Podcast appearances and mentions of Vladimir Ashkenazy

One of Australia's foremost young conductors, Luke Spicer has appeared as guest conductor of the Tasmanian, Queensland, and Canberra Symphony Orchestras, and as a conductor and music director with Opera Australia. He's also been guest Assistant Conductor at the Bruckner Orchestra Linz, the Saarländisches Staatstheater of Saarbrücken, and with the Sydney Symphony, working with both Simone Young and Vladimir Ashkenazy.In this conversation, Luke reflects on his journey from violinist to violist to conductor, influenced by formative experiences including a pivotal moment in Bathurst. He recounts studying under demanding mentors like Gianluigi Gelmetti, and his early performing experiences, including touring with Opera Australia. Luke Spicer conducts musicians of the Guizhou Chinese Orchestra and the Australia Orchestra for Folk Reimagined: East in Symphony in the Concert Hall of the Sydney Opera House on Monday 7 July and at the Melbourne Recital Centre on Wednesday 9 July.

durée : 01:28:43 - Relax ! du lundi 19 mai 2025 - par : Lionel Esparza - Vladimir Ashkenazy est l'un des pianistes les plus solides et omniprésents du circuit musical des six dernières décennies. Ses talents très divers en font à la fois un soliste, un partenaire de musique de chambre et un chef d'orchestre. Sa discographie, multiple, compte largement plus de 200 CD !

durée : 01:28:43 - Relax ! du lundi 19 mai 2025 - par : Lionel Esparza - Vladimir Ashkenazy est l'un des pianistes les plus solides et omniprésents du circuit musical des six dernières décennies. Ses talents très divers en font à la fois un soliste, un partenaire de musique de chambre et un chef d'orchestre. Sa discographie, multiple, compte largement plus de 200 CD !

There are very few singers that mean more to me than does Elisabeth Söderström. I was first made aware of her at the tender age of ten, when I became obsessed with Pelléas et Mélisande after hearing the (at the time) brand new recording of the opera conducted by Pierre Boulez which featured Söderström and George Shirley in the title roles. Further explorations yielded further delights: the complete Rachmaninov songs with Vladimir Ashkenazy, the Janáček heroines under Charles Mackerras. I began grabbing every recording of hers that I could get, and every time I encountered her unique voice, frail yet passionate, I fell further and further under her spell. And then I saw her onstage, both in recital and as the Marschallin on the Met Tour and I became an even more passionate devotee. When I was recently reminded that May 7 was her birthday, I determined that it was time to revisit her legacy and artistry. Because she was so quintessentially Swedish, I have chosen a program featuring Söderström singing primarily in Swedish, including a healthy sampling of music by Swedish composers (Blomdahl, Nordheim, Lindberg, Alfvén, Larsson, Nystroem, and Rangström). And because she sang so many of her operatic roles in Swedish translation, we also get to hear her as Charpentier's Louise and Puccini's Cio-Cio-San. Vocal guest stars are fellow great Swedish singers Erik Sædén and Hugo Hasslo. Also expect some delicious and delightful surprises, as this most spontaneous and inspired of singers always had something unexpected up her sleeve! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

In this episode of The Piano Pod, I had the pleasure of speaking with Nimrod Borenstein—acclaimed composer and conductor—about his remarkable journey in music. From his early days as a violinist to becoming one of today's most celebrated composers, Nimrod shares his artistic philosophy, the evolution of his piano works, and the influences that have shaped his unique voice.We dive deep into his signature piano works, including Reminiscences of Childhood and his 24 Études, explore the inspiration behind his Shirim collection, and discuss his collaborations with legendary musicians like Vladimir Ashkenazy. His insights into the challenges of composing for piano, the storytelling power of music, and his artistic legacy make this an episode you won't want to miss!IN THIS EPISODE:

Here is the trailer of our upcoming episode feat. Nimrod Borenstein. In this episode of The Piano Pod, I had the pleasure of speaking with Nimrod Borenstein—acclaimed composer and conductor—about his remarkable journey in music. From his early days as a violinist to becoming one of today's most celebrated composers, Nimrod shares his artistic philosophy, the evolution of his piano works, and the influences that have shaped his unique voice.We dive deep into his signature piano works, including Reminiscences of Childhood and his 24 Études, explore the inspiration behind his Shirim collection, and discuss his collaborations with legendary musicians like Vladimir Ashkenazy. His insights into the challenges of composing for piano, the storytelling power of music, and his artistic legacy make this an episode you won't want to miss!IN THIS EPISODE:

Consider making a donation to The Piano Maven podcast by subscribing to our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenLink to recording - https://www.youtube.com/watch?v=IbDWs6hRBI8

A very special literary romp to round off the year! This very special "bookish" episode features the well-read, candid, and occasionally irreverent members of "Buckner's Bookies", a ladies-only book club that meets every few weeks around a dinner table, to talk books, culture, food, politics, and—of course—trashy TV. Sex, drugs, rock n' roll, hostages, immigration, crime, New York in the 70s, Saga Boys, opera, and accordions. Mix all that with some southern gothic blues, and you have yourself a rollicking-yet-thoughtful exploration into six hand-picked, music-themed books that will make you "Hot for Teacher", or perhaps dreaming of becoming a "Paperback Writer". Or, you might just find yourself craving some Buddy Holly or Lisa Loeb-style reading glasses to round off your festive holiday outfit. The Books:Scar Tissue (Anthony Kiedis) - reviewed by Dianne BucknerAccordion Crimes (Annie Proulx) - reviewed by Tracie TigheJust Kids (Patti Smith) - reviewed by Gaelyne LeslieSaga Boy (Antonio Michael Downing) - reviewed by Sue BurkhardtBel Canto (Ann Patchett) - reviewed by Helen DewarDon't Tell Anybody The Secrets I Told You: A Memoir (Lucinda Williams) - reviewed by Jane GowanNotes from Our Friends:Headlong HeartsCrawford Street Skin Care (use the code "MUSICBUDDY" to get 20% off your first order!)Guest appearance by Dave Ullrich of Zunior.comMusic in this episode:"Higher Ground" - The Red Hot Chili Peppers (Greatest Hits, 2003) "Crush Some Egg Nogs " - Annelise Noronha (Christmas in the County, 2018)"Heaven on Earth" - Dave Clark & Friends  (Single, 2024; all proceeds to the Red Cross - purchase here) "Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 "Moonlight": 1. Adagio sostenuto" - performed by Vladimir Ashkenazy (1983)"Get Right!" - John Orpheus (Get Right!, 2024)"I Like Christmas" - The Violet Archers (I Like Christmas, 2024)"Metal Firecracker" - Lucinda Williams (Car Wheels On a Gravel Road, 1998)Support the showPlease help us keep the pod rocking and rolling with a donation. Any amount helps! MUSIC BUDDY IS:Jane Gowan (host, producer, editor) ; Tim Vesely (co-producer)The show's theme song, "Human Stuff," is written by Jane Gowan and Tim Vesely, and performed by Jane and Tim, with additional vocals by Steve Wright and Connie Kostiuk STAY IN TOUCH Email: jane@musicbuddy.caInstagram: @musicbuddypodcastFacebook: @musicbuddypodcastTwitter: @janegowanTikTok: @musicbuddypodThis podcast is brought to you by Morning Run Productions.

我们的城市系列「在沈阳」终于迎来了第二期！本期节目，我们去两个近百年的老建筑里逛一逛、住一住！因为大部分城市的老建筑都被改成了展厅，或者干脆被彻底保护起来，闭门谢客。但在沈阳，有好多家百年老建筑，特别是那些原来的旅馆酒店，今天依然对外开放，普通人都可以预定入住。因此我们选择了两座近百年老建筑：辽宁宾馆 和 铁道1912饭店，预定好房间，开始了一次奇妙的 Hotel Tour！本期我们的百年老建筑漫游包括：[03:27] 沈阳中山广场的历史故事[07:09] 沈阳宾馆的建筑风格和5家「大和旅馆」[11:15] 走进旋转门，进入另一个时空的辽宁宾馆[16:06] 跟着辽宁宾馆工作人员一起看它的微妙细节[27:25] 奉天大和旅馆的设计方案来自哪里？[29:32] 辽宁宾馆里的「古董」邮箱和理发椅[31:12] 历史中辽宁宾馆的「隐藏身份」[33:41] 墙壁上李香兰的照片引出了一段奇妙的「历史探索」[35:22] 李香兰、辽宁宾馆、东北、伪满以及中日之间[47:58] 伊恩布鲁玛写下的李香兰[52:55] 李香兰、东北往事、我们与真实历史之间的距离[55:54] 沈阳站周边的城市规划和铁道1912饭店旧址[59:42] 沈阳站/奉天驿旧址的历史[01:06:12] 沈阳其他可以住进去的百年老建筑另外推荐三家沈阳可以住的百年老建筑：简里古寂酒店亚朵X酒店（沈阳站东广场）倍思酒店本期节目相关作品：NHK纪录片：《世界·我心之旅：李香兰、遥远的路途～中国、俄罗斯～》(1998)书籍：《东京绮梦：日本最后的前卫年代》【荷兰】伊恩·布鲁玛学术论文：《从大和旅馆看日本对我国东北地区的殖民侵略》李想学术论文：《基于城市文脉视角下的沈阳城市意象研究》李昕蔚学术论文：《旅馆：近代奉天城市空间的微观史（1905-1937）》张雅琼****** 玛卡斯特商店上新 ******Marcast 厂牌第一款产品上架啦！上个月底在我们厂牌 5 周年线下活动的现场，已经有一些朋友通过抽奖领到这款包包，想要拥有的朋友不要错过！「不，我没有播客」日常通行帆布包，长肩带款，更易背~购买链接：https://www.xiaohongshu.com/goods-detail/670cebe475e23c0001604f33下单后 24h 发货，顺丰包邮 ↓↓↓↓↓↓【节目主播/制作】主播/制作：VC微博：@VividCrystal https://weibo.com/u/1241505120 小红书：@午夜飞行VC https://www.xiaohongshu.com/user/profile/572a84ee50c4b435fe74744e【节目互动】微博：@午夜飞行Official https://weibo.com/u/7298580324公众号：午夜飞行【商务合作】商务合作联系邮箱：hello@marcastmedia.com或添加微信：hellomarcast【欢迎加入听友群】入群方式 A：微信添加小助手 Amber (ID: hellomarcast)，拉你入群入群方式 B：关注公众号「午夜飞行」 ，回复「听友群」三个字，即可获取入群通道【本集音乐】Music credits: Ascended Vibrations - ¿Téo 何日君再来 - 李香兰 十里洋场 - 李香兰 苏州夜曲 - 李香兰 夜来香 - 李香兰 Sunny Day (Original Mix) - Bryan Milton Romance for Violin and Orchestra No. 1 in G Major, Op. 40 - Chamber Orchestra of Europe,Gidon Kremer,Nikolaus Harnoncourt dark snowy night - DanielMykonos - Fleet Foxes Droplets (Variation) - Gabríel Ólafs Doria - Ólafur Arnalds Mazurka No.41 in C Sharp Minor Op.63 No.3 - Vladimir Ashkenazy Piano Concerto No.3 in D minor, Op.301. Allegro ma non tanto - Vladimir Ashkenazy,Concertgebouworkest,Bernard Haitink【节目出品】本播客由 Marcast Media 制作出品，也欢迎你订阅收听 Marcast 旗下的其他播客节目。你可以通过以下方式找到我们：- 小红书：@Marcast https://www.xiaohongshu.com/user/profile/5e53be6400000000010003bb- 公众号：Marcast - 微博：@Marcast https://weibo.com/u/2743283854- 进听友群请添加微信：hellomarcast- 欢迎加入 2500+ 朋友一起订阅 Beads Newsletter 每周一封精选英文播客内容分享，为你提取、总结那些 90% 的人听不到的、隐藏在声音里的一手信息、知识、经验、工具、趣味和审美，和你一起拓展认知和视野，每周一上午发送，订阅地址：https://beads.beehiiv.com© 2024 Marcast Media

Nimrod Borenstein is a brilliant composer, who was a child prodigy as both a composer and performer. His often complex music is beloved by performers and audiences alike, and has been widely recorded and performed internationally. He is also a renowned conductor, and he spoke to me about his difficult decision to cut short his career as a violin soloist in order to find alternate career options as he developed his career as a composer. Vladimir Ashkenazy has been an active champion of Nimrod's music, and you'll hear the charming story of their first meeting.  Ashkenazy first conducted Borenstein's orchestral work The Big Bang and Creation of the Universe op. 52 to great acclaim, and the Chandos label released a very successful album devoted to Borenstein's music conducted by Ashkenazy featuring his Violin Concerto and orchestral works.   Nimrod shares his insights about interpreting music for performers and conductors, the development of his compositional style and his views on creativity in general. Nimrod has an infectious energy in his enthusiasm for the pursuit of beauty.  Nimrod has exceptional parents, and you'll hear how they met, and we start with Nimrod's close relationship to his father the renowned painter Alec Borenstein.  You'll be hearing excerpts from a couple of recordings, with thanks to both SOMM recordings and Naxos; links to Nimrod Borenstein's compositions and recordings below This episode is also a captioned video on YouTube, and you can read the transcript at this link as well: https://www.leahroseman.com/episodes/nimrod-borenstein Nimrod Borenstein website, for his discography, compositions and current projects: https://www.nimrod-borenstein.com/recordings To support this series, please either buy me a coffee or shop at my merchandise store Newsletter sign-up Catalog of Episodes Timestamps: (00:00) Intro (03:27) father Alec Borenstein, sharing ideas about great art and creativity (10:44) Un moment de sérénité Shirim, op. 94, no. 5  performed by pianist Clélia Iruzun with thanks to SOMM recordings (13:24) the importance of contrast (15:06) importance of dynamics, notation, interpretation (18:04) evolution of Nimrod's compositions,  decision to give up career as a violin soloist  (22:37)Concertos (24:51) piano Etudes (30:11) Tango Etude. op. 66 No. 3 on the Naxos label with pianist Tra Nguyen (32:32) piano Etudes, first symphony (35:24) Chopin performed very little, Nimrod's decision to prioritize composition (36:41)decision to conduct (43:47) excerpt from the 3rd movement of the Borenstein Concerto for Piano and Orchestra op. 91, performed by Clélia Iruzun and the Royal Philharmonic Orchestra, Nimrod Borenstein conductor (47:11) conducting, composition and interpretation (55:35)past episodes you may enjoy, different ways to support this series (56:20) English Chamber Orchestra 2025 collaboration Shakespeare Songs (57:16)how Vladimir Ashkenazy became a champion of Nimrod's compositions (01:06:38) evolution of Nimrod's compositional style, use of polyrhythms, finding his voice (01:24:09) excerpt from the 2nd movement of the Borenstein Concerto for Piano and Orchestra, op. 91, performed by Clélia Iruzun and the Royal Philharmonic Orchestra, with Nimrod conducting. (01:27:31) Nimrod's childhood in France, then move to the UK, musical influences, rating composers (01:37:32) Nimrod's family  (01:42:55) piano pedagogy books and approach to teaching (01:48:42) great art separate from the creator photo: Sonia Fitoussi 

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Kevin Kern - Remembering the Light；2.Vladimir Ashkenazy,Itzhak Perlman - Sonata for Violin and Piano No.5 in F major, op.24 'Spring'：1. Allegro；3.Maria Joao Pires - Piano Sonata No. 12 in F Major, K. 332：II. Adagio；4.Vladimir Ashkenazy - Beethoven： Piano Sonata No.14 in C sharp minor, Op.27 No.2 -＂Moonlight＂ - 1. Adagio sostenuto；5.Jim Brickman - Free to Fly。

1. J.S. Bach - Wariacje Goldbergowskie, Aria i wariacje 10, 11,12 , Colin Booth. 2. P. Czajkowski Pory roku cz. 4 Kwiecień - p Przebiśniegi, Vladimir Ashkenazy. 3. P. Czajkowski Pory roku cz. 4 Kwiecień, Przebiśniegi, Lang Lang. 4. April in Paris - Billy Holiday. 5. April in Paris - Charlie Parker. 6. April in Paris - Count Basie. 7. A. Vivaldi - Wiosna cz. 2 Largo, Europa Galante, Fabio Biondi. 8. A. Vivaldi - Wiosna cz.2 Largo, Anna Sophie Mutter, Herbert von Karajan,Wiener Philharmoniker. 9. Hania Rani, Dobrawa Czocher - Spring. 10. L.van Beethoven - Sonata Wiosenna F dur op.24 nr 5 cz. 2 Adagio molto espresivo, cz. 3 Scherzo, Gidon Kremer, Martha Argerich.

