Podcast appearances and mentions of walter gieseking

Celebrating Mozart's 269th birthday with historical recordings including: Rondo In D Major by Walter Gieseking, Sring Quartet 21 by the Budapest String Quartet, Der Schauspieldirektor Overture by Eric Leinsdorf and Piano Concerto 19 by Clara Haskil. 

Od kompletnego zapomnienia do fanatycznego uwielbienia – długą drogę przeszła twórczość Jana Sebastiana Bacha w XIX wieku. Gdy zaczynało się dziewiętnaste stulecie, ukazała się pierwsza i wówczas jedyna biografia lipskiego kantora pióra Johanna Nikolausa Forkela. Gdy się kończyło, książek było już ponad 200, istniało Towarzystwo Bachowskie (nie jedno) i na ukończeniu była kompletna edycja jego dzieł. Co sprawiło, że Bach zafascynował romantyków – twórców, którzy mieli na sztandarach walkę z tradycją, ładem i konwencjami w muzyce i literaturze? Podcast powstał dzięki Mecenasom Szafy Melomana. Jeśli chcesz stać się jednym z nich i wspierać pierwszy polski podcast o muzyce klasycznej, odwiedź mój profil w serwisie Patronite.pl. Muzyka w odcinku: 1. F. Liszt, „Fantazja” z „Fantazji i fugi na temat B-A-C-H”, wyk. Zeynep Ucbasaran (fortepian), 2005. 2. J.S. Bach, „Toccata” z „Toccaty d-moll doryckiej” BWV 538, wyk. James Kibbie 3. J.S. Bach, „Toccata” z „Toccaty d-moll” BWV 565, wyk. James Kibbie. 4. F. Meldessohn, „Fuga” z „Preludium i fugi c-moll op. 37 nr 1, wyk. Bernhard Schneider. 5. R. Schumann, „I Preludium i fuga B-A-C-H”, wyk. Wiktoria Ryńska. 6. J.S. Bach, „Grave” z „Sonaty skrzypcowej a-moll” BWV 1003, transkr. skrzypcowa Ferdinanda Davida, wyk. Zbigniew Pilch (2024). 7. J.S. Bach, „Preludium C-dur” z I t. DWK, wyk. Walter Gieseking (1949). 8. F. Chopin, „Preludium C-dur” z 28 Preludiów op. 28, wyk. Alfred Cortot (1942). 9. J.S. Bach Aria z kantaty „Wiederstehe doch der Sünde” BWV 54, transkrypcja fortepianowa i wykonania Víkingur Ólafsson (live, 2019).

SynopsisOn today's date in 1929, a chamber trio by Aaron Copland, Vitebsk, premiered at Town Hall in New York City. Copland said it was based on a Jewish folk tune from a Russian village called Vitebsk that he had once heard used in a play.Two string players from the famous Belgian Pro Arte Quartet and the great German pianist Walter Gieseking were booked for the premiere. Despite the distinguished performers, the performance came off as something of a slapstick comedy.According to one of Copland's friends present that night, the heavy-set cellist accidentally knocked over the violinist's music stand when he came on stage, and while bending over to retrieve his music knocked over his own stand, strewing music all over the stage. Then, just as he began Copland's piece, his cello string snapped with a loud, comically timed twang.Years after the premiere, when Copland visited the Soviet Union, Russian audiences expressed amazement that any American composer would choose to name a piece after Vitebsk, which, rather than a quaint Russian village like the one evoked in the musical Fiddler on the Roof, was in fact a large industrial complex resembling Pittsburgh or Cleveland.Music Played in Today's ProgramAaron Copland (1900-1990): Vitebsk; Gregory Ellis, violin; Christopher Marwood, cello; Michael Collins, piano ASV 1081

durée : 01:58:25 - Portraits de famille - par : Philippe Cassard - Il reste un modèle fascinant pour son aisance instrumentale, sa fantaisie créatrice et son répertoire gigantesque. Si le public français a révéré ses interprétations de Debussy et Ravel, Portraits de famille le fera réécouter dans Mozart, Beethoven, Brahms, Schumann et Rachmaninov. - réalisé par : Pierre Willer

