Podcasts about Triple concerto

Among Beethoven’s concerto compositions, The Triple Concerto is the least often played work. Still, on April 3 and 4, the Atlanta Symphony will feature Beethoven’s Concerto for Violin, Cello, and Piano with Concertmaster David Coucheron, Acting Principal Cellist Daniel Laufer, and pianist Julie Coucheron. The trio of soloists joined Lois to discuss the upcoming concerts. Plus, the annual DIY FEST returns on April 3, spotlighting the Punk Rock Collection at Emory University’s Rose Library, and Kosmo Vinyl stops by to share the story behind Horace Andy’s “Skylarking.”See omnystudio.com/listener for privacy information.

References Guerra, DJ 2025 Biochemistry Lectures Front Endocrinol (Lausanne). 2020 Dec3;11:587189. Annual Review of Food Science and Technology.2022.  Volume 13:263-286. Journal of Hepatology 2012 56, 704-713. Nature Communications.2024. 15, Article number: 1879 Beethoven, LV. 1803.Triple Concerto in C Major. Op 56 https://youtu.be/pkXGtE8_cig?si=2WMWadCDhvcvfHJa Schubert F. 1824. Quartet #14 in D Minor D.810. https://youtu.be/CSdlrvC08lM?si=lNm3pxWK_hTCTLwa Goffin and King. 1968. "I Wast Born to Follow". Byrds https://youtu.be/PrU9iI2VxPE?si=3IrJ1FByg3Pp6-lh

durée : 00:17:30 - Triple Concerto for Violin, Cello and Bayan & Rejoice! - Sofia Gubaidulina - Un aspect particulier de la musique de Sofia Gubaidulina est qu'à la fin des années 1970, elle a découvert les caractéristiques sonores et les possibilités expressives du bayan, un accordéon à boutons qui n'était auparavant populaire qu'en tant qu'instrument de musique folklorique en Russie.

durée : 00:17:30 - Triple Concerto for Violin, Cello and Bayan & Rejoice! - Sofia Gubaidulina - Un aspect particulier de la musique de Sofia Gubaidulina est qu'à la fin des années 1970, elle a découvert les caractéristiques sonores et les possibilités expressives du bayan, un accordéon à boutons qui n'était auparavant populaire qu'en tant qu'instrument de musique folklorique en Russie.

durée : 00:17:30 - Triple Concerto for Violin, Cello and Bayan & Rejoice! - Sofia Gubaidulina - Un aspect particulier de la musique de Sofia Gubaidulina est qu'à la fin des années 1970, elle a découvert les caractéristiques sonores et les possibilités expressives du bayan, un accordéon à boutons qui n'était auparavant populaire qu'en tant qu'instrument de musique folklorique en Russie.

We would love to hear from you, wherever you are!https://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

durée : 00:18:55 - Beethoven : Triple Concerto - Nicola Benedetti, Sheku Kanneh-Mason, Benjamin Grosvenor - Trois anciens participants au concours BBC Young Musician unissent leurs forces pour enregistrer le Triple Concerto de Beethoven, aux côtés du Philharmonia Orchestra dirigé par Santtu-Matias Rouvali

durée : 01:27:08 - En pistes ! du mardi 25 juin 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour : Triple Concerto de Beethoven, le Dixit Dominus de Haendel, La Danza (d'après Rossini) de Liszt, également au programme les œuvres de Ruggero Leoncavallo, Ernesto de Curtis, John Cage et Giulio Caccini. En pistes !

On this week's episode of ‘New Classical Tracks,' violinist Nicola Benedetti, pianist Benjamin Grosvenor and cellist Sheku Kanneh-Mason present their live performance of Beethoven's Triple Concerto on the latest album by the Philharmonia Orchestra. Listen now!

durée : 00:05:16 - Classic & Co - par : Anna Sigalevitch - Rendez-vous avec Anna Sigalevitch, et le dernier volet de sa série "La vie serait moins belle sans"... Aujourd'hui, l'actrice et réalisatrice Nicole Garcia, pour elle "la vie serait moins belle sans" ... Le triple concerto de Beethoven.