I have been juggling a number of brand new episode ideas for the coming weeks, but when I discovered that Sunday April 7 was the birthday of Marvis Martin, one of my favorite sopranos, I put all those ideas on the back burner and eagerly put together this birthday tribute to a singer who not only is celebrated as possessing one of the most beautiful voices of her generation, but who has also had a long, successful, and unconventional career. For whatever arbitrary reason, Marvis Martin made only a handful of major label recording releases, but, for us lucky persons who live in the age of YouTube, there are a growing number of gorgeous live recordings available that feature this artist in her prime. In some ways she reminds me of Veronica Tyler, whose career I charted in a popular episode of the podcast a few months ago. In the case of the highly respected and frankly marvelous Marvis Martin, we are able to personally present her with the flowers that she so richly deserves. I have curated a wonderful setlist today of mostly live material that includes representative selections from each of the platforms on which her career was focused: opera, concert, and recital, everything from Mozart and Handel to Copland, Rorem, and Barber; from selections from Porgy and spirituals, to Tchaikovsky, Strauss, and Korngold. My dear friend Jerry Hadley appears as a duet partner in a rare live Idomeneo performance and conductors Georg Solti, Henry Lewis, Vladimir Ashkenazy, James Levine, Charles Mackerras, Eve Queler, and Libor Pešek, among others, support this magnificent singer from the podium. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

The Honourable Lady Rita Rae is a lawyer and judge, and the current Rector of the University of Glasgow. Early in her career she was a rare woman in the heavily male-dominated legal world. She went on to work on many high profile criminal cases over five decades as a solicitor, an advocate and subsequently a judge in Scotland's Supreme Court.Rita grew up in Plains, Airdrie, to the east of Glasgow. She was a shy child but earned the nickname ‘The Last Word' from her parents because of her need to argue her case when she felt something wasn't right. She was inspired to become a lawyer by her maternal grandfather, a noted advocate and anti-fascist from Naples.Her parents met in a munitions factory in Italy where her mother was working. Her father was a Scottish bomb disposal expert helping to dismantle munitions after the war. They married and moved to Scotland, but Rita and her brother were not accepted by her Scottish family because of their Catholicism. Rita became a solicitor in 1974, entering a world dominated by men. When told by a senior colleague that women were ‘emotionally unsuitable for court work', she set about proving him wrong. She became a partner in her firm at the age of 27, and was called to the bar in 1982, one of just 13 female advocates in Scotland at the time. She was made a Sheriff in 1997 and a Judge of the Supreme Courts in 2014.In 2021 she was elected Rector of the University of Glasgow, the first female working rector in the university's 570-year history.DISC ONE: Piano Concerto No. 2 in C Minor, Op. 18 - III. Allegro scherzando. Composed by Sergei Rachmaninoff, performed by Vladimir Ashkenazy (piano) and London Symphony Orchestra, conducted by André Previn DISC TWO: “Ah! Dite alla giovine” from Act 2 of La Traviata. Composed by Giuseppe Verdi, performed by Angela Gheorghiu (soprano), Leo Nucci (baritone) and Orchestra of the Royal Opera House, Covent Garden, conducted by Sir Georg Solti DISC THREE: Mamma - Beniamino Gigli DISC FOUR: Aranjuez mon amour - Massimo Ranieri DISC FIVE: Cheap Flights - Fascinating Aïda DISC SIX: “The Flower Song” (“La fleur que tu m'avais jetee”), Carmen, Act II. Composed by Georges Bizet, performed by José Carreras (tenor) and Orchestra of the Royal Opera House, Covent Garden, conducted by Jacques Delacôte DISC SEVEN: Ave Maria. Composed by Giulio Caccini (Arr. Brinums) and performed by Inessa Galante (Soprano), Latvian National Symphony Orchestra, conducted by Aleksandrs Vilumanis DISC EIGHT: Climb Ev'ry Mountain - Peggy WoodBOOK CHOICE: The Pursuit of Italy: A History of a Land, its Regions and their Peoples by David Gilmour LUXURY ITEM: A solar powered car CASTAWAY'S FAVOURITE: Mamma - Beniamino Gigli Presenter Lauren Laverne Producers Paula McGinley and Tim Bano

Jamie Walton is a cellist, cultural entrepreneur, and Artistic Director of the North York Moors Chamber Music Festival and Ayriel Studios. As a soloist, he has appeared and recorded with the UK's finest orchestras, including recording three concerti with the Royal Philharmonic Orchestra, and no less than ten concerti with the Philharmonia Orchestra (including the Dvorak and Schumann concerti under Vladimir Ashkenazy). Turning his focus to chamber music, he launched his festival in 2009, which has sold to capacity audiences ever since and was shortlisted twice for a Royal Philharmonic Society award. It was also one of the only organisations that went ahead as planned during the Covid pandemic (in both 2020 and 2021), adapting quickly to house concerts in a five thousand square foot acoustically-adapted marquee. Jamie was also the Patron and lead campaigner for Cedar's Hall, a brand new concert hall at Wells Cathedral School, which he helped officially open in 2016. And, more recently, he initiated the building of a new state-of-the-art recording studio in the heart of the North York Moors - Ayriel Studios - which opened in 2022. In this episode, Jamie talks about what drives him and his creative process, the parallels he finds between music and food, why he doesn't miss the conventional concert circuit and why he's so passionate about showing young musicians a world outside of the conservatoire bubble.This episode was recorded in August 2023.-------------------Jamie's websiteAyriel Studios-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------This podcast is also available to listen to via The Violin Channel--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

Jess Gillam swaps favourite music with pianist Keelan Carew, and between them they put together a boundary-pushing playlist with songs by Kurt Weill and Nat King Cole - pianistic fireworks by Busoni and Chopin, orchestral fireworks by Shostakovich and some classic Japanese jazz fusion by Casiopea.Playlist: KURT WEILL: Der Abschiedsbrief [Teresa Stratus (sop), Kurt Weill (piano)] SHOSTAKOVICH: Festive Overture [Philharmonia Orchestra, Vladimir Ashkenazy (cond)] CASIOPEA: Swear [Album: Mint Jams] MAURIZIO CAZZATI: Ciaccona [L'Arpeggiata, Christina Pluhar] CHOPIN: Ballade no.1 in G minor, op 23 [Vladimir Horowitz (piano)] MEERNAA: Good Luck [Album: Strange Life] BUSONI: Piano Concerto in C major, op.39 – iv. All Italiana, Tarantella [Kirill Gerstein (piano), Boston Symphony Orchestra] NAT KING COLE: When I Fall in Love

Jess Gillam shares music with composer Laura Cannell, including a sublime Biber Requiem, new music by Kenya Grace, traditional Norwegian fiddle music and a Memphis Soul Stew!Playlist: Tchaikovsky – Piano Concerto No. 1; first movement [Vladimir Ashkenazy, London Symphony Orchestra, Lorin Maazel] Kenya Grace - Strangers John Mackey – Concerto for Soprano Saxophone and Wind Ensemble [ Timothy McAllister, ASU Wind Ensemble] Sven Nyhus – Fanitullen (The Devil's Dance) Domenico Scarlatti – Sonata in F minor, K. 466 [Vladimir Horowitz] Tarquinio Merula - Ciaccona [His Majesty's Sackbuts and Cornetts] King Curtis – Memphis Soul Stew Heinrich Ignaz Franz von Biber - Requiem in F minor - Dies Irae [Gabrieli Consort, Paul McCreesh]

This week on The Sound Kitchen you'll hear the answer to the question about the mid-October elections in Poland. There's “The Listener's Corner”, Erwan Rome's “Music from Erwan”, and of course, the new quiz question, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our team of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English – that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here. Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. NB: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognised RFI English club, go to the Facebook link above, and fill out the questionnaire!!!!! If you do not answer the questions, I click “Decline”.There's a Facebook page for members of the general RFI Listeners Club, too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!This week's quiz: On 21 October, I asked you a question about Poland's mid-October general elections. The right-wing Law and Justice party lost its parliamentary majority to three opposition parties, who have vowed to form a coalition and restore democratic standards.You were to write in and answer these two questions: What was the voter turnout, and when was the last time voter turnout was so high?The answer is, to quote our article: “Election officials said turnout was more than 72 percent, the highest since the fall of communism in 1989.”In addition to the quiz question, there was the bonus question: “If you could change your name, what would you change it to, and why?”Do you have a bonus question idea? Send it to us!The winners are: RFI Listeners Club member Radhakrishna Pillai from Kerala State in India. Radhakrishna is also the winner of this week's bonus question. Congratulations Radhakrishna!Also on the list of lucky winners this week are Ekbal Hossain, a member of the RFI International DX Radio Listeners Club in Murshidabad, India, and Mukta Banu, a member of the Shetu RFI Listeners Club in Naogaon, Bangladesh. Also from Bangladesh: RFI Listeners Club members Mizanur Rahman from Dhaka and Abdul Mannan Teacher from Sirajganj.Congratulations winners!Here's the music you heard on this week's programme: Mazurka No. 7 in f minor, Op.7 No.3 by Frédéric Chopin, performed by Vladimir Horowitz; Polonaise Op. 53 by Frédéric Chopin, performed by Vladimir Ashkenazy; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “Wanted” by Uehara Hiromi, performed by Hiromi's Sonicbloom.  This week's question ... you must listen to the show to participate.  After you've listened to the show, re-read Melissa Chemam's article “DRC opposition leader Moïse Katumbi officially launches presidential campaign” to help you with the answer.You have until 18 December to enter this week's quiz; the winners will be announced on the 23 December podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here. 

This week on The Sound Kitchen you'll hear a “This I Believe” essay from photograph collector, curator, and consultant WM Hunt. Just click on the “Play” button above and enjoy! Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday. This week, you'll hear the thoughts of WM Hunt on what makes a photograph great. Don't miss it!Here's the music you heard on this week's program: “Für Elise” by Ludwig van Beethoven, performed by Vladimir Ashkenazy.The quiz will be back next Saturday, 18 November. Be sure and tune in! 

durée : 01:28:40 - En pistes ! du vendredi 03 novembre 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce vendredi, nous poursuivons l'écoute du coffret dédié à Vladimir Ashkenazy, nous plongerons dans l'univers de Matan Porat, nous continuerons avec Les folies Françoises, mais aussi le clarinettiste Pierre Génisson, le pianiste Yakov Flier et le violoniste Frank Peter Zimmermann. En pistes ! - réalisé par : Lionel Quantin

durée : 01:28:40 - En pistes ! du mardi 31 octobre 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce mardi, Emilie et Rodolphe vous proposent d'entendre une sélection des plus belles interprétations de la soprano américaine Kathleen Battle, mais aussi le Choeur de chambre de Namur, l'Orchestre de l'Opéra Royal, en passant par l'Orchestra di Padova, sans oublier Vladimir Ashkenazy. En pistes ! - réalisé par : Lionel Quantin

In a series of four Decca Icons podcasts, Gramophone's James Jolly explores the artistry of four major recording musicians with Rob Cowan, Jed Distler and Richard Fairman. Focusing on recordings in the Decca catalogue, the series turns the spotlight on Bernard Haitink, Vladimir Ashkenazy, Sir Georg Solti and, this week, Benjamin Britten. Each podcast is accompanied by a special Apple Music playlist.  In this final podcast, James talks to the Financial Times and Gramophone critic Richard Fairman about this towering figure in British musical life. Britten recorded for Decca, as composer, pianist and conductor, for most of his adult life and left a peerless catalogue of recordings, including one of the classics of the gramophone, the War Requiem.

Harry Waters is a pianist/songwriter and composer. His piano style is influenced by the classical masters Vladimir Horowitz, Vladimir Ashkenazy, Arthur Rubinstein and New Orleans greats Dr John and Professor Longhair. ​ He toured in his father's band, Roger Waters, for 15 years, for The Wall and The Dark Side of the Moon tours, and most recently Desert Trip alongside The Rolling Stones, Bob Dylan and Neil Young. ​He has performed with numerous artists including: David Gilmour, Eddie Vedder, Tom Jones, Marianne Faithfull, Nick Cave, Ween, Ozric Tentacles ​Clients include: Rolex, Nintendo, Netflix, Downton Abbey, ITV, Procter and Gamble, Facebook, BMG, Freemantle Media, Amazon Prime, MTV, CBS

In a series of four Decca Icons podcasts, Gramophone's James Jolly explores the artistry of four major recording musicians with Rob Cowan, Jed Distler and Richard Fairman. Focusing on recordings in the Decca catalogue, the series turns the spotlight on Bernard Haitink, Vladimir Ashkenazy, Sir Georg Solti and Benjamin Britten. Each podcast is accompanied by a special Apple Music playlist.  In this second podcast, James talks to the New York-based critic, composer, broadcaster and piano enthusiast Jed Distler about the Russian-born pianist and conductor, Vladimir Ashkenazy.

In a series of four Decca Icons podcasts, Gramophone's James Jolly explores the artistry of four major recording musicians with Rob Cowan, Jed Distler and Richard Fairman. Focusing on recordings in the Decca catalogue, the series turns the spotlight on Bernard Haitink, Vladimir Ashkenazy, Sir Georg Solti and Benjamin Britten. Each podcast is accompanied by a special Apple Music playlist.  In this first podcast, Rob and James talk about the great Dutch conductor who, during a long career, headed up ensembles and opera house in Amsterdam, London, Glyndebourne, Dresden and Chicago, as well as being a much sought-after guest, and left a vast recorded catalogue.

Brett Weymark is one of Australia's foremost choral conductors. Since 2003 Brett Weymark has conducted the Sydney Philharmonia Choirs throughout Australia and internationally. He has also conducted the Sydney, Adelaide, Queensland, West Australian and Tasmanian symphony orchestras, Orchestra of the Antipodes, Sydney Youth Orchestra, New Zealand Symphony Orchestra, Hong Kong Philharmonic and productions for WAAPA, Pacific Opera and OzOpera. He has performed with Opera Australia, Pinchgut Opera, Australian Chamber Orchestra, The Song Company and Musica Viva. He studied singing and conducting at Sydney University and the Sydney Conservatorium of Music and continued conducting studies with Simon Halsey, Vance George, Daniel Barenboim and Sir John Eliot Gardiner, amongst others. His performances have included Bach's Passions and Christmas Oratorio, the requiems of Mozart, Verdi, Duruflé and Fauré and Orff's Carmina Burana. He is champion of Australian composers and has premiered works by Matthew Hindson, Elena Kats-Chernin, Peter Sculthorpe, Ross Edwards and many others. He has prepared choirs for Sir Charles Mackerras, Zubin Mehta, Edo de Waart, Vladimir Ashkenazy and Sir Simon Rattle. He has recorded widely for the ABC and conducted film scores, including Happy Feet, Mad Max Fury Road and Australia. Recent highlight performances include Sondheim's Sweeney Todd (West Australian Opera), Paul Stanhope and Steve Hawke's Jandamarra (SSO), Michael Tippett's A Child Of Our Time (Adelaide Festival) and Carousel (State Opera South Australia). In 2001, Brett was awarded an Australian Centenary Medal. In 2021, he was awarded the Medal of the Order of Australia for services to the performing arts through music. Brett is passionate about singing and the role that music plays in both the individual's wellbeing and the overall health and vitality of a community's culture. Music can transform lives and should be accessible to all.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

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

Radio Spin #6 "Spring Is Here" 13.04.2023 1. J.S. Bach - Aria z Wariacji Golbergowskich - Glen Gould nagranie z 1955 roku. 2. A. Vivaldi - Wiosna cz. 2, Fabio Biondi, Europa Galante. 3. Max Richter - Vivaldi Recomposed, Wiosna cz.2 i 3. 4. I. Strawiński - Święto Wiosny, Introduction, Zubin Mehta, New York Philharmonic. 5. Ella Fizgerald - Spring Is Here. 6. L.van Beethoven - Sonata wiosenna na skrzypce i fortepian F-dur, cz.2 Izhak Perlmann, Vladimir Ashkenazy. 7. A. Piazzolla - Primavera portena, Gidon Kremer, Kremerata Baltica. 9. G. Mahler, I Symfonia D- dur, Titan, cz.1, Bernard Haiting, Royal Concertgebouw Orchestra Amsterdam. 8. H. Zimmer, A. Lukas, J. Everingham - Frozen Planet II, Arrival for Spring. 9. Sting - Seven Days Audycja Chillout Classic” to program radiowy, który zabiera słuchaczy w nostalgiczny, relaksacyjny nastrój, przypominając o klasycznych utworach chilloutowych. W każdym odcinku programu, słuchacze odkrywają piękne, uspokajające utwory muzyki elektronicznej, które zapewniają ukojenie dla umysłu i duszy. Od subtelnych, delikatnych dźwięków pianina po hipnotyczne, ambientowe aranżacje, ta audycja to idealna propozycja dla miłośników muzyki chilloutowej. Prezentowane utwory to nie tylko klasyczne nagrania, ale także nowe interpretacje znanych hitów, co sprawia, że program jest świetnym sposobem na poszerzenie horyzontów muzycznych. Zapomnij o stresie i pozwól sobie na chwilę relaksu z „Audycją Chillout Classic Prowadzi Tomasz Diakun

This is Sarah Idan's story, Sarai more informally and publicly. She used to enter beauty pageants “to help bring people together”. But as Iraq's winning Miss Universe in 2017, she got much more than she bargained for. Sarai's new life as a renowned Human Rights campaigner started there and then, when she took a selfie with Adar Gandelsman, participating alongside her as Miss Israel. All hell let loose back home as the Iraqi tourism ministry ordered her to take the selfie down, “because it was harming the Palestinian cause“.  “I said, what?”, Sarai replied and in that moment knew her feeling as an outsider even at home, was being realised. The flurry of events which followed saw her family flee Baghdad and join her in a new life in California.  Her Iraqi citizenship has been revoked, and she knows full well if she ever returned there, “I'd be killed in the airport”. Sarai now uses her fame and notoriety to push against despotism and terror. She's represented Hillel Neuer's UN Watch in Geneva and as you'll hear in this characteristically fearless discussion, she's a champion of combating racism, prejudice and anti-Zionism among her own people, Arabs and Muslims.  She describes herself as a Zionist despite growing up around the incessant antisemitic echo chambers of Baghdad. Sarai is a lover of music and chose the theme tune for this episode, a stirring and emotional opus by Rachmaninov, “Symphony No. 2 Opus 27 III. Adagio” by the Royal Concertgebouw Orchestra - conducted by Vladimir Ashkenazy. The contrast between the music and her early life is rather striking. She is the CEO of an NGO called Humanity4Ward and has a podcast, The Sarai Talk Show”. Jonny Gould's Jewish State is always thankful for the support of Dangoor Education.

A much loved pianist who Australia has adopted as one of our own, Ukrainian-born Alexander Gavrylyuk began as a teenage prodigy and has been dazzling audiences around the world ever since. He's performed at the BBC Proms, Wigmore Hall, the Lincoln Centre, and played with the New York and Los Angeles Philharmonic Orchestras, and closer to his adopted home he's recorded all the Prokofiev piano concertos with the Sydney Symphony under Vladimir Ashkenazy. In this conversation, Alexander shares stories of his upbringing in Ukraine when still part of the USSR, the opportunities that came from coming to Australia, as well as talking about evacuating his father from of Kharkiv in recent months and the devastating invasion which his homeland is currently facing. Alexander will be performing at the Canberra International Music Festival on May 3, and at the Melbourne Recital Centre on May 5.

