Podcasts about violin concerto no

In this episode, we talk to violinist Yusong Zhao about winning the concerto competition and his upcoming performance of Dmitri Shostakovich's Violin Concerto No. 1 in A Minor, Op. 77.

Max Bruch - Violin Concerto No. 1: AdagioTakako Nishizaki, violinSlovak Philharmonic Orchestra Stephen Gunzenhauser, conductorMore info about today's track: Naxos 8.550195Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

主播｜李叔 小伙子2025年来了，人间攻略来开篇。钱能越赚越多吗，前女友挥之不去怎么办假离婚变真离婚，五十岁重拾写作好不好考研该选什么方向，双非毕业找工作有优势日谈八周年周边是什么，新年计划又有哪些时至今日才懂得，“身体健康 万事如意”是最厉害的祝福。2025年，让我们用温暖开启。|Song List|will.i.am - I Like to Move It梁静茹 - 勇气I Musici - The Four Seasons, Violin Concerto No. 4 in F Minor, RV 297 WinterII. Largo|本期新年福利|感谢MoveFree 益节对本期节目的支持！ MoveFree 益节氨糖软骨素——美国专业关节健康品牌，连续 7 年天猫国际氨糖品类销售 TOP1，100% 纯进口，产品通过了中国质量检验协会和美国FDA的双重认证。节目中推荐的MoveFree益节甄选礼盒，包括两瓶氨糖软骨素绿标瓶和一瓶骨胶原白瓶。黄金搭配，对关节既能修复又能加固，一起吃效果最好，年末送健康又有面儿。｜“毛fúfù”小日来啦！｜日谈8周年周边“毛fú（福）fù（富）”小日毛绒挂件正式预售！这次我们把小日做成了柔软的毛绒玩偶挂件，好摸好rua，还可以挂在钥匙扣上、包包上、车上、衣服上、腰带上等等一切你想挂的地方，是一款日常陪伴型小玩偶，也是一款时尚配饰，为你的生活添加一抹鲜艳的色彩（鲜艳的绿）“毛fufu”的小日，带着它“毛fú（福）fù（富）”的祝福，希望大家在新的一年，福气满满，日富一日！具体详情可关注近期日谈公园微信推送。【收听平台】小宇宙｜喜马拉雅｜苹果播客｜网易云音乐｜荔枝｜蜻蜓FM｜QQ音乐｜酷我音乐｜酷狗音乐｜懒人听书｜微博音频｜三联中读｜听听FM｜猫耳FM｜Spotify｜YouTube｜关注我们｜移步点击日谈公园品牌官网（链接：https://www.ritanbbpark.com），了解更多微信公众号：日谈公园微博：@日谈公园小红书：日谈公园即刻：日谈李小日B站：日谈公园｜商务合作｜欢迎发送邮件至 bbpark@ritanbbpark.com

In this episode of One Symphony, host Devin Patrick Hughes interviews Dr. Samantha Ege, pianist and musicologist, about the life and works of Florence Price. Dr. Ege discusses Price's musical style, her significance in American classical music, and the recent rediscovery of her compositions. The conversation covers Price's role in the Chicago music scene, her blending of classical and African American musical traditions, and the challenges she faced as a Black female composer in the early 20th century. Dr. Ege also shares insights from her own recordings of Price's piano works and her upcoming scholarly publications on the composer.   Dr. Samantha Ege is a leading scholar and interpreter of the African American composer Florence Price.  Her work illuminates Price in the context of the Black Chicago Renaissance and Black women's dynamic networks of advocacy, empowerment, and uplift. Her first book, South Side Impresarios: How Race Women Transformed Chicago's Classical Music Scene, and first edited collection, The Cambridge Companion to Florence B. Price, are important culminations of the research she has shared around the world.   Dr Ege is a also concert pianist who specializes in the music of 20th and 21st century composers. Her performances bring her research to life, sounding new narratives that are so often unheard in the modern-day concert hall. Dr Ege seeks to communicate the diversity of classical music's past, present, and future through her performances, and foster a sense of belonging for everyone.   In her London debut at the 2021 London Festival of American Music she gave the world premiere of Florence Price's complete Fantasie Nègre set. In 2018, she made her international lecture-recitalist debut at the Chicago Symphony Center with her event A Celebration of Women in Music: Composing the Black Chicago Renaissance. She has performed across the UK, Europe, North America, and Southeast Asia. She has also played with the Oxford Philharmonic Orchestra, Oakland Symphony Orchestra, Arkansas Symphony Orchestra, and Yale Philharmonia.   Thank you for joining us on One Symphony. Thanks to Dr. Samantha Ege for sharing her incredible research, insights, and music-making. You can find her book, South Side Impresarios and more at https://www.samanthaege.com.   Music Selections “Weeping Willow, A Rag Time Two Step.” Composed by Scott Joplin. Performed by Benjamin Loeb on the album Scott Jopin: Piano Rags 2 from Naxos. Violin Concerto No. 2. Composed by Florence Price. Featuring Kelly Hall-Tompkins on violin with the Urban Playground Chamber Orchestra. Conducted by Thomas Cunningham. Sonata in E minor “Andante.” Composed by Florence Price. Performed by Samantha Ege. “Sketches in Sepia.” Composed by Florence Price. Performed by Samantha Ege. Symphony No. 1 in E minor: I. Allegro ma non troppo. Composed by Florence Price. Performed by The Philadelphia Orchestra. Yannick Nézet-Séguin, conductor. Available from Deutsche Grammophon. Symphony No. 3 in C minor: I. Andante – Allegro. Composed by Florence Price. Performed by The Philadelphia Orchestra. Yannick Nézet-Séguin, conductor. Available from Deutsche Grammophon. Sonata in E minor “Scherzo.” Composed by Florence Price. Performed by Samantha Ege. Fantasie Nègre No.4 in B minor. Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records. “Snapshots Moon Behind a Cloud.” Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records. Fantasie Nègre No.1 in E minor. Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records. Juba Dance from Symphony No. 3. Composed by Florence Price. Performed by the Chicago Symphony Orchestra. Ricardo Muti, conductor. Fantasie Nègre No.2 in G minor. Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records.   You can always find more info at OneSymphony.org or DevinPatrickHughes.com 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. 

