Composition by Benjamin Britten
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2 episodes with War Requiem
2 episodes with War Requiem
2 episodes with War Requiem
2 episodes with War Requiem
2 episodes with War Requiem
2 episodes with War Requiem
2 episodes with War Requiem
3 episodes with War Requiem
4 episodes with War Requiem
En este episodio de Dirección Coral Online descubro cómo Benjamin Britten desmonta el tópico “Inglaterra no produjo grandes compositores”', presento su formación con Frank Bridge, su travesía a Estados Unidos, el nacimiento del Festival de Aldeburgh, el impacto del War Requiem y las lecciones éticas que inspiran a los directorespodés anotarte en mi newsletter gratuita
25 aprile 1945 - 2025 / 80° anniversario della Liberazione dell'Italia dal nazifascismo.Benjamin Britten (1913-1976) - War Requiem op. 66per soli, coro, coro di ragazzi, orchestra e orchestra da cameraTesto: "Missa pro Defunctis" e versi di Wilfred Owen 1. Requiem aeternam - coro [00:00]What passing bells for these who die as cattle? - tenore2. Dies irae - coro [9:45]Bugles sang, saddening the evening air - baritonoLiber scriptus proferetur - sopranoOut there, we've walked quite friendly up to Death - tenore e baritonoRecordare Jesu pie - coroBe slowly lifted up - baritonoDies irae - coroLacrimosa dies illa - soprano e coroMove him into the sun - tenore3. Offertorium [37:30]Domine Jesu Christe - coro di voci biancheSo Abram rose, and clave the wood - tenore e baritono4. Sanctus - [48:09]Sanctus, sanctus, sanctus - soprano e coroAfter the blast of lightning from the East - baritono5. Agnus Dei [1:00:07]One ever hangs where shelled roads part - tenore6. Libera me [1:04:10]Libera me, Domine - coroIt seemed that out of battle I escaped - tenoreLet us sleep now... In paradisum - baritono, tenore, coro di voci bianche, soprano e coro Luba Orgonasova, SopranAnthony Rolfe Johnson, TenorBoje Skovhus, BaritonNDR SinfonieorchesterMonteverdi Choir LondonNDR Chor Tölzer KnabenchorJohn Eliot Gardiner, conductor
Welcome to another episode of Busy Kids Love Music, your go-to podcast for introducing young listeners to the world of classical music! In today's episode, we're kicking off a new three-part series about one of the most celebrated British composers of the 20th century—Benjamin Britten. What We'll Explore in this Episode: - Britten's Early Life & Musical Beginnings: Born on November 22, 1913, in Suffolk, England—St. Cecilia's Day, no less!—Britten was raised in a musically nurturing home. His mother, Edith, encouraged his early musical talents, and he took his first piano lessons as a child. - A Budding Prodigy: Britten's talent was evident from a young age, and his meeting with composer Frank Bridge at age 14 helped shape his approach to composition. He went on to study at the Royal College of Music, where he balanced formal training with his own creative instincts. - Unique Style & Influence: Known for blending traditional English folk tunes with modern sounds, Britten created music that resonated with listeners of all backgrounds. His ability to craft music that was both complex and accessible made him stand out in the classical world. - Commitment to Peace: Britten was a pacifist, a belief that profoundly influenced his life and compositions. Instead of fighting in World War II, he used his music to convey messages about the horrors of war and the need for peace. One of his most powerful pieces, War Requiem, is dedicated to honoring lives lost in conflict. - Famous Works: Britten's Peter Grimes, which premiered in 1945, became a cornerstone of modern opera. His repertoire also includes orchestral, choral, and chamber music that speaks to audiences around the world. In two weeks, we'll dive deeper into Britten's beloved works, continuing our three-part journey through his life and legacy. Be sure to subscribe, so you won't miss a thing! If you enjoyed this episode, please leave a review on your favorite podcast platform, and join us next time on Busy Kids Love Music! Musical Highlights Throughout the episode, you'll hear snippets of these selections: Hymn to St. Cecelia Night Piece for Piano Four Sea Interludes from Peter Grimes War Requiem The Young Person's Guide to the Orchestra Curated Playlist I've put together a special YouTube playlist featuring music from today's episode. Check it out here. Subscribe & Review If you enjoy the podcast, please subscribe and leave a review on your favorite podcast platform. Your support helps us reach more music-loving families!
Nach sechs Jahren als Leiter des SWR Symphonieorchesters hat sich Ausnahmedirigent Teodor Currentzis der Aufführung von Benjamin Brittens „War Requiem“ in Stuttgart und Freiburg verabschiedet. Alexander Dick, Musikredakteur der „Badischen Zeitung“, zeigt sich nach der Freiburger Aufführung im Gespräch mit SWR Kultur „sehr beeindruckt“.
Elin Manahan Thomas's recommendation for the ultimate recording of Britten's War Requiem.
Writer and performer Candy Bowers reveals the horrors of type 2 diabetes and its disproportionate effect on Black communities, in her afro-futuristic, genre-bending show, ‘Sweet Mama'; Deborah Cheetham Fraillon, AO, On her composition of ‘Eumeralla, a War Requiem for Peace,' written in the Gunditjmara language to commemorate Indigenous lives lost in the forgotten resistance war of Eumeralla, performed by the Melbourne Symphony Orchestra; Lead artist Emilie Walsh on Laneway Learning's comic trails, featuring glow-in-the-dark comic panels illuminating city walls; Wellington-based dance-theatre artist, Daniel Nodder on his cosmic performance exploring the vast expanse of the universe in ‘Only Bones'.
This is another episode where I highly recommend listening to Part 1 from last week before listening to this episode! It was a great honor to speak with the critic and cultural historian Jeremy Eichler about his remarkable new book "Time's Echo." In today's episode, we speak about Richard Strauss' Metamorphosen, as well as the complicated and hotly debated questions about Strauss' activities during World War II. We also talk about Shostakovich and his 13th Symphony, entitled "Babi Yar," a piece of memorial for a place where no memorial had stood for decades. Finally, we speak about Benjamin Britten and his War Requiem. We talk about Britten's devout pacificism, about his visit to the Belsen Displaced Persons camp after World War II, and why his War Requiem seems to have more connection with World War I than with World War II. It was truly a joy to talk to Jeremy about all of these different great composers, as well as the memories they created with their works. Join us!
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.
Welcome to The B-Side, from The Film Stage. Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between. Today we talk about one of the best actresses working today: Tilda Swinton! Our guest is the great Dan Walber, public historian and recovering (!) film critic. Walber is also part of the @closefriendscollective, which you can find on Instagram. Our B-Sides today are: Edward II, Love Is the Devil: Study for a Portrait of Francis Bacon, Possible Worlds, The Deep End, and Teknolust. Walber speaks to her immediate exceptionalism in Derek Jarman's ‘80s films, we marvel at her endless range (from Constantine to Snowpiercer and so on and so forth), and I gush about the work of Francis Bacon and the depths of his controversial career after falling in love with Love is the Devil. We talk about the fascination of Laurence Olivier's final film being a Derek Jarman picture (War Requiem), how Possible Worlds feels impossibly Canadian, and the very particular, joyous world Teknolust lives in. Be sure to give us a follow on Twitter and Facebook at @TFSBSide. Also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor. We are also now on Spotify and Stitcher. Enjoy!
