Podcast appearances and mentions of Vienna Philharmonic

fWotD Episode 2882: Pierre Boulez Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 26 March 2025 is Pierre Boulez.Pierre Louis Joseph Boulez (French: [pjɛʁ lwi ʒozεf bulɛz]; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war contemporary classical music.Born in Montbrison, in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism in the 1950s, controlled chance music in the 1960s and the electronic transformation of instrumental music in real time from the 1970s onwards. His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces considered landmarks of twentieth-century music, such as Le Marteau sans maître, Pli selon pli and Répons. His uncompromising commitment to modernism and the trenchant, polemical tone in which he expressed his views on music led some to criticise him as a dogmatist.Boulez was also one of the most prominent conductors of his generation. In a career lasting more than sixty years, he was music director of the New York Philharmonic, chief conductor of the BBC Symphony Orchestra and principal guest conductor of the Chicago Symphony Orchestra and the Cleveland Orchestra. He made frequent appearances with many other orchestras, including the Vienna Philharmonic and the Berlin Philharmonic. He was known for his performances of the music of the first half of the twentieth century—including Debussy and Ravel, Stravinsky and Bartók, and the Second Viennese School—as well as that of his contemporaries, such as Ligeti, Berio and Carter. His work in the opera house included the production of Wagner's Ring cycle for the centenary of the Bayreuth Festival, and the world premiere of the three-act version of Berg's opera Lulu. His recorded legacy is extensive. He also founded several musical institutions. In Paris he set up the Domaine musical in the 1950s to promote new music; in the 1970s he established the Institut de Recherche et Coordination Acoustique / Musique (IRCAM), to foster research and innovation in music, and the Ensemble intercontemporain, a chamber orchestra specialising in contemporary music. Later he co-founded the Cité de la musique, a concert hall, museum and library dedicated to music in the Parc de la Villette in Paris and, in Switzerland, the Lucerne Festival Academy, an international orchestra of young musicians, with which he gave first performances of many new works.This recording reflects the Wikipedia text as of 00:21 UTC on Wednesday, 26 March 2025.For the full current version of the article, see Pierre Boulez on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Olivia.

Description: In this introspective episode, we delve into the profound question posed by one of my students: "Who am I without my instrument?" Join me as we explore the nuances of identity, self-worth, and the personal journey beyond the confines of our professions. Through personal anecdotes and reflections, I share insights on separating our self-esteem from our professional achievements, the joys and challenges of musicianship, and the importance of personal growth over legacy. This episode is not just for musicians but for anyone who has ever felt defined by their work. Remember, you are more than what you do. Key Points Discussed: Identity and Music: How I differentiate between being a musician and being a person. Self-Esteem: The impact of professional setbacks on personal identity and why it's crucial to base self-worth on who we are, not what we do. Personal Stories: Remembering Maurice Murphy for his personality rather than his trumpet playing; my father's influence on my understanding of identity. Life After the Vienna Philharmonic: My decision to leave to discover my true self, the initial failure, and the eventual personal success. Professional vs. Personal Identity: The dangers of defining oneself by an institution or job title. The Joy of Music: How playing the trombone serves as my therapy, voice, and joy, yet isn't the entirety of my identity. On Not Leaving a Legacy: My philosophy on living in the present moment and moving forward without a focus on posterity. Highlights: "When I think back to those no longer with us, I remember who they were, not what they did." "Our self-esteem should be based on our growth as individuals, not on our professional roles." "I left the Vienna Philharmonic to find out who I was, without the orchestra's name attached to mine." Keywords for Search: Identity, musician, self-esteem, Vienna Philharmonic, personal growth, music therapy, professional identity, self-discovery, trombone, legacy, Maurice Murphy, career failure. Timestamps: [00:01] Introduction to the question "Who am I without my instrument?" [05:00] Discussing the impact of profession on personal identity [10:30] Personal anecdotes on remembering loved ones [15:45] Leaving the Vienna Philharmonic and the journey of self [20:00] The importance of not defining oneself by job or achievements [25:10] Music as more than a profession: therapy, voice, and joy [30:00] Reflecting on the philosophy of not living for posterity If you've ever pondered your identity outside your career, share your thoughts or questions in the comments. Let's continue this conversation together! Release Date: 08.01.2025Host: Ian BousfieldPodcast Name: The Ian Bousfield ExperiencePodcast Episode: 057

In Episode 30 of The Classical Circuit, host Ella Lee chats to conductor Rafael Payare: his rapid introduction to the music world at the age of 14; and how strongly he feels that amidst huge unrest in his home country of Venezuela, today's children should have the same musical opportunities and the chance to ‘dream big', as he did. He also spoke about his approach to artistic programming as a music director, and shared the touching story of how he came to conduct the Vienna Philharmonic for the very first time.-------------------Rafael's links:WebsiteInstagramFacebook-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------This podcast is also available to listen to via The Violin Channel--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

Ladies and gentlemen, with honesty, tenderness and, yes, sometimes humor, the film Facing the Wind invites viewers into the lives of people with Lewy body dementia and their caregivers…real people in real time.  FACING THE WIND, a sixty-minute documentary film, reveals how a mutual support community can be an antidote to despair, letting people know they are not alone.  You will follow their journey, laughing and crying with them, while taking an unflinching look at dementia care with its overwhelming and isolating aspects. The struggle is real, but so is the love. Ladies and gentlemen, Lewy body dementia is not a rare disease. It affects more than 1.4 million people in America. It is the second most common form of dementia, but it still being misdiagnosed. Alzheimer's disease is the gradual decline of memory as Lewy body dementia is the roller coaster ride with ups and downs. One moment the patient can be fully present and lucid and the next be completely lost or deal with hallucinations from mild to severe. There is no cure, but this very powerful film documentary is not for those suffering with Lewy body dementia, but for the people who care for them. Many spouses and family members are thrust into being a caregiver and navigating the vast ocean of the unknown. FACING THE WIND is a starting place for caregivers and to know that it's ok to not be ok. Head over to LewyBodyResourceCenter.org for more information. If your loved one was diagnosed with Lewy body dementia, you are not alone and there are resources right now that can help you. Mary Lou Falcone, author of the book, “I Didn't See It Coming: Scenes of Love, Loss and Lewy Body Dementia”. Mary Lou Falcone, author of I DIDN'T SEE IT COMING: Scenes of Love, Loss, and Lewy Body Dementia, is internationally known as a classical music publicist/strategist who for 50 years has helped guide the careers of celebrated artists – Van Cliburn, Gustavo Dudamel, Renée Fleming, Sir Georg Solti, James Taylor – and advised many institutions including Carnegie Hall, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, New York Philharmonic, Vienna Philharmonic.  Combining communication skills with her background as a performer and educator, she now adds another layer: advocate for Lewy body dementia (LBD) awareness.  Her late husband, the illustrator/painter Nicky Zann who died from LBD in 2020, was the catalyst for her book.  She is also an Executive Producer of a new documentary film about LBD entitled Facing the Wind, a love story about people with Lewy body dementia, the spouses who care for them, and the remarkable community where they find sustenance and support. #lewybodydementia #lewybody #dementia #alzheimersdisease #alzheimers #parkinsonsdisease #brainhealth #medicine #filmdocumentary #documentary #health #wellness #caregiving #caregivers 

Ladies and gentlemen, with honesty, tenderness and, yes, sometimes humor, the film Facing the Wind invites viewers into the lives of people with Lewy body dementia and their caregivers…real people in real time.  FACING THE WIND, a sixty-minute documentary film, reveals how a mutual support community can be an antidote to despair, letting people know they are not alone.  You will follow their journey, laughing and crying with them, while taking an unflinching look at dementia care with its overwhelming and isolating aspects. The struggle is real, but so is the love. Ladies and gentlemen, Lewy body dementia is not a rare disease. It affects more than 1.4 million people in America. It is the second most common form of dementia, but it still being misdiagnosed. Alzheimer's disease is the gradual decline of memory as Lewy body dementia is the roller coaster ride with ups and downs. One moment the patient can be fully present and lucid and the next be completely lost or deal with hallucinations from mild to severe. There is no cure, but this very powerful film documentary is not for those suffering with Lewy body dementia, but for the people who care for them. Many spouses and family members are thrust into being a caregiver and navigating the vast ocean of the unknown. FACING THE WIND is a starting place for caregivers and to know that it's ok to not be ok. Head over to LewyBodyResourceCenter.org for more information. If your loved one was diagnosed with Lewy body dementia, you are not alone and there are resources right now that can help you. Mary Lou Falcone, author of the book, “I Didn't See It Coming: Scenes of Love, Loss and Lewy Body Dementia”. Mary Lou Falcone, author of I DIDN'T SEE IT COMING: Scenes of Love, Loss, and Lewy Body Dementia, is internationally known as a classical music publicist/strategist who for 50 years has helped guide the careers of celebrated artists – Van Cliburn, Gustavo Dudamel, Renée Fleming, Sir Georg Solti, James Taylor – and advised many institutions including Carnegie Hall, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, New York Philharmonic, Vienna Philharmonic.  Combining communication skills with her background as a performer and educator, she now adds another layer: advocate for Lewy body dementia (LBD) awareness.  Her late husband, the illustrator/painter Nicky Zann who died from LBD in 2020, was the catalyst for her book.  She is also an Executive Producer of a new documentary film about LBD entitled Facing the Wind, a love story about people with Lewy body dementia, the spouses who care for them, and the remarkable community where they find sustenance and support. #lewybodydementia #lewybody #dementia #alzheimersdisease #alzheimers #parkinsonsdisease #brainhealth #medicine #filmdocumentary #documentary #health #wellness #caregiving #caregivers 

