Podcasts about Viktor Ullmann

La Segunda Guerra Mundial es, sin ningún género de duda y con Darmstadt como prueba, el factor temporal determinante de la revolución vivida en la música de la segunda mitad de siglo. La música salvó a muchos, si no de la contienda, al menos de parte de sus traumáticas consecuencias._____Has escuchadoAutobiografía intelectual. Luis de Pablo. Entrevista realizada al compositor el 25 de marzo de 2010 en la Fundación Juan March: [Web]Cuarteto de cuerda nº. 8 en do menor. Largo (1960) / Dmitri Shostakovich. Fitzwilliam String Quartet. Decca (1992)Cuarteto n.º 3, op. 46 (1943) / Viktor Ullmann. Cuarteto Bennewitz. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 3 de marzo de 2021. Dentro del ciclo “Terezín: componer bajo el terror. La música de cámara en Terezín”“Tomás Marco habla sobre la “música confinada”. YouTube Vídeo. Publicado por Fundación BBVA, 27 de septiembre de 2022: https://www.youtube.com/watch?v=Q02yvqKCDEMWar Requiem (1962) / Benjamin Britten. Galina Vishnevskaya, soprano; Peter Pears, tenor; Dietrich Fischer-Dieskau, barítono; The Bach Choir & London Symphony Orchestra Chorus; London Symphony Orchestra; Benjamin Britten, director. Decca (1985)_____Selección bibliográficaARNOLD, Ben, “Music, Meaning, and War: The Titles of War Compositions”. International Review of the Aesthetics and Sociology of Music, vol. 22, n.º 1 (1991), pp. 19-28*BOTSTEIN, Leon, “After Fifty Years: Thoughts on Music and the End of World War II”. The Musical Quarterly, vol. 79, n.º 2 (1995), pp. 225-230*DINGLE, Christopher Philip (ed.), The Cambridge History of Music Criticism. Cambridge University Press, 2022*FANNING, David (ed.), The Routledge Handbook to Music under German Occupation, 1938-1945: Propaganda, Myth and Reality. Routledge, 2020*FUNDACIÓN JUAN MARCH, “Terezín: componer bajo el terror” [Programa de concierto]. Ciclo de miércoles 24 de febrero al 10 de marzo de 2021: [PDF]GUILBAUT, Serge, Manuel J. Borja-Villel, Be-Bomb: The Transatlantic War of Images and All That Jazz, 1946-1956. Museu d'Art Contemporani de Barcelona; Museo Nacional Centro de Arte Reina Sofía, 2007*HEILE, Björn, Charles Wilson, et al. (eds.), The Routledge Companion to Modernism in Music. Routledge, 2019*JAROCINSKI, Stefan, “Polish Music after World War II”. The Musical Quarterly, vol. 51, n.º 1 (1965), pp. 244-258*KRADER, Barbara, “Soviet Research on Russian Folk Music since World War II”. Ethnomusicology, vol. 7, n.º 3 (1963), pp. 252-261*ORAMO, Ilkka, “Sibelius, Bartók, and the ‘Anxiety of Influence' in Post World War II Finnish Music”. Studia Musicologica Academiae Scientiarum Hungaricae, vol. 47, n.º 3/4 (2006), pp. 467-479*POTTER, Pamela M., “What Is ‘Nazi Music'?”. The Musical Quarterly, vol. 88, n.º 3 (2005), pp. 428-455*ROGERS, Julian C., Resonant Recoveries: French Music and Trauma Between the World Wars. Oxford University Press, 2021*ROSS, Alex, El ruido eterno. Seix Barral, 2009*SCHWARZ, Boris, “Soviet Music since the Second World War”. The Musical Quarterly, vol. 51, n.º 1 (1965), pp. 259-281*VYBORNY, Zdenek y William Lichtenwanger, “Czech Music Literature since World War II”. Notes, vol. 16, n.º 4 (1959), pp. 539-546*WALLNER, Bo, “Scandinavian Music after the Second World War”. The Musical Quarterly, vol. 51, n.º 1 (1965), pp. 111-143* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