16 kwietnia 1945 roku Filharmonia Berlińska zagrała swój ostatni koncert przed ostatecznym upadkiem III Rzeszy. W programie znalazł się poemat symfoniczny “Tod und Verklärung” Ryszarda Straussa i był to wybór symboliczny - “Reichsorchester” umarła, aby niedługo później odrodzić przemieniona. Można jednak popatrzyć na to inaczej - Filharmonia Berlińska jako demokratycznie zarządzane przedsiębiorstwo o autonomii artystycznej umarła 12 lat wcześniej, stając się w 1933 roku zespołem podlegającym Ministerstwu Propagandy, którym kierował Joseph Goebbels. Dlaczego wolni ludzie, doskonale wykształceni muzycy, ugięli się przed nazistami? Dlaczego nie protestowali, gdy ich żydowscy koledzy zostali zmuszeni do odejścia i opuszczenia kraju? Jak z morderczą władzą układał się szef zespołu Wilhelm Furtwängler? O tym wszystkim opowiadam w najnowszym odcinku - pierwszej części cyklu “Muzyka czasu wojny”. Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego. W odcinku zabrzmiały następujące utwory: G.F. Handel, Concerto grosso d-moll op.6 nr 10, HWV 328 (fragment I oraz II części), W. Furtwängler (dyr.), Berliner Philharmoniker, Deutsche Grammophon (427 777-2), lata nagrania 1942-1944, rok wydania: 1989 L.v. Beethoven, V Symfonia c-moll op. 67, (fragment III części Allegro), W. Furtwängler (dyr.), Berliner Philharmoniker, US Brunswick 25005/9 [Polydor 69855/9], rok nagrania: 1926 L.v. Beethoven, V Koncert fortepianowy Es-dur op. 73 (fragment I części), A. Rother (dyr.), Walter Gieseking (fp.), Berlin Reichsender Orchestra, Pristine Audio (PASC 390), rok nagrania: 1944, rok wydania: 2013 L.v. Beethoven, Uwerutra Coriolan op. 62 (fragment), W. Furtwängler (dyr.), Berliner Philharmoniker, Andromeda (ANDRCD 5061), rok nagrania: 1943, rok wydania: 2011.

A remix of a 1934 performance by Walter Gieseking of the Air from Bach's Partita No. 6, available to download at: https://archive.org/details/J.S.BachPartitaNo.6InEMinorBwv830 I chopped it up into numerous fragments of varying length with many consisting of just two or three notes. It was re-assembled on a largely random basis but with longer clips at the beginning & shorter ones toward the end. Finally, I made various adjustments to the sound quality, dynamics etc. & this is the result. More on this 535th weekly Disquiet Junto project – Jigsaw Disjunction (The Assignment: Break a familiar melody into pieces and play it in a different sequence) – at: https://disquiet.com/0535/ 1 More on the Disquiet Junto at: https://disquiet.com/junto/ 1 Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/ Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0535-jigsaw-disjunction/

Historical recordings of preludes by Bach, Chopin, Rachmaninoff, Gershwin, Debussy, Shostakovich and Scriabin. Pianists include: Edwin Fischer, Oscar Levant, Walter Gieseking, Gaby Casadesus and Alfred Cortot.

durée : 00:14:18 - Disques de légende du mercredi 09 juin 2021 - Au début des années 1950, le pianiste franco-allemand Walter Gieseking enregistre l'intégrale des Préludes de Debussy pour le label Columbia. Son interprétation, marquée par un jeu rigoureux et de très belles sonorités, est restée au fil du temps une référence absolue.

