Podcasts about Wanda Landowska

durée : 00:10:34 - Disques de légende du jeudi 27 février 2025 - En 1949, Wanda Landowska a 70 ans ; cela fait déjà 10 ans qu'elle s'est exilée aux Etats-Unis. C'est donc à Lakeville, dans le Connecticut, qu'elle grave le Clavier bien tempéré de Bach...

durée : 00:10:34 - Disques de légende du jeudi 27 février 2025 - En 1949, Wanda Landowska a 70 ans ; cela fait déjà 10 ans qu'elle s'est exilée aux Etats-Unis. C'est donc à Lakeville, dans le Connecticut, qu'elle grave le Clavier bien tempéré de Bach...

Carlos Iribarren | Uno de los personajes más apasionantes en la música del siglo XX fue una mujer nacida en Polonia y que influyó de manera notable (e incluso sobresaliente) en otros nombres muy importantes que compartieron con ella época y pasión. Nos referimos a la pianista, clavecinista y compositora Wanda Landowska, impulsora del resurgir de un instrumento que llevaba tiempo dormitando y volvió a suscitar el interés de algunos grandes autores como Falla, Poulenc o Martinu. Para conocer mejor a esta ilustre mujer, nos ha visitado Sonia Gonzalo, musicóloga, historiadora del arte y gestora cultural en la Fundación Juan March, en cuya sede de Madrid y algún otro emplazamiento se van a celebrar 3 conciertos con Landowska como protagonista, con música irresistible y cuyo contenido te desvelamos en esta nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

Malgrat que el clave havia estat molt protagonista al barroc, va desapar

durée : 00:27:42 - Les Nuits de France Culture - par : Albane Penaranda - Francis Poulenc, compositeur et pianiste évoque, dans cet entretien de 1953, ses œuvres pour piano et orchestre. Il analyse son rapport amour-haine avec le piano et, sur un mode moins passionnel, l'amitié profonde qui le lie à Wanda Landowska, pianiste, compositrice et claveciniste. Episode 7/18. - invités : Francis Poulenc Compositeur et pianiste français

Dziewczyny, Kobiety, Piękne Panie... Wszystkiego dla Was co najlepsze ... o 22:00 zapraszam na audycję Chillout Classic "Kobieta" w Radio Spin Zaprasza Tomasz Diakun https://radiospin.pl Playlista audycji Chillout Classic w Radio Spin #2 "Kobieta" 1. J. S. Bach, Aria z Wariacji Golbergowskich w wykonaniu Wandy Landowskiej (nagranie z 1933r.) 2. Elżbieta Sikora, Sonosphere V. Wanda Landowska na orkiestrę i gitarę elektryczną, Orchestra Pasdeloup dyr. Marzena Diakun (fragment) 3. Georg, Ira Gershwin - Oh Lady Be Good, Ella Fizgerald 4. Clara Schumann Nocturne nr 2 , wersja na harfę, harfa - Magdalena Hoffmann. 5. Camille Saint Saens, Łabędź, wiolonczela- Jacgueline du Pre 6. Ennio Morricone - Malena 7. Ennio Morricone - Dawno temu na dzikim zachodzie, Duńska Orkiestra Symfoniczna, dyr. Sarah Hicks, mezzosopran - Tuva Semmingsen, harmonijka - Hans Urlik (live) 8. W. A. Mozart Koncert klarnetowy KV 622, cz. 2, klarnet- Sabina Meyer 9. John Williams, temat księżniczki Leii z Gwiezdnych Wojen, skrzypce - Anna - Sophie Mutter. 10. Stacey Kent, Avec le tempes 11. Amelia & Smooth Jazz Trio - The Shadow Of Your Smile

Synopsis Some special music had its premiere at Harvard University (in Cambridge, Massachusetts) on today's date in 1980. It was commissioned to honor the memory of Walter Piston, who had taught composition at Harvard for a number of years, and it was one of his students, the American harpsichordist and organist Daniel Pinkham, who composed it. Pinkham had exceptional teachers. He studied harpsichord with Wanda Landowska, organ with E. Power Biggs and, in addition to Piston, Pinkham studied composition with Aaron Copland, Samuel Barber, and Arthur Honegger. But Pinkham credits another familiar name for his most important musical epiphany. In 1939, while still a teenager, Pinkham heard one of the first American concerts given by the Trapp Family, whose sentimentalized story is familiar from "The Sound of Music." The Trapp Family's usual ensemble, which combined Renaissance and Baroque instruments like recorders and gambas with the bright and clear voices of young children, spoke to the young Pinkham as no music had before, becoming "a part of my way of looking at things," as he put it later. Since then, Pinkham has composed everything from symphonies to electronic music. His choral and organ works are especially admired, and in 1990, he was named "Composer of the Year" by the American Guild of Organists. Music Played in Today's Program Daniel Pinkham (1923 - 2006) Serenades Maurice Murphy, trumpet; London Symphony; James Sedares, conductor. Koch International 7179