„Ich möchte an das Gute glauben und mich für das Gute einsetzen”, sagt die Pianistin Annika Treutler, die die Initiative #respondinmusic gegründet hat. Darin erinnert sie an Werke und Künstler von Juden und Jüdinnen, die während des Holocaust ermordet wurden. Darunter auch der Komponist und Pianist, Viktor Ullmann, von dem sie eine CD eingespielt hat. Mit anderen internationalen Künstlern zieht sie durch deutsche Klassenzimmer, spielt und erzählt von den Schicksalen jüdischer Künstler dieser Zeit. Ihr Ziel: Zuhören und durch Musik berühren, denn, so Annika Treutler, “Heutzutage muss man als Künstler politisch sein.” Sie berichtet von ihrer Zeit im Sternelokal in Dänemark, wieso das Äußere in der Musikbranche eine immer größere Rolle spielt und warum sie zeitweise bei Auftritten keine Kleider mehr getragen hat. Wir sprechen über Übetage und ihren nicht vorhandenen Alltag, wie sie sich mit Werken und Flügeln anfreundet und Bananen vor Auftritten. Ihren Studenten sagt sie: “Nicht jeder wird Solokünstler, doch durch Überzeugung und Authentizität kann man sehr weit kommen.” Wer Annika Treutler live erleben möchte, hier der link zu den nächsten Terminen: https://www.annikatreutler.de/#konzerte-2021 Weitere Hintergrundinformationen: https://www.annikatreutler.de/#respond-in-music Hintergrundinformationen, Feedback, Gästewünsche: Kommentare/Anregungen: https://www.instagram.com/ich.bin.so.frei/ https://www.linkedin.com/in/dr-zoé-von-finck-81b32857/ Verein: www.ich-bin-so-frei.org Kontodaten: Ich bin so frei e.V. IBAN: DE 24830654080005361192 BIC: GENO DEF1SLR Volksbank/Skatbank

„Je öfter ich die Lieder singe, desto besser gefallen sie mir!“ Bariton Konstantin Ingenpaß hat gemeinsam mit Pianistin Anastasia Grishutina eine musikalische Reise durch das Leben von Viktor Ullmann konzipiert. Dessen Musik schwingt zwischen Atonalität und Tonalität und ist Zeugnis seines Lebens, dass 1944 im Konzentrationslager Auschwitz endete. Mit dem Liederabend geht heute Abend das Rheinvokal-Festival zu Ende.

This is a follow-up to the Viktor Ullman episode, recorded in August 2022(link at end). Again - I am fortunate to interview Mark Ludwig (Director of the Terezin Music Foundation) and learn about the women at Terezin and their role in the music and the arts at this concentration camp. Though Terezín's male composers — Gideon Klein, Viktor Ullmann, Hans Krása and others — are well known, many outstandingly talented women were at the epicenter of the camp's cultural community as well.  In this episdoe we will learn about the life and artistry of poet and composer Ilse Weber and about how she and women like Regina Jonas, who was the first ordained woman rabbi, and Bauhaus artist Friedl Dicker-Brandeis helped their fellow prisoners transcend the horrors of Terezín. There were also the singers, pianists, and educators who comforted and enriched life within the walls of this concentration camp. Two images of the artwork from the children in Terezin will be posted at the podcast website, in the Viktor Ullman page (link). Podcast website:- link - or www.peoplehiddeninhistory.comTwitter/X and Instagram:  @phihpodTerezin Music Foundation - LinkLinks to Vicktor Ullman podcast episode (Aug 2022):BuzzsproutApple

In Episode 620, Patrick Lay from Dark Horse's upcoming Death Strikes: The Emperor of Atlantis graphic novel along with a holiday tradition!   Patrick and I talk about this timely and timeless original graphic novel from him as artist and journalist Dave Maas, due in bookstores on January 23 and in comics shops on January 24. It's described this way: “From 1941 to 1945, the Nazis operated a concentration camp called Terezín (or Theresienstadt) 30 miles outside Prague in what is modern-day Czech Republic. The former fortress town was home to many Jewish artists, writers, musicians, dramatists, actors, and other intellectuals. More than 140,000 people passed through Terezín during the war, and while only a few thousand outlived the Nazi regime, a vast amount of their writings, compositions and artworks survived to tell their stories. This graphic novel is based on one of these works, Peter Kien and Viktor Ullmann's opera Der Kaiser von Atlantis, which Kien and Ullmann did not live to see performed. Through satire and fantasy, the narrative presents many lessons for modern society on war and technology, but its greatest lesson is that none of us must ever forget that beauty and humor can be found even in the face of doom.” We discuss how this book came to be, what else Patrick is working on, and the importance of this story for today's world.   Then everything wraps up with my annual holiday tradition, playing the audio from ‘Twas the Dark Knight Before Christmas! You can see the video at this link! Don't miss next week's episode as we wrap up 2023 with another terrific conversation with another great comics professional!   Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patreon member. It will help ensure Wayne's Comics Podcast continues far into the future!