On today’s date in 1929, a chamber trio by Aaron Copland entitled “Vitebsk” premiered at Town Hall in New York City. Copland said it was based on a Jewish folk tune from a Russian village called Vitebsk that he had once heard used in a play. Two string players from the famous Belgian Pro Arte Quartet and the great German pianist Walter Gieseking were booked for the premiere. Despite the distinguished performers, the performance came off as something of a slap-stick comedy. According to one of Copland’s friends, present that night, the heavy-set cellist accidentally knocked over the violinist’s music stand when he came on stage, and while bending over to retrieve his music knocked over his own stand, strewing music all over the stage. Then, just as he began Copland’s piece, his cello string snapped with a loud, comically timed twang. Years after the 1929 premiere, when Copland visited the Soviet Union, Russian audiences expressed amazement that any American composer would choose to name a piece after Vitebsk, which, rather than a quaint Russian village like the one evoked in the musical “Fiddler on the Roof,” was in fact a large industrial complex resembling Pittsburgh or Cleveland.

On today’s date in 1929, a chamber trio by Aaron Copland entitled “Vitebsk” premiered at Town Hall in New York City. Copland said it was based on a Jewish folk tune from a Russian village called Vitebsk that he had once heard used in a play. Two string players from the famous Belgian Pro Arte Quartet and the great German pianist Walter Gieseking were booked for the premiere. Despite the distinguished performers, the performance came off as something of a slap-stick comedy. According to one of Copland’s friends, present that night, the heavy-set cellist accidentally knocked over the violinist’s music stand when he came on stage, and while bending over to retrieve his music knocked over his own stand, strewing music all over the stage. Then, just as he began Copland’s piece, his cello string snapped with a loud, comically timed twang. Years after the 1929 premiere, when Copland visited the Soviet Union, Russian audiences expressed amazement that any American composer would choose to name a piece after Vitebsk, which, rather than a quaint Russian village like the one evoked in the musical “Fiddler on the Roof,” was in fact a large industrial complex resembling Pittsburgh or Cleveland.

durée : 01:58:05 - En pistes ! du vendredi 22 janvier 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme aujourd'hui : les enregistrements Debussy, Ravel et Mozart du pianiste Walter Gieseking ; deux œuvres de Richard Strauss composées d'après François Couperin ; les pièces pour viole du britannique William Young et la musique pour deux pianos de Ferruccio Busoni... - réalisé par : Emmanuel Benito

Am 5. November 1895 wird Walter Gieseking geboren. Der Pianist war für die Leichtigkeit seines Spiels berühmt. Trotz seines Feinsinns ließ er sich aber mit den Nazis ein.

Un día como hoy, 5 de noviembre: 1494, nace Hans Sachs. 1619, nace Philip de Koninck. 1701, nace Pietro Longhi. 1895, Walter Gieseking. 1921, nace György Cziffra. 1956, fallece Art Tatum. 1989, fallece Vladimir Horowitz. 2012, fallece Elliott Carter. Una producción de Sala Prisma Podcast. 2020

Klavierunterricht erhält Gieseking bei Karl Leimer am Städtischen Konservatorium Hannover. Seine Übemethode überzeugt Gieseking - und er entwickelte sie weiter. Merkmale dieser Methode sind u. a. die Entspannung und der Verzicht auf jeglichen Drill.

Mechanisches Üben, Etüdenstumpfsinn, jeder Drill am Klavier war ihm verhasst. Für den Pianisten Walter Gieseking war vollkommene Lockerheit der Anfang allen Musikmachens. Bis heute faszinieren die Leichtigkeit und Tiefe seines perlenden, nie verschwommenen Debussy-Spiels, die Poesie seiner Schumann-Aufnahmen.