Send us a textWe're now on YouTube! Enjoy this episode with our new enhanced video content on our YouTube channel, please like and subscribe!!Join us for an inspiring conversation with the legendary trombonist Ian Bousfield as we navigate through the vibrant realm of trombone music. Ian shares his incredible journey in an engaging discussion on the transformative power of music in an unforgettable exploration of musical connections and experiences.Our discussion unfolds the unexpected bonds formed through podcasting, illustrating how stories and respectful discourse can bridge diverse backgrounds. Ian reflects on how podcasting became a therapeutic platform during COVID, offering a space to share opinions and connect with a global audience. The episode emphasizes the importance of understanding music within its cultural context, drawing parallels with wine tasting, and appreciating unique musical interpretations. Insights into the dynamics of conducting in different regions and the evolving definition of musical success provide a deeper understanding of the art form.Furthermore, Ian reveals the emotional depth and familial influences that shape a musician's legacy. He shares touching stories of nurturing resilience in children, balancing a demanding career with family life, and inspiring the next generation of musicians. Through candid anecdotes, Ian recounts pivotal career moments and the enduring friendships formed along the way, from the London Symphony Orchestra to the Vienna Philharmonic. This episode is a celebration of music's profound impact on personal and professional life, encapsulating the shared experiences that unite the global trombone community.Also introducing special features with Patreon: www.patreon.com/tromboneretreatLearn more about the Trombone Retreat and upcoming festival here: linktr.ee/tromboneretreat Hosted by Sebastian Vera - @js.vera (insta) and Nick Schwartz - @basstrombone444 (insta)Produced and edited by Sebastian VeraMusic: Firehorse: Mvt 1 - Trot by Steven Verhelst performed live by Brian Santero, Sebastian Vera and Nick SchwartzThank you to our season sponsor Houghton Horns: www.houghtonhorns.comSupport the show

Manfred Honeck is one of the leading conductors in the world—and one of Jay's favorite musical guests. Maestro Honeck is the music director of the Pittsburgh Symphony Orchestra. He comes from Austria, where he played in the Vienna Philharmonic. He and Jay sat down last month in Austria—before an audience of the Salzburg Festival Society. […]

Manfred Honeck is one of the leading conductors in the world—and one of Jay's favorite musical guests. Maestro Honeck is the music director of the Pittsburgh Symphony Orchestra. He comes from Austria, where he played in the Vienna Philharmonic. He and Jay sat down last month in Austria—before an audience of the Salzburg Festival Society. You can learn a lot from this man, Honeck. 

SynopsisThe Radetzky March is undoubtedly Johann Strauss, Sr.'s most famous work. Its performance has become obligatory at the New Year's concerts of the Vienna Philharmonic — it's that piece that involves audience participation in the form of a “clap along.” The premiere of this familiar music took place on today's date in 1848 with a distinct political subtext — back then, not everyone back then was clapping along.Field Marshall Radetzky was the commander of the Austrian forces that rather brutally put down “insurgent democrats” in Italy during the liberal revolutions of 1848, and, as such, became a counter-revolutionary hero in Europe. The premiere of Radetzky March occurred at a concert attended chiefly by monarchists and the Austrian military, and the tune quickly became the unofficial anthem of the Austrian military and ultra-conservatives — the “far right” of that time.Curiously enough, Johann Strauss, Jr. held diametrically opposite, and considerably liberal, political sympathies from his father. By the end of the 19th century, however, the bloody political troubles of 1848 were diplomatically swept under the collective Austrian carpet, and Johann Strauss, Jr.'s Blue Danube Waltz became the unofficial anthem for all Austrians, right, left and center. Music Played in Today's ProgramJohann Strauss, Sr. (1804-1849): Radetzky March; Vienna Philharmonic; Willi Boskovsky, conductor; London/Decca 460250

Maestro Riccardo Muti is a fixture at the Salzburg Festival. This year, he conducted the Vienna Philharmonic in Bruckner's Eighth Symphony. Between rehearsals and performances, he sat down with Jay to discuss a variety of matters—musical and even social. What constitutes harmony in society? And what can music teach us about how to live together? […]

Maestro Riccardo Muti is a fixture at the Salzburg Festival. This year, he conducted the Vienna Philharmonic in Bruckner's Eighth Symphony. Between rehearsals and performances, he sat down with Jay to discuss a variety of matters—musical and even social. What constitutes harmony in society? And what can music teach us about how to live together? A session with Muti is informative, enriching—and, not least, fun. 

The great Austrian conductor Herbert von Karajan (1908-89) was fascinated with technology from an early age, and, from the early 1960s onward, he filmed many of his performances. Deutsche Grammophon's streaming service Stage+ has a huge archive of Karajan's films including his Telemondial legacy – recorded with the Berlin and Vienna Philharmonics during the 1980s, the conductor's last decade. Karajan's biographer, and long-serving Gramophone critic, Richard Osborne, discusses Karajan's video legacy with James Jolly, and they pick some favourites from the Stage+ catalogue. This podcast is sponsored by STAGE+, the streaming service for classical music by Deutsche Grammophon, hosting concerts, operas, documentaries, albums and much more, including 50 live streams per year. With a special summer offer, you can get 2 months of STAGE+ for just 1€ with access to the entire content library and live broadcasts from some of this year's finest summer festivals. Visit stage-plus.com/summer before August 16 to find out more.

Werner Hink, who for many years was a concertmaster of the Vienna Philharmonic, has died. Jay interviewed him some years ago and found him memorable. This episode ends with some playing by Hink (Bach). There is also some Schubert by Isaac Stern, whom Hink prized. There's a little Broadway, a little rap. A nice buffet of music. Mozart, Overture to “The Marriage of Figaro” Beethoven, Piano Sonata No. 27 in E minor, Op. 90, second movement Schubert, “Serenade” Rodgers-Sondheim, “Hate Song” from “The Mad Show” Prokofiev, March from “The Love for Three Oranges” Ginastera, Violin Concerto, final section C+C Music Factory, “Things That Make You Go Hmmm” Trad., “Shine You No More (Last Leaf)” Bach, Adagio from the Violin Sonata in G minor

Or “The Woman Who Was Cool”. The boys sit down with good friend of the show Gus to remind you that Todd Field invented Big League Chew and also that his movie Tár absolutely rules. We dare to ask “is Cate Blanchette good at conducting?”, spot ghosts, trying to enjoy Monster Hunter, playing the triangle right and “what this movie is actually about?” Watching the End of History will return next along with Hollywood Tim as we tackle another deeply weird Stephen Spielberg/Tom Cruise 00s sci-fi movie. This time though, a movie that is almost as obsessed with 9/11 as our show is: 2005's War of the Worlds.   Transition bits include: Bernstein obsessing over the triangle section in rehearsal: https://youtu.be/ebf6_7nHciw?si=4Pf9cuzYp9r7raGh Bernstein lecturing on Mahler 5 from the piano: https://youtu.be/A7O5zcQPRQQ?si=OcB-xcprNZe9I_4P Bernstein conducting Mahler 5 with Vienna Philharmonic: https://youtu.be/Bj6KLv7kv2Q?si=6C_RBoOoJdR6pcu1 Jacqueline du Pre playing the Elgar Cello Concerto under Barenboim: https://youtu.be/OPhkZW_jwc0?si=8_s1VcrFi288l03n

Introduction: In this episode, we delve into the profound journey of Mary Lou, a dedicated caregiver to her husband, the renowned artist and rocker, Nicholas ‘Nicky' Zann. Mary Lou candidly shares their story of navigating life with Lewy body dementia, shedding light on the challenges, resilience, and the importance of understanding and support. Key Points Covered: Understanding Lewy Body Dementia (LBD): Mary Lou describes how LBD differs from Alzheimer's, with fluctuating symptoms affecting memory and behavior. It's a condition affecting 1.4 million Americans and 11 million globally, though it remains relatively less known. The Caregiver's Perspective: Mary Lou emphasizes the need to meet the person with dementia where they are, suspending personal needs to prioritize theirs. Caregiving is described as improvisation, requiring adaptability and a willingness to accept failures. Lessons in Forgiveness and Vulnerability: She reflects on her book, “I Didn't See it Coming, Scenes of Love, Loss and Lewy Body Dementia,” as a journey of reconciliation with herself as a caregiver. Forgiveness and vulnerability are central themes, offering insights into the complexities of caregiving. Nicky's Messages and Final Moments: Mary Lou shares Nicky's enduring messages and the profound experience of understanding his needs in his final moments. She highlights the transformative potential of grief, turning it into catharsis. Raising Awareness and Encouraging Support: Mary Lou advocates for greater awareness of Lewy body dementia, urging celebrities and public figures to help shine a light on this condition. She underscores the importance of creating supportive communities for family caregivers. Notable Quotes from Mary Lou: “You have to join the person where they are, you can't expect them to come to you in their former state. It's just not possible.” “Suspend what you need and give them what they need.” “Grief doesn't have to be your nemesis, it can be your catharsis.” Closing Thoughts: Mary Lou concludes by emphasizing the moments of light and hope amidst the challenges of caregiving. Her story serves as an inspiration and a call to action for increased understanding and support for those affected by Lewy body dementia. ABOUT THE AUTHOR & ILLUSTRATOR Mary Lou Falcone is internationally known as a classical music publicist/strategist who for 50 years has helped guide the careers of celebrated artists – Van Cliburn, Gustavo Dudamel, Renée Fleming, Sir Georg Solti, James Taylor – and advised many institutions including Carnegie Hall, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, New York Philharmonic, and Vienna Philharmonic. Combining communication skills with her background as a performer and educator, she now adds another layer: advocate for Lewy body dementia (LBD) awareness. Her late husband, the illustrator Nicky Zann, who died from LBD in 2020, was the catalyst for this, her first book. Nicholas ‘Nicky' Zann, the inspiration for this book, was a popular 1950s rock 'n' roll musician who became a world-renowned cartoonist, illustrator, and painter. His work hangs in the permanent collection of London's Victoria and Albert Museum, and the illustrations featured throughout this book come from his bestselling fortune-telling card game, The Answer Deck. Visit Mary Lou's website HERE. Buy her book HERE.