DescriptionMind Games: The Psychology Behind a Solo Performance in 60 Seconds. Take a minute to get the scoop!Fun FactOne of the most difficult violin concertos is Niccolò Paganini's Violin Concerto No. 1 in D Major. Known for its technical demands, it features rapid scales, double stops, harmonics, and wide leaps that push the limits of a violinist's dexterity and control. The concerto also requires expressive phrasing while navigating these complexities, blending virtuosity with musicality. Its intense demands on both technique and endurance make it a formidable challenge for even the most skilled violinists.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

During Bartok's life, the violin concerto we now know as Violin Concerto No. 2 was simply known as Bartok's only violin concerto. The reason? His first concerto, written when he was a much younger man, had never been performed or published. This was a deeply painful memory for Bartok, who had written the concerto for a woman he was in love with, Stefi Geyer, but Geyer refused both Bartok's advances and the concerto itself, and so it remained unperformed and unpublished until after Bartok's death. Bartok had written other works for violin and orchestra, including a rhapsody written for his friend and recital partner Zoltan Szekely. Szekely continuously asked Bartok to write him a full blown concerto, but Bartok refused again and again, until finally in 1936 Bartok agreed. But even then, Bartok wasn't so easy to pin down. Bartok resisted the idea of a full scale concerto, saying to Szekely that he wanted to write a theme and variations for violin and orchestra, but Szekely refused, and demanded a 3 movement standard concerto. Bartok finally agreed, but as you'll see later, he found a way to get his theme and variations in anyway! The concerto took two years to write, partly due to Bartok being busy with some of his greatest large scale works, but also because of Bartok's acute stress due to the rise of fascism across Europe. He was constantly thinking of emigrating from his native Hungary, and finally in 1938 he left. As he wrote to his friend: “What is most appalling is the imminent danger that Hungary too will surrender to this system of robbers and murderers..." All of these competing impulses - Bartok's bitter memories of his first concerto, the turbulent political siutation, and his seeming lack of confidence in writing a full scale concerto, contributed to the delay, but finally in 1938 the piece was finished and was triumphantly premiered on April 24, 1939 in Amsterdam. This concerto is one of the greatest 20th century violin concertos, and is full of a massive amount of brilliant detail as well as an urgently emotional and passionate character. It is a gigantic, nearly 40 minute long piece, and its difficulties for both the violinist and the orchestra are immense. Today we'll talk about all of the ins and outs of this remarkable concerto, including its challenges, its beauties, its emotional scope, and its brilliant combination of tonality and 12 tone music. Join us! Recording: Danish Radio Symphony, Augustin Hadelich, Violin, Vasily Petrenko Cond.

References Guerra, DJ. 2024. Manuscripts in preparation. Paganini , N. 1819. Violin Concerto No 1. Op6. https://youtu.be/e52mkjorLAY?si=YhamClbb9LkUWOGf Hunter-Garcia. 1972. "US Blues" Grateful Dead https://youtu.be/cr-iGxbALnc?si=ImRdGq0Evh03vUd2 Miller, S. 1968. "Livin' in the USA" https://youtu.be/6Hv6WXSt7vs?si=JLdzYmlWuyRp8uIm Simon, P. 1968. "America" https://youtu.be/Eo2ZsAOlvEM?si=ahFS-qll3oKvw-bl --- Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support

In Episode 106 of the Space Cafe Podcast, host Markus engages with Dr. Mark Clampin, astrophysics director at NASA. They discuss the significant advancements and future plans in space exploration, capturing the raw ambiance of a busy evening in Austin, Texas, during the South by Southwest festival (SXSW)... Guest Background: Dr. Mark Clampin has an extensive career in space science, particularly noted for his work with the James Webb Space Telescope. His insights shed light on the complexity and achievements of current space missions and what the future holds for NASA. Key Topics Covered:James Webb Space Telescope's Achievements: Insight into the operational success and the cutting-edge images it has produced.Future NASA Projects: Discussion on upcoming missions influenced by the decadal survey, focusing on the Roman Space Telescope and its objectives.Technological Advancements in Space: Overview of new technologies, including the active coronagraph, enhancing the exploration capabilities of future space telescopes. Memorable Quotes:"Webb is doing really well, better than our wildest dreams... it's just a dream come true to see the quality of the science it's been doing." — Dr. Mark Clampin"The Roman Space Telescope will fundamentally change our understanding of dark matter and dark energy." — Dr. Mark ClampinKey References and Must-Click Links:NASA: Learn more about current projects and future missions here.James Webb Space Telescope: Explore detailed information and view stunning images from the telescope here.Habitable Worlds ObservatoryRoman Space Telescope Featured Media and Cultural References:Music Choice by Dr. Mark Clampin: Bach's Violin Concerto No. 1, specifically the second movement performed by Hilary Hahn. This piece resonates with the calming yet profound nature of space travel.Follow Our Journey:Host: Markus MooslechnerGuest: Dr. Mark Clampin About Us: SpaceWatch.Global is dedicated to bringing space closer to the global audience through detailed discussions and insights into the evolving landscape of space exploration and development. Contact Us:Email: podcast@spacewatch.globalWebsite: www.spacewatch.global Make sure to follow us on Spotify and Apple Podcasts for more insightful discussions. Visit SpaceWatch.Global for updates and subscribe to our newsletter. Connect with us on LinkedIn and Twitter to engage with our space community.Send us a Text Message.You can find us on Spotify and Apple Podcast!Please visit us at SpaceWatch.Global, subscribe to our newsletters. Follow us on LinkedIn and Twitter!

The versatile Nikolaj Szeps-Znaider leads the CSO as soloist in Mozart's richly melodic Violin Concerto No. 2 and Kreisler's wistful Liebesleid. Trading violin bow for baton, Szeps-Znaider conducts Stravinsky's Pulcinella Suite, a neoclassical gem that shines a spotlight on the orchestra's principal players, and Mozart's Prague Symphony, a work of grand gestures and profound, melodious depth. Learn more: cso.org/performances/23-24/cso-classical/mozart-and-stravinsky

Violinist James Ehnes talks about his new recording for Pentatone of Leonard Bernstein's Serenade and John Williams's Violin Concerto No 1.