This month's Beethoven podcast features  a 1951 recording of the Moonlight Sonata by German pianist Walter Gieseking.

durée : 01:28:15 - Ah ! Vous dirais-je Maman - par : François-Xavier Szymczak - D’abord récit d’une jeune fille perdant son pucelage, cette chanson s’est imposée dans nombre de partitions du répertoire, et pas seulement dans les variations écrites par Mozart. Inspirant aussi Adolphe Adam, Ernö Dohnanyi ou Walter Gieseking, elle se chante dans toutes les langues. - réalisé par : Céline Parfenoff

durée : 00:25:08 - Rinaldo Alessandrini, claveciniste (1/5) - par : Benjamin François - Le claveciniste et chef d'orchestre Rinaldo Alessandrini raconte son enfance à Rome, où il est né en 1960. II évoque ses parents, son apprentissage du piano auprès d'un professeur qui lui enseigne "l'élégance en musique", et sa découverte de deux grands pianistes : Clara Haskil et Walter Gieseking. - réalisé par : Christine Amado

Shellac Stack No. 163 takes a road trip to visit with JiHoon Suk, who shares rare and interesting classical and operatic gems from his collection. From Alfred Dubois and Antonina Neshdanova to Enrico Caruso, Walter Gieseking, Meta Seinemeyer, Gregor Piatigorsky and more, it's another entertaining variety hour!

A special podcast in honor of Beethoven's birthday. Movements from the Waldstein piano sonata, the String Quartet #13 and the Piano Concerto #3, Performers include Walter Gieseking, Wilhelm Furtwangler and Wilhelm Bachaus.

Songs include: Oh Dem Golden Slippers, The Gold In Africa, The Golden Gate Gospel Train, Where the Blue of the Night Meets the Gold of the Day, The Golden Wedding, It's the Gold and Silver Threads Among the Gold. Artists include: Bing Crosby, Buddy & Ella Johnson,  Walter Gieseking, Thomas "Fats" Waller, Dinah Shore, Woody Herman, The Golden Gate Jubilee Quartet and John McCormack.

Celebrating 11 years of the podcast with some of the host's favorite records. Songs include: Crying All Day, Cheek to Cheek, I Can't Believe That You're In Love With Me, Prelude to a Kiss, Eine Kline Gigue, Step It Up And Go , San Antonio Rose and Lamb's Blood Has Washed Me Clean. Performers include: Fred Astaire, Bix Beiderbeck, Ella Fitzgerald, Blind Boy Fuller, Duke Ellington, Jimmy Yancey, Walter Gieseking, Bob Wills  and Arizona Dranes

Music for Beethoven's 246th birthday, including: Symphony #5, Cello Sonata #1 and Piano Sonata 24. Performers include: Wilhelm Furtwangler, Walter Gieseking and Pablo Casals.

Den tyske pianisten Walter Gieseking tillbringade en stor del av sin barndom i södra Frankrike och Italien. Från fyra års ålder började han spela piano, men fick regelbunden undervisning först långt senare. När Gieseking var 20 år spelade han Beethovens pianosonater i en konsertserie och hans Berlindebut 1920 var så framgångsrik att han stannade i staden för att ge ytterligare sju konserter. Redan här märktes hans raffinerade spel i Debussys och Ravels pianomusik. Så följde en intensiv internationell karriär. Han spelade in Mozarts, Ravels och Debussys pianomusik. Debussyinspelningarna är hans mest bestående arv. Mer information på sverigesradio.se/p2

Den tyske pianisten Walter Gieseking tillbringade en stor del av sin barndom i södra Frankrike och Italien. Från fyra års ålder började han spela piano, men fick regelbunden undervisning först långt senare. När Gieseking var 20 år spelade han Beethovens pianosonater i en konsertserie och hans Berlindebut 1920 var så framgångsrik att han stannade i staden för att ge ytterligare sju konserter. Redan här märktes hans raffinerade spel i Debussys och Ravels pianomusik. Så följde en intensiv internationell karriär. Han spelade in Mozarts, Ravels och Debussys pianomusik. Debussyinspelningarna är hans mest bestående arv. Mer information på sverigesradio.se/p2