Avui hem sentit: "War Requiem", op. 66 (segona part). Just acabada la Segona Guerra Mundial, Benjamin Britten (1913-1976) va comen
Avui hem sentit: "War Requiem", op. 66 (primera part). Just acabada la Segona Guerra Mundial, Benjamin Britten (1913-1976) va comen
Avui hem sentit: "Cantata Sant Nicolau", per a solistes, tres cors, dos pianos, corda, orgue i percussi
Avui hem sentit: "Simfonia Primavera", per a solistes, cor i orquestra, op. 44. Just acabada la Segona Guerra Mundial, Benjamin Britten (1913-1976) va comen
On Moats 222, George reflects 20 years after the invasion of Iraq why there's is only blood and the absence of robbed treasure. Debate as to why there is a plot to try to murder Imran Khan, you have been forewarned. The US applauds the International Criminal Court it refuses to join for charging Putin with war crimes, while threatening to invade the Netherlands over the court's remit. Should Blair and co not been charged in the same Court over their involvement with Iraq?Guests:19:52 - Abdel Bari Atwan: Editor-in-chief of Rai al-Youm, Author and Political commentator Twenty years after the Iraq invasion, how $880bn was stolen and why there's no water or electricity and kids are still starvingTwitter: https://twitter.com/abariatwanFacebook: https://www.facebook.com/Atwan.AbdelBariInstagram: https://instagram.com/abdelbari.atwanYouTube: https://youtube.com/@abdelbariatwan9183Rumble: https://rumble.com/user/AbdelBariAtwan (@AbdelBariAtwan)51:31 - Lowkey: British rapper and Political Commentator, Host of The Watchdog podcast on MintPress NewsTwitter: https://twitter.com/lowkey0nlineFacebook: https://www.facebook.com/LowkeytourInstagram: https://instagram.com/lowkeyonlineYouTube: https://youtube.com/@LowkeyOnlineOriginal Livestream: https://www.youtube.com/watch?v=hSDXqzw7OKs&t=2s&ab_channel=GeorgeGalloway Get bonus content on Patreon Become a MOATS Graduate at https://plus.acast.com/s/moatswithgorgegalloway. Hosted on Acast. See acast.com/privacy for more information.
Back when he was studying English at UEA, Peter J Conradi had a friend who ran the student literary society, organizing writers to come to Norwich and speak. He went along to a meeting and the speaker there changed the whole course of his life. The writer was Iris Murdoch. She became a friend, and he became – in his words – her “disciple”, and eventually her biographer. And then Peter and his partner, Jim O'Neill, spent eight months caring for Iris at the end of her life, as Alzheimer's took hold – they listened to a lot of music together. Peter has spent his career as an English Professor at the University of Kingston and his biography of Iris Murdoch is not his only book: he's also written about Dostoevsky, John Fowles, and Angus Wilson; about grief, about becoming a Buddhist, and about dogs. In conversation with Michael Berkeley, Peter discusses the extraordinary power Iris Murdoch exerted over all her friends and lovers, and her secretiveness, so that each would be kept in a separate compartment. He remembers how she kept singing and dancing right up to the end. And he reveals his own mental health struggles, and how Buddhism has helped him. Music choices include Strauss, Bartok, Bach, Britten's War Requiem, and the Anthem by Leonard Cohen that contains the famous words “There is a crack in everything, that's how the light gets in.” A Loftus Media production for BBC Radio 3 Produced by Elizabeth Burke
For Video Edition, Please Click and Subscribe Here: https://www.youtube.com/watch?v=ZGO6zAT8KLw&t=11s Capital Cabaret is an organization dedicated to promoting the cabaret art form by entertaining, educating, and engaging audiences and artists through world-class performances, monthly open mic events, cabaret workshops/master classes, and producing The National Capital Cabaret Festival annually in March. I will be joined by a few of the artists participating! Anna Bergman. "A songstress who has triumphed in everything from Broadway tunes to opera arias and the sultry innuendoes of the cabaret chanteuse.” “Anna Bergman thrills you with spectacular high notes…and the sheer aural sensation of her voice. A vocal citizen of the world” (WASHINGTON POST) www.AnnaBergman.com Crazy Aunt Helen's is where it all takes place! https://www.crazyaunthelens.com/ Lina Koutrakos: https://www.linasings.com/copy-of-his... Originally from Indianapolis, Parker Nolen arrived in the Washington DC area in 2017 (by way of Seattle, San Francisco, Atlanta, Montreal, Nashville, Saint Louis, and Dallas). He is a classically-trained singer and has performed with orchestras and chorales in concert halls across North America - notably Carnegie Hall (Mozart Requiem) and Davies Symphony Hall (Britten's War Requiem).
100 episodes. 3 people. And 1 song. The 100th episode of Crisis Twink is here, and to commemorate the occasion, Drew and some extra special guests are going through a March Madness-style bracket of Tear the Community Apart winners to determine the greatest song of all time. For part four of five, Drew is joined by beloved oomfs Bobby Hyland and Mike Leo to discuss Fergie's past, Desire, I Want To Turn Into You, being a zephyr in the sky at night/daytime, and more. THE FINAL IS OUT TOMORROW, so tune in! Don't miss out freak. Follow Crisis Twink on Twitter and Instagram. Follow Drew on Twitter and Instagram. Follow Bobby on Twitter and Instagram. Follow Mike on Twitter and Instagram. --- Send in a voice message: https://anchor.fm/crisis-twink/message
Looking back over a year of In The Studio, we consider the role of the artist's muse. Why does one subject suggest itself above all others, how does an artist then go about incorporating that subject into their work, and what, if any, are the pressures they feel? From Nitin Sawney's latest work marking the 60th anniversary of Benjamin Britten's War Requiem; through Sally Beamish, whose Proms composition was inspired by bees; to Yuri Herrera's historical novel about Mexican leader Benito Juarez, and Stephen Page, whose aboriginal-heritage inspired his dance work for Sydney Festival; to Elizabeth McGovern who took Ava Gardner as her muse for her latest theatrical performance. We explore how each of these artists used their muse to create a work of art.
It has been flagged as the show of the year that should not be missed. With 250 performers on stage and one of the world's top sopranos - WA's Elena Perroni - Britten's War Requiem with WASO is a rare event that will delight. Principal conductor Asher Fisch will be leading the show this Friday and Saturday nights at the Perth Concert Hall. He told Liam Bartlett on 6PR Mornings the anti-war piece is the most famous of renowned composer Benjamin Britten's works, first performed in 1962. "Surprisingly it is in disguise also an anti-religion establishment piece, which is quite shocking," he said. "When Britten first performed it they used to perform with three conductors."See omnystudio.com/listener for privacy information.