Ludwig van Beethoven - Triple Concerto: 1st movement Isabelle van Keulen, violin Julian Steckel, cello Stefan Vladar, piano Vienna Chamber Orchestra Stefan Vladar, conductor More info about today's track: Capriccio C7210 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Guest conductor Erina Yashima leads the Charlotte Symphony in a program that includes Beethoven's Triple Concerto and Berlioz's Symphonie Fantastique . Yashima recently finished her tenure as Assistant Conductor of the Philadelphia Orchestra. And she recently started in her new position as First Kapellmeister at the Komische Oper Berlin. She talks about the works on the orchestra program, the differences between American and European orchestras, and the importance of music education in her native Germany. Pictured: Erina Yashima by Todd Rosenberg Photography/ Askonas Holt .

We'll look at Beethoven's Triple Concerto in C Major (for violin, cello and piano soloists and orchestra), Op. 56.

Ludwig van Beethoven - Triple Concerto: Rondo alla polacca Isabelle van Keulen, violin Julian Steckel, cello Stefan Vladar, piano Vienna Chamber Orchetra Stefan Vladar, conductor More info about today's track: Capriccio C7210 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Welcome to The Art of Listening, a Podcast about classical music, conducting, composition, the business of music, and how to listen to it all. Each week, conductor, composer, and violinist Gabriel Gordon and a host of featured guests discuss the Art of Listening. In this episode of “The Art of Listening” Gabriel Gordon and Jeff Bradbury If you would like to be a part of future podcasts and share with our audience, https://gabrielgordon.net/podform (please contact the podcast). We would love to have you join the show. Join the Art of Listening Newsletter!By joining the Art of Listening Newsletter you will receive: ·      Bi-monthly updates from Gabriel Gordon about what is new on the Art of Listening YouTube Channel ·      Special “Behind the Scenes” access to recording sessions, rehearsals, and more! ·      Be the first to access new content produced by Gabriel Gordon each month. How Should a Conductor Work with a Soloist?·      Why is it important to work with soloists? (Both) ·      How to choose a soloist for your ensemble? (Gabe) ·      What happens when an ensemble calls a soloists and offers a performance? o  What to say? o  What to ask? o  Money conversations o  Rehearsal Schedules o  Meeting with Conductor o  What happens if you have never played the piece you are being asked to play o  Do you follow a soloist or does a soloist follow you? o  Balance issues o  How many times do you rehearse with a soloist? ·      How to market yourself as a soloist or conductor o  The importance of a § Website § Social Media § Video Channel § Networking ·      Advice for anyone looking to build their brands as a musician or conductor in 2022 and beyond     About our Guest: Brett DeubnerAmerican violist Brett Deubner has established himself as one of the foremost violists of his generation. As a sought after soloist who has performed with orchestras on five continents, Deubner has redefined the role of “solo artist” and given the viola a new standing in the world of classical music through his virtuosity, commitment to championing new music and dedication to fostering the next generation's young artists. As a concerto soloist, Deubner's debut with the Grammy award-winning New Jersey Symphony Orchestra premiering Lalo Schifrin's Triple Concerto resulted in numerous subsequent engagements throughout the U.S. and abroad. Deubner went on to perform worldwide as one of this century's most important viola soloists appearing with more than 80 orchestras in 11 countries to unanimous approval for “the warmth and sparkling” quality of his playing. (Doblinger Press, Vienna) To date Deubner has received over 50 viola concertos composed and dedicated to him and he has made 20 CDs on various labels such as Naxos, Centaur, Innova and Albany to critical acclaim and glowing reviews. In 2017 Deubner received the United States Congressional Certificate of Recognition for his commitment to music and education. In 2019 Deubner received a Latin Grammy nomination for “Best Classical CD Recording” for his recording of Houston Dunleavy's Concerto “A Kiss Before the World's End” with the Orquesta de Heredia of Costa Rica. He is a recipient of the 2022 Global Music Awards Silver Medal for his recording “Transfiguration” an album of works by Stanley Grill for two, three and four violas of which he recorded all the parts. In 2022-2023 Brett Deubner will perform 10 viola concertos with orchestras in North and South America as well as Europe. In addition to recording with Brett's piano partner Allison Brewster Franzetti in a highly acclaimed debut album “Mother Earth,”...