“I never practice, I always play” -Wanda Landowska

An excerpt from a documentary on the life and music of Polish harpsichordist and pianist Wanda Landowska. Enjoy it! --- Send in a voice message: https://podcasters.spotify.com/pod/show/john-kennedy98/message

El 20 de septiembre de 1940, en St Leu la Foret, cerca de París, Wanda Landowska, de origen judío polaco, una inmensa artista, clavecinista y especialista mundial en Bach, fue despojada por completo de su propiedad por un comando nazi dirigido por el ERR de Alfred Rosenberg, responsable del robo de instrumentos musicales, partituras y bibliotecas musicales de prestigio, entre otros bienes culturales. Consciente del peligro, Landowska ya había salido de París en junio, cuando llegaron los camiones de mudanza. Salen con 60 cajas, algunas de las cuales contienen instrumentos musicales muy antiguos de valor inestimable. El caso nº 57 contiene el mayor tesoro de este decomiso: el piano en el que Chopin habría compuesto sus famosos "Preludios" durante su estancia en la Cartuja de Valldemossa, cerca de Palma de Mallorca. ¿Qué pasó con los tesoros artísticos musicales robados por toda Europa entre 1940 y 1944? Robando instrumentos, partituras, bibliotecas, matando a músicos, compositores e intérpretes judíos, el Tercer Reich quiso hacer desaparecer asesinando su música y su alma, sus tradiciones, su folklore, toda una cultura. Al explotar, con fines propagandísticos y de hegemonía cultural, la música incluso en los campos de exterminio, los nazis intentaron silenciar la identidad musical del pueblo judío.

Synopsis The piano became the dominant keyboard instrument in Mozart's lifetime in the late 18th century. Before that, the harpsichord had ruled. But for more than a hundred years after Mozart's day, the harpsichord seemed as dead as the dodo, and even the great harpsichord works of Bach and other early 18th century masters were always played on the piano—that is, until Wanda Landowska came on the scene. This indomitable woman was born in Warsaw, Poland, in 1879, and single-handedly brought the harpsichord back to life. It was on today's date in 1927 that she inaugurated an historic series of harpsichord concerts at her summer home near Paris—and, two years later, in 1929, Landowska premiered the “Concert champêtre,” by Francis Poulenc, a brand new harpsichord concerto written specially for her. Very much in the spirit of Wanda Landowska, the contemporary composer and performer Barbara Harbach is in the vanguard of today's advocates for the harpsichord. A passionate advocate for new music, she has recorded several compact discs of “20th Century Harpsichord Music” for the Gasparo label, featuring works by American composers from Samuel Adler to Ellen Taafe Zwillich. Music Played in Today's Program J. S. Bach (1685-1750) – Little Prelude in C, S. 934 (Wanda Landowska, harpsichord) Pearl 9489 Barbara Harbach (b. 1946) – Cante Flamenco, from Tres Danzas para Clavecin (Barbara Harbach, harpsichord) Gasparo 290

Synopsis An old music dictionary's definition of “nocturne” reads as follows: “A night piece, a musical composition that suggests a nocturnal atmosphere, for example Haydn's ‘Notturno' or Mozart's ‘Serenata Notturna,' but more specifically a short piece of romantic character. First to use this title for this genre was John Field, followed by Chopin.” Hundreds of composers since Field and Chopin have tried their hand at writing nocturnes. This particular one was written for flute and guitar by the Boston-based composer Daniel Pinkham, as part of a five-movement suite of Nocturnes, all premiered on today's date in 1993, at the First and Second Church in Boston. Now, as any insomniac will tell you, there are all sorts of night moods, and the descriptive titles of Pinkham's set of five “Nocturnes” ranges from the sprightly to the serene, with others entitled “brooding,” “sultry,” and “restless” tossed in for good measure. Daniel Pinkham was particularly fortunate in his teachers. Imagine studying composition with Aaron Copland, Walter Piston, and Samuel Barber, or harpsichord with Wanda Landowska and organ with E. Power Biggs. Pinkham did – and in turn became a successful teacher himself, with a long tenure at the New England Conservatory of Music. He served as music director of Boston's historic King's Chapel, and as a composer was particularly honored by his church musician colleagues for his many works for chorus and organ. Music Played in Today's Program Daniel Pinkham (1923 - 2006) — Nocturnes (Fenwick Smith, flute; David Leisner, guitar) Koch 7423