References J Am Soc Mass Spectrom. 2023 Nov 1;34(11):2481-2490 J Oleo Sci. 2011; 60(10): 537–544. Trends Immunol. 2018 Jul; 39(7): 523–535. Blood. 2014 Dec 4; 124(24): 3656–3665. George, L. and B. Payne. 1970. "Truck Stop Girl". Byrds. [Untitled] lp. https://youtu.be/fdI83TNKdX4?si=JWPrSMCHEX5G1zi9 Georgia Dobbins, William Garrett, Freddie Gorman, Brian Holland, Robert Bateman. 1961. "Mr. Postman". The Beatles. [With the Beatles ] lp. https://youtu.be/v2Kk5IG2b8E?si=xcG0eUV54Bpo_T9H Bach JS. ca. 1720. Violin Concerto No.1 in a minor BWV1041 https://youtu.be/Q3-5144TaYg?si=K9eYagdfdykygw9d --- Send in a voice message: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/message Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support

durée : 00:11:45 - #4 Mozart: Symphonies Nos.23 & 38 / Violin Concerto No.3 - Thomas Zehetmair, Orchestre de chambre de Stuttgart - Thomas Zehetmair et l'Orchestre de chambre de Stuttgart nous offrent l'enregistrement d'œuvres de Mozart : la Symphonie "Prague" n°38 et la Symphonie n° 23. S'ajoute à cela le Concerto pour violon n° 3, dans lequel Thomas Zehetmair joue également le rôle de soliste

The Baylor Symphony will debut Maurice Ravel's "La Valse", Max Bruch's Violin Concerto NO. 1 IN G MINOR OP 26 with guest violinist Richard Lin on April 23rd. Learn more about your ad choices. Visit megaphone.fm/adchoices

References Front Immunol. 2019; 10: 1309 Immunity. 2018 Sep 18; 49(3):413–426.e5. Front Immunol. 2020; 11: 621733 Infect Immun. 2013 Dec; 81(12): 4478–4489. Immunity. 2023 Nov 14;56(11):2523-2541.e8. Harrison, G. 1969. "Here Comes the Sun" Abbey Road Lp. Beatles https://youtu.be/GKdl-GCsNJ0?si=xUqwi3Q7Ne694ruD Mozart, WA. 1775. Violin Concerto No.3 in G major, K. 216 https://youtu.be/j7Z6gouAVCc?si=xVwtNKAWDEDdtKMV Parsons, G. 1965 "Brass Buttons" Poco: Crazy Eyes Lp. https://youtu.be/CpFytplzLhI?si=vw08Gut3E-otgA9x --- Send in a voice message: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/message Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support

Strauss' Also sprach Zarathustra — with its iconic opening popularized in 2001: A Space Odyssey — sets the tone for a program of dazzling, otherworldly pieces. Bartók's pantomime ballet, The Miraculous Mandarin, is a lurid, supernatural tale rendered in arresting colors. Czech violinist Josef Špaček takes on Martinů's tuneful and vivacious Violin Concerto No. 1. Learn more: cso.org/performances/23-24/cso-classical/also-sprach-zarathustra

Donald Macleod delves into the world of Venetian composer, Maddalena SirmenMaddalena Sirmen was born in Venice in 1745 and christened Maddalena Laura Lombardini. Her poverty-stricken family were unable to support her and by the age of seven she was admitted to one of Venice's ‘Ospedali'. The Ospedali were hospitals and orphanages set up to help the needy but also celebrated for the musical education they provided to their residents . Sirmen soon excelled in her training. By the age of fourteen she was accepted for additional music lessons in Padua with the famed violinist, Tartini, and became one of his favourite students. In 1767 she married fellow composer, Lodovico Sirmen, and was able to leave the Ospedale, at last. There followed many successful years of travelling and performing as a virtuoso violinist, often presenting her own works. Sirmen's music was published in many leading European cities, and Leopold Mozart said of one of her works, that it was “beautifully written”. When visiting London for a third time, Sirmen decided to present herself as a singer, rather than a violinist. This proved to be a mistake and she was greatly criticised in the press. From this point onwards her reputation diminished despite further concerts, as a violinist, in Paris, Dresden and St Petersburg. Sirmen eventually settled back in Venice, where she died in 1818.Music Featured: Violin Concerto No 3 in A major, Op 3 No 3 (excerpt) Trio Sonata No 5 in G, Op 1 No 5 (Allegro Moderato) Ferdinando Bertoni: Veni Creator (excerpt) Trio Sonata No 5 in G, Op 1 No 5 (Rondo Allegro) Ferdinando Bertoni: Orfeo (excerpt) String Quartet No 5 in F major Violin Concerto No 3 in A major, Op 3 No 3 Giuseppe Tartini: Violin Sonata in G minor, “Devils Trill” (excerpt) String Quartet No 1 in E flat major (Andante) String Quartet No 1 in E flat major (Allegretto) Giuseppe Tartini: Stabat Mater Violin Concerto No 2 in E major, Op 3 No 2 String Quartet No 4 in B flat major String Quartet No 2 in E flat major (excerpt) Duet in C major, Op 4 No 6 Ludovico Sirmen: Sonata in A major (Moderato) Violin Concerto No 5 in B flat major, Op 3 No 5 Ludovico Sirmen: Sonata in A major (Lento) String Quartet No 2 in E flat major Violin Concerto No 1 in B flat major, Op 3 No 1 (Allegro) J. C. Bach: Gioas, re di Giuda (Fe giuriamo) Maddalena Sirmen: Violin Concerto No 1 in B flat major, Op 3 No 1 (excerpt) J. C. Bach: Sonata in G, Op 10 No 3, W. B4 (Rondeaux) String Quartet No 3 in G minor Violin Concerto No 6 in C major, Op 3 No 6 Violin Concerto No 4 in C major, Op 3 No 4 (excerpt) String Quartet No 6 in E major (Andantino) Thomas Linley Junior: The Song of Moses (Chorus: Praise be to God, and God alone) String Quartet No 6 in E major (Con brio) Ludovico Sirmen: Sonata in A major (Adagio cantabile) Violin Concerto No 4 in C major, Op 3 No 4 String Quartet No 5 in F minorPresented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Maddalena Sirmen and her World https://www.bbc.co.uk/programmes/m001w8gxAnd you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Reno Phil music director and conductor Laura Jackson, composer Paul Novak, violin soloist Charlotte Marckx, and Tacie Moessner of the Davidson Institute for Talent Development speak with Chris Morrison about the Reno Phil's concerts "Shostakovich's Fifth Symphony" on February 24 and 25, 2024. The concerts include longing is an aviary by Paul Novak, the Violin Concerto No. 4 by Wolfgang Amadeus Mozart, and the Symphony No. 5 by Dmitri Shostakovich.