durée : 00:58:37 - Mstislav Rostropovitch, le génie du violoncelle - par : Aurélie Moreau - Parmi les œuvres phares du répertoire pour violoncelle interprétées par Mstislav Rostropovitch : le Triple Concerto de Beethoven, la Première Sonate de Brahms, Tout un monde lointain de Dutilleux, le Concerto en si mineur de Dvořák…

Synopsis On today's date in 1980, at a Proms concert at the Royal Albert Hall in London, Colin Davis led the London Symphony in the premiere of a Triple Concerto for violin, viola and cello with orchestra, a new work by the British composer Michael Tippett. The central slow movement of the new Triple Concerto, marked “very slow—calmer still,” proved to be one of Tippett's most lyrical and colorful moments, and with it, Tippett joined a long line of Western composers, including Claude Debussy, Benjamin Britten, and Lou Harrison, who have been inspired by Asian music: specifically the traditional bronze gong orchestras of the islands of Indonesia, known as “gamelan.” Shortly before he composed his Triple Concerto, Tippet had visited Java and Bali, and had experienced first-hand performances of gamelan music in the palaces, temples and gardens of Indonesia. In describing the role of the artist as he saw it, Tippett suggested “the creation of images of vigor for a decadent period, images of calm for one too violent, images of reconciliation for a world torn by divisions, and in an age of mediocrity and shattered dreams, images of abounding, generous, exuberant beauty.” Music Played in Today's Program Sir Michael Tippett (1905 - 1998) — Triple Concerto (Kovacic-Caussé- Baillie Trio; BBC Philharmonic; Sir Michael Tippett, cond.) Nimbus 5301

durée : 00:25:02 - Ludwig van Beethoven, Triple Concerto - par : Anne-Charlotte Rémond - Vienne, palais du Prince Lobkowitz, printemps 1804. Ludwig van Beethoven donne la première privée de son Triple Concerto pour violon, violoncelle et piano, oeuvre légère où les solistes dialoguent en toute complicité. - réalisé par : Claire Lagarde

๏ Épisode 13 ๏ Écrire un concerto avec un soliste, oui. Mais avec trois ? Comment Ludwig van Beethoven réussit-il ce tour de force ? Et Johannes Brahms ne lui aurait-il pas volé une ou deux idées ? L'inspecteur Max Dozolme mène l'enquête.

durée : 01:57:24 - En pistes ! du jeudi 11 février 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme aujourd'hui : la musique orchestrale de Percy Grainger ; trois concertos pour piano interprétés par Andreas Haefliger ; les suites de Bach pour violoncelle et un récital du baryton James Newby... - réalisé par : Lionel Quantin

In the debut episode of the special series "Beethoven: Crisis & Creativity", we welcome Barry Douglas, internationally-acclaimed pianist and founder of Camerata Ireland. Rei Hotoda and Barry Douglas discuss the evolution of Beethoven's piano sonatas, as well as how Beethoven expressed social and human ideals in his music. Featured works include Piano Sonata in G Op.79, Triple Concerto in C Op.56, and the overture to Fidelo, Beethoven's only opera.