Un Día Como Hoy 5 de Julio: Acontece: 1518: en Estrasburgo (en esa época parte del Imperio romano germánico), una mujer llamada Frau Troffea comienza a bailar incontroladamente en la calle durante una semana, gradualmente se le agregan decenas de personas, y un mes después había en las calles aproximadamente 400 danzantes (Epidemia de baile de 1518). La mayoría murió como consecuencia de infartos, ataques cerebrovasculares y agotamiento. 1687: en Inglaterra, Isaac Newton publica Philosophiæ naturalis principia mathematica. Nace: 1879: Wanda Landowska, clavecinista y pianista polaca (f. 1959). Una producción de Sala Prisma Podcast. 2021

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Steinway Artist Jeanne Golan takes us inside her latest release on the Steinway & Sons label, ‘It Takes One To Tango.’

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Episode 12, 2020: de Falla’s Concerto for Harpsichord Wednesday 23 September 2020 When pianist Wanda Landowska asked composer Manuel de Falla to write a composition inspired by Baroque music, she envisioned the piece to be played on a harpsichord. To this end, Landowska also commissioned the French firm Pleyel to build the instrument for her which they indulged with four 7-and-a-half feet long harpsichords made up of metal frames more powerful than any harpsichord known to JS Bach. Although it took him three years to complete, de Falla, a devout Catholic, was able to translate his love for rituals and sacraments into his music. In the second movement of the composition, one can hear solemn plainchants and the clanging of cathedral bells in the bass notes of the cathedral which were inspired by the yearly Corpus Christi procession the composer witnessed in Seville, Spain in 1922. Even without the magnificent harpsichords that the composition was first performed on, ANAM Associate Artist Peter de Jager was still able to give justice to the composition when he performed it with fellow ANAM musicians in 2014. Both Peter and Phil Lambert (ANAM Music Librarian) agree that de Falla envisioned this piece with big sonorous sounds, so suitable amplification of the harpsichord is needed for its sound to match the rest of the ensemble. In this ANAM Radio episode, Peter further talks about how de Falla was able to come up with a composition of great strength that seems to look beyond the instrument. The performance featured here is from ANAM alumna Jessica Foot’s fellowship concert in 2014. Watch the video recording at https://www.youtube.com/watch?v=a-cb5tIip04&feature=youtu.be

durée : 01:58:09 - Le Bach du dimanche du dimanche 20 octobre 2019 - par : Corinne Schneider - Au programme de cette émission, un « Retour à Bach » en France autour des années 1920-1930 avec les œuvres néoclassiques de Francis Poulenc, Louis Durey, Germaine Tailleferre, Igor Stravinsky… en compagnie de Maurice Duruflé, Wanda Landowska, Alfred Cortot, Marcelle Meyer… - réalisé par : Céline Parfenoff

"Mémoires Vives" émission de la Fondation pour la Mémoire de la Shoah. Préparée par Rachel Rimmer et présentée par Stéphane Bou qui reçoivent Laurent Slaars. Sujet: Livre "Commando Musik - Comment les nazis ont pillé l'Europe musicale" de Willem de Vries, traduit par Laurent Slaars À propos du livre : "Commando Musik - Comment les nazis ont pillé l'Europe musicale" Paru aux éditions Buchet Chastel Dès leur accession au pouvoir, les nazis ont développé une politique culturelle agressive, qui se poursuivit par des saisies et des pillages en France et dans tous les territoires occupés. L'organisation Rosenberg (ERR) fut notamment créée en 1940 dans le but d'éliminer la vie culturelle juive dans toute l'Europe, à travers la confiscation des œuvres d'art et des bibliothèques. C'est dans ce cadre qu'une cellule consacrée à la musique a vu le jour, le Sonderstab Musik (commando « musique »), composée d'éminents musicologues allemands, chargés de localiser des instruments, des partitions, des manuscrits. Dans cet ouvrage, qui a nécessité plus de dix ans de recherches, Willem de Vries révèle pour la première fois l'organisation de ce commando qui, entre 1940 et 1944, fit « transférer » vers l'Allemagne plusieurs centaines de milliers d'ouvrages et plusieurs dizaines de milliers d'instruments et de partitions. Le compositeur Darius Milhaud, les pianistes Wanda Landowska et Artur Rubinstein, le critique musical Arno Poldès, le violoncelliste Gregor Piatigorsky furent parmi les victimes de ces spoliations massives, dont les acteurs, le fonctionnement et l'ampleur sont enfin mis au jour.