Synopsis The Russian émigré composer and pianist Sergei Rachmaninoff was himself the soloist on today's date in 1927 in the first performance of his Piano Concerto No. 4 with the Philadelphia Orchestra, conducted by Leopold Stokowski. Rachmaninoff had premiered his Third Concerto in New York in 1909, and he'd been thinking about writing another one for over a decade. In the meantime, his life had been disrupted by both the Russian Revolution and the exhausting business of earning a living as a touring virtuoso pianist. In 1926, Rachmaninoff finally felt he could afford to take some time off and put a Fourth Piano Concerto down on paper. In its original form, it turned out to be a much longer work than even Rachmaninoff thought practical. He joked to a friend that its movements would have to be "performed on successive nights, like Wagner's Ring operas." Rachmaninoff made a number of cuts before the Philadelphia premiere, but even so, the new work was not well received, and so Rachmaninoff kept cutting. Audiences and critics still remained cool, and Rachmaninoff eventually shelved the work for a time—quite a time. In 1941 he prepared a "final cut" version, which ended up considerably shorter than his other three Piano Concertos, and recorded it with Eugene Ormandy and the Philadelphia Orchestra. Music Played in Today's Program Sergei Rachmaninoff (1873 - 1943) Piano Concerto No. 4 Jean-Yves Thibaudet, piano; Cleveland Orchestra; Vladimir Ashkenazy, conductor. London 458 930

In the feature documentary, PIANOFORTE director Jakub Piątek takes a deep dive into what is considered to be one of the most prestigious competitions in classical music, the International Chopin Piano Competition in Warsaw, Poland. Held every five years since 1927, the event has been a career launchpad for such piano virtuosos as Krystian Zimerman, Mitsuko Uchida, Kevin Kenner, and Vladimir Ashkenazy. The competition itself is a real roller coaster of a classical ride, with extremely tough qualifying rules, multiple stages, legendary jurors (Arthur Rubinstein), and a whole lot of pressure. Jakub Piątek's fly-on-the-philharmonic-wall documentary takes us behind the scenes of this fascinating contest. We meet some of the most talented young professional piano players from all over the world and watch them navigate this fever dream of a competition, along with its intense practices, new friendships, lots of drama, and even more nerves. “Sometimes I can only groan, and suffer, and pour out my despair at the piano!” said Chopin. Pianoforte is a testament to the power of remarkable music. Nearly two centuries later, it still inspires, excites, and, yes, causes some despair and suffering, too. Director Jakub Piątek (Prime Time, 2021) stops by to talk about the intensity and commitment each of the pianist brings to their craft, how he landed on following the wide variety musicians in the film and capturing the euphoria of an artist and music transcending the notes on a page. For more go to: sundance.org/program/Pianoforte Nominated, Grand Jury Prize / World Cinema - 2023 Sundance Film Festival

Synopsis It was wet and cold in New York on today's date in 1925, but a curious crowd gathered at Carnegie Hall for a concert by the New York Symphony. Walter Damrosch was to conduct the world premiere of a new “Piano Concerto” by George Gershwin, who would also be the soloist. The audience reacted with cheers and bravos, but the reviews were mixed: "Conventional, trite... [and] a little dull" was the verdict of one; but another was enthusiastic, suggesting: "Of all those writing the music of today, [Gershwin] alone actually expresses US." In the America of 1925, that "us" would have included the owners of speakeasies, raccoon coats, and Stutz Bearcat roadsters. It was the "Jazz Age"— an era magically captured in F. Scott Fitzgerald's novel The Great Gatsby. Seventy-four years later, in December of 1999, John Harbison's opera based on The Great Gatsby premiered at the Metropolitan Opera in New York, playing to sold-out houses. Once again, audiences were enthusiastic—the critics less so. To capture the mood of the 1920s, Harbison had composed a number of original songs in Jazz-Age style, which he incorporated as themes in his opera. These tunes have even been published as a separate "Gatsby Songbook!" Imagine: a modern opera with tunes audiences can actually hum as they leave the theater! What will they think of next? Music Played in Today's Program John Harbison (b.1938) Remembering Gatsby Baltimore Symphony; David Zinman, cond. Argo 444 454 George Gershwin (1898-1937) Piano Concerto in F Peter Jablonski, piano; Royal Philharmonic; Vladimir Ashkenazy, cond. London 430 542

Joshua and Angela discuss the life and times of Europe's most renowned virtuoso violinist of the 18th and 19th centuries, George Bridgetower. In the age of the global slave trade, competing empires, and revolution, Bridgetower exemplified the refinement, sophistication, and mastery of the classical era while rubbing elbows with the European elite. Featured Music:"Henry, A Ballade," by George Bridgetower, feat. soprano Benita Borbonus"Violin Sonata No. 9, Mvt. 3: Finale," by Ludwig Van Beethoven, feat. violinist Itzhak Perlman and pianist Vladimir AshkenazySupport the show

Si en 17 minutos pudiera mostrarte cómo mejorar la velocidad (y calidad) de tu articulación en los próximos 30 días o menos... ¿te interesaría saber cómo? Entonces Regístrate aquí y Accede Ahora a esta Clase Gratuita para descubrir cómo mejorar tu articulación En el episodio de hoy tenemos como invitada a Ona Cardona, Solista Internacional y Catedrática de Clarinete en el Conservatorio Superior de Música de Málaga Ona Cardona es una intérprete de gran sensibilidad que combina la actuación solista con la música de cámara, disfrutando de un amplio repertorio que va desde el clasicismo hasta los estrenos contemporáneos. Ha tocado en las principales salas españolas, como Palau de la Música y L'Auditori de Barcelona, Auditorio Nacional de Madrid, Fundación Juan March, Palau de la Música de València, Auditorio de Zaragoza, y ha actuado en los Festivales Internacionales de Granada, Segovia, Castell de Peralada, Úbeda, Al-Kalat, Santa Cristina d'Aro, Schubertíada de Vilabertran, Quincena Donostiarra. También ha realizado conciertos en relevantes salas europeas (Wigmore Hall, St-Martin-in-the-Fields, Barbican Hall, Glyndebourne Opera, Berlin Konzerthaus, Elbphilarmonie) así como en Estados Unidos (Carnegie Hall, Adrienne Arsht Center) y China (Nanjing Music Hall). Como solista, se ha presentado junto a orquestas tales como Radiotelevisión Española, Sinfónica de Castilla y León, Simfònica de Barcelona i Nacional de Catalunya, OCAZ Enigma, Orquesta de Córdoba, Nacional de Cambra d'Andorra o Simfònica de les Illes Balears, entre otras. Apasionada de la música de cámara, habitualmente comparte escenario con artistas de la categoría de Alexandar Madzar, Gerold Huber, Denis Pascal, Enrique Bagaría, Juliane Banse, Mojca Erdmann, Maximilian Hornung, Ramón Ortega, The Soloists of London o los cuartetos AmarArt y Casals. En el ámbito orquestal, colabora con prestigiosas agrupaciones (Orquestra de Cadaqués, Camerata 432, Arts Symphony Orchestra) y, vinculada a sus raíces, es clarinete solista de la Orquesta de Cambra Illa de Menorca. Ha trabajado con reconocidos directores como Adrian Leaper, Vassily Petrenko, Salvador Mas, Virginia Martínez, Peter Rundel, Christian Curnyn, Jaime Martín, Eva Ollikainen, Krzysztof Penderecki, Nuno Coelho o Vladimir Ashkenazy. Muy comprometida con el arte de creación actual, ha estrenado numerosas obras y le han dedicado sus partituras compositores como Carles Santos, Alberto García-Demestres, Gabriel Brnčić, Jesús Rodríguez-Picó, Julian Philips, Cimeon Ellerton, Pedro Faria Gomes, Solfa Carlile, Mark Wolf, Rhian Samuel o Henrik Goldschmidt. Ha grabado para Radio Nacional de España, Catalunya Música, Televisión Española, D+3 Artmusic Project, Tritó y Anacrusi, siendo sus interpretaciones retransmitidas internacionalmente. Destaca en su discografía el CD para Columna Música que incluye la World première “Suite for Solo Clarinet” de Michel Camilo, así como la grabación del disco Chiaroscuro para Eudora Records con obras de Johannes Brahms, Robert y Clara Schumann junto al pianista Josep Colom, con quien actúa regularmente. Graduada por la Escola Superior de Música de Catalunya con las máximas calificaciones, obtiene el Máster with Distinction en la Guildhall School of Music and Drama of London. También se ha formado en el Royal College of Music of London, cursando hoy en día el doctorado en la Universitat Rovira i Virgili de Tarragona. Su calidad musical ha sido reconocida con numerosos galardones (Concurso Nacional Intercentros de Grado Superior, Concurso Permanente de Juventudes Musicales de España, Concurso Internacional El Primer Palau, entre otros) y en la actualidad es solicitada con frecuencia como miembro de tribunales. Con una amplia experiencia docente, imparte cursos y clases magistrales en las que integra los principios del Método Trager®. Ha desarrollado su labor pedagógica en el Conservatori Superior de Música de les Illes Balears y el Conservatorio Superior de Música de Aragón, y recientemente ha sido nombrada Catedrática de clarinete del Conservatorio Superior de Música de Málaga. Para leer su biografía completa y saber más sobre Ona, puedes visitar su web aquí: www.onacardona.com En el episodio de hoy hablaremos de... Su trayectoria musical Método Trager De dónde provienen la gran mayoría de tensiones que generamos con el cuerpo y los peligros de tocar en piloto automático Cómo utilizar el Método Trager para sentirnos más cómodos a la hora de tocar y de la importancia de la respiración Rutina de estudios Grabaciones de CD´s, futuros proyectos Y muchas cosas más... Y ahora déjame preguntarte algo: Si en 17 minutos pudiera mostrarte cómo mejorar la velocidad (y calidad) de tu articulación en los próximos 30 días o menos... ¿te interesaría saber cómo? Entonces Regístrate aquí y Accede Ahora a esta Clase Gratuita para descubrir cómo mejorar tu articulación

In this episode, we look at the soundtrack of the 2009 mini-series of Jane Austen's Emma, written by Samuel Sim. We look at how the main theme tells Emma's journey and how it changes for her love story with Mr. Knightley. We compare the use of the cello for Mr. Knightley and Mr. Elton, look at how the clarinet is used for Emma just as it was in the 1996 movie, and the variety of themes and styles to tell the story and reflect the characters, including the use of electronics for memories. Music included in podcast: "Piano Concerto No. 26 in D, K 537 "Coronation": 1. Allegro" - Mitsuko Uchido - Mozart: Piano Concertos, music by Wolfgang Amadeus Mozart, performed by English Chamber Orchestra, Jeffrey Tate & Mitsuko Uchido, 1988 "Emma Woodhouse was born" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Emma Main Titles" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Unaccompanied Cello Suite No. 1 in G major, BWV 1007: I. Prelude" - Six Evolutions - Bach: Cello Suites, music by Johann Sebastian Bach, performed by Yo-Yo Ma, 2018 "Knightley's Walk" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Love Story" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The Last Dance" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Blind Endeavors" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Without Suspicion" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The Seaside" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Dolls" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Expansion Project" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Playing Harriet" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Cello Sonata in C minor, G. 2: III. Allegro" - Boccherini Cello Sonatas, music by Luigi Boccherini, performed by Jesper Christensen, Gaetano Nasillo, Alessandro Ciccolini & Marco Vitali, 2012 "Superior Men" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Mr. Elton" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Violin Sonata in A minor, Op. 27, No. 2: 1. Prelude "Obsession"" - Bach and Beyond Part 1, music by Eugene Ysaye, performed by Jennifer Koh, 2012 "Walk of Shame" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The World has Left Us Behind" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Rescued by the Gypsies" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Secrets" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Danse Macabre, Op. 40" - Saint-Saens: Danse Macabre, music by Camille Saint-Saens, performed by Philharmonia Orchestra & Charles Dutoit, 1981 "Arrival of Little Knightleys" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "It's Snowing and Heavily" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "Biscuits Darling" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "A Ball" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The Town Square" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The Ship's Cook" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019 "The Bluebells of Scotland" - Raised on Songs and Stories, music by Dora Jordan, performed by John McDermott, 2015 "Piano Sonata No. 21 in C major, Op. 53 "Waldstein": I. Allegro con brio" - Beethoven: Favorite Piano Sonatas, music by Ludwig van Beethoven, performed by Vladimir Ashkenazy, 1997 "World of Soundtracks" - title music by Edith Mudge, graphics by Lindsey Bergsma

Durch Beharrlichkeit und Ehrgeiz wurde Vladimir Ashkenazy zunächst als Pianist weltbekannt. Und dann erlebte er eine zweite Karriere - als Dirigent. Am 6. Juli wird der große Musiker 85 Jahre alt.

Un 24 de mayo de 1803 se escucharon por primera vez los sonidos de una de las piezas más conocidas del repertorio violinístico: la Sonata a Kreutzer' del compositor Ludwig van Beethoven. Junto a este compositor alemán al piano, el violinista afroeuuropeo George A. Polgreen Bridgetower la estrenaba. Dicha pieza, "compuesta en un estilo muy solista, como en un concierto", así escribió el compositor en la primera edición, según explica Maynard Solomon, "incorpora elementos de conflicto dinámico a uno de los principales géneros clásicos de salón confiriendo la misma importancia a los dos instrumentos". A continuación escucharemos de esta sonata, su tercer movimiento Presto en manos de Itzhak Perlman en el violín y Vladimir Ashkenazy en el piano.

Ai microfoni di Unica Radio ospitiamo la violinista Anna Tifu per raccontare il concerto che sabato 14 maggio la vedrà protagonista al Teatro Doglio di Cagliari insieme al pianista Giuseppe Andaloro. Dopo due anni di assenza dai palcoscenici cagliaritani, torna a esibirsi nel capoluogo sardo la violinista Anna Tifu, protagonista, insieme al pianista Giuseppe Andaloro di un concerto straordinario che si terrà al Teatro Doglio sabato 14 maggio alle ore 21. Il concerto si inserisce nell'ambito della programmazione di Teatro Doglio ed è realizzato con la collaborazione di Compagnia B e del LEI Festival. Tifu e Andaloro sono reduci da un applauditissimo concerto tenutosi a fine marzo nello storico Teatro Regio di Parma. Vincitrice nel 2007 del prestigioso concorso internazionale George Enescu di Bucharest, Anna Tifu è considerata una delle migliori interpreti della sua generazione. All'età di 12 anni, debutta alla Scala di Milano con il Concerto n.1 di Max Bruch. Viene ammessa, all'età di 17 anni, al Curtis Institute di Philadelphia. Si è esibita con alcune tra le più prestigiose Orchestre Nazionali ed Internazionali come l'Orchestra Nazionale di Santa Cecilia, Orchestra Nazionale della RAI di Torino, Orchestra del Teatro Carlo Felice di Genova, Orchestra del Teatro La Fenice di Venezia, Simòn Bòlivar Orchestra del Venezuela, George Enescu Philarmonic, per citarne alcune, e ha collaborato con direttori del calibro di Yuri Temirkanov, Gustavo Dudamel , Diego Matheuz, Ezio Bosso, David Afkham, Mikko Franck, Jonathon Heyward. Tra gli impegni più prestigiosi ricordiamo concerti al George Enescu Festival di Bucharest con l'Orchestra RAI di Torino e Juraj Valcuha, concerto con Gustavo Dudamel e la Simòn Bòlivar Orchestra del Venezuela, inaugurazione della Stagione a Genova, Teatro Carlo Felice dove, per l'occasione, si è esibita con il famoso violino Guarneri del Gesù detto “IL CANNONE” appartenuto a Niccolò Paganini, inaugurazione a Venezia, Teatro La Fenice con Diego Matheuz, concerto inaugurale della Stagione Fondazione Società dei Concerti di Milano dove è regolarmente invitata, concerto allo Stradivari Festival di Cremona, dove si è esibita in uno spettacolo insieme all'Etoile Carla Fracci, concerti all'Auditorium Parco della Musica di Roma insieme a Yuri Temirkanov e l'Orchestra dell'Accademia di Santa Cecilia e l'inaugurazione della Stagione a Parigi, con l'Orchestra Filarmonica di Radio France, diretta da Mikko Franck. Recente è il suo debutto per la casa discografica Warner Classics, in duo con il pianista Giuseppe Andaloro. Anna Tifu è stata testimonial della campagna pubblicitaria 2011 di Alitalia, assieme a Riccardo Muti, Giuseppe Tornatore ed Eleonora Abbagnato. Suona il violino Antonio Stradivari “Marèchal Berthier” 1716 ex Napoleone e il violino Carlo Bergonzi “Mischa Piastro” 1739 della Fondazione Canale di Milano. Molto suggestivo il programma del concerto che consente ai due musicisti di poter esprimere al meglio le doti tecniche e esecutive e che prevede la Sonata in Sol maggiore di Ravel, la Fantasia op. 131 di Robert Schumann, Il Poeme di Ernest Chausson e la Tzigane, ancora di Ravel. Sul palco del Teatro Doglio la Tifu sarà accompagnata dal pianista d'eccezione Giuseppe Andaloro, ospite di importanti festival, presso le più prestigiose sale del mondo e, come solista, di orchestre quali la London Philharmonic, Nhk Symphony Tokyo, Philharmonische Camerata Berlin. Ha collaborato con direttori del calibro di Vladimir Ashkenazy, Gianandrea Noseda, Andrew Parrott, e con artisti quali Sarah Chang, Giovanni Sollima, Sergej Krylov, John Malkovich. Ha al suo attivo numerose incisioni discografiche: il suo ultimo album Cruel Beauty nel 2013, edito da Sony, è una world première di musiche italiane del tardo Rinascimento e del primo Barocco, per la prima volta registrate con un pianoforte moderno. Info biglietti su questo link.