SynopsisIt might seem odd to think of Max Bruch as a 20th-century composer. After all, his three greatest hits — his Violin Concerto No. 1, his Scottish Fantasy for violin and orchestra, and his setting of the Hebraic liturgical chant Kol Nidrei for cello and orchestra — were all written in the 19th century.But this archetypal German Romantic composer, who was born in 1838, lived to the ripe old age of 82, and kept producing new works up to the time of his death in 1920.One of these, a Concerto for Two Pianos, was commissioned by an American duo piano team, Ottilie and Rose Suttro, who premiered it with Leopold Stokowski and the Philadelphia Orchestra on today's date in 1916. The new work was well-received and its composer praised.But there is a somewhat ironic historical footnote to this successful premiere: It appears the Suttro Duo drastically revised and even rewrote parts of Bruch's score for their 1916 performance, unbeknown to the composer. It wouldn't be until 1971 that the concerto was performed as he had actually written it.Music Played in Today's ProgramMax Bruch (1838-1920) Concerto for Two Pianos; Güher and Süher Pekinel, pianos; Philharmonia Orchestra; Neville Marriner, cond. Chandos 9711

All Classical Radio's program director, John Pitman, chats with American violinist Randall Goosby about his second album with Decca Classics. The dynamic young soloist brings freshness to a concerto he first encountered as a teenager: Max Bruch's Violin Concerto No. 1, and shimmering performances of Florence Price's two Violin Concertos, with the Philadelphia Orchestra and Yannick Nézet-Séguin. There's also a wonderful arrangement of Price's piece, Adoration, arranged especially for the Philadelphia's string section. Learn more on the All Classical Arts Blog: https://www.allclassical.org/pitman-review-goosby-concertos/

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

Renaud Capuçon's exciting new Mozart project for Deutsche Grammophon comprises three albums and two STAGE+ performances, all to come before the end of the year. Together they encompass the artist's multi-faceted career as a concerto soloist, chamber musician, artistic director, and mentor to outstanding young talent.Track Listing:1 Violin Concerto No. 1 in B-Flat Major, K. 207: I. Allegro Moderato 06:412 II. Adagio 07:283 III. Presto 05:364 Violin Concerto No. 2 in D Major, K. 211: I. Allegro moderato 08:215 II. Andante 06:226 III. Rondeau. Allegro 04:107 Violin Concerto No. 3 in G Major, K. 216: I. Allegro 08:328 II. Adagio 07:409 III. Rondeau. Allegro 06:1410 Violin Concerto No. 4 in D Major, K. 218: I. Allegro 07:5211 II. Andante cantabile 06:0112 III. Rondeau. Andante grazioso 06:5113 Violin Concerto No. 5 in A Major, K. 21914 II. Adagio 09:2315 III. Rondeau. Tempo di Menuetto 08:1716 Rondo in C Major, K. 373 05:3717 Adagio in E Major, K. 261Help 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).

Rachel Barton Pine's new album pairs Shostakovich's Violin Concerto No 1 with a new work by Earl Maneein called Dependent Arising, a heavy metal-influenced concerto written especially for her. In this week's Gramophone Podcast the violinist tells Editor Martin Cullingford about the recording, and explores some of the links between the two genres of music, classical and heavy metal. The album - called Dependent Arising - is available from Cedille. 

Randall Goosby with the Philadelphia Orchestra, conducted by Yannick Nézet-Séguin — Max Bruch & Florence Price Violin Concertos (Decca) Jump to giveaway form New Classical Tracks - Randall Goosby by “This whole season, since January, I've been performing the Tchaikovsky Violin Concerto,” violinist Randall Goosby says. “I actually hadn't performed it with an orchestra prior to that. It's been a fun exploration of the piece from the stage.” He recently had a week off from touring and was out running errands in New York City. That's what he was up to when he pulled over to the side of the road to talk about his new recording with Yannick Nezet-Seguin and the Philadelphia Orchestra, featuring violin concertos by Florence Price and Max Bruch. More From Randall Goosby 2021 PT Young Artist in Residence: Randall Goosby 2021 Violinist Randall Goosby finds inspiration in his heritage 2022 Listen to 2021 PT Young Artist Randall Goosby's Tiny Desk Concert How did this collaboration with Nézet-Séguin and the Philadelphia Orchestra evolve? “It was one of those things where I just couldn't say no to it. I had been wanting to continue my exploration of Price's music after my first album, Roots, came out, so I was thrilled at the invitation. I then spent all of last summer really diving into both the Price concerti. “To make this recording with a conductor and an orchestra that have been dedicated and passionate champions of Price's story, not just her music, was really special. It was a privilege that I'll always look back upon with great gratitude.” What about Price's Violin Concerto No. 1 resonates with you?  “One of the things that I think is very special about the Violin Concerto No. 1 is that it's modeled after the warhorse that is Tchaikovsky's Violin Concerto. It quickly becomes an example of what makes American music what it is, and that is the combining of influences from all over the place. “The piece presented her with an opportunity to shed a new light on some of the themes that Tchaikovsky laid out. I mean, Tchaikovsky had to go through some great challenges of his own at the time. But there were challenges that he had to go through that Price probably couldn't relate to. And there were certainly challenges that Price experienced and had to overcome that Tchaikovsky could never have conveyed in his music. And so I think it presents a unique opportunity to look at these two very different artists under the same spotlight.” Price's Violin Concerto No. 2 is made up of a single movement. What are we learning about her in this piece? “There's a lot of athletics; there's a lot of very quick moving notes and very fleeting harmonies that keep you on the edge of your seat — until suddenly it gives way to the richest, chocolatiest and soulful singing quality found in some of those andante sections that are laced in between the athleticism. In terms of the structure of the piece, she just changed things up and went against the grain.” Why did you decide to pair these two works with Bruch's Violin Concerto No. 1? “I fell in love with the violin because of music like the violin concerti by Bruch, Mendelssohn and Brahms, not because of the Price concerti. But the Price concerti have injected new life to me in terms of having some sort of a guiding purpose behind a lot of my programing.” Price: Violin Concerto No. 1 in D Major - I. Tempo moderato To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Giveaway Time For Three New Classical Tracks Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Randall Goosby — Max Bruch & Florence Price Violin Concertos (Amazon) Randall Goosby — Max Bruch & Florence Price Violin Concertos (Decca) Randall Goosby (official site)

In his Gran Partita for 13 instruments, Mozart achieves a sublime combination of grandeur, complexity and sunny charm. CSO Concertmaster Robert Chen presents the composer's stately and rustic Violin Concerto No. 4, a product of his Salzburg years. Riccardo Muti opens the concert with Cimarosa's overture, which echoes Mozart's comic vein and abounds in freshness and invention. Learn more: cso.org/performances/22-23/cso-classical/muti-chen-and-mozart-gran-partita