Prepare to be whisked away to the cultural heart of Palm Beach as we sit down with the Kravitz Center's dynamic marketing duo, Meredyth and Dana, to explore a spectacular lineup that promises to dazzle and inspire. Their passion for the arts is palpable as they unveil the much-anticipated Broadway smashes Sixth the Musical and Hamilton's encore, alongside a ground-breaking exhibition set for summer 2024, Space Explorers: The Infinite. Imagine strapping on VR goggles to float alongside astronauts—a truly out-of-this-world experience awaits!Our episode is peppered with the rich tapestry of life in Palm Beach County, where the Kravitz Center stands as a cornerstone of cultural vibrancy. We share laughter and insights into the daily delights of the area, from the joyous bustle of Sunfest to the charming local farmers market. Revel in the melody of our conversation about the prestigious Vienna Philharmonic's upcoming performance, and feel the pull of West Palm Beach's enchanting streets and the allure of the Brightline train. Meredith, Dana, and I extend an invitation to find your rhythm in the heart of Palm Beach's thriving arts scene—where there's always an encore waiting just for you. Support the show

SynopsisOn today's date in 1946, the octogenarian German composer Richard Strauss conducted the final rehearsal of his latest work, Metamorphosen, a study for 23 strings. Paul Sacher, the Swiss conductor and music patron, had commissioned the work and conducted the public premiere later that day in Zurich.Strauss had begun work on the piece on March 13, 1945, one day after the Vienna State Opera house had been bombed by the Allies. When the Nazis had come to power in 1933, Strauss was at first fêted as the greatest living German composer, but he soon fell out of favor. While his music was not banned, official Nazi support for Strauss eventually fell away, and the fact that Strauss' beloved daughter-in-law was Jewish meant increasing anxiety about her fate and that of his grandchildren as the Nazi's race laws tightened their noose.In a postwar memorandum, Strauss wrote, “The most terrible period of human history has come to an end, the 12-year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2,000 years of cultural evolution met its doom and irreplaceable monuments of architecture and works of art were destroyed.”Music Played in Today's ProgramRichard Strauss (1864-1949) Metamorphosen; Vienna Philharmonic; Simon Rattle, cond. EMI 56580

Tom Service speaks to the conductor Yannick Nézet-Séguin, Music Director of the Montreal Philharmonic, the Philadelphia Orchestra, and the Metropolitan Opera in New York. He is one of the starriest and most sought-after conductors in the world. also one of the most loved by the musicians who work with him. Nézet-Séguin is guest conductor to some of the world's top orchestras, like the Vienna Philharmonic, the Chamber Orchestra of Europe and the Berlin Philharmonic, and he has recorded cycles of symphonies by Brahms, Beethoven and Bruckner, plus operas by Mozart, Gounod and Wagner. Alongside the core repertoire, he's on a mission to perform new works that represent all of society and thereby draw new audiences to the orchestras that he leads and the Metropolitan Opera in New York. He tells Tom about the richly fulfilling experiences of putting on Terence Blanchard's Fire Shut up in My bones and Kevin Puts' The Hours, and how these two new operas are both bringing in audiences who have never been to the MET before, whilst also refreshing the cherished classics traditionally staged there. 2024: what does the new year hold for the musical scene? What's the impact of cuts across classical music, from education in schools to opera companies, and what are the opportunities of the moment for those who run our orchestras and lead music education? Tom Service convenes a Music Matters counsel of musical sages to discuss their thoughts of the state of music as we step into 2024: Sophie Lewis, Chief Executive of the National Children's Orchestras and Chair of the Association of British Orchestras; Gillian Moore, Artistic Associate of the South Bank Centre in London, writer and consultant; and Phil Castang, Chief Executive of Music for Youth.

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

Classical music publicist, educator, performer, and dementia advocate Mary Lou Falcone joins Being Patient Live Talks to discuss her book, I Didn't See It Coming. In this memoir of “love, loss, and Lewy Body dementia,” Falcone details the caregiving journey for her late husband, Nicholas ‘Nicky' Zann, whose illustrations introduce each chapter. Falcone is an internationally known classical music publicist/strategist who has helped guide the careers of celebrated artists like Van Cliburn, Gustavo Dudamel, Renée Fleming, Sir Georg Solti, and James Taylor for fifty years. She's also advised institutions like Carnegie Hall, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, New York Philharmonic, and Vienna Philharmonic. Combining her communication skills with her background as a performer and educator, she now advocates for Lewy body dementia awareness by sharing her story. Watch the live talk to learn more about her caregiving journey with Lewy Body dementia and her experience writing this memoir. ___ If you loved watching this Live Talk, visit our website to find more of our Alzheimer's coverage and subscribe to our newsletter: https://www.beingpatient.com/ Follow Being Patient: Twitter: https://twitter.com/Being_Patient_ Instagram: https://www.instagram.com/beingpatientvoices/ Facebook: https://www.facebook.com/beingpatientalzheimers LinkedIn: https://www.linkedin.com/company/being-patient

What happens when the illustrious brass sections of the Berlin and Vienna Philharmonic come together? The answer = The Philharmonic BrassMaking its debut in Vienna's Musikverein last April the group has come together for recording, tours, and education work. Compromising some of the best-known faces in the brass world from Berlin, Vienna, and their friends, the group includes Sarah Willis, horn, and Paul Halwax, tuba.Debut album ‘Overture!' is conducted by Tugan Sokhiev and includes virtuoso arrangements of some of the best-known overtures including Verdi's La Forza del Destino and Gershwin's Cuban Overture.Track Listing:1 Festive Overture, Op. 962 Cuban Overture3 Overture from La forza del destino4 Egmont Overture5 Overture to Prince Igor6 Carnival OvertureHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

My co-host , Don, and I have been blessed with so many amazing guests, but truth be told, our 81st guest, Mary Lou Falcone , ranks as one of our very favorites!! We fell in love with this EXTRAORDINARY woman and we have no doubt you will, too.For over 50 years, Mary  helped guide the careers of celebrated artists – Van Cliburn, Gustavo Dudamel, Renée Fleming, Sir Georg Solti, James Taylor – and advised many institutions including Carnegie Hall, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, New York Philharmonic, Vienna Philharmonic. Then combining communication skills with her background as a performer and educator, she now adds another layer: advocate for Lewy body dementia (LBD) awareness.Mary became a caregiver when her father had a massive stroke. She was 10 years old. The experience prepared her for the day, many years later, when her husband, a world-renowned cartoonist, illustrator, painter, and 1950s rocker, Nicholas 'Nicky' Zann, was diagnosed with Lewy Body Dementia (LBD).  Nicky, who died from LBD in 2020, was the catalyst for Mary's first book,  I Didn't See It Coming: Scenes of Love, Loss, and Lewy Body Dementia.     "Mary Lou Falcone is an expert storyteller. After years of telling other people's stories, she now tells her own compelling story." Friend and client, James Taylor. In her memoir of love, loss, and Lewy body dementia (LBD), Mary Lou Falcone takes readers on a cathartic journey of caregiving that is filled with hope, laughter, and tears, making stops along the way for music, romance, and surprises. Written to inspire and give hope, Mary Lou unflinchingly shares in detail her late husband's struggle with LBD, providing informative, compassionate, and inspiring insights into dementia. As she emerges transformed and energized, so will you after reading I Didn't See It Coming: Scenes of Love, Loss, and Lewy Body Dementia . Learn about Lewy Body Dementia, why it is difficult to diagnose, and the special challenges faced by caregivers. Enjoy Episode 81!!Love conquers alz,Susie xoSupport the showJOIN THE MOVEMENT FOR NURSING HOME REFORM BY SUPPORTING THE COMPLETION OF OUR DOCUMENTARY "NO COUNTRY FOR OLD PEOPLE" BY MAKING A TAX DEDUCTIBLE DONATION THROUGH THE NATIONAL CONSUMER VOICE HERE or GO FUND ME Follow us on Twitter, FB, IG, & TiK Tok

My co-host , Don, and I have been blessed with so many amazing guests, but truth be told, our 81st guest, Mary Lou Falcone , ranks as one of our very favorites!! We fell in love with this EXTRAORDINARY woman and we have no doubt you will, too. For over 50 years, Mary helped guide the careers of celebrated artists – Van Cliburn, Gustavo Dudamel, Renée Fleming, Sir Georg Solti, James Taylor – and advised many institutions including Carnegie Hall, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, New York Philharmonic, Vienna Philharmonic. Then combining communication skills with her background as a performer and educator, she now adds another layer: advocate for Lewy body dementia (LBD) awareness. Mary became a caregiver when her father had a massive stroke. She was 10 years old. The experience prepared her for the day, many years later, when her husband, a world-renowned cartoonist, illustrator, painter, and 1950s rocker, Nicholas 'Nicky' Zann, was diagnosed with Lewy Body Dementia (LBD). Nicky, who died from LBD in 2020, was the catalyst for Mary's first book, I Didn't See It Coming: Scenes of Love, Loss, and Lewy Body Dementia. "Mary Lou Falcone is an expert storyteller. After years of telling other people's stories, she now tells her own compelling story." Friend and client, James Taylor. In her memoir of love, loss, and Lewy body dementia (LBD), Mary Lou Falcone takes readers on a cathartic journey of caregiving that is filled with hope, laughter, and tears, making stops along the way for music, romance, and surprises. Written to inspire and give hope, Mary Lou unflinchingly shares in detail her late husband's struggle with LBD, providing informative, compassionate, and inspiring insights into dementia. As she emerges transformed and energized, so will you after reading I Didn't See It Coming: Scenes of Love, Loss, and Lewy Body Dementia . Learn about Lewy Body Dementia, why it is difficult to diagnose, and the special challenges faced by caregivers. Enjoy Episode 81!! Love conquers alz, Susie xo Support the show JOIN THE MOVEMENT FOR NURSING HOME REFORM BY SUPPORTING THE COMPLETION OF OUR DOCUMENTARY "NO COUNTRY FOR OLD PEOPLE" BY MAKING A TAX DEDUCTIBLE DONATION THROUGH THE NATIONAL CONSUMER VOICE HERE or GO FUND ME Follow us on Twitter, FB, IG, & TiK Tok