Author and scholar Laura Tunbridge and conductor Devin Patrick Hughes discuss the historical Beethoven in rehearsals, as the entrepreneur, the conductor, the early adopter of technologies, the family man, his controversial metronome markings, and the authenticity behind historically informed performance practice. Tunbridge is a Professor of Music at the University of Oxford, UK and the author of books about Robert Schumann, art-song, and Beethoven: A Life in Nine Pieces, and is currently working on a book about string quartets.    The book is Laura Tunbridge's Beethoven: A Life in Nine Pieces, published by Yale University Press. Thank you Laura for sharing your amazing passion and wealth of knowledge about Beethoven's life and music. Thank you to all record labels and performers that made this episode possible, musical excerpts came from Fidelio, the Third Sonata for Cello and Piano, the Choral Fantasy, Symphonies Three and Seven and the Piano Trio in C minor, performed by Simon Rattle and the Berlin Philharmonic, Angela Denoke, Jon Villars, Emanuel Ax, Yo-Yo Ma, Vladimir Ashkenazy and the Cleveland Orchestra, Andre Previn and the Royal Philharmonic, Henryk Szeryng, Pierre Fournier, Wilhelm Kempff, Paavo Järvi and the Deutsche Kammerphilharmonie Bremen, and Sony Classical. You can find the book wherever books are sold, and follow Laura Tunbridge on Twitter. You can check out more info about One Symphony or lend your support for the show at OneSymphony.org.  Thank you to our most recent supporters Jessica, Bonnie, Carl, Lauren, and Steven. Please feel free to rate, review, and share the show on all platforms. Until next time, thank you for being part of the music!

Hello and welcome to Bittersweet Symphony, a podcast where classical musicians share the bitter, the sweet and the bittersweet of life when the concert halls shut their doors and the music stopped. I'm Cliodhna Ryan, violinist, member of the Irish Chamber Orchestra and freelancer. In this episode, I'm chatting to Cormac Ó hAodáin, principal horn with the RTE Concert Orchestra. He shares the bitter experience of his Mum being ill, becoming a carer overnight, and the burnout that followed. His sweet memory is of regular meetups on Zoom with a community of musicians and composers, facilitated by the Contemporary Music Centre in Dublin. His bittersweet is while isolation was challenging, he felt equipped to handle it after a decade of living alone. Between 1993-1996, Cormac represented Ireland in the European Union Youth Orchestra, working with such eminent maestros as Carlo Maria Giulini, Bernard Haitink, Mstislav Rostropovich and Vladimir Ashkenazy. In 1997 he joined the Royal Philharmonic Orchestra and in 1999 became a member of the Philharmonia Orchestra. Cormac moved back to Ireland in 2009 to join the RTÉ Concert Orchestra as principal horn. Since his return to Ireland, he has established the Cassiopeia Wind Quintet and joined the teaching staff of the Royal Irish Academy of Music. He is currently doing a Masters in Conducting at TU Dublin, under the mentorship of David Brophy. CREDITS Thumbnail Art || Colm MacAthlaoith Songwriters || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Patrick Stefan Groenland GET IN TOUCH WITH CORMAC/LINKS Cassiopeia Winds Contemporary Music Centre Norah Walsh GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony

Helen Macdonald is a writer and naturalist who is best known as the author of H is for Hawk which won the 2014 Samuel Johnson Prize and the Costa Book Award, and topped the sales charts. The book chronicles her experiences training a goshawk called Mabel while grieving for her late father. Helen's father was a staff photographer at the Daily Mirror and her mother was a journalist on local newspapers. In 1975, when Helen was five, her parents bought a house in Terkel's Park, an estate owned by the Theosophical Society. It was here that Helen became a keen bird watcher and developed a love of the natural world, spending her days in fields and meadows where she collected specimens which she brought home to study. When she was 12 she helped out at a local falconry centre and trained her first hawk, a kestrel called Amy. After graduating from Cambridge she worked for the National Avian Research Centre in Wales before returning to academia. The death of her father in 2007 prompted Helen to buy Mabel and bring her home to live with her. Training Mabel was Helen's way of dealing with her grief during what she describes as a very dark period of her life. The relationship between her and Mabel became so intense that she says she became more hawk than human. Helen continues to write books and essays and present programmes about the natural world. She lives in Suffolk with two parrots she calls the Bugs. DISC ONE: Wayfaring Stranger by Rhiannon Giddens With Francesco Turrisi DISC TWO: Lully: Le Triomphe de l'Amour: Prélude pour la nuit, composed by Jean-Baptiste Lully, performed by Capriccio Stravagante Les 24 Violons, directed by Skip Sempé DISC THREE: Michelangelo by The 23rd Turnoff DISC FOUR: Ocean by The Velvet Underground DISC FIVE: 'Corelli' Variations, Op. 42, composed by Sergei Rachmaninov, performed by Vladimir Ashkenazy (piano) DISC SIX: When We Were Wolves by My Latest Novel DISC SEVEN: Point of View Point by Cornelius DISC EIGHT: Time by Hans Zimmer BOOK CHOICE: The Karla Trilogy by John Le Carré LUXURY ITEM: Luxury bedding CASTAWAY'S FAVOURITE: 'Corelli' Variations, Op. 42, composed by Sergei Rachmaninov, performed by Vladimir Ashkenazy (piano) Presenter Lauren Laverne Producer Paula McGinley

Översättning: Irena Grönberg Uppläsning: Anna Azcárate DIKTSAMLING: Syre (Lejd 2017)MUSIK: En dröm av Sergej RachmaninovEXEKUTÖR Mats Lidström, cello, Vladimir Ashkenazy, piano

durée : 00:58:09 - Vladimir Ashkenazy, du clavier à la baguette - par : Aurélie Moreau - Interprétations au plus haut niveau de Vladimir Ashkenazy, notamment des extraits d'Asrael de Josef Suk, du 2ème Concerto pour piano de Beethoven qu'il dirige du piano, des Tableaux d'une exposition de Moussorgski dont il a écrit une orchestration.

This week we meet portrait artist Ralph Heimans as the RAD prepares to celebrate a landmark in its 100 year history - a move to a new purpose built headquarters - with a brand new portrait competition. The competition will invite artists of all abilities to create a portrait of world famous ballerina and founding President of the RAD Dame Adeline Genée. Ralph sits on the judging panel of this competition and will be responsible for selecting the new commission, which will hang pride of place for all to enjoy in the new building when it formally opens in 2022.Known for high profile commissions of royalty, how would Ralph approach the portrait of a dancer? And what's the point of portraiture in this selfie-ridden age? Join us for this portrait of the artist.About Ralph HeimansLondon-based Australian artist Ralph Heimans is one of today's leading portrait artists. His official portrait of HM Queen Elizabeth, produced for the Diamond Jubilee in 2012, hangs in Westminster Abbey, while his portraits of the Duke of Edinburgh (2017) and Prince of Wales (2018) are in the Royal Collection. In 2018, the National Portrait Gallery of Denmark held a mid-career retrospective, including portraits of artists like Dame Judi Dench, Vladimir Ashkenazy and Margaret Atwood. Ralph's large-scale portraits are renowned for innovative compositions that offer engaging narratives about his subjects and their life stories. His works are held in major international collections and in 2014 he became a Member of the Order of Australia.Find out more about the RAD: https://bit.ly/3qqFBrWFollow the RAD on social media, and join the conversation with host David JaysInstagram @royalacademyofdanceFacebook @RoyalAcademyofDanceTwitter @RADheadquartersYouTube / royalacademydanceDavid Jays @mrdavidjaysSign up to our mailing list: https://bit.ly/3frWPh9RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign: https://bit.ly/3fnxEwm or make a donation: https://bit.ly/3bxA6z5 Ralph Heimans' website: https://www.ralphheimans.com See acast.com/privacy for privacy and opt-out information.

Synopsis The Russian composer Nikolai Rimsky-Korsakov might be described as an operatic dynamo: he composed fifteen of them himself and had a hand in editing, orchestrating, and promoting important operas by his fellow countrymen: Mussorgsky's “Boris Godunov” and “Khovantschina,” Borodin's “Prince Igor,” and Dargomïzhsky's “The Stone Guest.” Rimsky-Korsakov's fifteen operas are rarely staged with any regularity outside Russia, although instrumental suites and excerpts from them have proven immensely popular as concert pieces. The familiar “Flight of the Bumble-Bee” is from a Rimsky-Korsakov opera that premiered in Moscow on today's date in 1900, and, like most of his operas, is based on Russian fairytales. The opera's full title is: “The Tale of Tsar Saltan, of his Son the Renowned and Mighty Bogatïr Prince Guidon Saltanovich, and of the Beautiful Swan-Princess.” If you think the title is a bit long, consider the required cast of performers, which in addition to thirteen main characters calls for Boyars and their wives, courtiers, nursemaids, sentries, troops, boatmen, astrologers, footmen, singers, scribes, servants and maids, dancers of both sexes, 33 knights of the sea with their leader Chernomor, a squirrel, and – oh yes – a bumblebee. Music Played in Today's Program Nikolai Rimsky-Korsakov (1844 – 1908) — Flight of the Bumble Bee, from Tsar Saltan (Philharmonia Orchestra; Vladimir Ashkenazy, cond.) London 460 250 Rimsky-Korsakov — Flight of the Bumble Bee (Budapest Clarinet Quintet) Naxos 8.553427 Rimsky-Korsakov — Flight of the Bumble Bee (Itzhak Perlman, violin; Samuel Sanders, piano) EMI 54882

durée : 01:57:47 - Le Bach du dimanche du dimanche 31 octobre 2021 - par : Corinne Schneider - Au programme de cette 180e émission : une première heure au piano en compagnie de Gabriela Montero et la découverte des Suites Anglaises de Vladimir Ashkenazy (nouveauté du label Decca) ; une deuxième heure en compagnie de Masaaki Suzuki pour la fête de la Réformation avec les Cantates BWV 79-80-192 - réalisé par : Céline Parfenoff

Elias and I talk about a few of the great performing pianists. Part 2 we discuss modern and currently performing pianists. https://www.eapettersson.com/ Here is a list of pianists we discuss and think you should listen to: Alfred Brendel (b. 1931) Vladimir Ashkenazy (b. 1937) Martha Argerich (b. 1941) Maurizio Pollini (b. 1942) Nelson Freire (b. 1944) Ursula Oppens (b. 1944) Maria João Pires (b. 1944) Radu Lupu (b. 1945) Murray Perahia (b. 1947) Mitsuko Uchida (b. 1948) *Håkon Austbø (b. 1948) Grigory Sokolov (b. 1950) Santiago Rodriguez (b. 1952) András Schiff (b. 1953) Krystian Zimerman (b. 1956) *Dang Thai Son (b. 1958) Yefim Bronfman (b. 1958) *Sara Davis Beuchner (b. 1959) *Stephen Prutsman (b. 1960) *Paul Stewart (b. 1960) *Sergei Babayan (b. 1961) Casadesus (1st), Hamamatsu (1st), Scottish (1st), Busoni (3rd), Honens (4th) Stephen Hough (b. 1961) Jean-Yves Thibaudet (b. 1961) *Frederic Chiu (b. 1964) *Pavel Nersessian (b. 1964) *Alexander Korsantia (b. 1965) Sydney (1st) Rubinstein (1st) Leif Ove Andsnes (b. 1970) *Stanislav Ioudenitch (b. 1971) Evgeny Kissin (b. 1971) Arcadi Volodos (b. 1972) Nikolai Lugansky (b. 1972) Simone Dinnerstein (b. 1972) Valentina Lisitsa (b. 1973) *Antonio Pompa-Baldi (b. 1974) Long-Thibaud (3rd), Cleveland (1st), Cliburn (2nd) Ning An (b. 1976) *Roberto Plano (b. 1978) American Prize, Cleveland (1st), Cliburn (finalist) *Andrius Žlabys (b. 1978) “There is no better time to do the best work of your life than right now” Spencer Myer (b. 1978/9) Sa Chen (b. 1979) Alexander Kobrin (b. 1980) Alexandre Moutouzkine (b. 1980) Yundi Li (b. 1982) Lang Lang (b. 1982) *Boris Giltburg (b. 1984) (Beethoven Sonatas) Santander (2nd=1st), Queen Elisabeth (1st), Rubinstein (2nd) Evgheny Bozhanov (b. 1984) Cliburn (finalist), Queen Elisabeth (2nd), Chopin (4th-refused) Ingolf Wunder (b. 1985) *Rafał Blechacz (b. 1985) Chopin (1st) *Yeol Eum Son (b. 1986) Tchaikovsky (2nd) Vadym Kholodenko (b. 1986) *Vitaly Pisarenko (b. 1987) Liszt (1st), Leeds (3rd) Adam Golka (b. 1987) Yuja Wang (b. 1987) *Sean Chen (b. 1988) American Prize, Cliburn (3rd) *Yekwon Sunwoo (b. 1989) Sendai (1st), Cliburn (1st) *Charles-Richard Hamelin (b. 1989) Seoul (3rd), Montréal (2nd), Chopin (2nd) *Haochen Zhang (b. 1990) China Piano Competition (1st) Avery Fisher Grant, Cliburn (1st) *Claire Huangci (b. 1990) ARD Munich (2nd), Geza Anda (1st) *Lukas Geniušas (b. 1990) Bachauer (1st), Scottish (2nd), Chopin (2nd), Tchaikovsky (2nd) *Daniil Trifonov (b. 1991) Chopin (3rd), Rubinstein (1st), Tchaikovsky (1st) (also composer) *Kenny Broberg (b. 1993) Cliburn (2nd), Tchaikovsky (3rd), American Prize *Beatrice Rana (b. 1993) Montréal (1st), Cliburn (2nd) *Seong-Jin Cho (b. 1994) Hamamatsu (1st), Tchaikovsky (3rd), Rubinstein (3rd), Chopin (1st), DAEWON Music Awards *Kate Liu (b. 1994) NY International (1st), Hilton Head (6th), Montréal (finalist), Chopin (3rd) *Do-Hyun Kim (b. 1994) Gilmore Fellow, Vendome (2nd), Young Concert Artist Auditions (1st) Drew Peterson (b. 1994) American Prize, Avery Fisher Grant,  *Syzmon Nehring (b. 1995) Rubinstein (1st) *Eric Lu (b. 1997) Minnesota E-Comp. (1st), Chopin (4th), German Piano Award (1st), Leeds (1st) Tony Yike Yang (b. 1998) Chopin (5th-age of 16!) *Alexander Malofeev (b. 2001) China (1st), winner of youth competitions…career exploded (a la Kissin)

Jess Gillam and harpist Bridget Kibbey share the music they love. Greek saxophonist Alegros Gramma takes us to Morocco while Chick Corea is in Spain. Sol Gabetta plays Haydn, Martha Argerich plays Ravel plus we hear Sophie Hutchings, Portishead, Rachmaninov AND Beethoven's iconic fifth Symphony. Playlist: Beethoven – Symphony No.5 in C minor, Op.67; I. Allegro con brio (London Symphony Orchestra, Antal Dorati) Sophie Hutchings - Elysian Days Alegros Gramma – Mousaka Bari Bari (Traditional Gnawa) Haydn – Concerto no. 1 in C major H.7b.1; III. Allegro molto (Sol Gabetta (cello), Kammerorchester Basel, Sergio Ciomei) Portishead – Roads Ravel – Jeux d'eau, M.30 (Martha Argerich - piano) Chick Corea - Spain Rachmaninov - Piano Concerto No. 2 In C minor Op.18; II. Adagio sostenuto (Vladimir Ashkenazy - piano), London Symphony Orchestra, Andre Previn)

This episode is all about tempo in music. How to define and interpret it? Who decides on the tempo : composer or performer? Do we practise with or without metronome?  You will learn about 4 main ways how composers express their will and how subjective it can be. Host: Olga Jegunova https://www.olgajegunova.com/ Editor: Matylda Dymek  Visual design: Christopher Moehring  Music excerpts used in this episode: F. Händel - Water music. Minuet. The English Bach Festival orchestra, Christopher Hirons J.S.Bach - Aria from Goldberg variations. Glen Gould (1981) J.S.Bach - Aria from Goldberg variations. Murray Perahia  W. A. Mozart - Symphony No 41 in C major, Allegro vivace. Zubin Mehta & Wiener Philharmoniker W.A.Mozart - Piano concerto No 21 in C major K.467. Vladimir Ashkenazy & Philharmonia orchestra  S. Barber - Adagio for strings Op. 11. & Sergiù Celibidache & Munich Philharmonic Orchestra

Today I am talking to pianist Peter Jablonski. We discuss piano repertoire in and outside the canon, how careers take time to develop, and wonder about the influence of social media on the longevity of a career in music.Peter Jablonski is an award-winning internationally acclaimed Swedish pianist. Discovered by Claudio Abbado and Vladimir Ashkenazy, and signed by Decca in his seventeenth year, Jablonski went on to perform, collaborate, and record with many of the world's leading orchestras and conductors, including the BBC Symphony Orchestra, Royal Philharmonic Orchestra, Leipzig Gewandhaus, Kirov (now Mariinsky), La Scala Philharmonic, Tonhalle Zürich, Orchestre National de France, NHK Tokyo, DSO Berlin, Warsaw Philharmonic, Philadelphia, Los Angeles Philharmonic, and Cleveland Orchestra; Vladimir Ashkenazy, Valery Gergiev, Andris Nelsons, Daniel Harding, Kurt Sanderling, Esa-Pekka Salonen, Riccardo Chailly, Daniele Gatti, and Myung-Whun Chung. Jablonski has performed and recorded the complete piano concertos of Beethoven, Tchaikovsky, Rachmaninoff, and Bartók, and all ten piano sonatas by Prokofiev. Hailed an ‘unconventional virtuoso' (Present Arts), during his three-decade-long career, Jablonski developed a diverse repertoire that includes works by Barber, Gershwin, Szymanowski, Lutosławski, Copland, Stenhammar, with most recent additions of such Scandinavian and European composers as Valborg Aulin, Elfrida Andrée, Laura Netzel, Johanna Müller-Hermann, Grażyna Bacewicz, and Alexey Stanchinsky.  Composers with whom Jablonski worked include Witold Lutosławski and Arvo Pärt, and he has had a number of works composed for, and dedicated to him, including Wojciech Kilar's Piano Concerto, for which he won the Orpheus award for the world premiere performance at the Warsaw Autumn Festival. Jablonski remains a supporter of today's composers and regularly gives world premieres of new works, together with those that have been neglected by music history. Jablonski's extensive discography includes recordings he has made for labels such as Decca, Deutsche Grammophon, Philips, Altara, Octavia, and Ondine. He received numerous accolades for his recordings, which include the Edison and the Grammophone Classical Music Award.Peter Jablonski is the recipient of the Litteris et Artibus medal for his services to culture, granted to him by the King of Sweden, Carl XVI Gustaf. He is also the winner of the prestigious prize Årets Svensk i Världen (International Swedish Personality of the Year), receiving it before ABBA and Astrid Lindgren. www.peterjablonski.comTwitter: @Jablonski_Phttps://www.ondine.net/?lid=en&cid=2.2&oid=6707