Unlocked for all listeners after one year for patrons only: -about 10 ft. long -made in France, ca. 1540s -lost in shipwreck, ca. 1562-5 -located on bottom of the Atlantic Ocean near Cape Canaveral We examine the mysteries surrounding a French bronze cannon recently discovered on the bottom of the Atlantic Ocean near Florida, amidst the wreckage of an unidentified sixteenth-century fleet. The cannon and other artifacts are rare, priceless remnants of French Protestants’ ill-fated attempts to colonize North America before the Spanish, and their discovery sparked a heated international legal dispute. The mysterious shipwreck gives us a window into a rare moment when Europe’s vicious religious wars spilled over into the Americas. Image courtesy of Bobby Pritchett., Pres., Global Marine Exploration Inc. Introductory music: Domenico Scarlatti, Sonata in D, played by Wanda Landowska on harpsichord.

À propos du livre : «COMMANDO MUSIK» paru aux éditions Buchet Chastel "Dès leur accession au pouvoir, les nazis ont développé une politique culturelle agressive, qui se poursuivit par des saisies et des pillages en France et dans tous les territoires occupés. L’organisation Rosenberg (ERR) fut notamment créée en 1940 dans le but d’éliminer la vie culturelle juive dans toute l’Europe, à travers la confiscation des œuvres d’art et des bibliothèques. C’est dans ce cadre qu’une cellule consacrée à la musique a vu le jour, le Sonderstab Musik (commando « 　musique　 »), composée d’éminents musicologues allemands, chargés de localiser des instruments, des partitions, des manuscrits. Dans cet ouvrage, qui a nécessité plus de dix ans de recherches, Willem de Vries révèle pour la première fois l’organisation de ce commando qui, entre 1940 et 1944, fit « 　transférer　 » vers l’Allemagne plusieurs centaines de milliers d’ouvrages et plusieurs dizaines de milliers d’instruments et de partitions. Le compositeur Darius Milhaud, les pianistes Wanda Landowska et Artur Rubinstein, le critique musical Arno Poldès, le violoncelliste Gregor Piatigorsky furent parmi les victimes de ces spoliations massives, dont les acteurs, le fonctionnement et l’ampleur sont enfin mis au jour." Né à Amsterdam en 1939, Willem de Vries est docteur en musicologie. C’est au cours de la rédaction de sa thèse sur « 　Darius Milhaud et le jazz　 », entre 1984 et 1991, qu’il a découvert l’existence du commando « 　musique　 », auquel il consacra ensuite ses recherches.

El clavecí va ser un instrument de tecla que va caure en desús a causa de l'èxit del piano. Molts … Més L'entrada Em sona molt #05 – El clavicèmbal i Wanda Landowska ha aparegut primer a Isabel Ferrer Senabre.

durée : 01:58:09 - Le Bach du dimanche du dimanche 20 octobre 2019 - par : Corinne Schneider - Au programme de cette émission, un « Retour à Bach » en France autour des années 1920-1930 avec les œuvres néoclassiques de Francis Poulenc, Louis Durey, Germaine Tailleferre, Igor Stravinsky… en compagnie de Maurice Duruflé, Wanda Landowska, Alfred Cortot, Marcelle Meyer… - réalisé par : Céline Parfenoff

It’s the birthday of Polish-French musician Wanda Landowska (1879), known as the “rediscoverer of the harpsichord” for reviving interest in the instrument.

We examine George R. R. Martin’s new mythology for the middle class: the TV series Game of Thrones and the series of books upon which it is based. Martin and his collaborators draw on the 15th-century Wars of the Roses and later dynastic struggles in Britain to present an amoral world, lacking in honor, bereft of cosmic justice, and eerily reminiscent of the contemporary West. We examine historical precedents for the "Red Wedding," and the symbolic resonance of characters such as the Starks and Littlefinger. Finally we consider the possible historical meaning of the show's final-season premier date of April 14th. Please support Historiansplaining, in the spirit of knowledge and inquiry, and to get patron-only lectures such as my latest on political left and right: www.patreon.com/user?u=5530632 Image: Early Flemish depiction of the Battle of Barnet, from the Ghent Manuscript. Intro music: Domenico Scarlatti, Sonata in D minor, played on harpsichord by Wanda Landowska.