Synopsis On today's date in 1962, Benjamin Britten's “War Requiem” for soprano, tenor, baritone, chorus, and orchestra, had its premiere performance at Coventry Cathedral in England. The Cathedral had been virtually destroyed in World War II bombing, and Britten's big choral work was commissioned to celebrate its restoration and reconsecration. Britten was a committed pacifist, and his “War Requiem” text combines poems by Wilfred Owen, who had been killed in the First World War, with the traditional Latin text of the Mass for the Dead. For the premiere, Britten requested soloists representing nations who had fought during the Second World War. With Britten's life-time partner, tenor Peter Pears, representing England, the plan was to have a German baritone, Dietrich Fischer-Dieskau, and a Russian soprano, Galina Vishnevskaya, for the 1962 premiere. As a young man, Fischer-Dieskau had been drafted into the German army, and had been a prisoner of war, but was eager to participate. Unfortunately, the Soviet authorities wouldn't issue a visa for soprano Vishnevskaya to sing in the new Britten piece. “How can you, a Soviet woman, stand next to a German and an Englishman and perform such a political work,” they told her. The British soprano Heather Harper substituted for her. For many, Britten's “War Requiem” is his masterpiece, and shortly after its premiere, Britten wrote to his sister, “The idea did come off, I think... I hope it will make people think a bit.” Music Played in Today's Program Benjamin Britten (1913 - 1976) — War Requiem (soloists; choirs; BBC Scottish Symphony; Martyn Brabbins, cond.) Naxos 8.553558
For most people, nightmares produce insomnia, exhaustion, and unease. For Graham Gordon Ramsay, a spate of severe nightmares in April 2020 developed into something more lasting and meaningful: a five-movement, 18-minute musical work for organ or string ensemble called "Introspections." To me, it's one of the most arresting artistic documents of the opening phase of the global coronavirus pandemic, and so we've made it the subject of this week's Song Exploder-style musical episode. (Headphones recommended!)Graham is a friend of the podcast; longtime listeners will recognize him as the composer of our opening theme. But he's also a prolific writer of contemporary pieces for solo voice, solo instruments, chamber ensemble, choir, and orchestra. In this three-way conversation, which includes organist and conductor Heinrich Christensen of King's Chapel, we retrace Graham's musical and psychological journey from the pandemic's dark, lonely early months (echoing through the turbulent, disquieting first and second movements of "Introspections") to the gradual adaptation and broader reckoning that marked the late summer of 2020 (reflected in the fifth and final movement's turn to more conventional major keys and harmonies). As Graham himself emphasizes, there's no easy 1:1 correspondence between his pandemic experiences, his nightmares, and this composition. The piece is less literal than that, and listeners will, of course, bring their own experiences and interpretations to the work. But "Introspections" clearly takes its place among a genre of musical creations tied to a particular crisis or tragedy, with examples ranging from Benjamin Britten's "War Requiem" to Krzysztof Penderecki's "Threnody to the Victims of Hiroshima" to John Adams' "On the Transmigration of Souls," which won the Pulitzer Prize for its portrayal of the 9/11 attacks.Composers—alongside poets, artists, and even architects—help us gain some perspective on our collective traumas. And speaking for myself, both as Graham's friend and as one of the first to hear "Introspections," the piece will always be associated in my mind with the grim, stressful, baffling, but occasionally uplifting events of 2020.After the interview with Graham and Heinrich, stick around to hear "Introspections" in its entirety.I. Unrushed but steady (37:50)II. With an improvisatory feel (40:56)III. Quick, with a very light touch (46:08)IV. Uncomfortable, plodding (47:12)V. Poignantly, rubato throughout (50:38)For more on Graham Gordon Ramsay, including his discography and musical scores, see http://www.ggrcomposer.com."Introspections for Organ"—a YouTube playlist of the five movements for organ, performed by Heinrich Christensen at Kings Chapel, Boston"Introspections for String Ensemble" by Graham Gordon Ramsay — the full Proclamation Chamber Ensemble performance on videoNotesA special thank you to Graham Gordon Ramsay, Heinrich Christensen, King's Chapel, the members of the Proclamation Chamber Ensemble, and all the volunteers who helped with the GBH rehearsal and recording sessions on September 7 and 8, 2021.Thanks also to Hrishikesh Hirway for his inspiring work on Song Exploder from Radiotopia. It's not just one the smartest and most educational music podcasts out there—it's one of the top podcasts, period.The Soonish opening theme is by Graham Gordon Ramsay.The outro music is from "In Praise of San Simpliciano" (2009), also by Graham Gordon Ramsay.If you enjoy Soonish, please rate and review the show on Apple Podcasts. Every additional rating makes it easier for other listeners to find the show.Listener support is the rocket fuel that keeps our little ship going! You can pitch in with a per-episode donation at patreon.com/soonish.Follow us on Twitter and get the latest updates about the show in our email newsletter, Signals from Soonish.
The composer and multi-instrumentalist Nitin Sawhney has been commissioned to write a contemporary piece in response to Benjamin Britten's piece War Requiem, which was premiered 60 years ago. Nitin's new piece, like Benjamin Britten's work, will be premiered in Coventry Cathedral in England's Midlands. It will be performed both inside the cathedral and in the preserved ruins of the old cathedral that was bombed in WWII. The new work, called Ghosts in the Ruins, will be a response to Britten's War Requiem but with a 21st century twist, concentrating on the plight of refugees and migrants. In the Studio follows Nitin as he works with professional musicians, poets and community choirs to create this site-specific work of art. Known for studio albums including the acclaimed Beyond Skin, Nitin's career has seen him collaborate with major international artists including Paul McCartney, Sting, Mira Nair, Anoushka Shankar, Norah Jones and Herbie Hancock, as well as working with Nelson Mandela. His film and TV music includes Netflix's Mowgli and the BBC's epic Human Planet series. In 2017, he received the Ivor Novello Lifetime Achievement Award.
For Video Edition, Please Click and Subscribe Here: https://youtu.be/yrCh8lWOSzI Originally from Indianapolis, Parker arrived in the Washington DC area in 2017 (by way of Seattle, San Francisco, Atlanta, Montreal, Nashville, Saint Louis, and Dallas). He is a classically-trained singer and for the last 30 years has performed with orchestras and chorales in concert halls across North America - notably Carnegie Hall (Mozart Requiem) and Davies Symphony Hall (Britten';s War Requiem). Parker started solo jazz performances in 2010 and has been performing to steady acclaim on the cabaret and jazz scene since his debut at the Something COOL Cabaret Festival in San Francisco. Not Exactly Paris” is a moving (and sometimes hilarious) story of love and loss as a gay man of a “certain age”. Featuring the music of Elvis, Blondie, Peter Cincotti, Francesca Blumenthal, and others, Parker takes his audience on a journey to discover our shared experiences with honest storytelling and compelling vocal interpretations. With special guest vocalist Barbara Papendorp. Actor-Singer Barbara Papendorp She has performed locally at the Phillips Collection, The Society of the Cincinnati, The Harman Center of the Arts and The Arts Club of Washington as well as local jazz venues: The Black Fox Lounge, Twins Jazz, and the historic Mr. Henry's. Barbara is a resident singing artist at Bistrot Lepic in Georgetown and Le Kavacha Please subscribe for upcoming performances at www.BarbaraPapendorp.com. Instagram: @ChanteuseDC
Photo credit: Marco Borggreve Sara Mohr-Pietsch talks to viola virtuoso Tabea Zimmermann about her dazzling career on the concert platform. She first picked up a viola at the age of three, and in the decades since she's performed with the world's greatest orchestras and has become a hugely respected chamber musician and teacher. She discusses the music that means the most to her, the curiosity that comes from working with young performers, and the future of classical music. Theatre artist Femi Elufowoju jr is making his debut as an opera director with a new production of Verdi's gruesome tragic opera, Rigoletto at Opera North. He's drawn on his own life as a British Nigerian to update the drama and the staging, dealing with issues of identity and discrimination, as a way to open up and illuminate the story. He joins Sara along with baritone Eric Greene (Rigoletto) and soprano Jasmine Habersham (Gilda) as they discuss the new staging and their relationship to Verdi's music. We explore the extraordinary story of the 20th century Russian pianist Maria Yudina, brought to life in a new biography ‘Playing with Fire' by Elizabeth Wilson. Maria Yudina became one of the most respected and famous, but also controversial Soviet pianists and was a friend and champion to the great composers of her day such as Shostakovich, Prokofiev, Stravinsky and Boulez. She was also an active revolutionary, an advocate for the oppressed, and a carer for the sick. Sara talks to Elizabeth Wilson and composer Gerard McBurney about the musician, her recordings, and the urban myths which surround her life. Plus, Sara is joined by composer Nitin Sawhney and Coventry's Poet Laureate Emilie Lauren Jones to discuss 'Ghosts in the Ruins' - a new site-specific work to mark the 60th anniversary of Coventry Cathedral. The project was commissioned as part of Coventry UK City of Culture and takes Britten's War Requiem, written for the consecration of the new cathedral, as the starting point. We find out about how the new piece brings together local musicians, choirs, poets and projections.