„Nie siedzieliśmy bezczynnie, zanosząc się łzami na brzegach Babilonu, a nasze pragnienie kultury było tak samo silne, jak wola życia” – napisał w eseju „Goethe i getto” Viktor Ullmann. Uprawienie muzyki, chodzenie na koncerty, przygotowywanie recitali i widowisk dla wielu mieszkańców getta Theresienstadt było sposobem przetrwania – starali się odtworzyć życie i świat, którego zostali przez nazistów pozbawieni. Nie wiedzieli jednak, że nawet najszlachetniejsze próby ocalenia sztuki w piekle, jakim stał się dla nich Terezin, mogą zostać wykorzystane przeciwko nim samym, a nawet przeciw wszystkim Żydom brutalnie mordowanym w sieci obozów koncentracyjnych. Sztuka miała strać się propagandowym narzędziem w rękach nazistowskich władz, a wreszcie powodem, dla którego jej twórcy zostali skazani na śmierć. Jak do tego doszło? W jaki sposób hitlerowcy próbowali skapitalizować walkę o przetrwanie terezińskich Żydów? Wreszcie – co działo się w getcie pod koniec wojny? O tym opowiadam w trzecim i ostatnim odcinku poświęconym sztuce getta Theresienstadt. Muzyka w odcinku (fragmenty): E. Kalman „Kommt mit nach Varasdin” (aranżacja), wyk. Christian Gerhaher, Gerold Huber, Deutsche Grammophon 4777147 (2007). K. Švenk, „Všechno jde!”, wyk. Anne Sophie von Otter, Bengt Forsbergh, Bebe Risenfors, Deutsche Grammophon 4777147 (2007). K. Švenk, „Ukolébavka”, wyk. Lucia Diaferioo Azzellino, Francesco Lotoro, „KZ Musik” Vol. 21 (2012). H. Krása, „Brundibár“, „Tohle je malý Pepíček”, „Brundibár poražen”, wyk. Radiowy chór dziecięcy Disman z Pragi, dyr. Joža Karas, Channel Classics 1993. K. Švenk, „Všechno jde!” (w 3 językach), wyk. Ruth Elias, Christophorus (2010). Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego.

Podróż do getta Theresienstadt przypomina podróż do kolejnych kręgów piekła Dantego. Poznajemy mroczny świat, słuchając opowieści jego mieszkańców, których przedstawia przewodnik – Wergiliusz. Naszych bohaterów od  tych u Dantego różni  jedno – wszyscy byli winni tego samego „przestępstwa” – swojego pochodzenia. Naszym Wergiliuszem będzie w tej podróży Viktor Ullmann, jeden z najaktywniejszych muzyków getta – urodzony w Cieszynie kompozytor, pianista, dyrygent, ale także kronikarz, piszący artykuły i recenzje odbywających się w getcie koncertów, dokumentujący i opisujący walkę o godność i nieposkromioną wolę życia. Muzyka w odcinku (fragmenty) V. Ullmann, „Berjoskele” z „Drei Jiddische Lieder”, wyk. Emilie Berendsen, David Bloch, prod. Alexander Goldscheider, Romantic Robot (1991). V. Ullmann, „Warum sind wir gefangen?” z opery „Der Sturz des Antichrist”, wyk. Orkiestra Filharmonii z Bielefeld, dyr. Rainer Koch, CPO 2013. L. v. Beethoven, „XIV Sonata fortepianowa cis-moll” op. 27 nr 2 (cz. I), wyk. Alice Herz-Sommer, fragment filmu dokumentalnego „From Hell to Paradise”, reż. Michael Teutsch (2005). V. Ullmann, „Fünf Liebeslieder”, nr 2 „Am Klavier”, wyk. Anne Sofie von Otter, Bengt Forsberg, Deutsche Grammophon 4777147 (2007) V. Ullmann, „Čtyři písně na slova čínské poezie” (I), wyk. Karel Bermann, Alfred Holeček, Channel Classics 1991. V. Ullmann, „Der Kaiser von Atlantis” (fragmenty), wyk. (live), Prinzregenten Theater Munich 10.10.2021, Monachiijska Orkiestra Radiowa, dyr. Patrick Hahn, BR Klassik 2022. Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego.

Dediquem el segon programa a les relacions entre l'

Dediquem el segon programa a les relacions entre l'

Minisérie pěti dílů s názvem „Člověk na hraně svobody“ mapuje skladby pěti tvůrců, kteří svá díla tvořili na hraně svého života a stali se svědky pohnutých událostí nacistické a komunistické totality. U některých z nich se jednalo o díla úplně poslední. Zároveň obsah jednotlivých epizod kopíruje program stejnojmenného projektu, který duo IndiviDual v době natáčení připravuje. V tomto díle jsme se zaměřili na komplexnost umělecké osobnosti skladatele, klavíristy, dirigenta, kulturního organizátora a tak trochu podnikatele Viktora Ullmanna. Společně s naším hostem historikem umění, sběratelem a galeristou Rub gallery Davidem Vodou jsme se ponořili do zkoumání Ullmannova věčného hledání a dotkli se také kulturního života v terezínském ghettu.

TRIBUTO: HISTORIAS QUE CONSTRUYEN MEMORIA DE LA SHOÁ, CON CECILIA LEVIT – Viktor Ullmann nació en Silesia el 1 de enero de 1898. Creció en Viena y allí estudió música con Arnold Schönberg hasta 1919. En 1920 se trasladó a Praga para convertirse en uno de los asistentes del director de orquesta Alexander Zemlinsky en el Nuevo Teatro Alemán. Sus padres, ambos de origen judío, se habían convertido al catolicismo antes de su nacimiento, por lo que Viktor fue bautizado y educado en el cristianismo. Se trasladó a Praga, donde se consagró por entero en la música. Ullmann fue director de la orquesta del Nuevo Teatro Alemán de Praga entre 1922 y 1927. El 8 de septiembre de 1942 fue deportado al campo de concentración de Theresienstadt. Allí llevó una labor importante como director de orquesta, pedagogo, pianista, crítico y compositor. Su obra más conocida es la ópera Der Kaiser von Atlantis (El emperador de la Atlántida). Su composición supuso la muerte de Ullmann cuando un SS se percató de que la ópera era una crítica contra el régimen nacionalsocialista y, más concretamente, contra Hitler. Al día siguiente todos los miembros del montaje fueron deportados a Auschwitz, donde Viktor Ullmann fue asesinado en la cámara de gas nada más llegar. Esta obra se ha convertido en un símbolo del Holocausto.