When Ralph Vaughan Williams was rummaging through old hymnals, he discovered a tune by a composer of England's past Thomas Tallis. This simple tune would inspire Vaughan Williams to write a work for string quartet and double string orchestra, Fantasia on a Theme by Thomas Tallis. In creating this piece he melded two worlds together, the modern with the old, clearing the dust from a long forgotten tune and bringing it to new heights. Theme music is by Daryl Banner: https://darylbanner.bandcamp.com/ Become a member of The Composer Chronicles on Patreon to get ad-free versions of all the episodes, early access to those ad-free versions, access to the member-only podcast Unscripted, and other things podcast related! https://www.patreon.com/thecomposerchronicles Sign up for Amazon Music Unlimited and get your first 30 days free: getamazonmusic.com/thecomposerchronicles Alexandrian Media Teespring: https://teespring.com/stores/alexandrianmedia Listen to The Composer Chronicles' Spotify Playlist: https://open.spotify.com/playlist/71QCS9qHoZqMMR6GMooqTR Music used in this episode: Fantasia on a Theme by Thomas Tallis by Ralph Vaughan Williams. Recorded by the US Army Strings and made available for use by Musopen. Never Be the Same by Ecovillage To the Lake by Jon Bjork Empty Promises by Trevor Kowalski Fairy Memoirs by Rand Aldo Sources used for this episode: Vladimir Ashkenazy, Dorottya Fabian, et al, All of Music (Elanora Heights: Millenium House, 2009), 42-43. Robert R. Reilly with Jens F. Laurson, Surprised by Beauty: A Listener's Guide to the Recovery of Modern Music (San Francisco: Ignatius Press, 2016), 398-404. --- Send in a voice message: https://anchor.fm/thecomposerchronicles/message

durée : 00:10:55 - Disques de légende du mardi 26 janvier 2021 - L'une des œuvres les plus emblématiques de l'année 1913 ! La soprano suédoise Elisabeth Söderström enregistre cette grande version du poème symphonique de Jean Sibelius en 1981 pour le label Decca, avec le Philharmonia Orchestra, et à la baguette le pianiste et chef russe Vladimir Ashkenazy.

Les carnets de Gautier Capuçon - Vladimir Ashkenazy

Conductor Christoph-Mathias Mueller talks passionately about reviving the works of Alexander Veprik, working closely with Claudio Abbado and Vladimir Ashkenazy, and his many experiences conducting throughout Europe.

„La microfon Victor Eskenasy-Moroșan. Bun găsit la un program special al universului cultural pe care îl dedicăm pianistului și dirijorului Vladimir Ashkenazy. Consacrat astăzi ca unul din muzicienii de renume ai ultimelor trei decenii, Vladimir Ashkenazy s-a aflat recent la Praga pentru o suită de concerte la pupitrul Filarmonicii cehe, prilej cu care ne-a acordat un interviu în exclusivitate. În următoarele circa 40 de minute vă vom prezenta extrase largi din acest interviu, ilustrate cu fragmente muzicale din interpretările sale pe discul compact -- o selecție din cele mai apreciate -- în calitate de pianist și dirijor.”