In the second part of our exploration of the history of universities, we discuss the apotheosis of the university in the American republic, the rise of the German-style research university, and the arrival of women in the elite universities. We end by considering the current crisis of universities, as humanities departments disappear, sexual-assault scandals tarnish prestigious schools, and the public turns an increasingly jaundiced and cynical eye toward the academic “ivory tower.” Please support Historiansplaining, in the spirit of knowledge and inquiry, and to get patron-only lectures such as my latest on political left and right: www.patreon.com/user?u=5530632 Suggested further reading: Walter Ruegg, ed., “A History of the University in Europe,” 4 vols.; William Clark, “Academic Charisma and the Origins of the Research University”; Peter Novick, “That Noble Dream: The Objectivity Question and the American Historical Profession”; Henry Adams, “The Education of Henry Adams”; Chad Wellmon, “A Wild Muddle: Have American Elite Colleges Lost Their Moral Purpose Altogether?” Image: “Alma Mater,” Columbia University, New York City, photographed by Beyond My Ken. Intro music: Domenico Scarlatti, Sonata in D minor, played on harpsichord by Wanda Landowska.

Universities are unique -- a quintessential product of the High Middle Ages that has miraculously survived and even flourished in the modern world. In the first part of the history of universities, we examine the origins of the first universities in the power struggles of Popes and emperors; the ways that medieval students learned, lived, and annoyed their elders; and the ways that universities adapted to and withstood serious challenges from Renaissance humanism and the republic of letters. Next will be the rise of universities in America, the modern research university, and the current crisis of academia. Please support Historiansplaining, in the spirit of knowledge and inquiry, and to get patron-only lectures such as my latest on political left and right: www.patreon.com/user?u=5530632 Suggested further reading: Walter Ruegg, ed., “A History of the University in Europe,” 4 vols.; William Clark, “Academic Charisma and the Origins of the Research University”; Olaf Pedersen, "The FIrst Universities." Image: "Master and Scholars," illustration from "L'Image du Monde," copybook by Gautier de Metz, 1464, in collection of British Library. Intro music: Domenico Scarlatti, Sonata in D minor, played on harpsichord by Wanda Landowska.

In this edition of Tall Poppies, Paul Kildea talks about his latest book, "Chopin's Piano, A Journey Through Romanticism," and rising to the challenge of finding the right words to describe music. He also recalls the time in his life when the adjective – Australian - was not a positive one and shares his insatiable passion for Australia.“I have always tried to work out a way of coming up with a single image or analogy or a metaphor, that makes it really clear to a non-specialist, the phenomenon of hearing that piece of music”The conductor and author, Paul Kildea, hails from Canberra. He studied piano and musicology at the University of Melbourne before completing his doctorate at Oxford. Since his Opera Australia début in 1997, he has conducted many of today’s great artists in opera houses and concert halls throughout Europe and Australia.In 1999 he was appointed Head of Music at the Aldeburgh Festival and, in 2003, was named Artistic Director of one of London’s most prestigious concert venues, Wigmore Hall.Paul has also written extensively on music and culture in the twentieth century. His first three books feature the music and work of the composer, Benjamin Britten. The third, a biography, “Benjamin Britten: A Life in the Twentieth Century”, was published in 2013, the composer’s centenary year. The Financial Times considered it, ‘unquestionably the music book of the year’.Paul’s latest book, “Chopin’s Piano, A Journey through Romanticism,” has just been published. It tells the captivating story of Frédéric Chopin and the fate of his Majorcan pianino, the instrument he used while residing on Majorca, where he wrote a number of his renowned “24 Preludes”. It traces musical Romanticism from the early nineteenth to the mid-twentieth century. Among its protagonists are Chopin and the French novelist, George Sand, while the unexpected heroine of this book is the great keyboard player, Wanda Landowska, who rescued Chopin’s pianino in 1913.At the heart of this book’s 24 chapters, are Chopin’s 24 Preludes. It traces the instruments on which they were played, the pianists who interpreted them, and the traditions they came to represent.But it all begins and ends with the Majorcan pianino, which became a much-coveted cultural artefact during the Second World War. When the Nazis saw it as a symbol of the man and music, they were determined to appropriate it as their own.