For Yom HaShoah, Anna and Krista drop some history on you this week with Viktor Ullmann's Der Kaiser von Atlantis. From its origins in a concentration camp to its many iterations today, it's a good building block for Holocaust education. They also rant about OperaWire's treatment of Russian artists and edit a glaring mistake on Wikipedia.

To learn more, please visit the websites of Terezín Music Foundation and its project Our Will to Live.SHOW NOTES:00:02:45 Foundation of Terezín Music Foundation00:06:30 Our Will To Live00:08:30 Ullmann as guide through Terezin's cultural community 00:09:35 Otto Weininger00:12:20 Ullmann's essays on Sigmund Schul included in Our Will To Live00:13:30 Ullmann's critiques of Carman and Verdi's Requiem00:14:45 Viktor Frankl00:18:40 Council of Elders member Karel Herman00:22:50 smuggling musical instruments00:24:55 Ullmann's critique of performance by Karel Švenk00:26:05 knowledge of environment and history of creators enriches understanding of their work00:26:10 George Horner00:29:15 Yo-Yo Ma's work with TMF00:30:45 Yo-Yo Ma and George Horner's performance at Boston's Symphony Hall00:32:45 Ludwig's performance of Klein's Lullabye for Dalai Lama at US Capital and in Sarajevo after seige00:33:20 Our Will To Live as a work of historical justice00:33:50 Primo Levy's The Drowned and The Saved00:35:00 How tracks for Our Will To Live were choosen00:35:40 Karel Berman's performance of “A Sleepless Night” from Four Songs on Chinese poetry00:36:00 cabaret works by Karel Svenk00:37:15 Tracks of the month by OWTL00:38:15 TMF's ‘Finding A Voice' program curriculum00:39:55 enabling individuals to find their voice 00:40:50 social justice and the voice of society00:41:20 voices of Ullmann, Hans Krása,  Gideon Klein00:42:05 Friedl Dicker-Brandeis 00:44:50 Pavel Haas' “A Sleepless Night” from Four Songs on Chinese Poetry00:46:20 Gideon Klein's String Trio, Second movement00:46:55 Ullmann's Third String Quartet00:47:40 Hans Krása's children's opera Brundibar 00:48:10 Krása's Passacaglia and Fugue for String Trio 00:48:50 Picasso's Guernica00:49:30 Ullmann's Don Quixote Overture 00:51:10 TMF's legacy00:55:40  Track 27 Viktor Ullmann, Third String Quartet [13:38] (Terezín, 1943)performed by Hawthorne String Quartet01:09:45 Track 11 Gideon Klein, String Trio, Movement II — Theme and Variations [07:17] (Terezín, 1944), performed by Ronan Lefkowitz, violin; Mark Ludwig, viola; Sato Knudsen, cello01:17:45 Track 12 Gideon Klein, String Trio, Movement III — Molto Vivace [03:04] (Terezín, 1944) performed by Ronan Lefkowitz, violin; Mark Ludwig, viola; Sato Knudsen, cello01:21:05 Track 16 Pavel Haas, Four Songs on Chinese Poetry (for Karel Berman) “A Sleepless Night” (Han Yu [14:11] (Terezín, 1944) performed by Karel Berman, baritone, and Přemsyl Charnát, piano, November 1991 Czech Radio broadcast of a concert featuring Terezín composers in the Jewish Town Hall, Prague.01:25:10 Track 29 Karel Švenk, “Why Does the Black Man Sit at the Back of the Car?” [01:16] (Terezín, 1943) Arrangement by David L. Post; performed by Thomas Martin, clarinet, and Hawthorne String QuartetTo view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2022]For more details about joining the monthly discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com. Hope to see you there!