Chevalier de Saint-Georges: Violin Concerto No. 2: 3rd movement Zhou Qian, violin Toronto Chamber Orchestra Kevin Mallon, conductor More info about today's track: Naxos 8.557322 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Chevalier de Saint-Georges: Violin Concerto No. 3: 1st movement Takako Nishizaki, violin Cologne Chamber Orchestra Helmut Muller-Bruhl, conductor More info about today's track: Naxos 8.555040 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Johann Sebastian Bach - Violin Concerto No. 2: 1st movement Christoph Poppen, violin Bach Collegium Stuttgart Helmuth Rilling, conductor More info about today's track: Hanssler HC18054 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Synopsis Any composer who sets out to write a violin concerto knows that his or her new work will be measured against the famous concertos of the past. But in the fall of 1936, when the Hungarian composer Bela Bartok decided to write a violin concerto, he asked his publisher to send him some recent work of his contemporaries. After seeing what Karol Szymanowski, Kurt Weill, and Alban Berg had accomplished in the form, Bartok set to work, with much input from his violinist friend, Zoltan Szekely, for whom the new concerto was being written. Bartok was in America when Szekely premiered his Concerto with the Amsterdam Concertgebouw Orchestra, conducted by Willem Mengelberg. It was only in America, some years later, in 1943, that Bartok first heard his Concerto at a New York Philharmonic concert. He wrote, "I was most happy that there is nothing WRONG with the scoring. Nothing needs to be changed, even though orchestral accompaniment of the violin is a very delicate business." If Bartok was happy with the scoring, he wasn't very pleased with one New York music critic, who wrote that he didn't think the new work would ever displace the great violin concertos of Beethoven, Mendelssohn, or Brahms. "How is it possible to write such an idiotic thing," commented Bartok. "What fool fit for a madhouse would want to displace these works with his own?" Music Played in Today's Program Béla Bartók (1881 - 1945) Violin Concerto No. 1 Kyung-Wha Chung, violin; Chicago Symphony; Sir Georg Solti, conductor. London 411 804

Synopsis In 1933, Aaron Copland introduced Roy Harris to Serge Koussevitzky, the famous conductor of the Boston Symphony in those days. Now, Koussevitzky was one of the great patrons of American music and was always looking for new American music and new American composers. Roy Harris had been described to him as an "American Mussorgsky," which probably intrigued the Russian-born conductor. When Koussevitzky learned that Harris had been born in a log cabin in Lincoln County, Oklahoma, on Abraham Lincoln's birthday, no less – well, perhaps he hoped the 41-year old Harris might produce music equally all-American in origin. "Write me a big symphony from the West," asked Koussevitzky, and Harris responded with a three-movement orchestral work titled: "Symphony, 1933," which had its premiere performance on today's date in 1934 with the Boston Symphony under Koussevitzky's direction. Koussevitzky loved it. "I think that nobody has captured in music the essence of American life -- its vitality, its greatness, its strength -- so well as Roy Harris," enthused the famous conductor, who recorded the piece at Carnegie Hall in New York just one week after its premiere. And it was Koussevitzky's Boston Symphony that would subsequently premiere Harris's Second, Third, Fifth and Sixth Symphonies as well. Music Played in Today's Program Roy Harris (1898 – 1979) Symphony 1933 (No. 1) Louisville Orchestra; Jorge Mester, conductor Albany 012 On This Day Births 1924 - American composer Warren Benson, in Detroit, Michigan; Deaths 1795 - German composer Johann Christioph Friedrich Bach, age 62, in Bückeburg 1993 - American composer and teacher Kenneth Gaburo, age 66, in Iowa City; Premieres 1732 - Handel: opera "Ezio" (Julian date: Jan.15); 1790 - Mozart: opera, "Così fan tutte," in Vienna at the Burgtheater; 1873 - Tchaikovsky: Symphony No. 2, in Moscow (Gregorian date: Feb. 7); 1882 - Borodin: String Quartet No. 2 in D, in St. Petersburg (Gregorian date: Feb. 7); 1905 - Schoenberg: symphonic poem "Pelleas und Melisande," in Vienna, with the composer conducting; 1908 - Rachmaninoff: Symphony No. 2 in St. Petersburg (Gregorian date: Feb. 8); 1911 - Richard Strauss: opera, “Der Rosenkavalier,” in Dresden at the Hofoper, conducted by Ernst von Schuch, with vocal soloists Margarethe Siems (Marschallin), Eva von der Osten (Octavian), Minnie Nast (Sophie), Karl Perron (Baron Ochs), and Karl Scheidemantel (Faninal); 1920 - Prokofiev: "Overture on Hebrew Themes," in New York by the Zimro Ensemble, with the composer at the piano; 1922 - Vaughan Williams: Symphony No. 3 "Pastoral," by the Royal Philharmonic, London, Sir Adrian Boult conducting; 1934 - Roy Harris: Symphony No. 1, by the Boston Symphony, Serge Koussevitzky conducting; 1952 - Ernst von Dohnányi: Violin Concerto No. 2, in San Antonio, Texas; 1957 - Bernstein: "Candide" Overture (concert version), by New York Philharmonic conducted by the composer; The musical "Candide" had opened at the Martin Beck Theater in New York City on December 1, 1956; 1957 - Poulenc: opera, "Les dialogues des carmélites" (The Dialogues of the Carmelites) in Milan at the Teatro alla Scala, Nino Sanzogno conducting; 1962 - Diamond: Symphony No. 7, by the Philadelphia Orchestra, Eugene Ormandy conducting; 1966 - Dominick Argento: Variations for Orchestra and Soprano (The Masque of Night"), at the St. Paul Campus Student Center of the University of Minnesota, by the Minneapolis Civic Orchestra, Thomas Nee conducting, with soprano Carolyn Bailey; A second performance took place on Jan. 27th at Coffmann Memorial Union on the Minneapolis campus of the University of Minnesota; 1967 - Frank Martin: Cello Concerto, in Basel, Switzerland; 1994 - Elisabetta Brusa: “La Triade” for large orchestra, by the Tirana (Albania) Radio and Television Orchestra, Gilberto Serembe conducting; 1994 - Christopher Rouse: Cello Concerto, by the Los Angeles Philharmonic conducted by David Zinman, with Yo-Yo Ma the soloist; 1995 - Joan Tower: "Duets for Orchestra," by the Los Angeles Chamber Orchestra, Christoph Perick conducting. Links and Resources On Roy Harris

Max Bruch - Violin Concerto No. 1: 2nd movement Takako Nishizaki, violin Slovak Philharmonic Orchestra Stephen Gunzenhauser, conductor More info about today's track: Naxos 8.550195 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Wolfgang Amadeus Mozart: Violin Concerto No. 3: 1st movement Benjamin Schmid, violin Salzburg Mozarteum Orchestra Hans Graf, conductor More info about today's track: Capriccio C51045 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Ben Gernon chooses his favourite recording of Prokofiev's Violin Concerto No 2. This concerto is full of glorious melodies and deserves a place in everyone's collection. Prokofiev was on a concert tour when he wrote the piece and later wrote, "the number of places in which I wrote the Concerto shows the kind of nomadic concert tour life I led then. The main theme of the 1st movement was written in Paris, the first theme of the 2nd movement at Voronezh, the orchestration was finished in Baku and the premiere was given in Madrid." The concerto is more conventional than Prokofiev's early experimental works and its romantic heart has made it a perennial favourite.