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Mikhail Rudy est un pianiste français d'origine russe, né en 1953 à Tachkent où sa famille a été déportée par le régime soviétique. Enfant, il se passionne pour la lecture, des classiques jusqu'aux livres interdits par le régime. Il découvre à 5 ans la musique grâce à un voisin violoniste. Il devient l'élève de la professeur Helena Abramova, qui n'hésite pas à le brimer et le rend à la fois dépendant du piano et allergique aux gammes. A 9 ans, Mikhaïl Rudy joue avec un orchestre dans un concerto de Grieg. Il décroche les 1ers prix de tous les concours. En 2 ans, il finit 4 années d'études. Et à 12 ans, il achève le cycle scolaire.   Il remporte le Premier Grand Prix du Concours Marguerite-Long à Paris mais les pressions du KGB auront raison de sa candidature.  Et c'est au cours de sa première tournée qu'il demande l'asile politique en France. Mikhaïl Rudy fait ses débuts en Occident avec le Triple Concerto de Beethoven en compagnie de Rostropovitch et Isaac Stern à l'occasion des 90 ans de Marc Chagall, un peintre qu'il a toujours admiré et dont il a été proche dans ses dernières années. Il raconte ses histoires, ses concerts, son statut de soliste. Il cite Joyce,  Proust, Kafka. ce musicien est un lecteur. Et un écrivain. Choix musicaux d'Yvan de Launoit:  Bach concerto pour 3 ou 4 pianos. ORCW – Orchestre Royal de Chambre de Walloni. https://www.youtube.com/watch?v=0V_39TD7Gmk  Beethoven: La Chorfantaisie  (opus 80), "l'épreuve d'artiste" (s'il en est) de la 9ème symphonie (interprété par Martha Argerich) https://www.youtube.com/watch?v=GjXBKR4iDS8

Donald Macleod explores Beethoven’s sketches and letters to see what they reveal about his life and music. This week Donald Macleod is joined by Beethoven scholar, Erica Buurman and biographer, Jan Swafford to investigate some the many documents and papers that Beethoven left behind after his death, which are now scattered in archives and collections across the world. Donald and his guests explore high-quality, digital facsimiles of Beethoven’s most personal records including his letters, notebooks and journals; scouring them for clues to his relationships, his work and his everyday life. Composer of the Week is returning to the story of Beethoven’s life and music throughout 2020. Part of Radio 3’s Beethoven Unleashed season marking the 250th anniversary of Beethoven’s birth. Music Featured: String Quartet Op.18 No 2 (4th movement) Piano Sonata No 8, Op 13 ‘Pathétique’ Violin Sonata Op 30 No 2 (4th movement) Symphony No 3 ‘Eroica’(4th movement) Violin Sonata No 5, Op 24 (2nd movement) Piano Sonata No 24, Op 78 (2nd movement) Andante Favori, WoO 57 Diabelli Variations, Op 120 (Vars. 18-24) Missa Solemnis: Credo Piano Sonata No 16, Op 31 No 1 (1st movement) Violin Sonata No 8, Op 30 No 3 III (3rd movement) Symphony No 2 (2nd movement) Variations for Piano, ‘Eroica’, Op 35 Sonata for Cello and Piano Op 69 (2nd movement) Fidelio: Act I No 1‘Jetzt, Schätzchen, jetzt sind wir allein‘ Piano Trio, Op 97 ‘Archduke’ (3rd movement) Triple Concerto, Op 56 (1st movement) String Quintet Op 29 (3rd movement) Trio in Bb, WoO 39 Symphony No 7 (4th movement) Piano Sonata No 16, Op 31 No 1 (2nd movement) String Quartet, Op 59 No 3 (1st movement) Presented by Donald Macleod Produced by Chris Taylor for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Beethoven Unleashed: Private Papers, where you can also find links to the documents mentioned https://www.bbc.co.uk/programmes/m000kfjc And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Beethoven’s Triple Concerto might be his most heavily criticized work. Musicians look down on it, critics always complain about it, conductors hate conducting it, orchestral musicians hate playing it, and yet it still gets performed fairly regularly. But I’m here today, thanks to Brooke who sponsored today’s show on Patreon, to say that I think all of this criticism of this much maligned piece is totally unfair. I love the Beethoven Triple Concerto, and I think I can convince you to as well.