The internationally-renowned artist Ai Weiwei explores the origins of his creativity and political beliefs through his own life story and that of his father. In 1000 Years of Joys and Sorrows, translated by Alan H. Barr, he looks back at the blighted life of his father Ai Qing, once China's most celebrated poet before he was banished during the Cultural Revolution. Ai Weiwei tells Tom Sutcliffe about his own journey to becoming an artist and how his work has been shaped by living under a totalitarian regime. The Professor of Political Theory, Lea Ypi, understands only too well growing up in a repressive Communist state – she was born in Albania, the last Stalinist outpost in Europe. In her memoir, Free: Coming of Age at the End of History she describes how the isolated world of her childhood was swept away. But also how the promised freedoms after the fall of the Berlin Wall quickly turned sour. The pianist Kirill Gerstein was born in the former Soviet Union, but is now an American citizen based in Berlin. His career and musical heritage is similarly international, and he plays all around the world. Gerstein considers what creative freedom has meant to some of his favourite composers – from Viktor Ullmann to Shostakovich – who produced great art during times of intense political upheaval. Producer: Katy Hickman Photo credit: Ai Weiwei studio

For more information, please visit the Defiant Requiem Foundation's website.3:30 Maestro Murry Sidlin's creation of the concert-drama Defiant Requiem: Verdi at Terezín while he was at the Oregon Symphony6:00 Stuart Eizenstat's contribution to help Holocaust survivors and to formation of Defiant Requiem foundation8:00 Rafael Schächter's background and work before being interned at Terezín10:40 Schächter's decision to pack the Czech opera, Bedrich Smetana's Bartered Bride11:50 Schächter's decision to pack Verdi's Requiem Mass 14:30 Terezín Commandants, including SS First Lieutenant Karl Rahm16:45 Terezín became a hotbed of arts and humanities19:00 Schächter taught Verdi's Requiem Mass to approximately 150 singers by rote20:20 Edgar Krasa's recollection of Schächter as “merciless” in rehearsals because they “could not afford for any minds to wander”21:15 Verdi's Requiem Mass was performed 16 times at Terezín21:45 Edith Steiner Kraus' recollection that the chorus led by Schächter in Terezín would make one proud “in any urban setting” and the singers were “so far inside the music that we'd returned to Verdi's desk”24:00 Edgar Krasa's recollection about  controversy between  Jewish Council and Schächter over performing Verdi's Requiem Mass31:15 Jewish Council's concern that Requiem Mass had Catholic origin36:50 Sidlin's one act “speculative history” drama  Mass Appeal 1943 based on Schächter's meeting with Jewish Council38:00 Schächter's use of Verdi's Requiem as an act of defiance and to uplift prisoners39:30 Jewish Council's censorship of Ullmann's Der Kaiser von Atlantis and Kael Švenk's The Last Cyclist44:00 Performance of Defiant Requiem at Terezín 48:30 composer Ilsa Weber at Terezín 49:55 Inspiration for Foundation's concert, Hours of Freedom: The Story of the Terezín Composer that includes work by composers such as Victor Ullmann, Pavel Haas, Gideon Klein, Hans Krasa, James Simon, Zikmund Schul, Rudolf Karel and others54:00 Pianist and Composer James Simon's background and work56:15 Simon's colleague Violinist Alma Rosé 59:00 Pavel Haas and Karel Ančerl1:00:20 Conductor Karel Ančerl 1:01:30 Phillip Silver's contribution to Hours of Freedom1:04:10 Hours of Freedom arranged by chapters that include Longing, Hope, etc.1:05:00 Composer, Conductor, Pianist, Singer Karel Berman created Terezín Suite that includes Auschwitz Corpse Factory 1:06:20 10-minute memorial by Martinů1:09:00 Maestro Sidlin's challenge to a description of Ullmann as ‘finding his voice' in Terezín and his thoughts on Ullmann's critical essay that described his experience at Terezín 1:13:45 cloud over many composers was their background training in the law1:16:10 misconception that Gideon Klein learned to compose at Terezín1:16:50 Richard Strauss' unsuccessful efforts to have his daughter-in-law's grandmother released from Terezín1:20:00 Maestro Sidlin's thoughts on how he sees his job as messenger:·      to give Verdi's Requiem an identity connected to Terezín and Schächter;·      to highlight Terezín's legacy as a place where the arts and humanities blossomed because of the artistic gifts of those who were imprisoned there; and ·      to encourage current and future generations to make room in their musical and artistic  consciousness for the composers interned at Terezín To view rewards for supporting the podcast, please visit 

„Ich bin total überrascht, warum das nicht öfter gemacht wird!“: Die Sopranistin Theresa Pilsl hat gemeinsam mit anderen Künstler*innen einen Melodram-Abend für den Heidelberger Frühling konzipiert: die „Viktor-Ullmann-Nacht“ am 17. April. Natürlich findet auch sie nur digital statt. Über die Gefühle beim Aufführen dieser Musik, die zu großen Teilen im Konzentrationslager Theresienstadt entstand, berichtet die Sopranistin im Gespräch mit SWR2.

Die Berliner Pianistin erzählt, warum sie sich für Viktor Ullmann einsetzt, wie sich mit Gesprächskonzerten Schüler erreicht und welche geheime Leidenschaft ihr in der Coronazeit hilft.