Today on the podcast, you'll hear from Mary Lou Falcone, Founder and owner of M.L. Falcone, Public Relations Mary Lou Falcone is internationally known as a classical music publicist/strategist who for 50 years has helped guide the careers of celebrated artists – Van Cliburn, Gustavo Dudamel, Renée Fleming, Sir Georg Solti, James Taylor – and advised many institutions including Carnegie Hall, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, New York Philharmonic, Vienna Philharmonic.  Combining communication skills with her background as a performer and educator, she now adds another layer: advocate for Lewy body dementia (LBD) awareness.  Her late husband, the illustrator Nicky Zann who died from LBD in 2020, was the catalyst for this her first book. This conversation was so inspiring to me - Mary Lou has SO MUCH wisdom to share for musicians today about seeing opportunities, about learning on the job, about taking agency, about integrity and kindness and paying it forward. She has such beautiful words about caregiving, and she relates it so beautifully to what we do in so many realms of our lives. I wanted her to keep talking forever.   The book, I Didn't See it Coming, came out October 3 and I recommend it highly, but first please listen to this beautiful conversation. Mary Lou's website is https://maryloufalcone.com/   Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! Or you could hop on a short call with me to brainstorm your next plan.  I'm your host, Jennet Ingle. I love you all. Stay safe out there!  

My guest today is Mary Lou Falcone, author of the book, “I Didn't See It Coming: Scenes of Love, Loss and Lewy Body Dementia”. In this memoir, Mary Lou takes readers on a freeing journey of caregiving that is filled with hope, laughter, and tears, making stops along the way for music, romance, and surprises.    Written to inspire and give hope, Mary Lou unflinchingly shares in detail her late husband's struggle with LBD, providing informative, compassionate, and inspiring insights into dementia.    Mary Lou Falcone is an internationally known classical music publicist/strategist. Who for 50 years has helped guide the careers of celebrated artists from Van Cliburn to James Taylor – and advised many institutions including Carnegie Hall, and symphonies and orchestras from Los Angeles to Chicago to New York as well as the Vienna Philharmonic.     I would like to shine a light on Mary Lou's late husband, Nicholas ‘Nicky' Zann. He was the inspiration for her book. He was a popular 1950s rock 'n' roll musician who became a world-renowned cartoonist, illustrator, and painter.     His work hangs in the permanent collection of London's Victoria & Albert Museum, and the illustrations featured throughout her book come from his bestselling fortune-telling card game The Answer Deck.  . #lewybodydementia #lewybodydisease #dementia #alzheimersdisease #mentalhealth #wellness #robinwilliams #estellegetty #medicine #publicrelations #newbook #illustrator #artist #classicalmusic #jamestaylor #vancliburn

My guest today is Mary Lou Falcone, author of the book, “I Didn't See It Coming: Scenes of Love, Loss and Lewy Body Dementia”. In this memoir, Mary Lou takes readers on a freeing journey of caregiving that is filled with hope, laughter, and tears, making stops along the way for music, romance, and surprises.    Written to inspire and give hope, Mary Lou unflinchingly shares in detail her late husband's struggle with LBD, providing informative, compassionate, and inspiring insights into dementia.    Mary Lou Falcone is an internationally known classical music publicist/strategist. Who for 50 years has helped guide the careers of celebrated artists from Van Cliburn to James Taylor – and advised many institutions including Carnegie Hall, and symphonies and orchestras from Los Angeles to Chicago to New York as well as the Vienna Philharmonic.     I would like to shine a light on Mary Lou's late husband, Nicholas ‘Nicky' Zann. He was the inspiration for her book. He was a popular 1950s rock 'n' roll musician who became a world-renowned cartoonist, illustrator, and painter.     His work hangs in the permanent collection of London's Victoria & Albert Museum, and the illustrations featured throughout her book come from his bestselling fortune-telling card game The Answer Deck.  . #lewybodydementia #lewybodydisease #dementia #alzheimersdisease #mentalhealth #wellness #robinwilliams #estellegetty #medicine #publicrelations #newbook #illustrator #artist #classicalmusic #jamestaylor #vancliburn

Mary Lou Falcone is the Queen of Classical Music PR and Strategy. Over a 50+ year career she has represented many world famous artists including Van Cliburn, Renee Fleming, Sir Georg Solti and James Taylor. She has also represented and advised many classical music institutions including Carnegie Hall, Los Angeles Philharmonic, New York Philharmonic and the Vienna Philharmonic. She has now written a book and become an advocate for Lewy Body Dementia, a condition that took her husband, called "I Didn't See It Coming". My featured song is “My Love” from Robert's album Bobby M and the Paisley Parade. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click hereTo Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Mary Lou:www.maryloufalcone.comHer book: I Didn't See It Coming: Scenes of Love, Loss and Lewy Body Dementia  Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Hornist Amy Sanchez is a very successful and very busy freelancer living in Los Angeles. But she is so much more than that. In addition to all her various activities as a musician, she has also done a 99 day trip around the United States visiting all the National Parks, has become involved with NkombeRhino, a South African organization that focuses on the protection of endangered species (and in the process founded Horns for Rhino), has a pilot's license, and is probably the only freelancer in Los Angeles to have bought a house in Sitka, Alaska!During the week of our conversation, Amy had a VERY busy week, flying to San Francisco to play offstage in a Vienna Philharmonic concert, playing on a Thomas Newman session for a Pixar animated movie, playing Sondheim's Sunday in the Park with George, and also teaching 12+ lessons at UCLA. So we begin by talking about that week and what the life of a freelancer is like. We end with Amy talking about the beginning of her career, studying at Ithaca College and the University of Southern California and touring with Blast.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

SynopsisOn today's date in 1933, the Philadelphia Orchestra was performing at its summer home at Robin Hood Dell. Conductor Alexander Smallens led the world premiere performance of a new work by a 23-year-old composer named Samuel Barber. It was his first orchestral composition to have a major public hearing, but oddly enough, young Mr. Barber himself was not in attendance. He was in Europe that summer, and so missed the premiere of his Overture to The School for Scandal, a musical romp inspired by the 18th century English Restoration comedy of the same name by Richard Sheridan.Even before he had left the Curtis Institute of Music, where he pursued a triple major in piano, composition, and voice, Barber had begun winning prizes that enabled him to study abroad. Until the outbreak of the Second World War, Barber's musical career was quite Euro-centric. His School for Scandal Overture, in fact, was written in Italy in 1931. Barber's First Symphony premiered in Rome in 1936, and the following year was played by the Vienna Philharmonic at the 1937 Salzburg Music Festival. That led to stateside performances and commissions from conductors like Bruno Walter and Arturo Toscanini.Music Played in Today's ProgramSamuel Barber (1910 – 1981) School for Scandal Overture Baltimore Symphony; David Zinman, conductor. Argo 436 288

SynopsisPiero della Francesca was a 15th century Renaissance painter, whose series of frescoes entitled Legend of the True Cross inspired one of the best orchestral works of a 20th-century Czech composer named Bohuslav Martinu.In 1952, Martinu made a trip to the Tuscan hill town of Arezzo, where he saw the frescoes and got the idea for a new symphonic work that would attempt to capture in music what Piero had captured in painting.What Martinu sought to replicate was, as he put it, “a kind of solemn, frozen silence and opaque, colored atmosphere… a strange, peaceful, and moving poetry.”Martinu linked the first movement of his score to one Tuscan fresco showing the Queen of Sheba and some women kneeling by a river; and the second to another depicting the dream of the Emperor Constantine. The third movement was intended, in Martinu's words, as “a kind of general view of the frescoes.”Martinu's orchestral triptych, entitled The Frescoes of Piero della Francesca, received its premiere performance on today's date at the 1956 Salzburg Festival in Austria, with the Vienna Philharmonic led by the eminent Czech conductor, Rafael Kubelik.Music Played in Today's ProgramBohuslav Martinu (1890 – 1950) Les Fresques de Piero della Francesca Vienna Philharmonic;Rafael Kubelik, conductor. Orfeo C521-991 (recorded August 26, 1956)

A bumper music history episode this week, as I firstly explore the Vienna Philharmonic's shockingly dark Nazi past, as well as there racist and sexist present. The second half uses the two extremes of Belfast adjectives, Shite and Class, to analyse Johann II and Richard Strauss. Looking at both of them, I compare their lives, their music and their respective links to the Nazi Party.I round up with a delicious recording of some flute Strauss, all whilst sipping on an Irn Bru. If you want to chat more, he's all my socials, I'd love to hear from you!TikTok: @GarethHoustonFluteInstagram: @garethhouston_fluteFacebook: @GarethHoustonFluteAnd if you'd like to support the podcast, you can buy me a beer or a Dr Pepper with my PayPal link below (also in my Instagram bio!)Inline G will ALWAYS be free of charge, but small donations of a few euro/pounds/dollars help keep the lights on round here, if you can afford it xwww.paypal.me/garethhouston92Cheers xChapters: 0:00 - Why the Nazi's?5:58 - The Nazi Philharmonic Orchestra23:18 - The Sh*te Strauss30:00 - The Class Strauss35:00 - Strauss Flute Recordings41:29 - Jimmy Galway playing Salomé42:45 - An apology (to my grandmother, mainly) Hosted on Acast. See acast.com/privacy for more information.