In deze aflevering een verhaal over religieus vertrouwen. Of gaat het over religieus fanatisme? Abraham wordt gevraagd zijn zoon Isaak te offeren en hij is nog bereid het te doen ook. Gelukkig grijpt God in het verhaal in. Is Abraham een religieuze extremist of kunnen we wat van hem leren? Wat zijn wij bereid op te geven voor een hoger doel? Allard Amelink bespreekt het weer met het vaste panel van dit seizoen: Lieke Wijnia, conservator van het Museum Catharijneconvent in Utrecht; Ab Nieuwdorp, presentator van De Klassieken op NPO Radio 4; en theoloog en schrijver Alain Verheij. Ze bespreken onder meer kunstwerken van Caravaggio en Rembrandt; muziek van Benjamin Britten, Bob Dylan en Leonard Cohen; en werken van Søren Kierkegaard en Albert Camus. En ook Game of Thrones komt voorbij. Overzicht van de besproken kunstwerken: - Het offer van Isaak door Ghiberti en Brunelleschi (1401) - Highway 61 Revisited van Bob Dylan - ‘Le ciel par une épreuve tendre' uit Abraham Ou Le Sacrifice d'Isaac van Sébastien de Brossard - Het offer van Isaak door Caravaggio (1603) en Rembrandt (1636). - 'Et pergentes pariter' uit Sacrificium Abrahae van Marc-Antoine Charpentier - Vrees en Beven van Søren Kierkegaard - 'So Abram Rose' uit War Requiem van Benjamin Britten - Story of Isaac van Leonard Cohen - Break Down van Michael Landy - De rechtvaardigen van Albert Camus
Coventry Cathedral was rebuilt after being bombed in WW2, with its shell left standing next to the new cathedral a symbol of Resurrection and Reconciliation. It commissioned a War Requiem from Benjamin Britten which incorporated Wilfred Owen's poetry with a Latin Requiem Mass Setting
Avui conversarem amb el saxofonista Lluc Casares, que ens presentar
Am Wochenende wurden die Salzburger Festspiele eröffnet. Beim Eröffnungskonzert am 18. Juli stand das "War Requiem" von Benjamin Britten auf dem Programm. BR-KLASSIK-Redakteur Bernhard Neuhoff hat den Abend verfolgt.
On 7 June 1981 Israeli fighter jets launched a surprise attack on the Osirak nuclear reactor located outside Baghdad, killing 11 people. The French-built reactor was still under construction and there was no leakage of nuclear material, but the bombing was widely condemned internationally. We hear from Dr Fadhil Muslim al Janabi, a former consultant for Iraq's nuclear agency. Also this week, eye-witness testimony to the fall of Madrid in 1939; Hamas' unexpected election victoryin 2006, the plight of legal sex workers in Tunisia and taking part in Benjamin Britten's War Requiem at the consecration of Coventry's new cathedral. Photo: The Tammuz light-water nuclear materials testing reactor under construction in Al-Tuwaitha, just outside of Baghdad, 1979. (Getty Images)
Kate Molleson celebrates Coventry as UK City of Culture 2021, exploring the musical life there, its rich musical history, and talking about what the future holds for Coventrians. She begins at the heart of Coventry in the ruins of the old cathedral, which was destroyed the November night in 1940 when the German Luftwaffe flattened the city centre. It is poignantly connected to the new cathedral by Basil Spence. With its consecration began a distinctive new choral tradition, particularly under music director David Lepine. Kate talks to one of the first choristers, David Sleath, who sang at the premiere of Britten's War Requiem, conductor Paul Daniel who joined the choir in the mid 60s, and organist Rachel Mahon who is the current music director. Composer Dan Jones talks to Kate about his new work, Coventry Moves Together, which was commissioned by Coventry UK City of Culture for their inaugural day of events on 5th June, and which takes the ideas of the city's most pioneering composer, Delia Derbyshire. Kate talks to Chenine Bhathena, the Creative Director of Coventry UK City of Culture about the promises that she is making to the people of the city. Birmingham-born conductor, and recently appointed Music Director of Birmingham Opera, Alpesh Chauhan, has made Coventry his home over the last few years and talks to Kate about his impressions of the city and its cultural significance. Arguably Coventry's biggest musical export is 2-Tone Music, and Kate follows the 2-Tone trail with Neville Staples of The Specials and visits the Coventry Music Museum set up by Pete Chambers, who has devoted his life to finding out about Coventry's music history from Roman Times to the now. Central to his museum is his homage to The Specials' chart-topping song, Ghost Town.
Regarded as one of the most important pieces in 20th Century English music, Benjamin Britten's War Requiem was first played in the newly-built Coventry Cathedral in 1962. The original had been destroyed during World War II. In 2013, Simon Watts spoke to Maggie Cotton, one of the orchestral performers who took part, and to composer Michael Berkeley, Britten's godson. (Photo: Benjamin Britten in 1964 - BBC copyright)
Op vijf jaar ontdekte Noa Calluy een kinderkoor in haar buurt. Ze mocht meedoen en hield ontzettend van het zingen. Vervolgens belandde ze in het kinderkoor van Opera Ballet Vlaanderen. De eerste volwaardige operaproductie volgde een jaar later: La damnation de Faust van Berlioz. Die ervaring staat in haar geheugen gegrift, net als vele andere daarna: Parsifal, War Requiem, talloze concerten. Op een belangrijk knooppunt in haar leven vertelt Noa Calluy over haar passie voor zingen, haar dromen en de nuchterheid die daarbij hoort.