Gordan interviews the Vice President of Chalcedon, Martin Selbrede. Martin is a prolific writer, renowned scholar, novelist, and classical music composer. He is featured in the movie, “The Principle.” Topics range from the relationship between culture and the arts; why Christians need to go back to J.S. Bach and restart from there; and how kingdom-builders ought to approach the task of writing novels. Links: Martin G. Selbrede: Concerto for Trumpet, Horn & Trombone, Opus 81 (c) 1994, 2000, 2017 First performed by the Los Angeles Solo Repertory Orchestra on Feb. 13, 1994 at the Hall of Liberty, this so-called Triple Concerto features the three solo brass instruments in contrast with the full orchestra: M4A (iTunes AAC link) for the three movements: https://selbrede.sharefile.com/d-s7ba965b48444eceb MP3 link for the three movements: https://selbrede.sharefile.com/d-s9e5d7388b844a469

durée : 01:28:41 - James Conlon, chef d'orchestre (2/5) - par : François-Xavier Szymczak - Comme chaque jour de cette semaine James Conlon, les musiques de Mozart, Liszt et Zemlinsky forment trois fils rouges d'une belle carrière dont témoignent également le Triple Concerto de Beethoven avec le trio Wanderer, ou la Fantaisie hongroise de Liszt avec François-René Duchâble - réalisé par : Céline Parfenoff

Dirigent Paavo Järvi koos Frankfurti Raadio sümfooniaorkestri ning Anne Gastineli, Gil Shahami ja Nicholas Angelichiga on salvestanud Ludwig van Beethoveni ühe elurõõmsama teose - Kontserdi viiulile, tšellole ja klaverile C-duur (naive 2018)

Dirigent Paavo Järvi koos Frankfurti Raadio sümfooniaorkestri ning Anne Gastineli, Gil Shahami ja Nicholas Angelichiga on salvestanud Ludwig van Beethoveni ühe elurõõmsama teose - Kontserdi viiulile, tšellole ja klaverile C-duur (naive 2018)

Pianist David Fung will be one of the many talents on stage at Orchestra Hall this weekend as the Detroit Symphony Orchestra opens its 2019-20 season. Fung joins pianists Christina and Michelle Naughton in J.S. Bach’s Triple Concerto in a program that also includes Mozart’s Concerto for 2 pianos and Beethoven’s Fifth Symphony. WRCJ’s Peter Whorf speaks with David about this weekend’s concerts and his new recordings of the complete Mozart piano sonatas…

Mercury performs Beethoven's Eighth Symphony and Triple Concerto.

We’ll look at our final three Bach concertos: the “Triple Concerto,” in A Minor, BWV 1044; the Harpsichord Concerto  in F Minor, BWV 1056; and the Concerto for Two Harpsichords and Strings in C Major, BWV 1061.

The three soloists in Sofia Gubaidulina's Triple Concerto - violinist Baiba Skride, bayan soloist Elsbeth Moser, and cellist Harriet Krijgh - talk about the creation of this new piece of music, their collaboration with the composer, and performing it with the Boston Symphony Orchestra, and the founder of the Chameleon Arts Ensemble, Deborah Boldin, describes the group's Rockport Chamber Music Festival program of works by J.S. Bach and three of his sons.