SynopsisThere was a time when German opera houses would have fought over the chance to premiere a brand-new opera by Richard Strauss. But by 1940, when Strauss finished a mythological opera entitled The Love of Danae, there was a war on and Strauss had fallen out of favor with Germany's Nazi rulers.A scheduled premiere in Dresden had to be cancelled. In Leipzig, the orchestral parts for the new opera were lost in a fire, and in Munich an Allied air raid damaged the opera's sets and scenery. By the summer of 1944, when conductor Clemens Krauss was rehearsing handpicked vocal soloists and the Vienna Philharmonic for the opera's belated premiere at the Salzburg Festival, the collapse of the Third Reich was imminent. On August 1st, an order was issued from Berlin canceling all music festivals and closing all theaters. Somehow Salzburg managed to get a dispensation, and rehearsals for Strauss's opera were allowed to continue. A private dress rehearsal of The Love of Danae took place in Salzburg on August 16, 1944. The 80-year old composer attended, and, with tears in his eyes, thanked the performers with these words: “Perhaps we shall meet again in a better world.”Music Played in Today's ProgramRichard Strauss (1864 – 1949) Die Liebe der Danae (Symphonic Fragment), Op. 83 Toronto Symphony; Andrew Davis, conductor. CBS 45804

SynopsisAs the proverbial saying goes: “Necessity is the mother of invention.” It was, frankly, a matter of economic necessity that led a 36-year-old Austrian conductor named Clemens Krauss to program an all-Johann Strauss concert by the Vienna Philharmonic at the Salzburg Music Festival on today's date in 1929.The Festival was established in 1920 with high ideals but insecure funding. To succeed, the Festival needed both strong local support and wealthy visitors from abroad. Sometimes it worked, sometimes it didn't, but in 1929, as the Festival approached its 10th anniversary, its finances and future seemed uncertain. Now, Krauss knew that Strauss waltzes were popular with both the natives and the Festival's international visitors, so why not offer a whole concert program consisting of nothing but the dance music of Johann Strauss? The August 11, 1929, concert proved to be a resounding success, and the idea was repeated at the Festival several times over the next decade.Back home in Vienna, Krauss revived the idea of an all-Strauss concert on December 31, 1939. That year-end tradition continues to this day, as the Philharmonic presents its annual New Year's Concert, broadcast worldwide from Golden Hall of the Musikverein in Vienna.Music Played in Today's ProgramJohann Strauss, Jr. (1825 - 1899) Annen Polka and Perpetuum mobile Vienna Philharmonic; Clemens Krauss, conductor. Preiser 90139 (recorded 1929)

Jess Gillam swaps favourite music with the mezzo-soprano Anne Sofie von Otter Anne Sofie is one of classical music's most celebrated singers with a huge back catalogue of recordings, and she's also known for her huge versatility and musical curiosity working with artists from conductors Claudio Abbado and Giuseppe Sinopoli to Elvis Costello, Brad Mehldau and Rufus Wainwright. Today though she's listening to other people's recordings, as she and Jess sat down together to listen to a Janacek fanfare and a headphone blasting piece of Verdi. Jess picks a Nina Simone track that left them both speechless, while Anne Sofie brought along a ravishing piece by Rameau and (quite literally) turned up the volume on a barnstorming Beyoncé track. Playlist: JANACEK: Sinfonietta, 1st mvt 'Sokol Fanfare' [Vienna Philharmonic, Charles Mackerras (conductor)] JÓHANN JÓHANNSSON: Good Night, Day [Hildur Guðnadóttir (cello), Air Lyndhurst String Orchestra, Anthony Weeden (conductor)] BEYONCÉ: Countdown RAMEAU: Les Boréades, Act 4 Entrée de Polymie [Les Musiciens du Louvre, Marc Minkowski (cond)] VERDI: Requiem, Dies Irae (into Tuba Mirum) [Coro y Orchestra dell'Accademia Nationale di Santa Cecilia, Antonio Pappano (conductor)] NINA SIMONE: Little Girl Blue BENGAN JANSON: I've Found a New Baby

As an advocate of historically marginalized composers, musicologist Douglas Shadle is a leading voice in public discussions about the role of symphony orchestras and orchestral music in American life. His first book, Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford, 2016), explores the volatile relationships between composers, performers, critics, and audiences throughout the 19th century and demonstrates why American composers rarely find a home on concert programs today.   Shadle is also a highly-regarded expert on fellow Little Rock native Florence Price, the first African American woman to win international acclaim as a composer. His research on Price has been featured in The New Yorker, New York Times, and NewMusicBox. Shadle's second book recontextualizes Antonín Dvořák's iconic New World Symphony within the complex landscape of American culture at the end of the nineteenth century.   Shadle's publications have won two ASCAP Deems/Taylor Virgil Thomson Awards, the Society for American Music Irving Lowens Article Award, the inaugural American Musicological Society H. Robert Cohen/RIPM Award, and the Vanderbilt Chancellor's Award for Research. Shadle joined the Blair School faculty in 2014 and has served as the chair of the Department of Musicology and Ethnomusicology since 2019.   Thank you for joining us on One Symphony. Thanks to Douglas Shadle for sharing his knowledge and insights, you can find Antonin Dvorak's New World Symphony where you get your books. Works on the show today included Dvorak's American String Quartet performed by the Prague Quartet and his Ninth Symphony with Charles Mackerras and the London Philharmonic, Myun-Wun Chung and the Vienna Philharmonic, and Paavo Jarvi and the Cincinnati Symphony.   You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music! https://www.pricefest.org/about/douglas-shadle https://devinpatrickhughes.com onesymphony.org    

SynopsisOn today's date in 1877, the Vienna Philharmonic performed for the first time in Salzburg, the birthplace of Mozart, during a three-day music festival that included works by Mozart and others, including two living composers of that day, a 44-year old fellow named Brahms and a 64-year old named Wagner.The Philharmonic would return to Salzburg six more times for mini-festivals through 1910, some led by composer-conductors like Richard Strauss and Gustav Mahler.In 1925, an annual “Salzburg Festival” was established, with the Vienna Philharmonic and Vienna State Opera as the main musical participants. The Second World War disrupted the Festival in the 1940s, but soon after it reestablished itself among the most prestigious of international musical happenings. Traditionally, a familiar brass fanfare opens each Salzburg Festival radio broadcast, but probably few music lovers know the name of its composer. It was written by Joseph Messner, who wrote over 700 works. He was born in 1893 in the Austrian Tyrol and died in 1969 in a village near Salzburg, where he had served as church organist, conductor and composer for decades, leading many Festival concerts featuring sacred music by Mozart and others.Music Played in Today's ProgramWolfgang Mozart (1756 - 1791) Menuetto and Trio, fr Haffner Symphony Vienna PhilharmonicRafael Kubelik, conductor. Seraphim 68531Joseph Messner (1893 - 1969) Salzburg Festival Fanfare Salzburg Mozarteum Orch;Ivor Bolton, conductor. Oehmns CD 734

Grab a 2x4 for the gazebo, it's A VERY MERRY BRIDESMAID (2021), but... Let's get back to the ugly Christmas sweater bachelor party ... THEME: "Fuck You If You Don't Like Christmas," from Crudbump, by Drew Fairweather PART ONE  Meet me at the gazebo ... Sleepytime ... Bright Lights, Big Sweater ... O'Henry ≠ Bierce ... Long trip, short distance ... Self-improvement procrastination ... Christmas Eve/Day weddings/birthdays ... Knifed by your own brother ... PART TWO   Join the Patreon, hear the Fascist Date story ... Inside the Game ... Drizzle, the condom ... Institutional Haley Joel Osment bias ... Cast Rundown ... The Expositional Challenge ... Plot Mop-Up: Paul, Julia and real estate; Julia, the Reasonable Bridezilla, and a bespoke dress ... Berating clerks in Jeb Mode ... Dress delivery epilogue ... "Tree amateur," Emily Osment directed and the Earnest Hallmark style ...     PART THREE  Spot the Angel: Nana and multigenerational haunting ... Get out and see some of the world only for a little bit ... Dad's health issues ... How a Hallmark executive sees the world ... Eat Your Heart Out: Lobster stuffed with tacos; Argentinian Christmas cookies; load-bearing hot cocoa; concluding birthday cake; the Bears lost; empty beer bottles ... The Hallmark Expanded Universe: Episodes: 1, 27, The Best Fries in the City, 4, 60, 125, the most important gazebo since "Stargazeboing at the Time Comet", 70 ...          PART FOUR  Overdetermined: Not really; overdetermined false starts; What Would Your Grandma Do? ... Crossover: Somebody Somewhere, with a Hallmark Script; Chicago Wedding Strike Force ...  PART FOUR The Hallmark Voight-Kampff Test: Not really, not Julia, or Paul, real estate buyer, gazebo erector ... Fitzcarraldo ... Rating: 3 ... IMDB Dive: Emily Osment, Annie Potts, Wallace Shawn; Deidrich and In the Dark; Tracy Andreen and Elena Valdez ... One of the Elite Princesses in the World Renowned Royal Court of the Tournament of Roses Parade Presented by Honda ... Gift-wrap punking our female lead ... Minor Emergency with Gordie LaSalle ... Merry Christmas!    All other music by Chris Collingwood of Look Park and Fountains of Wayne, except: "Orchestral Sports Theme" by Chris Collingwood and Rick Murnane and Mozart's "Sequentia Rex Tremendae - Requiem In D Minor, K 626" performed by the Vienna Philharmonic and Chorus, conducted by Sir Georg Solti. Buy our show artist Caitlin Fitz Gerald's excellent book: Here.