For 34. gang slår Sct. Mariæ Kirke i Helsingør dørene op til festival for instrumenternes dronning, orglet. Et af højdepunkterne er afslutningskoncerten med hollandske Pieter van Dijk som spiller musik af Bach og landsmændene Sweelinck, Jan Raas og Anthonie van Noordt.(Sct. Mariæ Kirke, Helsingør 12. august). Ca. 21.00 Klaversonater af Viktor Ullmann med pianisten Annika Treutler.Vært: Anne Bro. www.dr.dk/p2koncerten

Viktor Ullmann's Der Kaiser von Atlantis was written in a concentration camp. It was his final work, his ultimate act of defiance, and an ode to the mercy of dying a natural, dignified death.Warinng: Tina gives a mini lecture on the 2nd Viennese School, and Amanda and Tina find out how unqualified they are to talk about Philosophy.

Being in a quartet is like being in a marriage, says Milena Pajaro-van de Stadt, violist and founding member of the world renowned award-winning Dover Quartet & our guest for Episode 5 of the So This Is My Why Podcast. Holding dual citizenship in the US and the Netherlands, Milena considers herself to have grown up “a little bit of everywhere” including in Oxford (UK), Baltimore and Jacksonville. Her father taught her the piano before, feeling fed up with the instrument, she chose the violin as her next musical endeavour. An instrument she picked up after hearing a musician busk on the streets of Oxford. At the age of 10 years old, having moved back to Jacksonville by then, she picked up the trombone and also (eagerly!) volunteered to play the viola when her younger brother wanted to form a quartet. We explore all that including a pivotal moment in the summer of 2005, where she met and learned from Michael Klotz, violist of Amernet Quartet & her first viola teacher, at the Bowdoin International Music Festival. A meeting that resulted in her “ sudden immersion in the viola world ”. *Curtis Institute of Music* We also discuss the considerations she had in place when applying for music schools and how she dropped all other applications the moment she got into her dream school - the Curtis Institute of Music! There, she studied with the likes of Michael Tree (of the Guarneri Quartet) & Roberto Diaz (President & CEO of the Curtis Institute of Music). It was also at Curtis that the members of what would be the Dover Quartet came together - not unlike the tentative start of a budding relationship! They bonded so well, one of their teachers, Shmuel Ashkenasi (Vermeer Quartet) asked them, “Have you considered getting married (to each other)?” because you're always together. To which Milena said: We could not have been more giddy than when he said that to us because we had looked up to him so much and he notoriously is one of the most demanding coaches we've ever had. And so to get that kind of encouragement from someone we looked up to… I think that definitely had a huge thing to do with our morale and decision to be kind of brave enough to commit to one another. From there, they decided to show “commitment” to each other by attending the graduate residency program at Rice University's Shepherd School of Music as a quartet. *Realities of Life As a String Quartet Member* The life of a string quartet member is so very unique & some of the things we explore include: * What is your schedule like as a string quartet? How often are you on the road? * What was it like participating in competitions (e.g. Fischoff Competition) and in particular, your memories of those incredible wins at the Banff Competition 2013 which launched the Dover Quartet into the spotlight? * Importance of competitions to the careers of string quartets * Ways of dealing with disagreements between quartet members, particularly in musical interpretations of pieces * Managing personal space while on the road; * Staying in touch with loved ones while on the road * Collaborations with other musicians & how that comes about * Giving live performances versus making studio recordings; * The role of social media & the power of collaborations - e.g. with Avi Avital, Edgar Meyer, Ray Chen, Roomful of Teeth & the Brooklyn Duo; * The Importance of public speaking as a means of connecting with the audience; * Dealing with concert reviews * Giving back to the community through Music For Food ( https://musicforfood.net/index.php/artist/dover-quartet/ ) ; and * “Balancing” a solo career with being in a quartet. *String Instruments* As the instrument itself is so important to a musician, we talk about: * The two violas she plays on & their different purposes * Modern v old instruments - which is better? Does it even matter? * How do you choose your violin? * Are violins with an unknown maker a good investment? * Impact of COVID-19 on her personal life & the life of the Dover Quartet *Role of Parents in a Child's Education* For parents with young kids or those thinking of pursuing music, we also deal with questions on: * Should all children be exposed to music / have music lessons? * How should parents handle children who don't want to practice, especially if they want to just quit after trying it for a short while? * At what age should a child learn a musical instrument? * What should people looking to pursue music think