Episode 101 of A History of Rock Music in Five Hundred Songs is the first one of the podcast’s third year. This one looks at “Telstar” by the Tornados, and the tragic life of Joe Meek, Britain’s first great pop auteur. Click the full post to read liner notes, links to more information, and a transcript of the episode. Apologies for the lateness of this one — my two-week break got extended when my computer broke down. Patreon backers also have a ten-minute bonus episode available, on “Wipe Out” by the Surfaris. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  Most of the information here comes from The Legendary Joe Meek: The Telstar Man by John Repsch. Some bits come from Clem Cattini: My Life Through the Eye of a Tornado. This compilation contains most of the important singles Meek produced, with the notable exceptions of the Tornados’ singles. This, meanwhile, contains the early records he engineered before going into production. This is probably the best compilation of the Tornados’ music available.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the third year of A History of Rock Music in 500 Songs, and welcome to the future! Although for this particular future we’re actually going backwards a couple of months. This episode and the next one are both about records that were released a little before “Love Me Do”, which the most recent episode covered, and that’s something I should point out — the podcast is never going to be absolutely chronological, and in this case it made sense to tell that story before these ones. Before we start this episode, I need to give warnings for a whole lot of different things, because we’re looking at one of the most tragic stories we’ll see during the course of this podcast. This story contains discussion of occultism, severe mental illness, legalised homophobia,  an unsolved probably homophobic murder, and a murder-suicide. I am going to try to deal with all those subjects as sensitively as possible, but if you might become distressed by hearing about those things, you might want to skip this episode, or at least read the transcript before listening. I also want to make something very clear right now — this episode deals with a mentally ill man who commits a murder. He did not commit that murder *because* he was mentally ill. Mental illness is far more likely to make someone the victim of a crime than the perpetrator, and I have known many, many people who have had the same symptoms but who have not committed such awful acts. It is impossible to talk about the events in this episode without the risk of increasing stigma for mentally ill people, but I hope by saying this I can reduce that risk at least somewhat. Today we’re going to look at the first British rock and roll record to make number one in the USA, and at the career of the first independent record producer and engineer in Britain. We’re going to look at the sad life and tragic end of Joe Meek, and at “Telstar” by the Tornadoes: [Excerpt: The Tornadoes, “Telstar”] Joe Meek is someone who has become something of a legend among music lovers, and he’s someone whose music is more talked about than listened to. People talk about him as a genius, but rather fewer of them explain what it was that he did that was so impressive. This is partly because, more than much of the music of the era, it requires context to appreciate. Meek was a producer above all else — he had no real knowledge of music, and had no ear for singers. What Meek did know was sounds, and how to achieve sounds in the recording studio that could not be achieved anywhere else. Meek had, from a very young age, been fascinated by the possibilities of both sound and electronics. He had experimented with both as a child, and when he’d moved to London he’d quickly found himself jobs where he could make use of that — he’d started out as a TV repairman, but quickly moved on to working at IBC, one of the few independent studios in existence. There he was given the job of assistant engineer on a Radio Luxembourg show that was recorded live in theatres up and down the country — he had to plug in all the mics and so on. He soon moved on to editing the tape recordings, and then to working the controls himself. As well as being main engineer on the radio show, though, he was also still an assistant engineer in the studio for music sessions, and for a long time that was all he was doing. However, he kept trying to get more involved in recording the music, and eventually to shut him up the studio boss gave him the chance to be the main engineer at a session — for a twenty-piece string section. The boss assumed that Meek wouldn’t be able to handle such a complicated assignment as his first engineering job, and that he’d be kept quiet if he knew how hard the job was. Instead, he did such a good job balancing the sound that the musicians in the studio applauded the playback, and he was quickly promoted to senior balance engineer. The world got its first small inkling of what Meek could do in 1956, when he created the unique sound of “Bad Penny Blues”, a record by the trad jazz trumpet player Humphrey Lyttleton. “Bad Penny Blues” actually happened more or less by accident, at least as far as the musicians were concerned. There was a five-piece band in the studio, but the saxophone player had to leave early, and so they were stuck for what to record once he was gone. Denis Preston, the producer in charge of the session, suggested that they just play a blues, and so they improvised a boogie woogie piece, based around something they played in the clubs — Johnny Parker, the piano player, played somewhat in the style of Dan Burley, the man who had coined the term “skiffle”. But what made the track wasn’t the group or the producer, but the engineering: [Excerpt: Humphrey Lyttleton, “Bad Penny Blues”] These days, that doesn’t sound all that revolutionary, but when they heard it back the group were furious at what Meek had done to the sound, because it just didn’t sound like what they were used to.  There were several innovative things about it, at least for a British record, but one of the most important was that Meek had actually bothered to mic the drum kit separately — at this point in British studios, which were several years behind American ones, it was considered unnecessary to mic the drums properly, as their sound would get into the other microphones anyway, because the musicians were all playing together in the same room. If you really wanted a good drum sound, you’d hang a single mic over the drummer’s head. Meek was using separate mics for each drum on the kit. Because of this, Meek had managed to get a drum sound which was unlike anything that had been heard in a British record before. You can actually *hear* the kick drum. It sounds normal now, but that’s because everyone who followed Meek realised that actually bothering to record the drums was something worth doing.  There was another thing Meek did, which again you will almost certainly not have noticed when listening to that recording — he had added a lot of compression. Compression is a standard part of the sound engineer’s toolkit, and a simple one to understand. All it does is make quiet sounds louder and loud sounds quieter. Used sparingly, it gives a recording a little more punch, and also evens out the sound a bit. So for example, when you’re listening to a playlist on Spotify, that playlist applies a little compression to everything, so when you go from a Bach piece for solo piano to a Slayer track, you can hear the Bach piece but your earbuds don’t make your eardrums bleed when the Slayer record comes on. By the way, this is one of those words that gets used confusingly, because the word “compression”, when referring to Internet sound files such as MP3s, has a totally different meaning, so you might well see someone talking about compression of a recording in ways that seem to contradict this. But when I refer to compression in this episode, and in any of the episodes in the foreseeable future, I mean what I’ve talked about here. Generally speaking, recordings have had steadily more compression applied to them over the decades, and so the moderate use of compression on “Bad Penny Blues” might not sound like much to modern ears — especially since when older recordings have been reissued, they almost always have additional compression on them, so even when I’ve excerpted things in these episodes, they’ve sounded more compressed than the original recordings did. But Meek would soon start using a *lot* more compression, even than is used these days, and that drastically changed the character of the sound. To show what I mean, here’s me playing a few bars on the guitar, recorded with no compression whatsoever: [guitar] Here’s the same recording with a touch of compression: [guitar with compression] And the same recording with a *lot* of compression: [guitar with steadily more compression added] This was one of the things that Meek would do over the course of his career, and which very few other people were doing at the time in the UK.  “Bad Penny Blues” became one of the most important British jazz records ever — probably *the* most important British jazz record ever — and it made the top twenty, which never happened with jazz records at the time. Meek’s reputation as an innovative engineer was set. Shortly after “Bad Penny Blues”, Meek was given his first opportunity to indulge his love of sound effects, on what became one of the biggest-selling British records of the year. Anne Shelton was recording a military-themed song, and the producer suggested that they needed the sound of marching feet. Rather than play in something from a sound-effects album, which was what the producer expected but which wouldn’t have been in time with the music, Meek got a box of gravel and had someone shake it in time with the music. The result did sound exactly like marching feet, though the dust from the gravel apparently made Shelton’s new suit into a mess, and the record went to number one for a month: [Excerpt: Anne Shelton, “Lay Down Your Arms”] Another hit Meek engineered in the mid-fifties has led to an urban myth that’s been repeated unquestioningly even in the Guardian, even though a second’s thought proves that it’s nonsense. Frankie Vaughan’s “Green Door” went to number two in 1957: [Excerpt: Frankie Vaughan, “Green Door”] That line, “When I said ‘Joe sent me’ someone laughed out loud” has been taken to be referring to Meek himself, and a whole elaborate mythology has been spun around this. As Meek was gay, and as there was a lesbian club called The Gateways in London which happened to have a green door, people have stated as fact that the song is about that club, and that the people in there were laughing because a man was trying to get into a lesbian club. There’s only one slight problem with this, which is that it’s complete nonsense. For a start, while Meek was gay, he saw being gay as an affliction, something to be ashamed of, and was hardly likely to make a whole jokey record about that — at least at this time. He did some things later on. Then there’s the fact that Meek was at the time only a moderately-known engineer, not the famous producer and songwriter he became later. But more important than either of those things — the song was a cover of an American hit record by Jim Lowe, written by songwriters who had almost certainly never even been to Britain. And the line about “Joe”? That was in the original, and was a reference to a 1954 hit on the same lines, “Hernando’s Hideaway”: [Excerpt: Ella Fitzgerald, “Hernando’s Hideaway”] During this early period of his career, Meek was recording all sorts of music. While the bread-and-butter work of a recording engineer at the time was orchestral pop covers of American records, he also engineered skiffle records by Lonnie Donegan, with a stinging guitar sound he would later use on many other records: [Excerpt: Lonnie Donegan, “Cumberland Gap”] Calypso records by people like Lord Invader or the Mighty Terror: [Excerpt: Mighty Terror, “T.V. Calypso”] And jazz records by Chris Barber, Acker Bilk, and Humphrey Lyttleton, usually produced by Denis Preston, who after “Bad Penny Blues” insisted on using Meek for all of his sessions. Because of this connection, Meek also got to engineer some of the very first blues records cut in Britain. Barber would bring over American folk-blues artists to tour with him — and we’ll be looking at the consequences of that for much of the next three years — and Preston arranged sessions, engineered by Meek, for Big Bill Broonzy: [Excerpt: Big Bill Broonzy, “When Do I Get To Be Called A Man?”] And Sonny Terry and Brownie McGhee — who wouldn’t seem a natural fit with Meek’s very artificial style, but the echo he applies to Terry’s harmonica, in particular, gives it a haunting feel that really works, to my ears at least: [Excerpt: Sonny Terry and Brownie McGhee, “Key to the Highway”] But while Meek was becoming the best engineer in Britain, he was not getting on at all well with his boss. In large part this was because of the boss in question being extremely homophobic, so when Meek refused to work with assistants he perceived as incompetent and insisted on other ones, the boss assumed he wanted to work with people he fancied. In fact, Meek was just being a perfectionist — but he was also very prone to mood swings and stubbornness, and bursts of paranoia. He started to think that the people he was working with were stealing his ideas.  And he was having a lot of ideas. As well as close-micing instruments, adding compression as a sound effect, and adding extra echo, all of which were almost unknown in British studios at the time, he was also the first person in Britain to deliberately add distortion to a sound, and he also came up with a primitive method of multi-tracking, at a time when everything in British studios was recorded straight to mono. He would record a backing track, then play it back into the studio for the musicians to play along with, rerecording the backing track into another microphone. This way of working round the limitations of the studio ended up giving some of the records a swimmy sound because of loss of fidelity, but Meek leaned into that, and it became a signature of his music even after he eventually gained access to multi-track recording. So Meek knew he would have to move on from just being an engineer, working for a homophobe who also didn’t appreciate his talents. He needed to become a producer, and this is where Denis Preston came in. Preston was himself an independent record producer — the only one in Europe at the time. He would make records and only after they were recorded would he make an agreement with a record label to release them.  Meek wanted to go even further than Preston — he wanted to become the first independent producer *and engineer* in the UK. Up to this point, in Britain, the jobs of producer and engineer were separate. Meek had recently built a tiny studio in his flat, for recording demos, and he had cowritten a song, “Sizzling Hot”, that he thought had hit potential. He recruited a local skiffle band to record a demo of the song, and Preston agreed it had potential, and funded the recording of a proper version of the song: [Excerpt: Jimmy Miller, “Sizzling Hot”] Jimmy Miller, the singer of that song, was present at an event that shaped much of the rest of Joe Meek’s life. Now, I need to emphasise that when he reported this, Miller was talking many years later, so he may have exaggerated what actually happened, and I have no reason to think that what I’m about to describe actually involved anything supernatural. But the way Miller told the story, he, Meek, and a friend of Meek’s named Faud were conducting a seance in January 1958. Miller was shuffling and dealing tarot cards with one hand, while holding Meek’s hand with the other. Meek in turn was holding one of Faud’s hands, while Faud held a pen in the other hand and was performing automatic writing. As Miller told it, at one point he felt strange and gripped Meek’s hand so hard it drew blood, and at the same moment Faud wrote down the words “Feb 3, Buddy Holly dies”, in what looked to Miller like Miller’s own handwriting rather than Faud’s. Meek tried to get the record labels and publishers to warn Holly, but they didn’t. February the third 1958 came and went with no problem, but Meek was still worried, and so when Holly and the Crickets toured Britain in March that year, Meek waited outside the stage door and slipped Holly a bit of paper warning him. Holly apparently treated him politely, but he was later heard to joke on the radio about some of the strange things that had happened to him on tour, including being slipped this note. And then, on February the third 1959, Buddy Holly did die. Now, again, we only have Miller’s after the fact word that the seance predicted the exact date of Holly’s death, but it’s very clear that something happened that day that affected Meek deeply, and that he did make efforts to warn Holly. Meek was severely disturbed when Holly died, and while he had already been a fan of Holly’s, he was now something more. He was convinced that Buddy Holly was *important* to him in some way, and that Holly’s music, and Holly’s personality, were something he needed to study. Later on, he would become convinced that Holly’s ghost was talking to him. But for the moment, this, and Meek’s mood swings, didn’t affect things too much. He quit working at IBC and started his own studio, Landsdowne studio, which was funded and owned by Preston, but with equipment designed by Meek, who was to have the run of the place. His songwriting was starting to pay off, too. While “Sizzling Hot” hadn’t been a hit, Meek had written another song, “Put a Ring on Her Finger”, which had been recorded by Eddie Silver, and had been unsuccessful. But then Les Paul and Mary Ford had covered it in the US, and it had made the US top forty: [Excerpt: Les Paul and Mary Ford, “Put a Ring on My Finger”] And Tommy Steele had covered their version as the B-side of his top-ten UK hit cover of Richie Valens’ “Come on Let’s Go”.  But that success as a songwriter led to Meek leaving Lansdowne studios in November 1959. Denis Preston owned the publishing company that published Meek’s songs, and Meek started pestering him to take more songs. He did this in a recording session, and Preston told him to concentrate on the session and leave pitching songs to afterwards. Meek stormed out, leaving his assistant to finish the session, and Preston told him not to bother coming back — Meek was a great engineer and producer, but was just too difficult to work with. Luckily for Meek, his firing came at a time when he was in high demand in the industry. He’d just co-produced “What Do You Want to Make Those Eyes at Me For?” by Emile Ford and the Checkmates, which became both the first number one of the sixties and the first number one by a Black British artist: [Excerpt: Emile Ford and the Checkmates, “What Do You Want To Make Those Eyes At Me For?”] He had two more records in the top ten as well. But even so, he found it hard to get any more work, and so he spent his time working on an experimental album, I Hear a New World, which was inspired by the launch of the first Sputnik satellite and by his getting hold of a clavioline, the same kind of keyboard instrument that had been modified into the Musitron on “Runaway”.  I Hear A New World wasn’t a success, but it was the first attempt at something that would later become very big for Meek: [Excerpt: The Blue Men, “Magnetic Field”] I Hear a New World was eventually released as a limited-pressing EP and an even more limited pressing album by a new label that Meek set up with William Barrington-Coupe, Triumph Records. Triumph lasted less than a year. While working at the label, Meek did produce three hit singles, including “Angela Jones” by Michael Cox, which made the top ten: [Excerpt: Michael Cox, “Angela Jones”] But Meek soon became paranoid about Barrington-Coupe, and for once he may have been right. Most of the businesses Barrington-Coupe was involved with collapsed, he spent some time in prison for tax fraud in the mid-sixties, and he would later become involved in one of the great scandals to hit the classical music world. Before linking up with Meek, he had married the minor concert pianist Joyce Hatto, who had a reputation as being moderately, but not exceptionally, talented, and who recorded for Barrington-Coupe’s Saga Records: [Excerpt: Joyce Hatto and the New York Pro Arte Symphony, “Rhapsody in Blue”] While Hatto’s career continued into the seventies, both she and Barrington-Coupe then disappeared from public view.  Then, in 2002, Hatto started releasing what was the most extraordinary outpouring of music from any classical musician. She released over a hundred CDs in the next four years on a label owned by Barrington-Coupe, performing almost the entire major classical piano repertoire. She was only working in the studio — she was very ill — but she became a legend among lovers of classical music: [Excerpt: “Joyce Hatto” (Vladimir Ashkenazy), Brahms Piano Concerto #2] It was only after her death in 2006 that the truth came out — none of the recordings from her late golden period were actually of her. Barrington-Coupe had simply been taking other people’s recordings of these pieces — often recordings by relatively obscure musicians — and reissuing them under her name, with made-up conductors and orchestras.  That’s the kind of person that Barrington-Coupe was, and it suggests that Meek was correct in his suspicions of his business partner. But for a short time, Meek was happy at Triumph, and he set up a fruitful working partnership with Charles Blackwell, his young co-writer on “Sizzling Hot”, who worked as his arranger and would translate Meek’s ideas into music that other musicians could understand — Meek couldn’t play an instrument, or read music, or sing in tune. To write songs, Meek would often take an old rhythm track he happened to have lying around and record a new vocal on it, la-laing his way through a melody even if the chords didn’t go with it. Blackwell would take these demos and turn them into finished songs, and write string arrangements. So he was creatively happy, but he needed to move on. And while he quickly decided that Barrington-Coupe was a chancer who he shouldn’t be having any dealings with, he didn’t feel the same about Major Banks, who had provided the funding for Barrington-Coupe’s investment in Triumph. Banks came to Meek with a new idea — rather than have a record company, they would do like Denis Preston did and make records which they would then lease to the major labels. Meek would deal with all the music, and Banks with the money, and Banks would pay for Joe to move into a bigger flat, where he could have his own professional recording studio, which would be cheaper than recording in other studios, as he had been since he’d left Lansdowne. RGM Sound was born. Meek’s new studio was something utterly unheard of in Britain, and almost unheard of in the world. It was a three-storey flat above a shop on a residential street. He was recording in a normal home. The live room he used was a bedroom, and sometimes musicians would play in the hallway or the bathroom.  Other than odd amateur disc-cutting places, there was no such thing as a home studio in the Britain of the 1950s and sixties. Studios were large, purpose-built facilities run by very serious pipe-smoking men employed by major multinational firms, who wore lab coats if they were doing technical work or a suit and tie if they were on the creative side. The idea of making a record in someone’s bedroom was just nonsensical. Meek started making records with a new young songwriter named Geoff Goddard, who took on the stage name Anton Hollywood, and found a lucrative opportunity in a young Australian manager and agent named Robert Stigwood. Stigwood had a lot of actors on his books who had TV careers, and he wanted to promote them as all-round entertainers. He started sending them to Meek, who was good enough in the studio that he could make even the worst singer sound competent, and then one of them, John Leyton, got a part in a soap opera as a pop singer. Whatever his next record was, it would get the kind of TV exposure most acts could only dream of.  Goddard wrote a song called “Johnny Remember Me”, Blackwell came up with the arrangement, and Meek produced it and managed to get Leyton sounding like a singer: [Excerpt: John Leyton, “Johnny Remember Me”] It went to number one and sold half a million copies. But those lyrics about hearing a dead person’s voice were a sign of something that was eventually going to lead to tragedy. Goddard shared many of Meek’s obsessions. Goddard, like Meek, was a spiritualist, and he thought he could talk to the dead. The two started to hold regular seances, in which they would try to contact Buddy Holly, who Goddard believed had sent him “Johnny Remember Me” from the spirit world. Meek’s obsession with the undead also showed in some of the other records he was making, like the instrumental “Night of the Vampire” by the Moontrekkers: [Excerpt: The Moontrekkers, “Night of the Vampire”] The Moontrekkers did have a singer, but after hearing him audition, Meek came running into the room flapping his arms and blowing raspberries, because he thought he was too awful to record. Rod Stewart would have to wait a while longer for his recording career. In 1961, Meek put together a group for studio work. The group started because the lead guitarist of the Outlaws, one of the bands Meek produced, got sacked. Their bass player, Chas Hodges, later more famous as half of Chas & Dave, switched to guitar, and Meek had tried to replace him with a new bass player, one Heinz Burt. Heinz was someone who Meek was very attracted to — reports differ on whether they were lovers or not, but if not then Meek definitely wanted them to be — and Meek was moulding Heinz to be a future star, despite his lack of musical ability. While he was being groomed for stardom, he was made the bass player in the group — until Hodges decided he was going to switch back to bass, because Heinz couldn’t play. Alan Caddy, formerly of Johnny Kidd and the Pirates, became the new guitarist for the Outlaws, and then the group lost their drummer, who was replaced with Clem Cattini, Caddy’s old Pirates bandmate. By this point Chas Hodges was the only Outlaw left, and Meek really wanted to give Heinz a job, and so he took Caddy and Cattini and made them into a new group, for studio work, who were to be known as the Tornados, with Heinz on bass. Soon they added a rhythm guitarist, George Bellamy, and a keyboard player, Norman Hale. Larry Parnes was, as we saw in the last episode, always on the lookout for bands to back his stars, and so in 1962 the Tornados became Billy Fury’s backing band — something that was to cause problems for them more quickly than they imagined. At the time, it seemed like a great opportunity. They were going to record for Meek — both their own records and as the backing musicians for anyone else that Meek thought they’d work with — and they were going to tour with Fury, so they’d have regular work. And Meek saw it as an opportunity for him to possibly get involved with Fury’s recording career, which would have been a great opportunity for him had it worked out. The Tornados’ first single, “Love and Fury”, seems to have been named with this new association in mind: [Excerpt: The Tornados, “Love and Fury”] Unfortunately for the group, it wasn’t a hit. But then Meek got inspired. In July 1962, the first ever communications satellite, Telstar, was launched. For the first time in history, people could see events on the other side of the world broadcast live, and so Europeans got to see, in real time, a speech by President Kennedy and part of a baseball game. It’s hard now to imagine how revolutionary this was at the time, but this was a time when things like the Olympics were shown on twelve-hour delays or longer, as to show them the TV companies had to film them on actual film, and then fly the film over to the UK. Telstar was the future, and Meek, with his interest in space, was going to commemorate that. He took a song he’d recorded with Geoff Goddard, “Try Once More”: [Excerpt: Geoff Goddard, “Try Once More”] As was always his way with writing, he took that backing track, and sang a new melody over it: [Excerpt: Joe Meek, “Telstar (demo)”] He then got the keyboard player Dave Adams to work out the melody based on that demo, and recorded Adams playing that melody over a different pre-recorded backing track: [Excerpt: Dave Adams, “Telstar demo”] He then used that as the demo to show the Tornados what to play. They spent twelve hours in the studio recording the backing track, between Billy Fury shows, and then Meek got Goddard in to play piano and clavioline, and do some wordless vocals, as the Tornados didn’t have enough time between shows to finish the track by themselves. Meek then overdubbed the track with various backwards-recorded and echoed sound effects: [Excerpt: The Tornados, “Telstar”] “Telstar” entered the charts on the fifth of September, and reached number one on the tenth of October, the week after “Love Me Do” came out. It stayed there for five weeks, and as well as that it went to number one in America — the first British rock and roll record ever to do so. The follow-up, “Globetrotter”, also charted — and got into the top ten while “Telstar” was still there: [Excerpt: The Tornados, “Globetrotter”] Unfortunately, that was to be the high point for the Tornados. Larry Parnes, who was managing them, didn’t want them to take the spotlight away from Billy Fury, who they were backing — he let them play “Telstar” on stage, but that was it, and when they got offers to tour America, he insisted that Fury had to be on the bill, which caused the American promoters to back out. Not only that, but the other Tornados were getting sick of Meek putting all his attention into Heinz, who he was still trying to make into a solo star, recording songs like the Eddie Cochran tribute “Just Like Eddie”, written by Geoff Goddard and with a new young guitarist called Ritchie Blackmore, who was the guitarist in Chas Hodges’ latest lineup of Outlaws, playing lead: [Excerpt: Heinz, “Just Like Eddie”] And then in March 1963, the composer of a piece of French film music, “Le Marche d’Austerlitz”, sued Meek over “Telstar”s similarity to that tune: [Excerpt: Jean Ledrut, “Le Marche d’Austerlitz”] It was a frivolous suit — Meek had no way of having heard that piece, which was from a film which hadn’t been released in Britain — but it tied up all Meek’s royalties from “Telstar” for the next four years. Meek was still having hits — “Just Like Eddie” eventually made number five – for example, but in 1963 with the rise of Merseybeat he was having fewer and fewer. Not only that, but his mental health was getting worse and worse, especially after he was arrested for soliciting. He started getting more and more paranoid that people were stealing his ideas, and one by one he cut ties with business associates like Larry Parnes and Robert Stigwood. Heinz got a girlfriend, and everyone was in Meek’s bad books. But he was still turning out the hits, like “Have I The Right” by the Honeycombs: [Excerpt: The Honeycombs, “Have I the Right”] That went to number one, but meant the end of Meek’s association with Goddard — Goddard claimed that he had written the song, which was credited to the Honeycombs’ managers, and Meek thought he was just claiming this so he could avoid being associated with Meek now that his homosexuality was public knowledge after his arrest. Goddard ended up suing over the song. Meek was also just producing too much music in an attempt to remain on top. He’s often compared to Phil Spector, but in a three-year period Spector had twenty-one hit singles out of twenty-four releases. Meek, in the same period, had twenty-five hit singles — but released 141 singles, almost one a week. His failure rate in turn made record labels more and more wary of buying his tapes. By the mid-sixties, the hits were well and truly drying up. Meek was still producing a group called the Tornados, but it had none of the original members in and now featured guitarist Ritchie Blackmore and drummer Mitch Mitchell . This lineup of Tornados split up shortly after Meek pulled out a shotgun in the studio and aimed it at Mitchell’s head, saying he’d shoot him if he didn’t get the drum part right. Meek’s final important record was in mid 1966, when he finally jumped on the Merseybeat bandwagon two years late, with “Please Stay” by the Cryin’ Shames, the most popular band in Liverpool at the time: [Excerpt: The Cryin’ Shames, “Please Stay”] Unfortunately, that only made the lower reaches of the top thirty. Meek was getting deeper and deeper in debt, and his mental health was getting worse. He was seriously considering quitting as an independent producer and taking a steady job with EMI instead. And then, a tragic event happened which eventually led to the unravelling of Meek’s entire life. Meek was already in a very low place when he learned of the murder of sixteen-year-old Bernard Oliver, a young gay teenager who Meek had known (reports vary on how well they knew each other, with some saying that Oliver had done some work for Meek at his studio, while others say they just vaguely knew each other). The murder, which has still never been solved, was a major news story at the time, and it led to a massive increase in police harassment of anyone who was known to be gay, especially if they knew Oliver — and Meek had a conviction. Meek already believed he was being spied on and that his phone was being tapped, and now the world started giving him reason to think that — strange cars parked outside his house, almost certainly undercover police spying on him.  On February the second, 1967, the PRS received a letter from the French performing rights society, saying that Meek’s problems with the Telstar lawsuit would soon be over — the court had determined that no matter what had happened, the composer of “Le Marche d’Austerlitz” would only be entitled to a small percentage of the royalties from “Telstar” at most. Frederick Woods, the assistant general manager of the PRS and a friend of Meek’s, put the letter aside intending to call Meek and tell him the good news — all he had to do was to write to the PRS and they’d be able to give him an advance on the money, and soon almost all of it would be coming through. He’d soon be getting the bulk of the £150,000 he was owed — nearly three million pounds in today’s money. But Woods got distracted and didn’t make the phone call, and Meek never found out that his money troubles were nearly over.  Ritchie Blackmore’s wife Margaret called round to see Joe, as she sometimes did. He was apparently not in his right mind, talking a lot about black magic and comparing Margaret to Frieda Harris, one of Aleister Crowley’s associates. He was convinced people were stealing his ideas from his mind, and asked her to leave. While she was there, she saw him destroying correspondence and paintings he owned. The next morning, February the third, Meek asked his assistant to get his landlady, Violet Shenton, up to Meek’s office. There was some shouting from Meek, and then he turned a gun he had, which was owned by Heinz, on Mrs. Shenton and killed her. Meek’s assistant ran into the room, but before he could get to Meek, Meek shot himself, dying instantly. It was the eighth anniversary of Buddy Holly’s death. The lawsuit over “Telstar” was finally resolved just three weeks later, in Meek’s favour. There’s a plaque now at the building where Meek’s studio was. It says that Joe Meek, “the Telstar man”, “Lived, worked, and died here”. It doesn’t mention Violet Shenton. After all, she wasn’t a great male genius, just the male genius’ female victim.

La European Union Youth Orchestra (o Orchestra Giovanile dell'Unione Europea) nasce nel 1976 a seguito di una votazione all'unanimità del Parlamento Europeo, e il maestro Claudio Abbado ne è il primo direttore musicale. Da allora l'Orchestra seleziona ogni anno i suoi membri con audizioni aperte a giovani tra i 16 e i 26 anni di tutti gli stati membri dell'UE, organizzando tournée in tutto il mondo con alcuni tra i migliori direttori d'orchestra e solisti, tra cui, ad esempio, Daniel Barenboim, Leonard Bernstein, Herbert von Karajan, Bernard Haitink, Mstislav Rostropovich, Vladimir Ashkenazy emolti altri ancora.L'Orchestra ha iniziato il 2020 con il concerto di apertura del World Economic Forum a Davos, diretto da Marin Alsop. Silvia Bernardi incontra il direttore Gianandrea Noseda e tre giovani musicisti che raccontano la loro esperienza di ambasciatori europei della cultura.In collaborazione con Euranet Plus.

La European Union Youth Orchestra (o Orchestra Giovanile dell'Unione Europea) nasce nel 1976 a seguito di una votazione all'unanimità del Parlamento Europeo, e il maestro Claudio Abbado ne è il primo direttore musicale. Da allora l'Orchestra seleziona ogni anno i suoi membri con audizioni aperte a giovani tra i 16 e i 26 anni di tutti gli stati membri dell'UE, organizzando tournée in tutto il mondo con alcuni tra i migliori direttori d'orchestra e solisti, tra cui, ad esempio, Daniel Barenboim, Leonard Bernstein, Herbert von Karajan, Bernard Haitink, Mstislav Rostropovich, Vladimir Ashkenazy emolti altri ancora.L'Orchestra ha iniziato il 2020 con il concerto di apertura del World Economic Forum a Davos, diretto da Marin Alsop. Silvia Bernardi incontra il direttore Gianandrea Noseda e tre giovani musicisti che raccontano la loro esperienza di ambasciatori europei della cultura.In collaborazione con Euranet Plus.