Synopsis It was Mozart who wrote the first great piano concertos, with Beethoven, Brahms and others following suit in the 19th century. Closer to our own time, the tradition continues, with new contributions appearing each year. On today's date in 1986, it was the turn of American composer, Ellen Taaffe Zwilich, when her new piano concerto received its premiere by the Detroit Symphony with Marc-Andre Hamelin the soloist. “My piano concerto does not cast the pianist as the prototypical 19th-century hero battling the orchestral forces and triumphing through overwhelming virtuosity,” said Zwilich at the time. “My concerto calls for a blending of forces – a joint exploration of the piano soloist and orchestra. The pianist is even asked to merge with various sections of the rather large orchestra at times.” “To me,” continued Zwilich, “a part of the nobility of the piano is that it can change its color, chameleon-like without losing its special identity … One composer treats the piano as a percussion instrument, another as a singer… Certainly the vast and wonderful piano repertoire explores this remarkable range. And the world of composer-pianists is large enough to embrace Serge Rachmaninoff and Art Tatum.” Music Played in Today's Program Ellen Taaffe Zwilich (b. 1939) Piano Concerto Joseph Kalichstein, piano; Florida State Orchestra; Michael Stern, Koch 7537 On This Day Births 1747 - Bohemian composer Leopold Kozeluh, (Kotzeluch) in Welwearn; He was the cousin of Johann (Jan) Antonín Kozeluh, who was also a composer; 1928 - American composer Jacob Druckman, in Philadelphia; Premieres 1870 - Wagner: opera "Die Walküre" (The Valkyrie), in Munich at the Hoftheater, with Franz Wüllner conducting; The opera was performed at the Bavarian King Ludwig II's request, but against the composer's wishes; 1912 - Mahler: Symphony No. 9, by Vienna Philharmonic, Bruno Walter conducting; 1986 - Zwilich: Piano Concerto, by the Detroit Symphony with Günther Herbig conducting and soloist Marc-André Hamelin; 2000 - Robert Kapilow: "DC Monuments," by the National Symphony; Others 1788 - Mozart finishes his Symphony No. 39 in E-flat, K.543 in Vienna. Links and Resources More on Zwilich

Jess Gillam meets violinist Tessa Lark to swap some of their favourite music. Tessa is an in-demand classical concert violinist but growing up in Kentucky, she's equally inspired by bluegrass music and American folk styles and so blends the two influences in a lot of her work. Traditional music features prominently in her music choices as the Martin Hayes Quartet and Swedish duo Vasen rub shoulders with a Beethoven Symphony. Meanwhile Jess brings along an orchestral tearjerker by Pietro Mascagni, a track by cellist Yo-Yo Ma and some retro soul vibes by Saun and Starr. Playlist: VASEN: Silverschottis GIOVANNI SOLIMA: Il bell'Antonio – tema II [Yo-Yo Ma (cello), Kathryn Stott (piano)] MICHAEL THURBER & THE HUNTERTONES: Gigantic Energy SAMUEL COLERIDGE TAYLOR: Violin Concerto in G minor, op.80 – 2nd mvt [Elena Urioste (violin), Chineke! Orchestra, Kevin John Edusei (conductor)] MARTIN HAYES QUARTET: The Boy In the Gap JEAN LENOIR: Parlez moi d'amour [Lucienne Boyer (singer)] BEETHOVEN: Symphony no 2 in D major, op.36 4th mvt ‘Allegro molto' [Vienna Philharmonic, Simon Rattle (conductor) SAUN & STARR: In the Night

Not every music student or even professional musician has explored classical music, much like not necessarily every classical musician will know something about jazz or any other genre.  However, each genre has certain pieces that one should know from each genre regardless of your preference.  These are 25 of many possible choices, not necessarily "the best", but some pieces you should recognize by title and composer upon hearing. Musical examples used in this episode: 06:53 P. Tchaikovsky: "Dance of the Sugar Plum Fairy" from The Nutcracker - (Montreal Symphony; Charles Dutoit) 12:49 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Hannes Kästner, organ) 13:15 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Czech Philharmonic; Leopold Stokowski) 17:26 S Barber: Adagio for Strings (New York Philharmonic; Thomas Schipps) 19:48 Beethoven: Symphony No. 5 (Vienna Philharmonic; Carlos Klieber) mvt 1 and 4 24:03 Beethoven: Symphony No. 9 (Berlin Philharmonic; Von Karajan) mvt. 4 and 2 28:33 Brahms: Hungarian Dances 4, 5, 6 (Vienna Philharmonic; Claudio Abbado) 30:56 A Copland: "Hoe-Down" from Rodeo (St. Louis Symphony; Leonard Slatkin) 32:33 F Chopin: Grand Valse Brillante op. 18 (Valentina Lisitsa) 34:22 Debussy: Prelude to the Afternoon of a Faun (Royal Concertgebouw; Bernard Haitink) 36:01 Dvorak: Symphony No. 9 "From the New World" mvt 2 (London Philharmonic; Charles MacKerras) 38:16 Grieg: Peer Gynt and Peer Gynt suite no.1 (San Francisco Symphony; Herbert Blomstedt) 40:13 Handel: The Messiah "Hallelujah" (London Symphony; Colin Davis) 40:43 Handel: Water Music selections (English Chamber Orchestra; Raymond Leppard) 41:30 Holst: The Planets "Mars" - (Montreal Symphony; Charles Dutoit) 42:13 Liszt: Hungarian Rhapsody No. 2 (Marc-Andre Hamelin) 43:22 Mendelssohn: Overture and Wedding March from A Midsummer Night's Dream (London Symphony, Andre Previn) 45:11 Mozart: Overture to The Marriage of Figaro (Academy of St Martin in the Fields; Neville Marriner) 46:16 Mussorgsky: Pictures at an Exhibition - Promenade and Great Gate of Kiev (Berlin Philharmonic; Claudio Abbado) 48:25 Rachmaninoff: Piano Concerto No. 2 (Vladimir Ashkenazy; Moscow Symphony; Kirill Kondrashin) 49:38 Ravel: Bolero (Boston Symphony; Seiji Ozawa) 51:42 Ravel: Daphnis & Chloe (Rotterdam Philharmonic; Yannick Nézet-Séguin) 52:46 Rimsky-Korsakov: Flight of the Bumblebee (Berlin Philharmonic; Zubin Mehta) 53:08 Rimsky-Korsakov: Scheherezade mvt IV and III (London Symphony; Charles MacKerras) 55:06 Schubert: Ave Maria (Barbara Booney) 55:31 R Strauss: Also Sprach Zarathustra (Chicago Symphony; Fritz Reiner) 57:15 Stravinsky: Rite of Spring (from Part 1) (New York Philharmonic; Leonard Bernstein) 58:21 Tchaikovsky: Russian Dance, Arabian Dance, Dance of the Reed Flutes from The Nutcracker (Montreal Symphony; Dutoit)   Do you have a different recording of these pieces that you'd recommend?  Let me know by telling me directly at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact  The blog post that goes with this episode can be found here: https://www.davidlanemusic.com/post/25-essential-classical-pieces-to-know You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can also now find the podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Synopsis In Beethoven's day, there were no independent symphonic orchestras in Vienna, so when Ludwig van wanted to put on an orchestral concert, the way he did it was to hire a theater orchestra for a night or two.  Now, Viennese theaters were usually pretty busy and well booked up, but in Catholic Austria, they would shut down for a few weeks each year during Lent, which explains why a number of Beethoven's symphonies premiered in April when the orchestras were available for hire. It wasn't until today's date in 1842 that Vienna's most famous independent orchestra played its first concert, and even then, as it still does today, the Vienna Philharmonic also doubles as the orchestra of the Vienna Opera. The German composer and conductor, Otto Nicolai, led that first concert of the Vienna Philharmonic.  The program included Beethoven's Seventh Symphony and, not surprisingly, Beethoven remains core repertory for the Vienna Philharmonic, along with those other two Viennese “B's” – Brahms and Bruckner.  But in the 20th century, the Austrian orchestra presented important European premieres of works by Samuel Barber and Leonard Bernstein, two notable American “B's.”  And more recently, the Vienna Philharmonic premiered Diversions” by the German-born, American composer and conductor, Andre Previn. Music Played in Today's Program Ludwig van Beethoven (1770 - 1827) Symphony No. 7 Vienna Philharmonic; Leonard Bernstein, conductor. DG 419 434 André Previn (b. 1930) Diversions Vienna Philharmonic; André Previn, conductor. DG 471 028