about & do? *Show notes:* https://www.sothisismywhy.com/5/ ** *Official Bio of the Dover Quartet* The phenomenal Dover Quartet catapulted to international stardom following a stunning sweep of the 2013 Banff Competition, at which they won every prize. Named the Cleveland Quartet Award-winner, and honored with the coveted Avery Fisher Career Grant, the Dover has become one of the most in-demand ensembles in the world. The Quartet's rise from up-and-coming young ensemble to occupying a spot at the top of their field has been “practically meteoric” ( Strings ). With its burnished warmth, incisive rhythms, and natural phrasing, the Quartet's distinctive sound has helped confirm its status as “the young American string quartet of the moment” ( New Yorker ). The Quartet serves as the quartet-in-residence for the Bienen School of Music at Northwestern University, Chamber Music Northwest, Artosphere, the Amelia Island Chamber Music Festival, and Peoples' Symphony in New York, and was recently named the first-ever quartet-in-residence for the Kennedy Center. In 2018-19 the Dover Quartet performs more than a hundred concerts around North America, including performances at the Kennedy Center, San Francisco Performances, the Philadelphia Chamber Music Society, Spivey Hall, Boston's Celebrity Series, the Chamber Music Society of Detroit, and Carnegie Hall. In addition, the Dover's season features tours of Hong Kong, Europe, and Australia, collaborations with Emanuel Ax, Inon Barnatan, Peter Serkin, Anthony McGill, and Roomful of Teeth, and premieres of new works by Caroline Shaw and Matan Porat. The Quartet was thrilled to be invited by the maverick filmmaker and cultural icon David Lynch to be featured at his Los Angeles Festival of Disruption. Cedille Records released the Quartet's sophomore album, entitled Voices of Defiance: 1943, 1944, 1945 in October 2017. The recording takes listeners on a powerful journey through works written during World War II by Viktor Ullmann, Dimitri Shostakovich, and Simon Laks. The 2016-17 season saw the release of its all-Mozart debut recording on the Cedille label, a nod to the 1965 debut album of the Guarneri Quartet, whose founding violist, the late Michael Tree, joined the Dover Quartet on the recording. In addition, the group has participated in three complete Beethoven quartet cycles, including the University at Buffalo's famous “Slee Cycle” – which has presented annual Beethoven quartet cycles since 1955 and has featured the likes of the Budapest, Guarneri, and Cleveland Quartets – and will record the cycle over the next three seasons. The group's world-class collaborators have included pianists Anne-Marie McDermott, Emanuel Ax, Marc-André Hamelin, Jean-Yves Thibaudet, Peter Serkin, and Jon Kimura Parker; violists Roberto Díaz and Cynthia Phelps; bassist Edgar Meyer; and the Pacifica and Escher Quartets. In the spring of 2016, the Dover Quartet was recognized with the Hunt Family Award, one of the inaugural Lincoln Center Emerging Artist Awards, and in past years has taken top prizes at the Fischoff Competition and the Wigmore Hall International String Quartet Competition. All four Quartet members are consummate solo artists: first violinist Joel Link took first prize at the Menuhin Competition; violinist Bryan Lee and violist Milena Pajaro-van de Stadt have appeared as soloists with the Philadelphia Orchestra and Tokyo Philharmonic, respectively; and cellist Camden Shaw released a solo album debut on the Unipheye Music label. As Strad observes, “With their exceptional interpretative maturity, tonal refinement, and taut ensemble,” the Dover Quartet is “pulling away from their peers.” Hailed as “the next Guarneri Quartet” ( Chicago Tribune ), the Dover Quartet draws from the lineage of that distinguished ensemble, as well that of the Cleveland and Vermeer Quartets; its members studied at the Curtis Institute of Music and Rice University's Shepherd School of Music, where they were mentored extensively by Shmuel Ashkenasi, James Dunham, Norman Fischer, Kenneth Goldsmith, Joseph Silverstein, Arnold Steinhardt, Michael Tree, and Peter Wiley. It was at Curtis that the Quartet first formed, and its name pays tribute to Dover Beach by fellow Curtis alumnus Samuel Barber. The group has since returned for residencies to Rice in 2011-13, and to Curtis, where it became the conservatory's first Quartet-in-Residence, in 2013-14. In addition, in 2015 the Dover was appointed the first Resident Ensemble of Peoples' Symphony Concerts in the 116-year history of New York City's oldest concert series. The Dover Quartet is dedicated to sharing its music with under-served communities and is actively involved with Music for Food, an initiative enabling musicians to raise resources and awareness in the fight against hunger. The Dover Quartet plays on the following instruments: *Joel Link* : Jean-Baptiste Vuillaume, Paris circa 1857, on loan by Desirée Ruhstrat *Bryan Lee* : Riccardo Antoniazzi, Milan 1904 *Milena Pajaro-van de Stadt* : Michele Deconet, Venice, 1780, the ‘Kroyt,' generously on loan from the grandson of Boris Kroyt of the Budapest Quartet *Camden Shaw:* Frank Ravatin, France, 2010