La European Union Youth Orchestra (o Orchestra Giovanile dell'Unione Europea) nasce nel 1976 a seguito di una votazione all'unanimità del Parlamento Europeo, e il maestro Claudio Abbado ne è il primo direttore musicale. Da allora l'Orchestra seleziona ogni anno i suoi membri con audizioni aperte a giovani tra i 16 e i 26 anni di tutti gli stati membri dell'UE, organizzando tournée in tutto il mondo con alcuni tra i migliori direttori d'orchestra e solisti, tra cui, ad esempio, Daniel Barenboim, Leonard Bernstein, Herbert von Karajan, Bernard Haitink, Mstislav Rostropovich, Vladimir Ashkenazy emolti altri ancora.L'Orchestra ha iniziato il 2020 con il concerto di apertura del World Economic Forum a Davos, diretto da Marin Alsop. Silvia Bernardi incontra il direttore Gianandrea Noseda e tre giovani musicisti che raccontano la loro esperienza di ambasciatori europei della cultura.In collaborazione con Euranet Plus.

durée : 01:27:54 - Joyeux anniversaire Hélène Grimaud (2/3) - par : François-Xavier Szymczak - Hélène Grimaud, l’amie des loups, se fait concertante aux côtés de Kurt Masur, Vladimir Ashkenazy, Esa-Pekka Salonen ou Pierre Boulez. - réalisé par : Céline Parfenoff

In this very special episode, I'm speaking with violinist and pedagogue Simon Fischer, who is recognized world-wide as a performer, educator and recording artist, and who's published work greatly influences the teaching of the violin. In this conversation Simon talks to us in details about the fundamentals of high quality practice and performance preparation, and shares incredible wisdom on various aspects of efficient learning.   Join my FREE 3-day training: The Performance Makeover Masterclass Monday 4/20 through Wednesday 4/22 11 am CT / 12pm ET I can't wait to discuss optimal performance with you! Sign up here: https://mailchi.mp/f2552e4cb885/performancemakeover       MORE ABOUT SIMON FISCHER: Website: https://www.simonfischeronline.com/ YouTube channel: https://www.youtube.com/channel/UCqleyIypa4AsYxW1bnOYGoQ Facebook: https://www.youtube.com/channel/UCqleyIypa4AsYxW1bnOYGoQ Simon's INCREDIBLE books: https://www.simonfischeronline.com/store/c1/Featured_Products.html   Simon Fischer is recognised as one of the pre-eminent musicians of our time, enjoying a distinguished and wide-ranging career as a performer, educator and recording artist. As a recitalist he has performed in the UK, the USA, Europe and Australia, at venues including the Wigmore Hall and the Purcell Room. Alongside standard repertoire he delights audiences by performing his own transcriptions of famous works by composers such as Tchaikovsky, Mendelssohn, Johann Strauss, Rossini and Purcell.  For many years Simon played duo recitals with his father, the pianist Raymond Fischer. Amongst UK and foreign touring projects they played the three Brahms Sonatas in a live broadcast from Sydney, Australia. These Sonatas have also been recorded on CD, receiving high praise in Gramophone Magazine. Simon Fischer has frequently played as soloist or leader/soloist with major orchestras including the Philharmonia, Royal Philharmonic, BBC Philharmonic, Scottish Chamber and the Ulster Orchestra, working with celebrated conductors such as Vladimir Ashkenazy, Sir Charles Groves, Richard Hickox, Andrew Litton, Sir Yehudi Menuhin, Yan-Pascal Tortelier and André Previn.  As a chamber musician he was leader of the Chamber Group of Scotland, with whom he gave many broadcasts and concerts of contemporary music, and worked closely with composers such as Sally Beamish and James MacMillan. He has directed the European Union Chamber Orchestra on tours including to Korea, China and Ireland. Simon Fischer is recognised as having a place amongst the world's elite teachers. Having studied in London with Yfrah Neaman, and in New York with Dorothy DeLay, Fischer's approach unites the best elements of the French, Russian and American violin traditions. He is a professor at the Guildhall School of Music. He has also held positions at three specialist music schools, the Yehudi Menuhin, Wells Cathedral and Purcell, For 15 years he was also a visiting professor at the Royal Scottish Academy of Music. Fischer's published work greatly influences the teaching of the violin. Having written for The Strad magazine from 1991-2014, his monthly articles attracted a worldwide following. Published by Edition Peters, his technique books Basics and Practice, Scales and The Violin Lesson (translated variously into Korean, Italian, Japanese and German),  have become standards on many continents - as has his DVD The Secrets of Tone Production, His book and DVD Warming Up, was described by The Strad magazine as "23 pages of pure technical gold". In 2014 Simon Fischer was awarded the European String Teachers Association prize "In celebration of a lifetime contribution to String Teaching". In conjunction with his playing engagements he frequently gives masterclasses and workshops . Recent residencies have taken place in the USA, Holland, Italy, Norway, Ireland, Hong Kong, Germany and Australia. Simon Fischer plays a violin by Peter Guarnerius of Venice from c. 1732.   Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

durée : 01:58:30 - invitée : Amandine Beyer, violoniste - par : Lionel Esparza - Nous avons le plaisir de recevoir la talentueuse violoniste Amandine Beyer dans Relax! ce jeudi. Et à 16h, notre disque de légende est l'intégrale des Préludes de Rachmaninov par le pianiste Vladimir Ashkenazy. - réalisé par : Antoine Courtin

durée : 00:12:08 - Disques de légende du jeudi 27 février 2020 - Parue en 1976 sur le label Decca, cette intégrale des Préludes de Sergueï Rachmaninov par le pianiste Vladimir Ashkenazy est devenue très rapidement une grande version de référence.

I 1958 optrådte den russiske pianist Vladimir Ashkenazy for første gang i USA. Han var bare 21 år, da han gav koncert sammen med USA's hotteste klassiske musiknavn, dirigenten Leonard Bernstein, der netop var tiltrådt som chefdirigent for New York Filharmonikerne.Ved samme koncert dirigerede Bernstein det endnu ret ukendte mesterværk Arcana, skrevet i 1920'erne af Edgar Varèse - og barokmusik af Vivaldi!Prokofjev: Klaverkoncert nr. 2.Varèse: Arcana.Vivaldi: Dobbeltkoncert, C-dur, 1. sats.Schumann: Symfoni nr. 4.Vladimir Ashkenazy, klaver.New York Filharmonikerne.Dirigent: Leonard Bernstein.(Optagelse fra Carnegie Hall, New York, 29. november 1958). Vært: Rie Koch. www.dr.dk/p2koncerten

durée : 01:59:00 - Relax ! du jeudi 06 février 2020 - par : Lionel Esparza - On dresse le portrait du grand pianiste et chef d'orchestre russe Vladimir Ashkenazy, qui a mis un terme à sa carrière le 17 janvier dernier. Et notre disque de légende est la version mythique des Concertos Brandebourgeois de Jean-Sébastien Bach enregistrée par le violoniste Adolf Busch en 1935. - réalisé par : Antoine Courtin

durée : 01:27:54 - Joyeux anniversaire Hélène Grimaud (2/3) - par : François-Xavier Szymczak - Hélène Grimaud, l’amie des loups, se fait concertante aux côtés de Kurt Masur, Vladimir Ashkenazy, Esa-Pekka Salonen ou Pierre Boulez. - réalisé par : Céline Parfenoff

Today, I'm very excited to have the brilliant violinist, violist, and conductor Julian Rachlin on the show! At the end of this very busy week, playing with and conducting the Chicago Symphony, Julian graciously took the time to sit with me and discuss meticulous practicing, mindful music-making, and his deep love of the art form! He covers many topics, including studying with Boris Kuschnir and Mr. Kuschnir's thorough approach to mastering the instrument, his views on the lifelong path that is growing as an artist, his daily practice regimen, and how playing the viola and conducting have allowed him to explore music from different angles. Julian elaborates on: How he believes we are never done learning How the fact that his parents never made him practiced helped foster his deep love of music His daily practice regimen Why the responsibility to grow as an artist lies with the student How musicians are a community How playing the viola and conducting allow him to explore music from different angles Why we should brush our taste as often as we brush our teeth Finding the right balance between being completely open-minded and fully convinced (and when to be which)   MORE ABOUT JULIAN RACHLIN: Website: http://www.julianrachlin.com/ YouTube channel: https://www.youtube.com/channel/UCm_Eyb3YAt3m7_ic4VTA84A Facebook: https://www.facebook.com/julianrachlin/ Instagram: https://www.instagram.com/julianrachlin/ Elisabeth Gilels: Daily Exercises for the Violinist Boris Kuschnir: http://www.boriskuschnir.com/   Violinist, violist and conductor Julian Rachlin is one of the most exciting and respected musicians of our time. In the first thirty years of his career, he has performed as soloist with the world's leading conductors and orchestras. Mr. Rachlin is Principal Guest Conductor of the Royal Northern Sinfonia, Turku Philharmonic Orchestra and Kristiansand Symphony Orchestra. He also leads the "Julian Rachlin & Friends Festival" in Palma de Mallorca. Highlights of Mr. Rachlin's 2018/19 season include performances with the St. Petersburg Philharmonic and Mariss Jansons, Montreal Symphony Orchestra and Christoph Eschenbach, Boston Symphony Orchestra and Juanjo Mena, Pittsburgh Symphony Orchestra and Manfred Honeck, as well as the KBS Symphony Orchestra and Myung-Whun Chung. Alongside soloist Sarah McElravy and the Royal Northern Sinfonia, he will perform the UK premiere of Penderecki's Double Concerto for Violin and Viola, which is dedicated to him. Additionally, Mr. Rachlin will conduct among others the Vienna Symphony Orchestra, Berlin Konzerthaus Orchestra, Naples Philharmonic, Moscow Philharmonic, St. Petersburg Symphony, Essen Philharmonic, Strasbourg Philharmonic, Slovenian Philharmonic, Zagreb Philharmonic and Trondheim Symphony Orchestra. Julian Rachlin's recent highlights include a residency at the Prague Spring Festival and his own cycle at the Vienna Musikverein. He also performed with the St. Petersburg Philharmonic Orchestra and Yuri Temirkanov, Filarmonica della Scala and Riccardo Chailly, Munich Philharmonic and Zubin Mehta, Philharmonia Orchestra and Jakub Hrůša, Orchestra del Maggio Musicale and Vladimir Ashkenazy, as well as the Vienna Symphony Orchestra and Lahav Shani. As conductor, he toured Europe with the English Chamber Orchestra, and led the Royal Northern Sinfonia across South America and Japan. Additionally, he conducted the State Academic Symphony Orchestra of Russia, Hungarian National Philharmonic, Royal Liverpool Philharmonic Orchestra, Orchestra della Svizzera Italiana, National Taiwan Symphony Orchestra, Prague Philharmonia, and made his USA conducting debut at the Grand Teton Music Festival. In recital and chamber music, Mr. Rachlin performs regularly with Itamar Golan, Denis Kozhukhin, Denis Matsuev, Mischa Maisky, Sarah McElravy, Vilde Frang and Janine Jansen. Born in Lithuania, Mr. Rachlin immigrated to Vienna in 1978. He studied violin with Boris Kuschnir at the Vienna Conservatory and with Pinchas Zukerman. After winning the "Young Musician of the Year" Award at the Eurovision Competition in 1988, he became the youngest soloist ever to play with the Vienna Philharmonic, debuting under Riccardo Muti. At the recommendation of Mariss Jansons, Mr. Rachlin studied conducting with Sophie Rachlin. Since September 1999, he is on the violin faculty at the Music and Arts University of Vienna. His recordings for Sony Classical, Warner Classics and Deutsche Grammophon have been met with great acclaim. Mr. Rachlin, a UNICEF Goodwill Ambassador, is committed to educational outreach and charity work. Julian Rachlin plays the 1704 "ex Liebig" Stradivari and a 1785 Lorenzo Storioni viola, on loan to him courtesy of the Dkfm. Angelika Prokopp Privatstiftung. His strings are kindly sponsored by Thomastik-Infeld.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Soprano Renee Fleming, pianist and conductor Vladimir Ashkenazy, and agent Jasper Parrott pay tribute to Andre Previn who passed away on 28th February. Also on the podcast, live music from supreme Bach master Angela Hewitt, baritone Roderick Williams on shifting perspectives in Schumann’s songs, plus cellist Jamal Aliyev and pianist Jâms Coleman debate the perfect driving soundtrack.

Young Czech conductor Jakub Hrusa talks to Tom Service about starting out, life at the helm of Bamberg Symphony Orchestra and the special relationship he has with the music and musicians of the Czech Republic. Fifty years after it was written, composer Matthew Shlomowitz gets inside Luciano Berio's Sinfonia - a patchwork of borrowed musical fragments written for orchestra and amplified voices - and asks what it all means. For the latest in our Hidden Voices series, in which we shine a spotlight on musical figures from the past who we think should be better known, we explore the extraordinary life and work of Brazilian composer, conductor and pianist Chiquinha Gonzaga (pictured). She wrote over 2000 pieces including 77 operettas and a song that would become a classic in the carnivals of Brazil. Gabriella Di Laccio, soprano and founder of ‘Donne: Women in Music’, and pianist André Mehmari tell Gonzago's story. Plus, we find out about the hardest decision that some of the world’s finest musicians will ever make: when’s it time to take your final bow? Tom explores how musicians decide when to give up their performing careers and what comes next, with contributions from soprano Dame Anne Evans, pianist Vladimir Ashkenazy, horn player Sarah Willis and artist manager Thomas Hull.

"You expect Frank Sinatra to sing this sort of music, these sorts of harmony changes. But it’s a Prokofiev Violin Concerto." - violinist Pekka Kuusisto on Prokofiev's First Violin Concerto Pekka Kuusisto takes a very personal look at Prokofiev's light-filled First Violin Concerto, which he performs with the Philharmonia Orchestra, conducted by Vladimir Ashkenazy in May 2018: https://www.philharmonia.co.uk/concerts/series/68/voices_of_revolution_russia_1917

Den tjeckiske slaktarsonen blev en ojämförlig melodimakare, beundrad av den äldre Brahms och förebild för kvinnliga amerikanska symfoniker. Lyssna på alla avsnitt i Sveriges Radio Play. Musiken som hörs i programmet: Humoresque i g-moll – Fritz Kreisler Serenad för stråkar op 22, sats 2 – Wiener Philharmoniker, Myung Whun Chun Pianokvintett nr 2 a-moll, sats 2 – Concertante Symfoni nr 9. Sats 2 – Vladimir Ashkenazy, Tjeckiska Filharmoniska Orkestern Harry T. Burleigh – Go Down Moses Brinnande Cello ur Häxorna i Eastwick (cellokonserten) Sången till månen, ur Rusalka, Renee Fleming, LSO, Solti

Den tjeckiske slaktarsonen blev en ojämförlig melodimakare, beundrad av den äldre Brahms och förebild för kvinnliga amerikanska symfoniker. Musiken som hörs i programmet: Humoresque i g-moll Fritz Kreisler Serenad för stråkar  op 22, sats 2 Wiener Philharmoniker, Myung Whun Chun  Pianokvintett nr 2 a-moll, sats 2 Concertante Symfoni nr 9. Sats 2 Vladimir Ashkenazy, Tjeckiska Filharmoniska Orkestern Harry T. Burleigh Go Down Moses Brinnande Cello ur Häxorna i Eastwick (cellokonserten) Sången till månen, ur Rusalka, Renee Fleming, LSO, Solti

I programmet diskuteras pianisten Leif Ove Andsnes som spelar Sibelius, Cornelius Meisters version av Martinus sex symfonier samt Händels Messias med Gary Graden på pulten. Stor pianist i Sonnys val I panelen Boel Adler, Camilla Lundberg och Niklas Lindblad som tillsammans med programledaren Johan Korssell betygsätter följande skivor: GEORG FRIEDRICH HÄNDEL Messias Kerstin Avemo, Anna Zander, Michael Weinius, Karl-Magnus Fredriksson S:t Jacobs kammarkör Rebaroque Gary Graden, dirigent Proprius PRCD 2080 JEAN SIBELIUS Pianostycken Leif Ove Andsnes, piano Sony 88985408502 BOHUSLAV MARTINU De sex symfonierna Österrikiska radions symfoniorkester Cornelius Meister, dirigent Capriccio C 5320 Sonnys val I somras fyllde pianisten Vladimir Ashkenazy 80 år och Musikrevyns Sonny Jansson uppmärksammar detta genom att välja och spela valda delar ur en nyutkommen box med 48 CD, The Complete Piano Concerto Recordings. Johan Korssell är bollare och bisittare. Boxen är utgiven på Decca.  Referensen Johan jämför med och refererar till en inspelning av Händels Messias med solisterna Erin Wall, Elizabeth Deshong, Andrew Staples och John Relyea tillsammans med Toronto Mendelssohn Choir och Torontos symfoniorkester ledda av Andrew Davis. Inspelningen gjordes på Chandos.  Andra i programmet nämnda eller rekommenderade inspelningar: Sibelius pianomusik med Glenn Gould inspelad på skivmärkena Columbia och Sony Classical samt med pianisten Folke Gräsbeck på Bis. Martinus symfonier med Tjeckiska filharmonin under ledning av Karel Ancerl på Supraphon; BBCs symfoniker ledd av Jiri Belohlavek på Onyx Classics; Bambergs symfoniker dirigerad av Neeme Järvi på Bis samt med Tjeckiska filharmonin ledd av Vaclav Neumann på Supraphon. Martínus Klagosång över en förlorad maka Händels Messias med solister, Toronto Mendelssohn Choir och Torontos symfoniorkester under ledning av Andrew Davis på Chandos (Referensen); Händels Messias i Mozarts arrangemang.  Svepet Johan sveper över ett album med samlingstiteln Mirages där den franska sopranen Sabine Devieilhe sjunger arior, duetter och sånger. Skivan är inspelad på Erato.