有人说，帕格尼尼的双手和灵魂，被撒旦掌握了。在帕格尼尼辉煌的时期，人们聆听他的演奏时这样说：“才华横溢的大师你拉错几个音符吧，那样我们觉得你还像人类。”著名的音乐评论家柏辽兹称帕格尼尼是“操琴弓的魔术师”，歌德评价他“在琴弦上展现了火一样的灵魂”。今天我们就来聊聊这位被誉为“小提琴之神”和“音乐之王”的男人，不过我还是更喜欢称呼他为“小提琴上的魔鬼”~欢迎订阅+关注不迷路，感谢收听。包含曲目：0:26- Moses Fantasy - Moses Fantasy (摩西幻想曲)6:28- Caprices for Violin, Op. 1 - No. 13 in B-Flat Major 8:00- Caprices for Violin, Op. 1 - No. 24 in A Minor (A小调第24号小提琴24首随想曲，作品1)12:28- Violin Concerto No. 2 in B Minor, Op. 7 - III. Rondo à la clochette "La campanella" (帕格尼尼：B小调第2号小提琴协奏曲，作品7：第三乐章 于贝尔回旋曲，“康帕内拉”)

Synopsis In the spring of 1775, shots were fired at Lexington and Concord, Massachusetts, and the sparks of the American Revolution burst into flames at the Battle of Bunker Hill. Far away in Salzburg, Austria, a 19-year-old composer named Wolfgang Mozart was spending most of that year composing five violin concertos. The fifth, in A major, was completed on this day in 1775. At the time, Mozart was concertmaster of the orchestra in the court of the Archbishop of Salzburg. Archbishops don't have their own orchestras now, but they did then—at least in Europe, if not in the American colonies. A century and a half later, America was celebrating its sesquicentennial, and the magazine Musical America offered a prize of $3,000 for the best symphonic work on an American theme. The prize was awarded unanimously to Ernest Bloch, a Swiss-born composer who had arrived in this country only a decade before. But already, sailing into the harbor of New York, he had conceived of a large patriotic composition. Several years later, it took shape in three movements as America—An Epic Rhapsody for Orchestra. It premiered in New York on today's date in 1928, with simultaneous performances the next day in Boston, Philadelphia, Chicago, Cincinnati, San Francisco and Los Angeles. Fifteen other orchestras programmed it within a year. Curiously, although Bloch remains a highly respected composer, his America Rhapsody from 1928 is seldom performed today. Music Played in Today's Program Wolfgang Amadeus Mozart (1756-1791) Violin Concerto No. 5 Jean-Jacques Kantorow, violin; Netherlands Chamber Orchestra; Leopold Hager, conductor. Denon 7504 Ernest Bloch (1880-1959) America: An Epic Rhapsody Seattle Symphony; Gerard Schwarz, conductor. Delos 3135

Darrian and Angela sit down with the award-winning composer Augusta Read-Thomas. We talk about her compositions and the success of her career. In today's episode, we talk about her pieces Brio, Star Box, Violin Concerto No. 3, Incantation, Toft Serenade, and Plea for Peace.

In almost every one of the past shows I've done about Shostakovich, the name Joseph Stalin is mentioned almost as much as the name Dmitri Shostakovich, and of course, there's a good reason for that. Shostakovich's life and music was inextricably linked to the Soviet dictator, and Shostakovich, like millions of Soviet citizens, lived in fear of the Stalin regime, which exiled, imprisoned, or murdered so many of Shostakovich's friends and even some family members. Post his 1936 denunciation, Shostakovich's music completely changed. Moving away from the radical experimentation he had attempted with his doomed opera Lady Macbeth of Mtensk, he adopted a slightly more conservative style, which he hoped would keep him in good stead with the authorities. But the piece I'm going to tell you about today, his monumental first violin concerto, is a bit different. It was written just after World War II, between 1947 and 1948. And yet, it was not performed until 8 years later. Shostakovich himself withdrew the work and kept it “in the drawer” along with his 4th string quartet and his song cycle From Jewish Folk Poetry. When the piece was finally performed by its dedicatee, David Oistrakh, it was a massive success, and it remains one of the best ways to “get into” Shostakovich's music. It is a huge work, in 4 grand movements, and Shostkaocvich himself described it as a “symphony for violin solo.” It features all of the qualities that make Shostakovich's music so exciting, powerful, heartbreaking, and intense, while also allowing the listener, for the most part, to remove politics from the equation. While there are certainly encoded messages in the piece, one of which we'll get into in detail, this is a piece that is as close to pure musical expression as any of Shostakovich's post 1936 works, and so today I won't be mentioning Stalin all that much, I won't be mentioning the Soviet government every other sentence, and instead, we'll explore what makes this concerto so fantastic, so emotionally powerful, and so rousingly exciting. Join us!

Pierre Rode - Violin Concerto No. 4: 1st movement Friedemann Eichhorn, violin Jena Philharmonic Orchestra Nicolas Pasquet, conductor More info about today's track: Naxos 8.570767 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Louis Spohr - Violin Concerto No. 8 "in modo di scena cantante": 3rd movement Simone Lamsma, violin Sinfonia Finlandia Jyvaskyla Patrick Gallois, conductor More info about today's track: Naxos 8.570528 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Charles-Auguste de Beriot - Violin Concerto No. 7: 3rd movement Laurent Albrecht Breuninger, violin North West German Philharmonic Orchestra Frank Beermann, conductor More info about today's track: CPO 777167-2 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Chicago-based violinist Rachel Barton Pine plays 20th-century American composer Florence Price's Violin Concerto No. 2 with the Royal Scottish National Orchestra, conducted by Jonathon Heyward, on her new Cedille Records album Violin Concertos by Black Composers Through the Centuries, available September 9, 2022.Purchase the music (without talk) at:Violin Concertos by Black Composers Through the Centuries by Rachel Barton Pine & Encore Chamber Orchestra & Daniel Hege on Amazon Music - Amazon.comYour purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber 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).