De (altijd min of meer) klassieke late night show van Vrije Geluiden op de radio, gepresenteerd door Aad van Nieuwkerk. Speciale aandacht voor de muziek van Mieczyslaw Weinberg, het slotconcert van de Martinu-dagen in Basel (Zwitserland), en een tip voor het allerlaatste concert ever van het Nieuw Ensemble olv Ed Spanjaard, op Sinterklaasavond. Met muziek van Girard de Beaulieu (1540-1590), Mieczyslaw Weinberg, Maurice Ravel, Viktor Ullmann, György Kurtag, Franco Donatoni.

Am 17. und 18. Oktober jährt sich der Todestag dreier tschechischer Komponisten: Pavel Haas, Viktor Ullmann und Hans Krása. 1944 wurden sie und viele andere Künstler von Theresienstadt nach Ausschwitz deportiert und wenige Tage später ermordet. Sylvia Schreiber im Gespräch mit Alexandra Maria Dielitz.

Viel zu viele Werke jüdischer Komponisten wurden durch die Nazis von Spielplänen gestrichen und haben erst spät den Wiedereinzug in den aktuellen Spielbetrieb geschafft. Sopranistin Eleonore Marguerre stellt einige in Vergessenheit geratene Werke vor, wie zB Schwanda der Dudelsackpfeifer von Jaromir Weinberger oder den „Kaiser von Atlantis“ von Viktor Ullmann. Das sagt dir nichts? Umso mehr ein Grund, sie kennen zu lernen. .. Hier noch die Links zu der Oper „Die Passagierin“ von Weinberg https://youtu.be/9_Wv2ol2sdk Und zu den wunderbaren Revue Stücken von Paul Abrahamhttps://youtu.be/UZJtn0B_q3Y Ganz frisch aus der Komischen Oper die Abrahams Fussballoperette „Roxy und ihr Wunderteam“https://youtu.be/yXY-9uT9Pyk

Facundo Agudin, el notable director argentino radicado en Suiza, presenta en esta entrevista su grabación, editada recientemente, de El emperador de la Atlántida, la ópera que Viktor Ullmann y Peter Kien escribieron en 1943 en el campo de concentración de Terezin. Agudin brinda detalles sobre el terrible contexto en el que surgió la obra, cuenta cómo la descubrió y habla sobre el trabajo de revisión de la partitura y del libreto que realizó junto a sus colaboradores para poder llevar adelante la grabación. Durante la entrevista, se escuchan los siguientes fragmentos de la ópera: Viktor Ullmann Prólogo, Escena segunda y final, de El emperador de la Atlántida Pierre-Yves Pruvot, barítono Wassyl Slipak, barítono Natalie Pérez, soprano Anna Wall, mezzosoprano Sébastien Obrecht, tenor Orquesta Musique des Lumières / Facundo Agudin

Viktor Ullmann: Klavierkonzert; Klaviersonate Nr. 7; Variationen & Doppelfuge op. 3a | Moriz Ernst (Klavier) | Dortmunder Philharmoniker | Leitung: Gabriel Feltz

For the past few decades music teacher and pianist Francesco Lotoro has been collecting music written in concentration camps from the Second World War. Francesco's life is entirely given over to recovering the creations of composers and performers, many of them Jewish, who died in the camps. A massive amount of music was written in camps. Classical music by established composers, but also songs, symphonies, sonatas, operas, lullabies, jazz riffs often scribbled on old sacks, toilet paper or scratched into mess tins. Francesco has discovered works by important composers as Hans Krasa, the Czech creator of the masterpiece 'Brundibar', as well as Viktor Ullmann and Gideon Klein - all killed by the Nazis in 1944, but writing music until the very end. Composer Adam Gorb is head of composition at the Royal Northern College of Music in Manchester. Working closely with the BBC Philharmonic, Adam travels to Italy to meet Francesco and together they pick through his 8000 piece archive, much of which has never been heard before. In this special documentary, which broadcasts in the days running up to Holocaust Memorial Day, Adam Gorb returns to Britain with a piece of unfinished music written by Viktor Ullman before his death. This piece will be performed by the Philharmonic for the first time. Producer: Caitlin Smith.

Interview mit dem Pianisten Herbert Schuch, der mit dem Bundesjugendorchester das Klavierkonzert von Viktor Ullmann in Aschaffenburg aufführt. Dazu gibt es zwei Solo-Abende in Polling und München.

Interview mit dem Pianisten Herbert Schuch, der mit dem Bundesjugendorchester das Klavierkonzert von Viktor Ullmann in Aschaffenburg aufführt. Dazu gibt es zwei Solo-Abende in Polling und München.

Die Zeit in Theresienstadt ist eine sehr produktive für den Musiker und Komponisten: Viktor Ullmann wird zum Motor des Kulturlebens dort.

Aus gegebenem Anlass, ein Mix aus den ersten neun Sendungen von „++ contrapunkt ++ westöstlicher dialog“. Ein bisschen mehr als 90 Minuten Musik- und Zeitgeschichte mit zahlreichen Statements und viel Musik. Unter den Gästen: Peter Gülke, Gisela May, Ulla Meinecke, Stefan Krawczyk, Steffen Schleiermacher, Gerhard Stäbler, Tanja Tetzlaff, Hubert von Goisern, Viktor Ullmann, Bärbel Bohley, [...]

Rencontre théâtrale autour du spectacle "Der Kaiser von Atlantis", opéra inachevé écrit en 1943 dans le camp de concentration de Theresienstadt par Viktor Ullmann (musique) et Peter Kien (livret), morts au camp d'Auschwitz en 1944. Rencontre animée par Joël Huthwohl, directeur du département des Arts du spectacle, BnF, avec Annette Wieviorka, historienne et Louise Moaty, metteur en scène. Conférence du 28 janvier 2014