I programmet diskuteras Bachs franska sviter med Ashkenazy, Vivaldis och Haydns Årstiderna; violinkonserter resp. oratorium samt Stravinskys Historien om en soldat. Magnus väljer ur 1900-talsboxar. I panelen Bodil Asketorp, Hanns Rodell och skådespelaren Katarina Ewerlöf som tillsammans med programledaren Magnus Lindman betygsätter följande skivor: JOHANN SEBASTIAN BACH Franska sviterna Vladimir Ashkenazy, piano Decca 00289 483 2150 JOSEPH HAYDN Årstiderna Carolyn Sampson, Jeremy Ovenden, Andrew Foster-Williams National Forum of Music Choir Wroclaw Baroque Orchestra Gabrieli Consort and Players Paul McCreesh, dirigent Signum SIG CD 480 ANTONIO VIVALDI FRANTISEK JIRÁNEK De fyra årstiderna Violinkonsert d-moll Ars Antiqua Austria Gunar Letzbor, dirigent Challenge Classics CCD 72700 IGOR STRAVINSKY Historien om en soldat Harriet Walter, Harrison Birtwistle, George Benjamin Royal Academy of Music Manson Ensemble Oliver Knussen, dirigent Linn CKD 552 Referensen Vivaldi Magnus refererar till och jämför med en inspelning av Vivaldis Årstiderna med violinisten Alan Loveday och Academy of Saint-Martin-in-the-Fields, allt under ledning av Neville Marriner. Inspelad på skivmärke Argo. Magnus val Magnus väljer och spelar valda delar ur två (!) boxar med 28 resp. 26 CD; Shaping the Century vol 1, 1900-1949 och vol 2, 1950-2000, vilka innehåller 1900-talsmusik av olika karaktär och upphov. Alla inspelade på Decca och DG och är utgivna på dito.  Andra i programmet nämnda eller rekommenderade inspelningar: Vivaldis Årstiderna med Nils Erik Sparf och Drottningholms barockensemble inspelad på Bis; Fabio Biondi och Europa Galante på Opus 111; Il Giardino armonico på Teldec samt med Alan Loveday och Academy of Saint-Martin-in-the-Fields allt under Neville Marriner på Argo (Referensen). Stravinskys Historien om en soldat med Gérard och Guillaume Depardieu som Djävulen respektive Soldaten och med Shlomo Mintz vid rodret utgiven på märket Valois. Bachs franska sviter med Glenn Gould på skivmärket Sony Classical, Andrej Gavrilov på DG samt med András Schiff på Decca. Haydns Årstiderna med bl.a. Marlis Petersen, RIAS kammarkör och Freiburgs barockorkester allt under René Jacobs på Harmonia Mundi  samt med bl.a. Barbara Bonney, Monteverdi-kören och Engelska barocksolisterna ledda av John Eliot Gardiner på Archiv.  Inget Svep denna vecka

For the next two weekends, every aspect of the composer Frédéric Chopin will be examined at the annual Bard Music Festival, up the Hudson. It has WNYC's Sara Fishko considering the sources of that composer's inspiration, in this edition of Fishko Files. "Chopin and His World" opens tomorrow at Bard. For more details, visit their website. Jan Lisiecki's Chopin: Works for Piano & Orchestra is available on Amazon. Featured Music: Frédéric ChopinÉtude Op. 10, No. 5 in G flat minorJan Lisiecki, piano Johann Sebastian BachCapriccio in B flat major, BWV 992 – III: AdagissimoWilhelm Kempff, piano (1976) Gaetano DonizettiAl Dolce Guidami (from “Anna Bolena”)Maria CallasConducted by Nicola Rescigno Frédéric ChopinNocturne Op. 15, No. 1 in F majorMaria João Pires, piano Vincenzo BelliniCasta Diva (from “Norma”)Renée FlemingConducted by Sir Charles Mackerras Frédéric ChopinMazurka Op. 33, No. 2 in D majorVladimir Ashkenazy, piano Frédéric ChopinVariations on “Là ci darem la mano” from Mozart’s Don Giovanni, Op. 2 – Var. IJan Lisiecki, piano Frédéric ChopinÉtude Op. 10, No. 11 in E flat majorJan Lisiecki, piano Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Bill MossEditor: Karen Frillmann

Au micro de Stéphan Bureau: L'actualité de la semaine revue par Carole Beaulieu et Vicent Marissal; Geneviève Lajeunesse-Trinque nous suggère des applications mobiles à télécharger pour le plein-air; Entrevue avec Guy Laflamme et Jean-Baptiste Hardoin pour le spectacle Kontinuum créé par Moment Factory et présenté dans le cadre des festivités du 150e anniversaire d'Ottawa; À notre plateau culturel, Helen Faradji et Georges Privet nous parlent des film De père en flic 2, La guerre de la planète des singes, Weirdos et Check It et la série télé The Deuce, Pascale Lévesque a vu The Who et Michel Louvain au Festival d'été de Québec, Frédéric Lambert nous fait écouter Vladimir Ashkenazy avec les Suites françaises de Bach et Shakey Graves avec Nobody's Fool and the Donor Blues, Élyse Lambert nous propose un blanc tout en fraîcheur et un rouge parfait pour le BBQ et une entrevue avec le pianiste Marc-André Hamelin.

I programmet diskuteras Jérémie Rhorers tolkning av Mozarts Titus, Sjostakovitjs 24 preludier och fugor samt Blomstedt som dirigerar Beethovens nia. Vivaldis årstider i mindre skala samt Svepet. I panelen sitter David Björkman, Kati Raitinen och Sofie Almroth som tillsammans med programledaren Johan Korssell betygsätter följande skivor: LUDWIG VAN BEETHOVEN Symfoni nr 9 d-moll Simona Saturová, sopran, Mihoko Fujimura, alt, Christian Elsner, tenor och Christian Gerhaher, baryton MDR Radiokör, Gewandhaus Chor & Kinderchor Gewandhausorchester Herbert Blomstedt, dirigent Accentus Music ACC 20381 (DVD) W A MOZART La Clemenza di Tito, Titus mildhet Kurt Streit, Karina Gauvin, Julie Fuchs m.fl. Ensemble Aedes Le Cercle de lHarmonie Jérémie Rhorer, dirigent Alpha Classics ALPHA 270 DMITRI SJOSTAKOVITJ 24 Preludier och fugor Peter Donohoe, piano Signum Classics SIGCD 396 (2 CD) I mindre skala Johanna Paulsson och Alexander Freudenthal skärskådar ett antal arrangemang i stort och smått samt vänder och vrider på exempel ur Vivaldis De fyra årstiderna.  Andra i programmet nämnda eller rekommenderade inspelningar: Sjostakovitjs preludier och fugor med Alexander Melnikov på Harmonia Mundi; Tatjana Nikolajeva på Hyperion; Vladimir Ashkenazy på Decca samt med Keith Jarrett på ECM. Sjostakovitjs fjärde stråkkvartett komponerad samtidigt som preludierna och fugorna. Mozarts Titus med solister och Freiburgs barockorkester under ledning av René Jacobs på skivmärke Harmonia Mundi. Beethovens nionde symfoni med Dresdens statskapell under Herbert Blomstedt på skivmärket Brilliant.  Svepet Johan sveper över och spelar valda delar ur två album. Det första innehåller Bachs Goldbergvariationer med pianisten Beatrice Rana på skivmärke Warner Classics. Det andra innehåller Szymanowskis Litania till Jungfru Maria; Stabat Mater samt Symfoni nr 3, Song of the Night i framförande av Warsawas symfoniorkester ledda av Jacek Kaspszyk. Skivmärke Warner Classics.  Referensen Johan refererar till och jämför med Szymanowskis Stabat Mater framförd av Birminghams symfoniorkester under ledning av Simon Rattle i två utgivningar på EMI och Warner Classics.

I programmet diskuteras Violinsonater av Brahms med Tetzlaff och Vogt, ovanliga rekvier av Cherubini och Plantade samt Job och den nionde symfonin av Vaughan Williams. Hanna väljer 4 countertenorer. I panelen Alexander Freudenthal, Bengt Forsberg och Måns Tengnér som tillsammans med programledaren Johan Korssell betygsätter följande skivor: RALPH VAUGHAN WILLIAMS Job och Symfoni nr 9 Bergens filharmoniker Andrew Davis, dirigent Chandos CHSA 5180 JOHANNES BRAHMS Violinsonaterna Christian Tetzlaff, violin Lars Vogt, piano Ondine ODE 1284-2 REKVIER Musik av Cherubini och C-H Plantade Le Concert Spirituel Hervé Niquet, dirigent Alpha ALPHA 251 Referensen Johan jämför med och refererar till en inspelning av Vaughan Williams nionde symfoni med Londons symfoniorkester under ledning av André Previn, inspelad år 1968 på RCA.  Hannas val Hanna Höglund väljer ur fyra nya countertenor-album: Iestyn Davies sjunger Bach, Mikael Bellini sjunger ur Kent Olofssons kammarverk "Champs detoile" utgiven på dB Productions; Philippe Jarousskys med tema Orfeus på Erato samt ur svenskboende venezuelanen Rodrigo Sosas Dal Pozzos "Pure haute-contre på egen utgåva. Andra i programmet nämnda eller rekommenderade inspelningar: Brahms violinsonater med Christian Tetzlaff och Lars Vogt i live-version på EMI; Itzhak Perlman och Vladimir Ashkenazy på EMI; Nils-Erik Sparf och Elisabeth Westenholz på Bis; Viktoria Mullova och Piotr Anderszewski på Philips; David Ojstrach och Frieda Bauer på märket Praga; Josef Suk och Julius Katchen på Decca samt med Henryk Szeryng och Artur Rubinstein på RCA. Cherubinis Requiem c-moll med Ambrosian Singers och Philharmonia Orchestra, London under ledning av Riccardo Muti på EMI. Vaughan Williams balett Job med både Londons filharmoniker och Londons symfoniorkester under Adrian Boult på bl.a. EMI samt med Londons filharmoniker ledd av Vernon Handley på EMI. Vaughan Williams nionde symfoni med Sovjetiska kulturministeriets symfoniorkester, Moskva ledd av Gennadij Rozjdestvenskij på Melodija; Londons filharmoniker ledda av Adrian Boult på Decca; Leopold Stokowski med egna orkestern från en radioupptagning i New York 1958 samt med BBCs symfoniorkester under ledning av Andrew Davis på Warner Classics.  Svepet Den här veckan sveper Johan över två album. På det ena spelar pianisten Alexander Melnikov Prokofjevs pianosonater nr 2, 6 och 8 i en utgåva på Harmonia Mundi. På det andra betitlad 4 x Anders Eliasson, framför Norrbotten Neo fyra verk av Anders Eliasson, utgiven på Bis.

是的，你没看错，不一定音乐广播又作死地开新坑了！早在去年九十月份，勺子和小马就计划做一期有关“流行歌中的古典音乐”的节目，结果档期后延就一直推到了最近。准备节目的时候我们发现，可以选的歌实在太！多！了！于是我们做了一个大胆的决定，那就是开启系列节目。 本期先从勺子熟悉的作曲家肖邦开始。 波兰作曲家肖邦被誉为“钢琴诗人”，最著名的作品是周杰伦的《夜曲》（大误！）——不过肖邦的音乐在年轻一辈中的推广，除了要感谢李云迪，也多亏了周杰伦（虽然《十一月的萧邦》中根本没有引用肖邦的任一首作品）。肖邦同样是诸多其他通俗音乐人的心头爱，本期节目，小马和勺子将带您领略现代流行乐中焕发新生的肖邦旋律。 弗雷德里克·弗朗索瓦·肖邦（1810年3月1日－1849年10月17日），波兰作曲家和钢琴家，他是历史上最具影响力和最受欢迎的钢琴作曲家之一，是波兰音乐史上最重要的人物之一，是欧洲19世纪浪漫主义音乐的代表人物。   本期歌单 Maurizio Pollini - 练习曲，作品10：第3号，“离别” 1. 陈珊妮 Feat. 田馥甄 - 离别曲 @ 如果有一件事情是重要的 (2008) 2. Jo Stafford - No Other Love (1950) 3. Ken Dodd - So Deep Is The Night (1964) Vladimir Ashkenazy - 肖邦：练习曲，作品25：第11号，“冬风” 4. 廖隽嘉 - 等等等等 @ 钢琴女生 (2005) 李云迪 - 肖邦：前奏曲，作品28，第20号，“葬礼进行曲” 5. Take That - Could It Be Magic @ Take That & Party (1992) Martha Argerich - 肖邦：前奏曲，作品28，第4号，“窒息” 6. Radiohead - Exit Music (For a Film) @ OK Computer (1997) Arthur Rubinstein - 肖邦：波兰舞曲，降A大调，作品53，“英雄” 7. The Doors - Hyacinth House (1971) 朗朗 - 肖邦：圆舞曲，降D大调，作品64，第1号，“小狗” 8. Barbra Streisand - The Minute Waltz @ Color Me Barbra (1966)

Picks from across the week on In Tune including Vladimir Ashkenazy, saxophonist Courtney Pine, baritone Christopher Purves, klezmer band She'Koyokh, and pianolist Rex Lawson.

Legendary pianist Vladimir Ashkenazy took some time with us to discuss his relationship with Rachmaninov's music, which he has been exploring with the Philharmonia Orchestra for over a year. As the series comes to a close, Maestro Ashkenazy takes us back in time to his youth in Russia where we hear about his first musical experiences and early encounters with Rachmaninov's music. He is joined by his wife, Thorunn "Dody" Ashkenazy, in this extended interview. 

音乐是财富是一种心情、是一个改变自己的方式。 它能表达出你的心情，释放你的压力，找到你的共鸣！

I programmet diskuteras bl.a. blåsmusik av Beethoven med Il Gardellino och Nicola Benedetti som solist i Sjostakovitjs och Glazunovs violinkonserter. Johan Korssell möter också Nicola Benedetti. I panelen Camilla Lundberg, David Björkman och Evert van Berkel som tillsammans med programledaren Johan Korssell betygsätter följande skivor: LUDWIG VAN BEETHOVEN Oktett Rondino Kvintett Il Gardellino Arthur Schoonderwoerd m.fl. Passacaille 1016GUSTAV MAHLER Symfoni nr 1 D-dur Bayerska radions symfoniorkester Yannick Nézet-Séguin, dirigent BR Klassik 900143 G F HÄNDEL Imeneo Ann Hallenberg m.fl Europa Galante Fabio Biondi, violin och dirigent Glossa GCD 923405SJOSTAKOVITJ GLAZUNOV Violinkonserter Nicola Benedetti, violin Bournemouth symfoniorkester Kirill Karabits, dirigent Decca 478 8758 Johan möter Nicola Benedetti Johan Korssell träffade den skotska violinisten i samband med hennes gästspel i Stockholms konserthus i augusti då hon framträdde som solist i Szymanowskis andra violinkonsert tillsammans med Kungliga filharmonikerna och dirigenten Lahav Shani. Andra i programmet nämnda eller rekommenderade inspelningar: Sjostakovitjs första violinkonsert med solisten Maxim Vengerov tillsammans med Londons symfoniorkester under Mstislav Rostropovich inspelad på Teldec samt med David Ojstrach och New Yorks filharmoniker ledda av Dimitri Mitropoulos på Sony.  Glazunovs violinkonsert med violinisten Esther Yoo som spelar tillsammans med Philharmonia Orchestra ledd av Vladimir Ashkenazy på skivmärket DG. Mahlers första symfoni med Concertgebouw-orkestern dirigerad av Bernard Haitink på Philips; Concertgebouw-orkestern ledd av Leonard Bernstein på DG; Berlins filharmoniker under Bernard Haitink på Philips; San Fransiscos symfoniorkester dirigerad av Michael Tilson Thomas på SFS Media samt med Concertgebouw-orkestern under ledning av Mariss Jansons på RCO Live. Inget svep denna vecka      

In the second of two programmes this month pianist James Rhodes presents music that's changed his life: including recordings by iconic twentieth century pianists Glenn Gould and Vladimir Ashkenazy, and performances by some of today's leading virtuosi including Marc-Andre Hamelin, Joseph Moog, and Evgeny Kissin. Plus extracts from The Marriage of Figaro conducted by Teodor Currentzis. Until the age of 14, James had no formal academic musical education or dedicated mentoring. Aged 18 he stopped playing the piano entirely for a decade. Since returning to the piano, he has released five albums, all of which have topped the iTunes classical charts. His bestselling memoir, Instrumental, is a moving and compelling story that was almost banned until the Supreme Court unanimously overthrew an injunction in May 2015. He has performed in venues around the world from the Barbican, Roundhouse, Royal Albert Hall, Latitude Festival, Queen Elizabeth Hall and Soho Theatre in the UK to halls in Paris, Australia, Hong Kong, Chicago, Vienna and more. Plus news of how you can take part in a special edition of Saturday Classics with James later this summer if you're an amateur pianist as part of the BBC Get Playing campaign.

Veckans panel sätter bl a betyg på pianisterna Lidija och Sanja Bizjak samt operaarior med Miah Persson och Sveriges Radios Symfoniorkester. Och så lyssnar Johan på Karajans alla operainspelningar. Veckans skivor och betygBIZJAK PIANO DUO Musik av Martin, Poulenc, Sjostakovitj och Stravinsky Lidija & Sanja Bizjak, pianon Stuttgarts filharmoniker Radoslaw Szulc, dirigent Onyx ONYX 4148 Betyg: 5 radioapparater (Evert 5, Hanna 5, Magnus 5, Johan 5)SEMPRE LIBERA Operaarior ur bl.a. Don Pasquale, Romeo och Julia, Dinorah och Gianni Schicchi Miah Persson, sopran Sveriges Radios symfoniorkester Daniel Harding, dirigent Bis BIS 2112 Betyg: 3 radioapparater (Evert 3, Hanna 4, Magnus 3, Johan 3)GUITAR MUSIC OF COLOMBIA Musik av Adolfo Mejía, Gentíl Montaña, Lucas Saboya och Hector González José Antonio Escobar, gitarr Naxos 8.573059 Betyg: 4 radioapparater (Evert 4, Hanna 3, Magnus 4, Johan 4)FRANCE ESPAGNE Musik av Chabrier, Massenet, Ravel och Debussy Les Siècles, Francois-Xavier Roth, dirigent Musicales Actes Sud ASM 17 Betyg: 4 radioapparater (Evert 5, Hanna 4, Magnus 4, Johan 4) Johans val Johan Korssell spelar valda delar ur den nyutkomna boxen The Complete Opera Recordings, med Karajans samtliga operainspelningar på DG och DECCA.Andra i programmet nämnda inspelningar:Stravinskys musik för två pianon med pianisterna Vladimir Ashkenazy och Andrej Gavrilov på Decca; med systrarna Katia och Marielle Labeque på PhilipsPoulencs Konsert för två pianon och orkester med Katia och Marielle Labeque samt Seiji Ozawa och Bostons symfoniorkester på Philips; med Francis Poulenc själv tillsammans med pianisten Jacques Février, Paris-konservatoriets orkester och dirigenten Georges Pretre på HMV  samt med pianisterna Pascal Rogé och Sylviane Deferne tillsammans med Philharmonia Orchestra ledda av Charles Dutoit på Decca.