I have dreamed of doing an episode on the great Irish soprano Heather Harper (1930 – 2019) since before I began the podcast. As we we find ourselves in close proximity to both the anniversary of her birth on 8 May 1930 and her death on 22 April 2019, I feel compelled to bring that dream to life. A peerless artist, probably most renowned today for her close collaboration with Benjamin Britten, whose War Requiem she learned ten days before the premiere when the scheduled artist, Galina Vishnevskaya, was refused by the Soviet government to participate in the performance. Her crackerjack musicianship is heard to full advantage in 20th century works by Michael Tippett, Leif Segerstam, Anton Webern, Luigi Dallapiccola, Francis Poulenc, William Walton, and Alban Berg. But her focused, flexible instrument also made her an ideal performer of the Baroque repertoire (we hear her in Purcell, Monteverdi, Cavalli, Bach and Handel). And the surprising stores of power she could summon made her a vital and sympathetic heroine in the operas of Wagner, Mozart, Strauss, and Gounod, as well Britten’s Ellen Orford, of which she was the definitive interpreter. She also excelled in the intimate medium of the Lieder recital. Vocal guest stars include Jessye Norman, Helen Donath, Nicolai Gedda, John Shirley-Quirk, Norman Mittelmann, Nicolai Ghiaurov, and others. Conductors heard include Pierre Boulez, Rudolf Kempe, Colin Davis, Raymond Leppard, Gary Bertini, Meredith Davies, Horst Stein, Anthony Lewis, Carlos Païta, Bernard Haitink, Steuart Bedford, Hans Swarowsky, David Atherton, and Gianandrea Gavazzeni. Fasten your seat belts and settle for an overdue tribute to the dazzling versatility and artistry of the great Heather Harper. 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.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.
Colorism: From Then to Now We'll be getting into the history of colorism, how it crops up in modern places like Bridgerton and the royal family, as well as skin lightening products. This episode includes a trigger warning for rape, discrimination, and body image. If any of these topics are difficult for you, please proceed carefully because your mental health comes first. Can't wait to hear and discuss Feminist Book Club podcasts? Come join Niba @NotesByNiba on Clubhouse at Feminist Book Club, every Wednesday at 4:15pm Pacific time! Books mentioned in this segment: The Duke and I (the first in the Bridgerton series) by Julia Quinn In Search of Our Mothers' Gardens: Womanist Prose by Alice Walker Book review: The War Requiem by Kaia Solveig Preus Follow and support today's hosts: Niba @NotesByNiba Instagram // YouTube // Twitter // www.notesbyniba.com Renee Powers Instagram Research articles: White Colorism by Lance Hannon in Social Currents Educated Black Men Remembered as "Whiter" by Avi Ben-Zeev et al. in Sage Open Microaggressions, Discrimination, and Phenotype among African Americans: A Latent Class Analysis of the Impact of Skin Tone and BMI by Verna M. Keith et al. in Sociological Inquiry Light Privilege? Skin Tone Stratification in Health among African Americans by Taylor W. Hargrove in Sociology of Race and Ethnicity From Dark to Light: Skin Color and Wages among African-Americans by Arthur H. Goldsmith et al. in The Journal of Human Resources The Relationship Between Skin Tone and School Suspension for African Americans by Lance Hannon et al. in Race and Social Problems Skin Lighteners: Global Market Trajectory & Analytics, report by StrategyR Mercury in Skin Lightening Products, report from WHO Paying a High Price for Skin Bleaching by Pavithra Rao for Africa Renewal This episode was edited and produced by Renee Powers on the native land of the Dakota people. Original music by @iam.onyxrose Learn more about Feminist Book Club on our website, sign up for our emails, shop our Bookshop.org recommendations, and follow us on Instagram, Twitter, Facebook, Pinterest.
With the “energy, creativity and charisma not seen since Leonard Bernstein” and “vibrant,” “mind-blowing,” and “spectacular” conducting, Ming Luke is a versatile conductor that has excited audiences around the world. Highlights include conducting the Bolshoi Orchestra in Moscow, performances of Romeo and Juliet and Cinderella at the Kennedy Center, his English debut at Sadler’s Wells with Birmingham Royal, conducting Dvorak’s Requiem in Dvorak Hall in Prague, recording scores for a Coppola film, and over a hundred performances at the San Francisco War Memorial with San Francisco Ballet. The 20-21 season Luke conducts San Francisco Symphony, Houston Symphony, and at Classical Tahoe with musicians of the Metropolitan Opera Orchestra. He has been recognized nationally for his work with music education and has designed and conducted education concerts and programs with organizations such as the Berkeley Symphony, Houston Symphony, Sacramento Philharmonic, San Francisco Opera and others. Luke has soloed as a pianist with Pittsburgh Symphony, Sacramento Philharmonic, and San Francisco Ballet, and currently serves as Music Director for the Merced Symphony and Berkeley Community Chorus and Orchestra; Principal Conductor of the Nashville Ballet, Associate Conductor for the Berkeley Symphony; and Principal Guest Conductor for the San Francisco Ballet. Long time critic Allan Ulrich of the San Francisco Chronicle said, “Ming Luke delivered the best live theater performance I’ve ever heard of [Prokofiev’s Romeo and Juliet]” and in 2016 Luke’s War Requiem was named best choral performance of 2016 in the San Francisco Bay Area. Passionate about collaboration with dance companies and deepening the impact of movement to live music, Luke has guested with Boston Ballet, New York City Ballet Orchestra, Nashville Symphony/Ballet, San Diego Ballet and others and conducted l’Orchestre Prométhée in Paris as part of San Francisco Ballet’s residency with Les Etés de la Danse. Famed dancer Natalia Makarova stated, “Ming has a mixture of pure musicality and a sensitivity to needs of the dancers, which are such rare qualities.”The Question of the Week is, "How can classical musicians be effective collaborators with others?" Ming and I discuss his experience working with dancers as a conductor of ballet, what he believes is the key to being an effective collaborator, and his definition of a "successful classical musician." You can find out more about Ming on his website, mingluke.com.