In our 30th episode, Julia confabulates about the life and works of celebrated Regency author Jane Austen. [Even if you secretly haven’t read the books either, you certainly are familiar with some modern adaptations.] Later, enjoy a quiz called “Scents and Spend-Abilities”! . . . [Music:  1) Wanda Landowska, “Handel: The Harmonious Blacksmith,” 1948. Courtesy of Wanda Landowska, CC BY-NC-SA 3.0 license; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]

I programmet diskuterar panelen Salonens tolkningar av Bartók, Bachs Goldberg-variationerna med Esfahani, operaarior med Matshikiza o Tippetts fem stråkkvartetter. Sofia möter dirigenten Simone Young, BÉLA BARTÓK Den sällsamme mandarinen, Danssvit, Kontraster Philharmonia Orchestra Esa-Pekka Salonen, dirigent Signum Classics SIGCD 466 J S BACH Goldberg-variationerna Mahan Esfahani, cembalo DG 479 5929 PUMEZA MATSHIKIZA Operaarior m.m. Pumeza Matshikiza, sopran Århus symfoniorkester Tobias Ringborg, dirigent Decca 478 8964MICHAEL TIPPETT Stråkkvartetterna Heath-kvartetten Wigmore Hall WH live 0080 (2 CD)Sofia möter Simone Young Sofia Nyblom träffade och samtalade med den australiska dirigenten när hon gästade Stockholms konserthus i oktober där och då hon ledde Kungliga filharmonikerna i en konsert som  innehöll musik av Alban Berg, Richard Wagner, Anton Webern och Robert Schumann. Andra i programmet nämnda eller rekommenderade inspelningar: Bartóks Den sällsamme mandarinen med BBCs symfoniorkester ledd av Antal Dorati på skivmärke Mercury samt med Budapests festivalorkester dirigerad av Iván Fischer på Philips och Chicagos symfoniorkester ledd av Jean Martinon (sviten) på RCA. Bartóks Kontraster med Béla Bartók, Joseph Szigeti och Benny Goodman på Columbia. Bachs Goldberg-variationerna med Ton Koopman på Erato; Gustav Leonhardt på Teldec; Wanda Landowska på RCA; Glenn Gould på Sony samt med Richard Egarr på Harmonia Mundi. Tippetts stråkkvartetter med Lindsay-kvartetten på ASV. Svepet Johan sveper över ett album med  fransk kammarmusik på vilken violinisten Christian Svarfvar och pianisten Roland Pöntinen spelar musik av Fauré, Debussy och Ravel. Johan bjuder oss smakprov ur Faurés Après un Reve samt ur Ravels violinsonat. Skivan är utgiven på Bis.

La vie et l'oeuvre de la musicienne Wanda Landowska racontées par Catherine Perrin