Den tyske pianisten Walter Gieseking tillbringade en stor del av sin barndom i södra Frankrike och Italien. Från fyra års ålder började han spela piano, men fick regelbunden undervisning först långt senare. När Gieseking var 20 år spelade han Beethovens pianosonater i en konsertserie och hans Berlindebut 1920 var så framgångsrik att han stannade i staden för att ge ytterligare sju konserter. Redan här märktes hans raffinerade spel i Debussys och Ravels pianomusik. Så följde en intensiv internationell karriär. Han spelade in Mozarts, Ravels och Debussys pianomusik. Debussyinspelningarna är hans mest bestående arv. Mer information på sverigesradio.se/p2

Den tyske pianisten Walter Gieseking tillbringade en stor del av sin barndom i södra Frankrike och Italien. Från fyra års ålder började han spela piano, men fick regelbunden undervisning först långt senare. När Gieseking var 20 år spelade han Beethovens pianosonater i en konsertserie och hans Berlindebut 1920 var så framgångsrik att han stannade i staden för att ge ytterligare sju konserter. Redan här märktes hans raffinerade spel i Debussys och Ravels pianomusik. Så följde en intensiv internationell karriär. Han spelade in Mozarts, Ravels och Debussys pianomusik. Debussyinspelningarna är hans mest bestående arv. Mer information på sverigesradio.se/p2

'Sehnsucht nach dem Frühling' (Longing for Springtime)Wolfgang Amadeus MozartElisabeth Schwarzkopf, vocalistWalter Gieseking, pianoAvailable on Arkivmusic.com When we’re tired of winter, we long for spring, and even more so on days when it says spring on the calendar, but still feels like winter outdoors. Well, here’s a Mozart song for those days when it’s still not spring yet. It’s even called “Longing for Springtime.” Mozart listed this little piece in the notebook of his compositions dated January 14, 1791. It was one of three tunes he cataloged on that winter day – all of them written for children. Now, the music is by Mozart, but not the words. They were written by a German poet, Christian Overbeck, and were published ten years before Mozart finished the song. The first line of the poem is, “Come, dear May, and make the trees green again!” The second verse admits that winter has its charms: snowy walks, sleigh rides, card games in the house. (A very mature point of view for a children’s song, I think.) But the third verse pleads again for the return of mild weather and flowers and birds. Mozart wrote a charmer of a tune for it, so good he changed it up a little bit and used it as the theme of the last movement of his Piano Concerto No. 27. Here’s the song version now, sung by Elizabeth Schwarzkopf, with Walter Gieseking playing the piano. Episodes of My Classical Podcast are available for download through the WQXR App. Download it for IOS and Android Devices. How to use the WQXR App. This recording is provided courtesy of Warner Classics/Erato

A program marking the 264th anniversary of J.S. Bach's death. Works include: Brandenburg Concerto #1, The Musical Offering, The St Matthew Passion, The French Suite #5 and Ich Habe Genug.  Performers include: Albert Schweitzer, Fritz Reiner, Walter Gieseking and Dietrich Fischer-Dieskau.

Intérprete: Walter GiesekingDebussy es genial: es absoluta referencia para el piano de todo el siglo XX. Desde luego es algo que conocen perfectamente tanto los intérpretes como los compositores, porque el despliegue de recursos y novedades técnicas y estilísticas del conjunto de su repertorio es vital para sentir, primero, y comprender, después, muchas de las cosas que suceden con el piano después de él.  Escuchar audio

Celebrating the 150th anniversary of the birth of composer claude Debussy.  Works include: Reverie, Clair de Lune, The Girl With the Flaxen Hair, Fetes, String Quartet and The Play of the Waves.  Performers include: Alfred Cortot, Arturo Toscanini, Artur Rodzinski, The Virtuoso String Quartet, Walter Gieseking and Claude Debussy.