Richard Wilcocks’s poem “Dorothy Wilkinson, Suffragette” published in the anthology And The Stones Fell Open: A Leeds Poetry Anthology available here is a wonderful poem to share at any time, but we are sharing this to celebrate International Women’s Day on 8th March 2021. Richard sings with Leeds Festival Chorus and in 2018 curated the ‘War Requiem […]
The War Requiem, Op. 66, is a large-scale, non-liturgical setting of the Requiem composed by Benjamin Britten mostly in 1961 and completed in January 1962. The War Requiem was performed for the consecration of the new Coventry Cathedral, which was built after the original fourteenth-century structure was destroyed in a World War II bombing raid. The traditional Latin texts are interspersed, in telling juxtaposition, with settings of poems by Wilfred Owen, written in World War I. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p480/Britten%3A_War_Requiem%2C_Op._66.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com
WARRIOR MONKS is a collection of two clarinet concerti and a trumpet concerto by Carl Vollrath that span topics of war, solace, fascination, and reverence among many others. “And Bugles Sang” drew inspiration from the unique juxtapositions in Benjamin Britten’s “War Requiem” and explores the many ways the trumpet is used as a symbol throughout human history. At times the trumpet is brash and lyrical, expressing ecstasy; in other instances it is strident and rhythmic perhaps reflecting charges into battle; and yet in an instant it reappears low and mellow in what could be heard as a faux-lullaby. The virtuosity in this piece is not to be understated. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p1031/Warrior_Monks.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com
Ever wandered what the creative process is behind the films, tv shows and theatre productions you watch? Well, crew chats is a podcast going behind the scenes and chatting to the crew that help make these productions. Sarah Hamza studied Costume for Performance at the London College of Fashion after being inspired to work in the Textiles field from watching her mother sew her clothes and school uniforms whilst growing up. After graduating, Sarah worked on varied projects like the TV mini-series ’The Colour of Magic’ as the Dye Assistant for two episodes and as the Deputy Wardrobe Supervisor on ‘La Cage Aux Folles’ for the Menier Chocolate Factory theatre. At the Royal Opera House (ROH), Sarah began as a Dresser and a casual Wardrobe Technician mainly for the Opera but occasionally for the Ballet too, before joining the Production Costume department as the Junior Buyer and General Assistant. After the ROH, Sarah worked for the English National Opera (ENO) as the Head Buyer and was also one of the in-house Costume Supervisors, supervising revivals such as 'Madam Butterfly' and 'The Mikado', and new productions from the 2019 season that included ‘War Requiem’, ‘Jack the Ripper: The Women of Whitechapel’ and ‘Orpheus and Eurydice’. Since January 2020, Sarah has been the Head of Costume for the Young Vic Theatre. Sarah's Recommendations: -What We Do in the Shadows (TV Series) -The Farewell -DGV: Danse a Grande Vitesse
The podcast is called “Beethoven Walks into a Bar,” which means we have to talk about the big man, LVB, every so often. This week, we discuss Beethoven’s epic ninth symphony, chat with our good friend and president of the Kansas City Symphony Chorus, Kim Gear, and learn a not-so-secret family cocktail recipe that you’ll be sippin’ all summer long. https://open.spotify.com/album/2Do4q3UxC6hqEMSTvp2NTL?si=tBNjkXu7TE-I0gryqRebKw (Spotify Playlist) https://www.youtube.com/watch?v=HwBEtfXXsvU (Benjamin Britten conducts his War Requiem)
Welcome back to The Community Library! This week I chat to translator and Doctor of Philosophy, my mother: Dr Kate Rice! We talk all things language and translation: my mum's interest in languages, how she started working in translation, and why translated fiction is sometimes frustrating to read. I hope you enjoy! The discussion pick for this month is One Hundred Years of Solitude by Gabriel García Márquez. My dear friend and former guest on the podcast Kaliya and I will be discussing it on the 24th of May. Visit my website here for a full transcription of this episode Things mentioned: - MSO's live performance of Eumeralla, a War Requiem for Peace by Deborah Cheetham AO - Alone in Berlin [Jeder Stirbt für Sich Allein] by Hans Fallada, translated from German by Michael Hoffman - Playwright Henrik Ibsen - “I recall the common figure of speech between tears and rain.” Quoted from The Impossible Fairy Tale by Han Yujoo, translated from Korean by Janet Hong My Instagram and Goodreads The Community Library's Instagram and Goodreads Cover artwork is by Ashley Ronning Ashley's Instagram, website, and printing studio website
The last episode of our month-long dive into the work of Benjamin Britten has us wrapping up with his 1962 'War Requiem' (terribly timed for the holidays). Featuring the D-Day ale from Noyon Brewing, we try to keep your spirits light. If not, let the spirits keep you light.
Martin Zingsheim über Brittens Klassiker der Musikerziehung. In seinen Variationen über ein Rondo von Henry Purcell dekliniert der Komponist 1945 die Klangfarben des Orechesters durch. Für einen Dokumentarfilm geschrieben, ist die Musik ebenso sinnlich wie unterhaltsam - auch für Erwachsene.
Britten begann 1960 mit den Planungen für ein Requiem, das dem Anlass - dem Gedenken an die Opfer des Krieges - und dem Ort - der grausam entstellten Stadt Coventry - in einzigartiger Weise angemessen sein sollte: ein "War Requiem". Es entstand also in einer Zeit, als die Europäer wieder versucht haben zusammenzufinden - und das sollte uns auch heute noch ein Beispiel geben, so der Tenor Andrew Staples.
Realm of the supernatural - Paranormal - Cryptozoology - Ghost stories - Mysteries - Hauntings - UFO
Ok so on this episode i take a look at few unexplained tales, from a ghostly ships crew to a strange meeting, as ever please check out our links [FACEBOOK](https://www.facebook.com/groups/realmofthesupernaturalpodcast/) [PATREON](https://www.patreon.com/realmofthesupernaturalpodcast) [EMAIL](mailto:supernaturalpod@gmail.com) More on the poem Alex Jennings reads the Wilfred Owen poem at the emotional heart of Benjamin Britten's anti-war masterpiece, the War Requiem. This is one of 40 specially-shot video features on the Britten-Pears Foundation's richly-interactive site [http://www.warrequiem.org](http://www.warrequiem.org) Link to poem:- [https://youtu.be/slcsx5NVvww](https://youtu.be/slcsx5NVvww) Thanks for listening, have a great week & we'll see you on the otherside.
Det er duket for delte meninger i guttegarderoben når lavkulturtantene jazzer om Billy Budd-oppsetningen på Den Norske Opera & Ballett. Mens enkelte er klare for å stupe måke langs planten av ren begeistring, er andre forvirret og litt skuffet over det de trodde skulle være et sjøslag av en shantykor-kavalkade. Ingen av oss har noe særlig forutsetninger for å synse om opera, og det beviser vi på pinligst mulig vis gjennom en hjemmesnekret opera-quiz. Egentlig bør alle være fornøyde med at vi klarer oss gjennom så å si hele episoden uten å bryte ut i sang for å formidle de kruttsterke følelsene våre.Lik oss på Facebook Følg oss på InstagramAndre stikkord: Psychobitch, Aldri mer 13, Skam, kulturell appropriasjon av ungdomskultur og teenagernes skam og sosiale medier, Tik Tok, sportsfilmer, Martin Lund, Emir alias Onge Sushi Mane, Luksusfellen, Camp Kulinaris, Hallgeir Kvadsheim, Jonas Bakkevig, Silje Sandmæl, I lomma på Silje, Tore Petterson, Jenny Jensen og museflettene hennes, Septimus, forbrukerjournalistikk og testing av matnyheter, Grandiosa, Pepsi Max, Tryllefløyten med Atle Antonsen, Delibes’ Lakmé, Kirsten Flagstad, Herman Melville, Moby Dick, Ahabs Wife av Sena Jeter Naslund, Benjamin Britten, War Requiem, alskens fokkeslasker, shantykor, Ashanti-kor, Storm Weather Shanty Choir, Slogmåkane, dokumentaren Arbeidssanger og viser fra seilskutetiden, The Village People, Turboneger, Aftenpostens Slik blir du en operaelsker-guide, Leoncavallos Pagliacci, Seinfeld, MasterChef Australia, YouTube-kanalen Bon Appétit, pulled pork, cronuts, Pringles, Snickers, gips, Rowan Atkinson og Kim Bodnia og alle de andre støttekontaktene til Saga Norén i Broen.
Director Daniel Kramer and Designer Wolfgang Tillmans on Britten's War Requiem. This event is recorded live and may include background noise.
Host: Alexandra Coghlan Speakers: Milena Michalski, Elaine Tyler-Hall, Martyn Brabbins
Commentary from David Alan Miller of the Albany Symphony Orchestra from the November 10 concert, Benjamin Britten’s War Requiem.