BWV 1044 - matching tempo to the acoustic space to maximize enjoyment

VIDEO: Béla Fleck plays The Imposter in the WQXR Café When Béla Fleck came to the WQXR Café, curious staff members began asking about his repertoire. Would he be playing Scarlatti or Scruggs? A Bach invention or a bluegrass breakdown? Fleck can do all of those things and more. Almost single-handedly, he established the banjo's capacity to move easily across genres stretching from the blues and bluegrass to contemporary jazz and world music. But being at a classical music station, Fleck, 55, wasn't about to miss an opportunity to show off his classical chops, so he focused on excerpts from The Imposter, a new banjo concerto he composed for the Nashville Symphony Orchestra. "You’ll just have to imagine the orchestra – we couldn’t afford them today," he joked, before launching into the repeated arpeggiated riffs of its second movement. The Imposter is dedicated to Earl Scruggs, the bluegrass pioneer who brought the banjo back to national prominence during the 1950s and 60s. Scruggs attended Fleck's premiere of the concerto in September 2011, six months before he passed away at age 88. "Earl Scruggs did so many things, from bringing the banjo out of the hills and back into the mainstream—because the banjo was a very popular instrument in the late 1800s and early 1900s," Fleck told host Jeff Spurgeon. "And then it pretty much was dying out in terms of the mainstream." Just as Scruggs covered rock tunes in the 1960s like Bob Dylan's "Like a Rolling Stone" and played in rock and pop venues, Fleck has sought to push the limits of the instrument. In the 1980s Fleck played with the cutting-edge group New Grass Revival, known for its wild, virtuosic style, and by the '90s he was fronting his own band the Flecktones, which remains active today. Fleck edged his way into classical concert halls starting with "Perpetual Motion," a 2001 album of classical pieces for which he won a pair of Grammy awards. A few years later he collaborated with bassist Edgar Meyer and the Indian percussionist Zakir Hussain on a Triple Concerto, premiered with the Detroit Symphony and conductor Leonard Slatkin. Along with the concerto, Fleck's new recording features Night Flight Over Water, an original piece he plays with the string quartet Brooklyn Rider (a joint national tour is planned for the fall and winter). He said that while an orchestra can feel overwhelming in size, "with a string quartet, we’re all sitting very close to each other just as we would be in a bluegrass band." Does Fleck encounter much resistance to the idea of a banjo in classical settings, with requests to play something more "down home?" "That’s a stereotype about the banjo, that it can only be happy,” he said. "I've done some very sad banjo playing. And I’ve heard people play soulful, simple melodies on the banjo that make you want to cry. So it’s really about the musician." Video: Kim Nowacki; Audio: Edward Haber; Text & Production: Brian Wise; Interview: Jeff Spurgeon

In today's Proms Music Guide, Stephen Johnson talks about Beethoven's Triple Concerto.