Andra delen fokuserar på kvinnlig homo- och bisexualitet i konstmusikens värld. Tonsättaren och dirigenten Ethel Smyth är den första öppet lesbiska musikpersonligheten inom den klassiska musikvärlden. Konstmusik komponerad av homoerotik och lesbiska passioner.Inom den västerländska konstmusiken finner vi två abedissor, en 1500-talsfeminist, en telegrafist, en viktoriansk överklassdam - dotter till en general, en så kallad svensk herrgårdsfröken, en djupt troende katolik, en excentrisk cembalist, en motståndskvinna i manskläder och cigaretter och en röstekvilibrist utan gränser.Fem skriver operor och fyra är orkesterdirigenter. Flera av dessa kvinnor är banbrytande i sin musik och pionjärer i sin gärning. Hildegard av Bingen älskar Richardis von Stade och får migrän på 1100-talet. Maddalena Casulana är först att kalla sig professionell tonsättare. På 1500-talet. Engelska tonsättaren och dirigenten Ethel Smyth är den första öppet lesbiska musikpersonligheten inom den klassiska musikvärlden. En queer Fröken Sprakfåle klädd i tweed, slips, märkliga huvudbonader och hund.Ethel Smyth är den enda kvinnliga tonsättare som hittills fått en opera uppförd på Metropolitan i New York. Wanda Landowska, cembalopionjären, hamnar i svartsjukedram med kompositionsläraren och dirigenten Nadia Boulanger i Paris.Selma Lagerlöf är svartsjuk på tonsättaren Elfrida Andrée.Och hur är det med Helena Munktell, Sveriges första kvinnliga operatonsättare? Vem är Peggy Glanville-Hicks? Och vem är Frieda Belinfante?Och så berättar tonsättaren och röstkonstnären Meredith Monk från New York om sitt musikaliska språk och vi får veta vilken musik hon skapar när hennes kvinnokäresta sedan 22 år, Mieke van Hoek, dör i cancer.Låtlista: do you be Meredith Monk Meredith Monk Do You Be ECM New Series  1336  831 782-2 The March Of The Women Ethel Smyth Eiddwen Harrhy, sopran Janis Hardy, alt Dan Dressen, tenor James Bohn, bas Plymouth Music Series Chorus, Plymouth Music Series Orchestra. Philip Brunelle, dir. Mass In D EMI Classics 7243 5 67426 2 8 Mass In D Kyrie Eleison Ethel Smyth Eiddwen Harrhy, sopran Janis Hardy, alt Dan Dressen, tenor James Bohn, bas Plymouth Music Series Chorus, Plymouth Music Series Orchestra. Philip Brunelle, dir.  Mass In D EMI Classics 7243 5 67426 2 Serenade In D III  Allegretto Grazioso-Molto Vivace Grazioso-Allegretto Grazioso Ethel Smyth Ethel Smyth BBC Phil. - Odaline de la Martinez, dirigent. Sophie Langdon, violin. Richard Watkins, horn. Concerto for violin, horn & orchestra Serenade CHANDOS CHAN 9449 O VIRGA AC DIADEMA UR SYMPHONIAE (SPIRITUAL SONGS) HILDEGARD VON BINGEN OXFORD CAMERATA JEREMY SUMMERLY, CONDUCTOR  HILDEGARD VON BINGEN: HEAVENLY REVELATIONS NAXOS 8.550998 Quia ergo femina (Because it was a woman) mortem instruxit (Antiphon) Hildegard von Bingen Sequentia Hildegard von Bingen: Canticles of Ecstasy deutsche harmonia mundi dhm 05472 77320 2 Alma Redemptoris Mater (Marian Antiphon) Hildegard von Bingen Sequentia Hildegard von Bingen: Canticles of Ecstasy deutsche harmonia mundi dhm 05472 77320 2 Morir non può il mio cuore Maddalena Casulana 1540-1566/1583 Hilliard Ensemble Italian Renaissance Madrigals EMI Classics CDC 54435 2 Bränningar, Symfonisk Bild, Op 19 Helena Munktell (1852 - 1919) Gävle Symfoniorkester - Tobias Ringborg, Dir Helena Munktell - Orchestral Works   Sommarminnen Från Bjurslätt Elfrida Andrée Elfrida Andrée David Bergström Souvenirer Från Göteborg - Souvenirs From Gothenburg Altfiol i Väst 12-153.51300 Mondenschein, D. 875. Quintet for male voices & piano, (Op. 102) Schubert, Franz Nadia Boulanger, dir, piano. Paul Derenne, tenor. Comtesse de Polignac, sopran Monteverdi - Boulanger, Lipatti Pearl GEMM CD 9994 Three Pieces for Cello & Piano. I. Modere Boulanger, Nadia Nina Flyer, cello. Chi-Fun Lee, piano. Ran: Three Fantasy Movements KOCH Int Classics 3-7269-2H1 Le Couteau Kniven Boulanger, Nadia (1887-1979) Emile Naoumoff, Doris Reinhardt, mezzosopran Boulanger: Theme Et Variations, Etc.; Naoumoff: In Memoriam Lili Boulanger MARCO POLO 8.223636 Goldberg Variations, BWV 988: Aria (Andante espressivo) J. S. Bach Wanda Landowska J. S. Bach - Goldberg Variations, Italian Concerto, Chromatic Fantasia and Fugue EMI CDH 7610082 Concerto Champetre - 2nd Movement Francis Poulenc Wanda Landowska, Danish Radio Symph Orch, Malko Great Musicians in Copenhagen-Historic Live Recordings from the Archive of Danmarks Radio 1932-1934 danacord DACOCD 303 The Transposed Heads Opera i en akt: Scene 3 Peggy Glanville-Hicks The West Australian Symphony Orchestra. David Measham, dirigent Glanville-Hicks - The Transposed Heads Opera efter Thomas Mann Australian Broadcast Corporation 8.770021 Sonala for Harp II Peggy Glenville-Hicks Marshall McGuire Marshall Mcguire Awakening Tall Poppies TP071 MADWOMENS VISION Meredith Monk Meredith Monk Book of Days ECM New Series  1399  839 624-2 Mass In D Benedictus Ethel Smyth Eiddwen Harrhy, sopran Janis Hardy, alt Dan Dressen, tenor James Bohn, bas Plymouth Music Series Chorus, Plymouth Music Series Orchestra. Philip Brunelle, dir. Mass In D EMI Classics 7243 5 67426 2