Join members of the cast and creative team as they discuss ENO’s brand new production of Brittens' War Requiem. Please note the live musical performance has been removed from this recording. Opera Previews is one of a number of events available exclusively to ENO Friends. To find out more about Friends events, please visit www.eno.org/eno-supporters-events. Hosted by Tom Service, the panel includes: David Butt Philip (Tenor) Martyn Brabbins (Conductor, ENO Music Director) Sarah Hamza (Costume) Jane Michelmore (ENO Video) Rebecca Stockland (ENO Chorus) Wolfgang Tillmans (Designer) Claire Wickes (ENO Orchestra) Ann Yee (Choreographer)
On the one hundred and twenty-ninth episode of THE THIRD ACT PODCAST the crew is not the cat. For our new release review we talk about the theatrics of MADELINE'S MADELINE. We pair the with a biopic of an artist by Jane Campion, AN ANGEL AT MY TABLE. Finally, we continue our Auteurography series on Derek Jarman and discuss his dialogue-free poetic film WAR REQUIEM. We also discuss snowball fights, Johnny Depp, and allergy medication. Keep in touch with us on Facebook: www.facebook.com/TheThirdActPodcast and Twitter: @TheThirdActPod and email us anytime at: TheThirdActPodcast@gmail.com
We spend this coffee break exploring Benjamin Britten's War Requiem, the 20th Century's Greatest Work (and we're sticking to it.) Britten uses his musical mastery and dramatic skill to infuse the Latin Mass of the Dead with the war poems of Wilfred Owen, in powerful and, sometimes, ironic ways. We listen to the Dies Irae to hear Britten's power use of tritones to drive the music forward, as well as the compelling Sanctus and Libera Me, the conclusion. The complex piece uses both a full and chambers orchestras, 3 soloists, 2 choirs (adult and children) to create a simple but awesome message about the horrors of war. Listen to the entire piece: https://www.youtube.com/watch?v=625WOYzdvFw We need your help. Donate at www.mauriceriverpress.com
Rode draad is het War Requiem van Benjamin Britten dat uitgevoerd wordt door het Noord-Nederlands Orkest. Dit monumentale werk wordt omlijst wordt met protestnummers uit de popmuziek. Je hoort in de show muziek van Raphael Gualazzi, The Isley Brothers, Donovan, J.B. Lenoir, Jimmy Cliff en The Stranglers.
Dirigenten Michael Schønwandt har en svaghed for engelsk musik - og i særdeleshed for Benjamin Britten - både som komponist, dirigent og pianist. Schønwandt lærte oven i købet Britten at kende ved Aldeburgh Festivalen, kort før Brittens død. Schønwandt spiller War Requiem og En skærsommernatsdrøm - og du får også prøver på Britten som dirigent. www.dr.dk/p2 (Sendt første gang 17. juni).
Marjolaine Fournier and Jean-Jacques van Vlasselaer discuss Benjamin Britten’s War Requiem. How much do you know about Benjamin Britten? There is fury in this composition. Where does it come from? Pacifism started in the 20th century, and Britten is a member of this movement. War is morally unacceptable and unjustifiable for him. So what is this Requiem about? Find out in this newest instalment of the Explore the Symphony podcast. The NAC Orchestra will perform this work on Friday November 9, 2018, in a side-by-side concert with the Bundesjugendorchester (the German Youth Orchestra) and local choirs in Southam Hall.
Renowned American choreographer Mark Morris on adapting the Middle Eastern love story Layla and Majnun with the Silkroad Ensemble, Yorta Yorta soprano and composer Deborah Cheetham's new work inspired by the Eumeralla Wars, we discuss Shakespeare's tragic prince with theatre historian and author of Performing Hamlet Jonathan Croall, author of Performing Hamlet, and Re-Member Me performer Dickie Beau, voice and dialect coach Leith McPherson leads us through another accent lesson, and as NoFit State Circus rolls into the Royal Botanic Gardens Melbourne, we tag along to find out just how that big top gets built.
This coffee breaks ends the examination of music that represents death by listening to extraordinary works by two great composers, music that takes us through the darkness into the afterlife. Sinfonia da Requiem was Benjamin Britten's antiwar piece that was structured similarly to the Roman Catholic Mass for the dead. Britten's War Requiem brings choir, soloist, poetry and two orchestras together to create an amazing vision of life and death. Death and Transfiguration is Richard Strauss's tone poem about a dying man's thoughts on his life's experience and he finally receives his transfiguration "from the infinite reaches of heaven." Powerful ideas and music. contact the show at: yccb@mauriceriverpress.com
On this week's Life Together podcast Bernard, Marianne, and Peter start by discussing freedom in the context of relationships and church community. They move on to two listeners' questions: how the Bruderhof vow of poverty works and a question about the epidemic of homelessness in the United States. Then, a conversation on the great composers and the role of great music in worship. Here are some of the links and references from this episode: Love in the Time of Individualism by Julie Beck https://www.theatlantic.com/health/archive/2017/09/love-in-the-time-of-individualism/540474/ Cheap Sex by Mark Regnerus https://global.oup.com/academic/product/cheap-sex-9780190673611?cc=us&lang=en& Jesus and Community by Gerhard Lohfink https://www.amazon.com/Jesus-Community-Gerhard-Lohfink/dp/0800618025 God's Revolution by Eberhard Arnold https://www.plough.com/en/topics/faith/discipleship/gods-revolution Anecdote re: The Trumpet Shall Sound by GF Handel https://www.nytimes.com/2015/12/18/arts/music/in-handels-messiah-the-trumpet-as-divine-agent.html?_r=0 Benjamin Britten's War Requiem https://www.plough.com/en/topics/culture/music/a-requiem-for-world-war-i Rate us and leave us a comment on iTunes or wherever you get your podcasts. Check out the Bruderhof's website at www.bruderhof.com Twitter: www.twitter.com/thebruderhof Facebook: www.facebook.com/TheBruderhof Instagram: www.instagram.com/bruderhofcommunities Email: contact@bruderhof.com
About Shigeru: Born in Tokyo, Japan, Shigeru Ishikawa is one of the foremost double bassists of his generation, both as a performer and a teacher. He is currently He is currently Solo Bass (ie. principal bass) of the Yomiuri Nippon Symphony Orchestra in Tokyo. Shigeru previously served as the principal double bass (Solo Kontrabass) of the BernerSymphonieOrchester in Bern, Switzerland, which he started in 2006. His performance has been described as “irresistible charm” (Der Bund), “jewel of a crown” (Miami Herald), “deep-rumbling bravura with athletic, fleet-fingered virtuosity” (Sun Sentinel). He was the principal bassist of the Florida Philharmonic Orchestra from 1997 to 2003 under the music directors of James Judd and Joseph Silverstein. Prior to that, he served as the guest principal bass with the New Japan Philharmonic in 1996 under Seiji Ozawa Music Director and was the principal bass of the New World Symphony Orchestra under Michael Tilson Thomas from 1993 to 1996. He has been also the member of Saito Kinen Orchestra (Seiji Ozawa, Music Director) since 1992 where he participated in numerous recordings on Philips and Decca label. Maestro Ozawa chose him as the solo bassist (Chamber Orchestra) of Saito Kinen Orchestra for Britten’s War Requiem both in Japan and US tour in 2009 and 2010 and recorded on Decca label. In addition to his orchestral activities, Shigeru Ishikawa regularly presents solo and chamber music performances. Since 1991 he has given numerous recitals both in Japan and USA , places including Tokyo, Osaka, Kyoto, Fukuoka, Matsumoto, Sapporo, New York, Miami, Boca Raton, and has appeared in radio broadcast in both countries. In 2009, his Recital in Tokyo was broadcasted by NHK, Japan’s national television network, and especially Franck’s violin sonata performed on bass brought sensation throughout Japan. In U.S.A, he has released CD with Trio Tres Amigo with oboe and piano. He has also appeared as a soloist to perform concertos, such as Koussevitzky concerto with Lynn Philharmonic, Bottesini Tarantella with Renaissance Chamber Orchestra and BottesiniPassioneAmorosa with BernerSymphonieOrchester. As a chamber musician, he has collaborated with Berlin Quartet, IvryGitlis, members of Boston Symphony Orchestra, Bolomeo String Quartet. As a winner of JAA music award in New York in 1991, he gave a New York debut recital in Carnegie Hall. He is also the prize winner of Bass94 International Doublebass Competition in 1994 in Avignon, France. In 1999, he was invited to give a recital at the International Society of Bassists Convention in the United States He is also known as a supreme teacher with modern double bass technique. He served on the faculty of Boston Conservatory from 1996 to 1997 and after he came to Florida, he has taught at Harid Conservatory, Lynn University and Florida Atlantic University. He regularly gives master classes in the United States and Japan. He received his Bachelor of Economics degree from Keio University in Tokyo, Japan, and his Master of Music degree from the Juilliard School of Music in 1992.In addition, he has studied at Yale School of Music and Toho Gakuen School of Music. His primary bass instructors have been Eugene Levinson, Gary Karr, Edwin Barker and Shunsaku Tsutsumi.