London Symphony Orchestra Today's episode will be a special feature on the London Symphony Orchestra, also known as LSO. LSO is widely regarded to be one of the world's leading orchestras, with over 100 years of performing experience. LSO has performed all across the world and even recorded soundtracks for films, such as Star Wars: Revenge of the Sith and Harry Potter and The Goblet of Fire. In 2000, LSO launched their own classical label, LSO Live. Since then LSO Live has become one of the world's most talked about classical labels. Today we will be celebrating LSO Live's 10 year anniversary by playing samples from some of their best recordings and featuring a track from their newest release titled Verdi: Otello. Enjoy! video platform video management video solutions video player Sir Colin Davis, London Symphony Orchestra "Enigma Variations" from "Elgar: Enigma Variations" (LSO Live) Buy at iTunes Music Store Buy at eMusic Buy at Amazon MP3 More On This Album During his time as Principal Conductor of the LSO, Sir Colin Davis gained a reputation as the leading interpreter of Elgar’s music and recorded the composer’s symphonies and Dream of Gerontius for LSO Live. Elgar himself was one of the LSO’s first Principal Conductors and the orchestra premiered many of his works, including the Introduction & Allegro for Strings. June 2007 sees the 150th anniversary of Elgar’s birth. The Enigma Variations was Elgar’s breakthrough work and remains one of his most popular. Although it is often thought of as whimsical and the epitome of “Englishness”, in reality it is a thrilling and ravishingly beautiful masterpiece. Sir Colin Davis, London Symphony Orchestra "Messiah" from "Handel: Messiah" (LSO Live) Buy at iTunes Music Store Buy at Amazon MP3 Buy at eMusic More On This Album Handel’s masterpiece uses short texts from the Bible to tell the story of Christ's birth, death and resurrection. Imbued with a deep humanity and written with the imagination of a composer at the peak of powers, Messiah is intimate yet dramatic and includes some of Handel's best-loved music.Sir Colin Davis, London Symphony Orchestra "Má vlast" from "Smetana: Má vlast" (LSO Live) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album Inspired by the mythology and pastoral beauty of his Czech homeland, Smetana’s six tone poems that form Ma vlást (My Fatherland) is one of the best examples of Nationalism in music. The stirring second movement depicts the river Vltava as it flows through the countryside and into Prague. Struck with deafness in 1874, Smetana would never hear a performance of what would become his most popular work. Concert Reviews ‘Colin Davis's performance of Smetana’s Má Vlast with the London Symphony Orchestra was an irresistible pageant of Czech patriotic fervor, a depiction of ancient battles and pastoral idylls, as well as a revelation of the work’s symphonic integrity ’The Guardian (UK), 12 May 2005 ‘the LSO’s unforced brilliance constantly shining forth … The players rose to the occasion with the virtuosity and commitment that are their hallmark. Under Davis’s direction, Smetana’s depiction of natural phenomena and rustic scenes sprang to life’ Evening Standard (UK), 11 May 2005 ‘Yet the Smetana itself holds no terrors, least of all for Sir Colin Davis and the London Symphony Orchestra. In the first poem, how proudly Vysehrad, the guardian rock of Prague, stood out fortissimo on the skyline! And few musical rivers have accelerated with the natural grace of Davis’s Vltava, or begun its course with such lightly charming trickling flutes’ The Times (UK), 12 May 2005 Valery Gergiev, London Symphony Orchestra, Elena Mosuc, Zlata Bulycheva, London Symphony Chorus "Symphony No. 2" from "Mahler: Symphony No. 2" (LSO Live) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album ‘Faced with the London Symphony Orchestra's concentrated glare and attack, I considered cowering under my seat ’The Times (UK) ‘an account of searing intensity ... The pure, visceral thrill of the final bars,greeted with an enthusiastic ovation from the packed audience,crowned a very fine performance of this great work’ MusicalCriticsm.com (UK)Bernard Haitink, Twyla Robinson, Karen Cargill, John Mac Master, London Symphony Orchestra, London Symphony Chorus "Symphony No. 9 "Choral"" from "Beethoven: Symphonies Nos. 1-9" (LSO Live) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album Benchmark Beethoven Cycle - BBC Music Magazine (UK) Classical Recordings of the Year - New York Times (US) CDs of the Year - Svenska Dagbladet (Sweden) ‘a towering achievement’ The Times (UK) CDs of the Year ‘Few music lovers saw this one coming ... Haitink has rarely sounded more suitably agitated. Even the problematic Triple Concerto has rare drama and purpose; this recording may be the best ever’ Philadelphia Enquirer (US) ‘simply masterful Beethoven … Capped by a magisterial account of the Ninth Symphony, this is the Beethoven set for our time. Even if you already have umpteen other recordings of these works, you really owe it to yourself to hear this new set’ Chicago Tribune (US) Beethoven redefined what a symphony could be, giving his works a dramatic narrative and emotional intensity that sent blood flowing through the veins of music and set the tone for Romanticism in music. Many of the symphonies have their own journeys; from darkness to light in the Fifth symphony, from death to rebirth in the Eroica, or from a bleak void to a glorious vision of love and tolerance in the Choral Symphony. London Symphony Orchestra "The Planets, Op. 32: IV. Jupiter, the Bringer of Jollity" from "Holst: The Planets" (LSO Live) Buy at iTunes Music Store Buy at eMusic Buy at Amazon MP3 More On This Album Gustav Holst's The Planets was born of his fascination with astrology. His portrayal of the planets of the solar system, from the serene, romantic venus to the warlike Mars and the magisterial Jupiter, has become an absolute classic and contains some of the most well-known music of the 20th centruy. London Symphony Orchestra, London Symphony Chorus, Sir Colin Davis, Gerald Finley, Allan Clayton, Ben Johnson, Matthew Rose "Otello" from "Verdi: Otello" (LSO Live) More On This Album The release of Sir Colin Davis’s eagerly anticipated recording of Verdi’s Otello marks the 10th anniversary of the LSO Live label. Opera has always formed a major part of the label’s output and among Sir Colin’s greatest triumphs was his Grammy Award-winning recording of Verdi’s final opera, Falstaff. One of the world’s most exciting young tenors joins Sir Colin to sing the title role on the new recording. New Zealander Simon O’Neill stepped in at short notice to the concerts, making his debut in the role (although he had studied it with Domingo), delivering what was universally acclaimed as a sensational performance. The villainous Jago is sung by Gerald Finley and Otello’s wife Desdemona by Anne Schwanewilms. Verdi had retired from opera following the premiere of Aida in 1871 but was eventually persuaded by his publisher to work with the librettist Arrigo Boito. As with Falstaff, Verdi’s final opera on which they would subsequently collaborate, they turned to Shakespeare for inspiration. Otello, which was premiered in 1887, marked a significant evolutionary development in Italian opera and is widely regarded as one of the great operatic masterpieces. Simon O’Neill joins Sir Colin and the LSO again for performances of Janáček’s Glagolitic Mass in October before singing Siegmund in Die Walküre in a production at La Scala conducted by Daniel Barenboim. Gerald Finley performs in Guillaume Tell in Rome in October and Pelléas et Mélisande at the Metropolitan Opera in New York in December. ‘This was an electrifying account of a masterpiece, conducted with an explosive energy that belies Sir Colin’s eighty years and pushed the LSO to the top of its game. Simon O’Neill made a tremendous debut in the title-role, giving notice that he is the best heroic tenor to emerge over the last decade … Gerald Finley was an arrestingly crisp and snakily plausible Iago … Verdi’s great music drama shone in all its power and glory’ Daily Telegraph (UK) concert review ‘a performance of Verdi’s opera that had finesse, fervour and glorious lyricism … Such is Davis’s rapport with the LSO and its rapant Chorus that he can unleash greater musical power with an elegant flick of the baton than most conductors muster with flailing arms. Gerald Finley was a superb Iago: insiduously sinister, yet sustaining a wonderfully suave line. And the New Zealand tenor Simon O’Neill gave an immense performance … he will make the Moor his own’ The Times (UK) concert review ‘a thrilling performance from beginning to end … an evening to treasure; not just for Davis’s contribution, but for an impressive debut from the young New Zealand tenor Simon O’Neill. O’Neill mastered Otello’s many moods with a striking musicality and an eveness of tone throughout the range. He will go far, and promises to be the outstanding Wagner Heldentenor we have been longing far … the men, led by Gerald Finley’s totally convincing and committed Iago, were splendid’ Mail on Sunday (UK) concert review