Sometimes Jay indulges in hyperbole—but the hyperbole is not far off. In this episode, he calls Dawn Upshaw's 1989 recording of “No word from Tom” (Stravinsky) “just about the best thing ever.” You may well agree. He begins the episode with another “just about the best thing ever”: Leontyne Price in “Summertime” (Gershwin), live in Munich, 1968. Also on the menu are Mozart, Bridge, Medtner, and Szymanowski. A winning line-up. Gershwin, “Summertime” from “Porgy and Bess” Mozart, String Quartet No. 2 in D major, K. 155 Medtner, Fairy Tale No. 3 Bridge, “Allegro appassionato” Szymanowski, Violin Concerto No. 2 Stravinsky, “No word from Tom” from “The Rake's Progress”

Violin Concerto No. 2 Theme from "The Long Goodbye" Han Solo and the Princess Marion's Theme Purchase the music (without talk) at:John Williams: Violin Concerto No. 2 (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Synopsis When your instrument is nicknamed “the burping bedpost,” it's hard to get respect in refined circles. So it's understandable that the bassoon section of, say, a major London orchestra might indulge in a bit of day-dreaming in which a gang of hot-rodding motorcycling bassoonists blow into town and take over a concert hall. And guess what? That is EXACTLY the scenario of a piece written for Britain's Philharmonia Orchestra by the American composer Michael Daughtery. “Hell's Angels” is a concerto for bassoon quartet that received its premiere in London on today's date in 1999, with Daughtery commenting: “I find the bassoon to be an instrument with great expressive and timbral possibilities, ranging from low and raucous rumbling to plaintive high intensity.” Daugherty often takes inspiration from icons of American pop culture, so it's not surprising that he should choose “Hell's Angels” for inspiration. After all, he writes: “the bassoon is similar in size and shape to the drag pipes found on Harley Davidson motorcycles … When the noise-curbing mufflers are illegally removed from the drag pipes, they create a deafening roar. I have removed the traditional mufflers on the bassoon repertoire in order to compose [my] concerto for bassoon quartet and orchestra. Music Played in Today's Program Michael Daugherty (b. 1954) — Hell's Angels (Oregon Symphony; James DePreist, cond.) Delos 3291 On This Day Births 1834 - German composer, pianist and organist Julius Ruebke, in Hausneindorf, near Quedlinburg; 1878 - Austrian composer Franz Schrecker, in Monaco; 1895 - French-born American composer, painter and mystical philosopher Dane Rudhyar, in Paris; Premieres 1731 - Bach: "St. Mark Passion" (S. 247, now lost) performed in Leipzig at Vespers on Good Friday; 1748 - Handel: oratorio "Alexander Balus" in London at the Covent Garden Theater; The event possibly included the premiere of Handel's "Concerto a due cori" No. 1 as well (Gregorian date: April 3); 1783 - Mozart: Piano Concerto No. 13 and final version of Symphony No. 35 ("Haffner"), at the Vienna Burgtheater, with composer as piano soloist and conductor; An earlier version of the symphony was performed in Salzburg at private concerts arranged by the wealthy Haffner family in the summer of 1782; 1792 - Haydn: Symphony No. 94 ("Surprise"), conducted by the composer, at the Hanover-Square Concert Rooms in London; 1828 - Beethoven: String Quartet in F, Op. 135 (posthumously, and almost one year to the day after the composer's death on March 26, 1827), in Vienna, by the Schuppanzigh Quartet; 1886 - Tchaikovsky: "Manfred" Symphony (after Byron), in Moscow (Julian date: Mar. 11); 1912 - Gliere: Symphony No. 3 ("Ilya Murometz") in Moscow (Julian date: Mar. 10); 1917 - Bloch: "Trois poèmes juifs" (Three Jewish Poems), in Boston, with the composer conducting; 1923 - de Falla: opera "El retrablo de maese Pedro" (Master Peter's Puppet Show) (concert version), in Seville at the Teatro San Fernando; 1935 - Barber: "Music for a Scene from Shelley," by the New York Philharmonic; 1939 - Bartók: Violin Concerto No. 2, by the Amsterdam Concertgebouw Orchestra, Willem Mengelberg conducting and Zoltán Székely as the soloist; A live recording of this premiere performance has been issued on both LP and CD; 1944 - Cowell: "Hymn and Fuguing Tune" No. 2 for strings, in New York on a WEAF radio broadcast featuring Henri Nosco and his Concert Orchestra; The first concert hall performance took place at Town Hall in New York on October 8, 1944, with the Daniel Saidenburg Little Symphony; 1945 - Copland (and 9 other composers): "Variations on a Theme by Eugene Goosens," by the Cincinnati Symphony; 1946 - Marc Blitzstein: "Airbourne Symphony," in New York City; 1962 - Irving Fine: "Symphony 1962" by the Boston Symphony, Charles Munch conducting; 1969 - Gene Gutchë: "Genghis Khan," by American Symphony Orchestra, Leopold Stokowski conducting; 1999 - James MacMillan: "Cumnock Fair" for piano and strings, at Cumnock Academy by members of the Scottish Chamber Orchestra; Others 1703 - Antonio Vivaldi becomes a Roman Catholic priest at age 25; 1721 - Handel completes the composition of Act 3 of "Muzio Scevola," as part of a "competition" arranged by the directors of the Royal Academy of Music to settle the rivalry between their three house composers (Filippo Amadei composed Act 1, Giovanni Bononcinni Act 2, and Handel Act 3); Handel was deemed the victor in this "contest" (Gregorian date: April 3); 1729 - J.S. Bach visits Coethen to perform funeral music for his former employer, Prince Leopold; 1743 - London premiere of what is billed as "A New Sacred Oratorio" by Handel(Gregorian date: April 3); This was his "Messiah" which had its first performance in Dublin the previous year; Links and Resources On Michael Daugherty

Join Kai Swanson as he converses with Quad City Symphony Orchestra Music Director Mark Russell Smith and soloist, Naha Greenholtz. In this episode, we discuss the works featured on Masterworks V including Duo ye by Chen Yi, Mozart's Violin Concerto No. 4, K.218, and Robert Schumann's Symphony No. 2, Op. 61. Support the show (https://qcsymphony.secure.force.com/donate/?dfId=a0n5d00000SJXSBAA5&)