Vladimir Jurowski just finished a four-city North American tour with the London Philharmonic Orchestra, where he's been the chief conductor since 2007. Last month, the Philharmonic renewed his contract through 2018, and critics have frequently praised his artistic bond with the ensemble. But along with his London ties, Jurowski also has some strong feelings about his native Russia, whether it's parsing the political subtexts in Soviet repertoire or speaking out on present-day civil liberties. We caught up with Jurowski before a recent Carnegie Hall performance and the conversation turned from Shostakovich to a daring Moscow performance of Britten’s War Requiem that he led this past April. The concert, which was intended to celebrate British and Russian cultural ties – and reportedly attended by many high-level dignitaries – was nearly called off because of Russia's invasion of Crimea. But it continued, and Jurowski viewed the Requiem – written by and dedicated to gay artists – as a way to honor victims of persecution. In this podcast he tells Naomi Lewin how his potentially incendiary remarks were received. Interview Highlights: On Shostakovich: I'm absolutely certain that there are political messages in his music but it doesn't make him by definition either a dissident or a brave Soviet citizen. He was neither. I think Shostakovich was the last great symphonist of the 20th century. On Dissent in Russia: The interesting thing is that you can still say a lot in Russia unpunished if you do it in the right way. The problem is that it can hardly influence the political situation because people who are at the helm of the politics don't give a damn about any criticism coming from below. Like Owen said, 'All that poetry can do is but to warn.' On The London Philharmonic: We're mainly harvesting the fruits of a long-standing relationship. Now there is this real chemistry and trust on both sides. It's a difficult life we lead there but an extremely exciting and artistically satisfying one. Bonus Audio: On the art of conducting:
Wilfred Owen is one of the greatest First World War writers. The poets Fred d'Aguiar and Michael Longley discuss the work of the poet whose poetry inspired Britten's War Requiem. This programme, is presented by Ian McMillan and was recorded in front of an audience at the Royal College of Music as part of the BBC Proms. To find out further information about the events which are free to attended go to bbc.co.uk/proms
As part of Radio 3's Britten Centenary weekend, Michael Berkeley travels to Aldeburgh beach to meet the artist Maggi Hambling at her controversial memorial to Britten in the form of two giant interlocking scallop shells. Michael also visits her nearby studio to see her paintings inspired by the Suffolk sea and to talk about the effect of Britten's music on her painting and sculpture. She tells Michael about her fascination with drawing and painting people she's loved after they've died; the importance of drawing; and her love of feeling rooted in Suffolk. Maggi's music choices include music from Peter Grimes and the War Requiem, as well as Schubert, a song by her friend George Melly and some surprising music which sums up how she relaxes in the rare moments when she's not working.
Regarded as one of the most important pieces in 20th Century English music, it was first played in the newly built Coventry Cathedral. The original had been destroyed during World War II. Hear from one of the orchestral performers who took part, and from composer Michael Berkeley. (Photo: Benjamin Britten in 1964 - BBC copyright)
The Archbishop of Canterbury the Most Rev Justin Welby chooses the War Requiem (Op.66) by Benjamin Britten, written for the 1962 consecration of the new Coventry Cathedral, the original having been destroyed in the blitz of 1940. Presented by Mark Lawson The interview is followed by selected clips from the BBC archive: The first performance in 1962; Dietrich Fischer-Dieskau on the singing in the premiere; Ben Wishaw reads Wilfred Owen; Michael Berkeley on the music and legacy of the War Requiem; The Archbishop of Canterbury reads Owen; Paul Kildea on Britten's legacy; The bells of Coventry Cathedral. Full archive details are available at http://www.bbc.co.uk/programmes/p016p5mb/profiles/archbishop-of-canterbury
The New Elizabethans: Benjamin Britten. One of the greatest composers of the 20th century. A conductor and musician of gifted brilliance, Britten was writing symphonies from the age of twelve and learning from the composer Frank Bridge in his early teens. A pacifist during WWII he travelled through America with the singer Peter Pears (who would later become his life-long companion) and befriended writers like W.H.Auden and Christopher Isherwood. He is famous for operas like Peter Grimes, choral works such as The War Requiem which he wrote for the reconsecration of Coventry Cathedral and enjoyed composing for children: The Young Person's Guide to the Orchestra is one of his best known pieces. He founded the Aldeburgh Festival on the Suffolk coast, which continues to this day, and the Britten-Pears Foundation still promotes his work with Peter Pears. He refused a knighthood but was a member of the Order of Merit and accepted a life peerage in 1976. The New Elizabethans have been chosen by a panel of leading historians, chaired by Lord (Tony) Hall, Chief Executive of London's Royal Opera House. The panellists were Dominic Sandbrook, Bamber Gascoigne, Sally Alexander, Jonathan Agar, Maria Misra and Sir Max Hastings. Producer: Clare Walker.
Can you guess this piece? Here's a hint: A composer lashes out at the terrors of war…
Can you guess this piece? Here’s a hint: A composer lashes out at the terrors of war…
This week the Guest List is from Liverpool Cathedral as part of the celebrations of the city being the ‘European Capital of Culture’.... On the show is Broadcaster John Suchet , who tells Anne-Marie about his new book ‘The Treasures of Beethoven’ which looks at the stories and music behind the man… Also on the programme is Organist and Conductor Ian Tracey who is conducting the RLPO in a performance of Benjamin Britten’s War Requiem at Liverpool Cathedral
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