Filmmaker and commercial editor Daniel Mitchell is originally from London and has been working in Melbourne and Sydney since 2001, editing high end television commercials.  Several years after film school, Daniel has focused his writing and directing work on children's films including Triple Concerto in D Minor.  In the short film Triple Concerto in D Minor, Rebecca, an ambitious young girl, had always wanted to play the triangle with an orchestra. When the National Youth Orchestra are in town, Rebecca has the chance to make her dream come true.

Sue Lawley's castaway is cyclist and writer Dervla Murphy.Favourite track: Triple Concerto in C Major by Ludwig van Beethoven Book: Diary by Samuel Pepys Luxury: A still (to distill berries, etc. into drink)

Sue Lawley's castaway is cyclist and writer Dervla Murphy. Favourite track: Triple Concerto in C Major by Ludwig van Beethoven Book: Diary by Samuel Pepys Luxury: A still (to distill berries, etc. into drink)

Maureen Lipman is perhaps best known for her role in the television series Agony, but much of her work has been in the theatre. In conversation with Michael Parkinson, she recalls her upbringing in Hull, talks about her penchant for acting in comedy and chooses the eight records she would take to the mythical island.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Triple Concerto in D - 1st Movement by Ludwig van Beethoven

Maureen Lipman is perhaps best known for her role in the television series Agony, but much of her work has been in the theatre. In conversation with Michael Parkinson, she recalls her upbringing in Hull, talks about her penchant for acting in comedy and chooses the eight records she would take to the mythical island. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Triple Concerto in D - 1st Movement by Ludwig van Beethoven

Roy Plomley's castaway is Lord Mayor of London Sir Christopher Leaver.Favourite track: Triple Concerto in C Major by Ludwig van Beethoven Book: Grove's Dictionary of Music and Musicians Luxury: Wine cellar

Roy Plomley's castaway is Lord Mayor of London Sir Christopher Leaver. Favourite track: Triple Concerto in C Major by Ludwig van Beethoven Book: Grove's Dictionary of Music and Musicians Luxury: Wine cellar