Wanda Landowska var en av 1900-talets tidiga förkämpar för cembalomusikens återuppväckande. 1900 flyttade Landowska till Paris och studerade 1600- och 1700-talens musik ur alla aspekter. Hon spelade Bachs cembalokonserter på piano, men blev övertygad om att det enda riktiga var att spela dem på cembalo. Till sina konserterturnéer lät hon bygga en tvåmanualig cembalo hos Pleyel. 1925 grundade hon en skola för tidig musik norr om Paris, som hon tvingades lämna 1940 när tyskarna närmade sig. Efter Andra världskriget bosatte hon sig i USA. Genom sin forskning, sina böcker och inspelningar fick hon ett stort inflytade på 1900-talets uppfattning av den historiska cembalomusiken. Mer information på sverigesradio.se/p2

Wanda Landowska var en av 1900-talets tidiga förkämpar för cembalomusikens återuppväckande. 1900 flyttade Landowska till Paris och studerade 1600- och 1700-talens musik ur alla aspekter. Hon spelade Bachs cembalokonserter på piano, men blev övertygad om att det enda riktiga var att spela dem på cembalo. Till sina konserterturnéer lät hon bygga en tvåmanualig cembalo hos Pleyel. 1925 grundade hon en skola för tidig musik norr om Paris, som hon tvingades lämna 1940 när tyskarna närmade sig. Efter Andra världskriget bosatte hon sig i USA. Genom sin forskning, sina böcker och inspelningar fick hon ett stort inflytade på 1900-talets uppfattning av den historiska cembalomusiken. Mer information på sverigesradio.se/p2

Wanda Landowska var en av 1900-talets tidiga förkämpar för cembalomusikens återuppväckande. 1900 flyttade Landowska till Paris och studerade 1600- och 1700-talens musik ur alla aspekter. Hon spelade Bachs cembalokonserter på piano, men blev övertygad om att det enda riktiga var att spela dem på cembalo. Till sina konserterturnéer lät hon bygga en tvåmanualig cembalo hos Pleyel. 1925 grundade hon en skola för tidig musik norr om Paris, som hon tvingades lämna 1940 när tyskarna närmade sig. Efter Andra världskriget bosatte hon sig i USA. Genom sin forskning, sina böcker och inspelningar fick hon ett stort inflytade på 1900-talets uppfattning av den historiska cembalomusiken. Mer information på sverigesradio.se/p2

Wanda Landowska var en av 1900-talets tidiga förkämpar för cembalomusikens återuppväckande. 1900 flyttade Landowska till Paris och studerade 1600- och 1700-talens musik ur alla aspekter. Hon spelade Bachs cembalokonserter på piano, men blev övertygad om att det enda riktiga var att spela dem på cembalo. Till sina konserterturnéer lät hon bygga en tvåmanualig cembalo hos Pleyel. 1925 grundade hon en skola för tidig musik norr om Paris, som hon tvingades lämna 1940 när tyskarna närmade sig. Efter Andra världskriget bosatte hon sig i USA. Genom sin forskning, sina böcker och inspelningar fick hon ett stort inflytade på 1900-talets uppfattning av den historiska cembalomusiken. Mer information på sverigesradio.se/p2

Harpsichordist Skip Sempé performed on Wanda Landowska's unique Pleyel instrument and on her clavichord, speaking about her Bach performances and the Library's substantial Landowska archives. For captions, transcript, and more information visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=5986

As part of the BBC's Sound of Cinema season, Lucie Skeaping presents a profile of the harpsichord in film scores. #BBCSoundofCinema Lucie looks back on the pioneering work of Wanda Landowska in stimulating a renewed interest in the instrument in the first third of the 20th Century, and how the distinctive sound of the instrument quickly found a use in the cinema. She considers how the harpsichord has been used in film to suggest a sense of the past; a sense of the present; and how its created a particularly effective colour in the world of horror films. Featured film scores include: "Wuthering Heights"; "Papillon"; "Restoration"; "Henry V"; "Love Story"; "Rosemary's Baby"; "The Vampire Lovers"; "Pirates of Caribbean"; "The Corpse Bride" and "Amelie".

Wanda Landowska raccontata da Renata Scognamiglio

Polnische Cembalo-Pionierin (geboren 1879 in Warschau, gestorben 1959 in Lakeville, Connecticut)