much to French revolutionary music and above all reflects the inspiration Beethoven drew from the figure of Napoleon Bonaparte, to whom the Symphony was to be dedicated. However, when Napoleon crowned himself Emperor, Beethoven tore out the dedication page in disgust and instead dedicated the Symphony to “the memory of a great man.” This talk will look at the circumstances surrounding the composition of the Symphony and will show how its new musical style expresses many of the ideas and intellectual currents of the revolutionary era in European history. It will then explore the continuing relevance of Beethoven's great achievement in today's world. Speaker: Brian Black Ph.D. Brian Black is currently Associate Professor of Musicology at the University of Lethbridge. He studied piano first at McGill University under Charles Reiner, earning a Bachelor of Music in performance. He then studied in London at the Guildhall School of Music and Drama under Brigitte Wild, one of Claudio Arrau's first student and his assistant at the Stern Conservatory in Berlin. Brian earned a Licentiate from the Guildhall School and an Associate Diploma from the Royal College of Music in London, before returning to Montreal, where he completed his Ph.D. in Musicology at McGill University. Brian has performed in London and Montreal and has been heard on Radio Canada, the French arm of the CBC. His main research interest is the instrumental music of Schubert, on which he has given papers at meetings of the American Musicological Society and the Society for Music Theory. Brian has published articles in Durch die Brille, a publication of the Internationales Franz Schubert Institut in Vienna and Intersections, the Journal of the Canadian University Music Society. Moderator:Tad Mitsui Date:Thursday September 30, 2010 Time: 7:00 – 9:00 PM Location: Lethbridge Public Library, Theatre Gallery, 810 – 5 Ave S Cost:Free, donations gratefully accepted

Maestro Classical Podcast: episode 5 feat. Ludwig van Beethoven, movements from Symphonies No. 1, 5, & 9. Ludwig van Beethoven (16 December 1770 – 26 March 1827) was a German composer and pianist. He was a crucial figure in the transitional period between the Classical and Romantic eras in Western classical music, and remains one of the most respected and influential composers of all time. Born in Bonn, he moved to Vienna in his early twenties and settled there, studying with Joseph Haydn and quickly gained a reputation as a virtuoso pianist. Beethoven's hearing gradually deteriorated beginning in his twenties, yet he continued to compose, and to conduct and perform, even after he was completely deaf. This is Symphony No. 1 in C Major, Opus 21. It was written in 1799 - 1800 and was premiered April 2, 1800 in Vienna, and is dedicated to Baron Gottfried van Swieten, an early patron of the composer. Here, the 3rd movement is performed by the USSR State Symphony, conducted by Konstantin Ivanov. Konstantin Ivanov "Symphony No. 1 in C Major, Op. 21" (mp3) from "Beethoven: Symphony No. 1, The Creatures of Prometheus Overture" (MUSIC ONLINE) Buy at iTunes Music Store Buy at Napster More On This Album Symphony No. 5 in C minor, Op. 67 was written in 1804– - 08. This symphony is one of the most popular and well-known compositions in all of European classical music, and is also one of the most often-played symphonies. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterwards.
The symphony, and the four-note opening motif in particular, are well known worldwide, with the motif appearing frequently in popular culture, from disco to rock and roll, to appearances in film and television.
The Fifth stands with the Third Symphony and Ninth Symphony as the most revolutionary of Beethoven's compositions. Here, the first movement is performed by the Milwaukee Symphony Orchestra, conducted by Andreas Delfs. Milwaukee Symphony Orchestra & Andreas Delfs "Beethoven: Symphony No. 5" (mp3) from "Beethoven: Symphony No. 5" (MSO Classics) Buy at iTunes Music Store Stream from Rhapsody Buy at Amazon MP3 More On This Album Symphony No. 9 in D minor, Op. 125 "Choral" is the last complete symphony composed by Ludwig van Beethoven. Completed in 1824, it is considered both an icon and a forefather of Romantic music, and one of Beethoven's greatest masterpieces. It incorporates part of the poem "Ode to Joy" by Friedrich Schiller, written in 1785, with text sung by soloists and a chorus in the last movement. It is the first example of a major composer using the human voice on the same level with instruments in a symphony, creating a work of a grand scope that set the tone for the Romantic symphonic form. Further testament to its prominence is that an original manuscript of this work sold in 2003 for $3.3 million USD at Sotheby's, London. Stephen Roe, the head of Sotheby's manuscripts department, described the symphony as "one of the highest achievements of man, ranking alongside Shakespeare's Hamlet and King Lear." Here, the final movement is performed by Ama Deus Ensemble, conducted by Valentin Radu. Ama Deus Ensemble, Valentin Radu "Symphony No. 9 in D Minor, Op. 125 - "Choral"" (mp3) from "Beethoven: Symphony No. 9 & Die Ruinen von Athen" (Lyrichord) Buy at iTunes Music Store Buy at Napster Stream from Rhapsody More On This Album

Beethoven's Third Symphony in E-flat Major was originally dedicated to Napoleon Bonaparte -- but only for a short time.The composer had admired the ruler, but when the news came that he had declared himself Emperor, Beethoven ripped up the title page where he had written the dedication and produced another, giving it the new title Sinfonia Eroica, or the Heroic Symphony. Performing is the Orchestre National de France, conducted by the legendary Kurt Masur. This concert was part of a series where the complete nine symphonies of Beethoven were presented as part of the 2008 Beethoven Festival in Bonn.