Following numerous accolades, Christian Thielemann's landmark Bruckner symphony cycle with the Vienna Philharmonic - the orchestra's first under a single conductor - continues with the composer's final, unfinished symphony captured live at the Salzburg Festival in the summer of 2022.Track Listing:1 Bruckner Symphony No. 9 in D Minor / I. Feierlich, misterioso2 II. Scherzo. Bewegt, lebhaft - Trio Schnell3 III. Adagio. Langsam, feierlichHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Synopsis On this day in 1934, an excited crowd of locals and visitors had gathered in Hartford, Connecticut, for the premiere performance of a new opera entitled Four Saints in Three Acts. The fact that the opera featured 16 saints, not 4, and was divided into 4 acts, not 3, was taken by the audience in stride, as the libretto was by the expatriate American writer, Gertrude Stein, notorious for her surreal poetry and prose. The music, performed by players from the Philadelphia Orchestra and sung by an all-black cast, was by the 37-year old American composer, Virgil Thomson, who matched Stein's surreal sentences with witty musical allusions to hymn tunes and parodies of solemn, resolutely tonal music. Among the locals in attendance was the full-time insurance executive and part-time poet, Wallace Stevens, who called the new opera (quote): "An elaborate bit of perversity in every respect: text, settings, choreography, [but] Most agreeable musically… If one excludes aesthetic self-consciousness, the opera immediately becomes a delicate and joyous work all around." The opera was a smashing success, and soon opened on Broadway, where everyone from Toscanini and Gershwin to Dorothy Parker and the Rockefellers paid a whopping $3.30 for the best seats—a lot of money during one of the worst winters of the Great Depression. Music Played in Today's Program Virgil Thomson (1896-1989) Four Saints in Three Acts Orchestra of Our Time; Joel Thome, conductor. Nonesuch 79035 On This Day Births 1741 - Belgian-born French composer André Grétry, in Liège; 1932 - American composer and conductor John Williams, in New York City; Deaths 1709 - Italian composer Giuseppe Torelli, age 50, in Bologna; 1909 - Polish composer Mieczyslaw Karlowicz, age 32, near Zakopane, Tatra Mountains; Premieres 1874 - Mussorgsky: opera “Boris Godunov”, at the Mariinsky Theatre in St. Petersburg, with bass Ivan Melnikov in the title role, and Eduard Napravnik conducting; This was the composer's own revised, nine-scene version of the opera, which originally consisted of just seven scenes (Julian date: Jan.27); 1897 - Kalinnikov: Symphony No. 1 (Gregorian date: Feb. 20); 1904 - Sibelius: Violin Concerto (first version), in Helsinki, by the Helsingsfors Philharmonic conducted by the composer, with Victor Novácek as soloist; The revised and final version of this concerto premiered in Berlin on October 19, 1905, conducted by Richard Strauss and with Karl Halir the soloist; 1907 - Schoenberg: Chamber Symphony No. 1 in Vienna, with the Rosé Quartet and members of the Vienna Philharmonic; 1908 - Rachmaninoff: Symphony No. 2 in St. Petersburg, with the composer conducting (Julian date: Jan. 26); 1909 - Liadov: “Enchanted Lake” (Gregorian date: Feb. 21); 1910 - Webern: Five Movements, Op. 5, for string quartet, in Vienna; 1925 - Cowell: "Ensemble" (original version for strings and 3 "thunder-sticks"), at a concert sponsored by the International Composers' Guild at Aeolian Hall in New York, by an ensemble led by Vladimir Shavitch that featured the composer and two colleagues on "thunder-sticks" (an American Indian instrument also known as the "bull-roarer"); Also on program was the premiere of William Grant Still's "From the Land of Dreams" for three voices and chamber orchestra (his first concert work, now lost, dedicated to his teacher, Edgard Varèse); 1925 - Miaskovsky: Symphonies Nos. 4 and 7, in Moscow; 1934 - Virgil Thomson: opera "Four Saints in Three Acts" (libretto by Gertrude Stein), in Hartford, Conn.; 1942 - Stravinsky: "Danses concertantes," by the Werner Janssen Orchestra of Los Angeles, with the composer conducting; 1946 - Bartók: Piano Concerto No. 3 (completed by Tibor Serly after the composer's death), by the Philadelphia Orchestra, Eugene Ormandy conducting and György Sándor as the soloist; 1959 - Elie Siegmeister: Symphony No. 3, in Oklahoma City; 1963 - Benjamin Lees: Violin Concerto, by the Boston Symphony, with Erich Leinsdorf conducting and Henryk Szeryng the soloist; 1966 - Lou Harrison: "Symphony on G" (revised version), at the Cabrillo Music Festival by the Oakland Symphony, Gerhard Samuel condicting; 1973 - Crumb: "Makrokosmos I" for amplified piano, in New York; 1985 - Earle Brown: "Tracer," for six instruments and four-track tape, in Berlin; 1986 - Daniel Pinkham: Symphony No. 3, by the Plymouth (Mass.) Philharmonic, Rudolf Schlegel conducting; 2001 - Sierra: "Concerto for Orchestra," by the Philadelphia Orchestra, Wolfgang Sawallisch conducting; Others 1875 - American composer Edward MacDowell admitted to the Paris Conservatory; 1877 - German-born (and later American) composer Charles Martin Loeffler admitted to the Paris Conservatory; 1880 - German opera composer Richard Wagner writes a letter to his American dentist, Dr. Newell Still Jenkins, stating "I do no regard it as impossible that I decide to emigrate forever to America with my latest work ["Parsifal"] and my entire family" if the Americans would subsidize him to the tune of one million dollars. Links and Resources On Virgil Thomson More on Thomson

Synopsis On today's date in 1862, while President Lincoln was fretting over General McClellan's unwillingness to confront Secessionist rebels, New York concert-goers could find some relief from Civil War headlines by attending a New York Philharmonic concert at Irving Hall. Conductor Carl Bergman had programmed some brand-new music by a Hamburg composer named Brahms, whose Serenade No. 2 in A Major received its American premiere at their February 1st concert—a concert that took place almost 2 years to the day after the Serenade's world premiere in Hamburg in 1860. Give the New York Philharmonic some credit for daring programming. After all, it would be another year before the same Serenade would be performed in Vienna. Moreover, in 1863, during the Vienna Philharmonic's final rehearsal of this "difficult" new music by a composer nobody there had ever heard of, open mutiny broke out. The first clarinetist stood up and declared that the music was too darn hard and the orchestra simply refused to play it. Conductor Otto Dessoff, who had programmed the Brahms, turned white with anger, laid down his baton, and resigned on the spot, joined by the Vienna Philharmonic's concertmaster and principal flutist. Alarmed at the threatened disintegration of their orchestra, the Viennese rebels capitulated; and the performance of Brahms' Serenade No. 2 took place as scheduled and was, to the mutineers' chagrined astonishment, a tremendous success. Music Played in Today's Program Johannes Brahms (1833 - 1897) Serenade No. 2 in A, Op. 16 Scottish Chamber Orchestra;Sir Charles Mackerras, conductor. Telarc 80522

Synopsis Late in 2013, the musical world was gearing up to celebrate the 70th birthday of British composer John Tavener, but sadly he died, so his 70th birthday, which fell on today's date in 2014, became a memorial tribute instead. Tavener had suffered from ill health throughout his life: a stroke in his thirties, heart surgery and the removal of a tumor in his forties, and two subsequent heart attacks. In his early twenties, Tavener became famous in 1968 with his avant-garde cantata entitled The Whale, based loosely on the Old Testament story of Jonah. That work caught the attention of one of The Beatles, and a recording of it was released on The Beatles' own Apple label. Tavener converted to the Russian Orthodox Church in 1977, and his music became increasingly spiritual. Millions who watched TV coverage of the funeral of Diana, Princess of Wales, in 1997, were deeply moved by his “Song for Athene,” which was performed to telling effect as Diana's casket left Westminster Abbey. Taverner was knighted in 2000, becoming Sir John Tavener In 2003, Tavener's Ikon of Eros, commissioned for the Centennial of the Minnesota Orchestra, and premiered at St. Paul's Cathedral—the one in St. Paul, Minnesota, that is, not the one in London—and Tavener came to Minnesota for the event. Music Played in Today's Program Sir John Tavener (1944-2013) Ikon of Eros Jorja Fleezanis, vn; Minnesota Chorale; Minnesota Orchestra; Paul Goodwin, conductor. Reference Recording 102 On This Day Births 1791 - French opera composer Louis Joseph F. Herold, in Paris; 1898 - Italian-American composer Vittorio Rieti, in Alexandria, Egypt; 1944 - British composer Sir John Tavener, in London; Deaths 1935 - Russian composer Mikhail Ippolitov-Ivanov, age 75, in Moscow; 1947 - Venezuelan-born French composer Reynaldo Hahn, age 72, in Paris; Premieres 1725 - Bach: Sacred Cantata No. 92 ("Ich hab in Gottes Herz und Sinn") performed on Septuagesimae Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1828 - Schubert: Piano Trio in Bb, Op. 99 (D. 898), at a private performance by Ignaz Schuppanzigh (violin), Josef Linke (cello), and Carl Maria von Bocklet (piano); 1830 - Auber: opera "Fra Diavolo" in Paris at the Opéra-Comique; 1876 - Tchaikovsky: "Serenade mélancolique" for violin and orchestra, in Moscow (Julian date: Jan. 18); 1897 - Glazunov: Symphony No. 5, in London; 1915 - Ravel: Piano Trio in a, in Paris, by Gabriel Wilaume (violin), Louis Feuillard (cello), and Alfredo Casella (piano); 1916 - Granados: opera "Goyescas," at the Metropolitan Opera in New York; 1927 - Copland: Piano Concerto, by the Boston Symphony conducted by Serge Koussevitzky, with the composer as soloist; 1941 - Copland: "Quiet City," at Town Hall in New York City by the Little Symphony conducted by Daniel Saidenberg; This music is based on incidental music Copland wrote for Irwin Shaw's play of the same name produced by the Group Theater in New York in 1939; 1944 - Bernstein: Symphony No. 1 ("Jeremiah"), at the Syria Mosque in Pittsburgh by the Pittsburgh Symphony conducted by the composer, with mezzo-soprano Jennie Tourel as vocal soloist; 1972 - Scott Joplin: opera "Treemonisha" (orchestrated by T.J. Anderson), in Atlanta; 1990 - Joan Tower: Flute Concerto, at Carnegie Hall in New York, with soloist Carol Wincenc and the American Composers Orchestra, Hugh Wolff, conducting; 1995 - Elinor Armer: “Island Earth” (to a text by Sci-Fi writer Usula K. Le Guin), at the University of California, Berkeley, by the various San Francisco choirs and the Women's Philharmonic, conducted by JoAnn Falletta; On the same program were the premiere performance's of Chen Yi's “Antiphony” for orchestra and Augusta Read Thomas's “Fantasy” for piano and orchestra (with piano soloist Sara Wolfensohn); 1997 - Morten Lauridsen: “Mid-Winter Songs” (final version) for chorus and orchestra, by the Los Angeles Master Chorale, John Currie conducting; Earlier versions of this work with piano and chamber orchestra accompaniment had premiered in 1981, 1983, and 1985 at various Californian venues; 2000 - André Previn: "Diversions," in Salzburg, Austria, by the Vienna Philharmonic, the composer conducting; Others 1742 - Jonathan Swift, Dean of St. Patrick's Cathedral in Dublin (and the author of "Gulliver's Travels"), objects to the cathedral singers taking part in performances of Handel's works while the composer is in that city (Gregorian date: Feb. 8); Rehearsals for the premiere performance of Handel's "Messiah" would begin in April of that year, involving the choirs of both Christ Church and St. Patrick's Cathedrals in Dublin; 1971 - William Bolcom completes his "Poltergeist" Rag (dedicated to Teresa Sterne, a one-time concert pianist who was then a producer for Nonesuch Records); According to the composer's notes, the "Poltergeist" Rag was written "in a converted garage next to a graveyard in Newburgh, N.Y." Links and Resources On Tavener