Wherein Eric and John explore the surprising amount of interconnectivity and influence between arguably the least and most prestigious of musical genres, heavy metal and classical music, via comparisons of Deep Purple with Antonio Vivaldi and Eddie Van Halen with Niccolò Paganini. Throughout these "Roots of Heavy Metal" episodes, we'll dig deep into the many influences that made heavy metal music what it is, with longer episodes, more musical examples, and even more delightful verbal sparring as we uncover the wide array of musical styles that contribute to metal's vast musical family tree. Click on the links below for all the music listening breaks in this episode! Music listening break #1: "Highway Star" from Deep Purple's Machine Head- https://www.youtube.com/watch?v=W2BO3UTOhZ8 Music listening break #2: "Antonio Vivaldi: The Four Seasons, Violin Concerto No. 2 in G Minor, 'Summer': III. Presto" performed by Apollo's Fire with soloist Francisco Fullana- https://www.youtube.com/watch?v=xp1rvw-NUfs Music listening break #3: "Niccolò Paganini: 24 Caprices, No. 5 in A minor" performed by Itzhak Perlman- https://www.youtube.com/watch?v=Yuh0umnwDsw Music listening break #4: "Eruption" from Van Halen's self-titled debut- https://www.youtube.com/watch?v=M4Czx8EWXb0 --- Send in a voice message: https://anchor.fm/heavymetal101podcast/message

Welcome to the darkest, most chilling reaches of deep space.   This is the Actual Play Miniseries, Chariot of the Gods, hosted by the Dads with Nerdy Ambitions, Tabletop Journeys, and 19 Hits the Dragon podcasts.   Subscribe at the following links so that you don't miss a minute of the thrilling adventure:   Dads with Nerdy Ambitions:  https://redcircle.com/shows/dads-with-nerdy-ambitions Tabletop Journeys:  https://www.ttjourneys.com 19 Hits the Dragon:  https://nineteenhitsthedragon.podbean.com/   Prepare for a weekend of frightening encounters, wicked abominations, and fantastic role play.   This presentation is uncensored, and contains profanity and references to body horror and violence. Listener discretion is advised.   "Aliens: The RPG" and the "Chariot of the Gods" module are both copyright Free League Publishing. Sound effects obtained from ZapSplat.com. Introduction and Trailer music "Sea Hag's Shack" by Sean at McRoMusic. "Violin Concerto No. 1 in A Minor" by J.S. Bach (Episode 1), courtesy of Daniel Lozakovich, © 2018 Deutsche Grammophon GmbH, Berlin. "Roadkill" (Episode 1) written and recorded by David Herrera. Other music and sound effects by Josh Newton. Galaxy image above by Luminas Art from Pixabay

Prepare for a weekend of terrifying encounters, horrific abominations, and unbelievable role play set in the darkest, most chilling reaches of deep space…Welcome to our Actual Play Miniseries of Chariot of the Gods - presented and played by the hosts of Dads with Nerdy Ambitions, Tabletop Journeys, and 19 Hits the Dragon in an epic 3 Podcast Crossover!Join the crew of the Montero as our routine cargo run turns deadly when we awake from cryo to find ourselves on a collision course with a derelict ship. Even if we manage to survive the collision, what xenomorphic horrors await us aboard the drifting Chronos? Only one thing is certain, this far out into the icy black void no one else will hear our screams…Subscribe at the following links so that you don't miss a minute of the thrilling adventure:Dads with Nerdy Ambitions: https://redcircle.com/shows/dads-with-nerdy-ambitionsTabletop Journeys: https://www.ttjourneys.com19 Hits the Dragon: https://nineteenhitsthedragon.podbean.com/This presentation is uncensored, and contains profanity and references to body horror, addiction, and violence. Listener discretion is advised."Aliens: The RPG" and the "Chariot of the Gods" module are both copyright Free League Publishing.Sound effects obtained from ZapSplat.com.Introduction and Trailer music "Sea Hag's Shack" by Sean at McRoMusic."Violin Concerto No. 1 in A Minor" by J.S. Bach (Episode 1), courtesy of Daniel Lozakovich, © 2018 Deutsche Grammophon GmbH, Berlin."Roadkill" (Episode 1) written and recorded by David Herrera.Other music and sound effects by Josh Newton.Galaxy image above by Luminas Art from PixabaySupport this podcast at — https://redcircle.com/dads-with-nerdy-ambitions/donations

In the second part of Charlie's chat with his best and oldest friend, The Fast Show co-creator Paul Whitehouse, the friends talk about music snobbery, Match of the Day, John Lydon, going to the opera in a shorts and T-shirt, lockdown locks – and DJ Mike Smash also makes an appearance. The podcast features an extract of ‘Torna a Surriento' by Ernesto de Curtis, performed by Luciano Pavarotti and the Orchestra of the Maggio Musicale Fiorentina. We also heard a clip of ‘Off Side' by Barry Stoller, better known as the Match of the Day theme, followed by part of Mozart's Violin Concerto No.5, performed by the London Symphony Orchestra & Nikolaj Szeps-Znaider, available on the London Symphony Orchestra's own label, LSO Live: https://lsolive.lso.co.uk/. Paul chose an extract of Louis Farrakhan's live performance of Mendelssohn's Violin Concerto, and the final extract was from ‘Going to Sleep' from Richard Strauss' Four Last Songs, performed by Jessye Norman and the Leipzig Gewandhaus Orchestra. The Charlie Higson and Friends podcasts were originally broadcast as a series on Scala Radio in April 2021. Scala Radio is a classical music and entertainment station broadcasting across the UK on DAB digital radio, smart speaker, SKY TV channel 0216, the Scala Radio app and online at scalaradio.co.uk

“It just makes me feel so much, this piece. There's something happening here that's so incredibly sweet but also so mournful.”  In this episode, Christopher Wheeldon talks about how he discovered Russian composer Sergei Prokofiev after seeing his first ballet, Romeo and Juliet, at the Royal Opera House. He later fell in love with Prokofiev's Second Violin Concerto, wearing out a cassette tape of it in the process of playing it over and over. The music stuck with him for years to come, and though he'd abandoned previous attempts to create a ballet for it, once Wheeldon started his own company, he finally felt able to choreograph for the music he'd connected with so strongly as a child. Christopher Wheeldon is a Tony-Award winning choreographer. His work includes An American in Paris, the closing ceremony of the 2012 London Olympic Games and the minimalist ballet After The Rain, which inspired the Open Ears episode by Megan Reid.  
Did you like the track Christopher chose? Listen to the music in full: Violin Concerto No. 2, second movement by Sergei Prokofiev