Synopsis On today's date in 1909, Richard Strauss's opera Elektra had its premiere in Dresden. The libretto, a free adaptation of the grim, ancient Greek tragedy by Sophocles, was by the Austrian poet and playwright Hugo von Hofmannsthal. In ancient Greek tragedies, violence occurred off-stage, and for his libretto, Hofmannsthal honored that tradition. But the music of Strauss evoking the tragedy's violence unleashed a huge orchestra with a ferocity that stunned early listeners. After its American premiere, one New York critic wrote of “a total delineation of shrieks and groans, of tortures physical in the clear definition and audible in their gross realism . . .Snarling of stopped trumpets, barking of trombones, moaning of bassoons and squealing of violins.” Even Strauss himself later admitted Elektra (quote) “penetrated to the uttermost limits of … the receptivity of human ears,” and what he called his “green horror” opera might cause him to be type-cast as a purveyor of creepy-crawly music. And so, Strauss prudently suggested to Hofmansthal “Next time, we'll write a MOZART opera.” Almost two years later to the day, on January 26, 1911, their “Mozart” opera, Der Rosenkavalier, or the The Rose Bearer premiered. It's set in 18th century Vienna, and for this opera Strauss included anachronistic, but eminently hummable waltz tunes. Music Played in Today's Program Richard Strauss (1864 –1949) Elektra Alessandra Marc, sop.;Vienna Philharmonic; Giuseppe Sinopoli, conductor. DG 453 429 Richard Strauss Der Rosenkavalier Waltz Suite Philadelphia Orchestra; Eugene Ormandy, conductor. Sony 60989 On This Day Births 1851 - Flemish composer Jan Blockx, in Antwerp; 1886 - German composer and conductor Wilhelm Furtwängler, in Berlin; 1911 - American composer and pianist Julia Smith, in Denton, Texas; 1913 - Polish composer Witold Lutoslawski, in Warsaw; 1921 - American composer and conductor Alfred Reed, in New York City; Premieres 1817 - Rossini: opera, "La Cenerentola" (Cinderella), in Rome at the Teatro Valle; 1902 - Franz Schmidt: Symphony No. 1, in Vienna; 1909 - R. Strauss: opera "Elektra," in Dresden at the Hofoper, conducted by Ernst von Schuch, with soprano Annie Krull in the title role; 1946 - R. Strauss: "Metamorphosen," in Zürich; 1957 - Walton: Cello Concerto, by the Boston Symphony conducted by Charles Munch, with Gregor Piatigorsky the soloist; 1963 - Karl Amadeus Hartmann: Symphony No. 8, by the West German Radio Symphony, Rafael Kubelik conducting; 1987 - Paul Schoenfield: "Café Music" for piano trio at a St. Paul Chamber Orchestra concert. Links and Resources On Richard Strauss More on Richard Strauss

Synopsis On this date in 1813, Beethoven's Seventh Symphony was played for the first time in Vienna. The occasion was a benefit concert in honor of the Austrian and Bavarian soldiers who had died fighting Napoleon, with the concert's proceeds donated to their widows and orphans. At its first rehearsal, some of the musicians found the part writing of the new work intimidating. A friend of Beethoven's who sat in on rehearsals later recalled: "the violin players refused to play a passage and rebuked [Beethoven] for writing difficulties that were incapable of performance. But Beethoven begged the gentlemen to take the parts home with them. If they were to practice it at home it would surely go. The next day the passage went excellently, and the gentlemen themselves seemed to rejoice that they had given Beethoven such pleasure." The slow movement of Beethoven's Symphony so pleased the Viennese audience at its premiere that it had to be encored. On today's date in 1980, a private tragedy also prompted music. On December 8th that year, ex-Beatle John Lennon was shot and killed outside his apartment in New York City. American composer Aaron Jay Kernis was then a student at the Manhattan School of Music, living not far from where Lennon was slain. The death moved Kernis to reshape elements of Lennon's song "Imagine" into an altogether new work for cello and piano titled "Meditation (in memory of John Lennon)." Music Played in Today's Program Ludwig van Beethoven (1770-1827) Symphony No. 7 Vienna Philharmonic; Carlos Kleiber, conductor. DG 447 400 Aaron Jay Kernis (b. 1960) Meditation (in memory of John Lennon) Eberli Ensemble Phoenix 142

Synopsis Tchaikovsky's Violin Concerto was first performed on today's date in 1881. The premiere took place in Vienna with Adolf Brodsky the violin soloist and the Vienna Philharmonic led by Hans Richter. It was not a big hit. The next day, the conservative Viennese critic Eduard Hanslick wrote: "The violin is no longer played: it is tugged about, torn, beaten black and blue." According to Hanslick, the concerto's finale (quote): "transports us to the brutal and wretched jollity of a Russian festival. We see gross and savage faces, hear crude curses, and smell the booze... Tchaikovsky's Concerto confronts us for the first time with the hideous idea that there may be musical compositions whose stink one can hear." Ouch! Tchaikovsky's score survived the bad review, but a more recent American work suffered a far unkinder cut. The original film score for the 1968 blockbuster movie, "2001: A Space Odyssey" was written by Alex North, who was born in Chester, Pennsylvania on today's date in 1910. Director Stanley Kubrick hired North to write the music for "2001," but Kubrick ultimately decided to use pre-recorded classical and contemporary music instead. When North attended the New York premiere of "2001," he was devastated that not one minute of the music he had written was included in the final edit. Believe it or not, no one had informed him in advance! Music Played in Today's Program Peter Tchaikovsky (1840-1893) Violin Concerto, Op. 35 Itzhak Perlman, violin; London Symphony; Alfred Wallenstein, conductor. Chesky 12 Alex North (1910-1991) Unused "Opening Theme," for 2001: A Space Odyssey National Philharmonic; Jerry Goldsmith, conductor. Varese Sarabande 66225

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

Heathcliff! It's us, it's Strong Songs, we've come home!In March of 2021, the time was right for a deep dive into the music of the great Kate Bush, and what better song to analyze than her breakthrough 1978 hit, "Wuthering Heights." (And in July of 2022, with Bush's fame at new heights thanks to Netflix's Stranger Things, the time is perhaps even more right.) This song has it all - odd phrasing, shifting key centers, soaring vocals, character narration, an epic guitar solo, a red dress, and a celesta.Written by: Kate BushAlbum: The Kick Inside (1978)Listen/Buy: Apple Music | Amazon | SpotifyALSO FEATURED/DISCUSSED:“James and the Cold Gun” and “The Man with the Child in His Eyes” by Kate Bush from The Kick Inside, 1978“Sat In Your Lap” and “The Dreaming” by Kate Bush from The Dreaming, 1982“Running Up That Hill” by Kate Bush from Hounds of Love, 1985Richard Buskin's 2004 Sound on Sound article about the writing and recording of "Wuthering Heights" - https://www.soundonsound.com/techniques/classic-tracks-kate-bush-wuthering-heightsThe 1886 remake/remix of "Wuthering Heights"Kate Bush's iconic Red Dress music video: https://www.youtube.com/watch?v=BW3gKKiTvjsNoel Fielding's incredible live reenactment of the Red Dress video: https://www.youtube.com/watch?v=du4uH1fC9B8A demonstration of the bell tree: https://www.youtube.com/watch?v=rhStPnEcXrk“The Dance of the Sugar Plum Fairy” by Pyotr Ilyich Tchaikovsky from The Nutcracker Suite, 1892 performed by the Vienna Philharmonic, 1999“Starman” by David Bowie from The Rise and Fall of Ziggy Stardust and the Spiders from Mars, 1972“Mr. Blue Sky” by Electric Light Orchestra from Out of the Blue, 1977OUTRO SOLOIST: Charles McNealCharles McNeal is a killin' Oakland-based sax player who plays all over the bay area. He's also a master jazz transcriber, and has chronicled tons of great solos. You can find him playing out in a variety of bands and settings; the best way to keep up with his music is to subscribe to his YouTube channel or follow him on Instagram @charlesonsax2 - https://www.instagram.com/charlesonsax2-----LINKS-----SUPPORT STRONG SONGSPaypalme/kirkhamiltonmusic | Patreon.com/strongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIA@StrongSongs | @Kirkhamilton | IG: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmTHE STRONG SONGS PLAYLISTSpotify | Apple Music | YouTube MusicThe Hollow Knight music video Kirk mentioned at the end of this episode: https://youtu.be/eIVtGlcpZS0