Podcast appearances and mentions of William Walton

William Walton (1902-1983) - Quartetto per archi n.2 in la minore1.       Allegro2.       Presto3.       Lento4.       Allegro moltoThe Britten Quartet

Lyricist Richard Stilgoe and musician and songwriter Natalie Duncan prepare for a square dance as they add five more tracks to the playlist. With Anna Phoebe and Jeffrey Boakye, they head from Scottish reels to Mars, via California's Santa Monica Boulevard.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Eightsome Reel by The Scottish Fiddle Orchestra Scotch Rhapsody by William Walton & Edith Sitwell All I Wanna Do by Sheryl Crow Gimme Shelter by The Rolling Stones Mars by Gustav HolstOther music in this episode:King by Years & Years Hoedown by Emerson, Lake & Palmer Boil 'em Cabbage Down, trad, performed by Mark O'Connor Candy by Cameo

durée : 00:08:30 - " Bagatelle n°2 " de William Walton (1902-1983) - "Les 5 Bagatelles de William Walton achevées et crées en 1972, fruit d'une étroite collaboration avec le grand guitariste anglais Julian Bream, qui se donnait pour mission de renouveler le répertoire britannique, collaborant avec les éminents compositeurs vivants de son époque." Sébastien Llinarès

The first automobile in North Dakota sparked a wave of excitement when it appeared in Fargo in 1897, igniting the state's love affair with cars. In 1898, Samuel Holland's homemade steam-powered jalopy became the first car manufactured in the state. North Dakotans didn't wait for mass production; they started building their own vehicles. Some, like Holland, sold their creations, while others, like William Walton of Neche, built them for personal use. When Henry Ford's Model T hit the market in 1908, it sold for four hundred dollars—equivalent to about eleven thousand dollars today.

When is the last time you witnessed the power of your own voice? Maybe you're like Benjamin, it was today, fool! Or maybe it's been while? Finding my own voice and starting this Flirtcast didn't come easily. I've struggled for most of my life to even just connect to my voice and that's the inspiration for this episode today. To hopefully help you in connect to your voice, find it if it's gone away, or perhaps discover it like you never have before. We welcome Nick Higgs the Singer to the show to guide us through the conversation as we talk about what hold us back from radiating our true voices, what we can do to overcome these blocks, and how we can bring more confidence to our conversations! Then we'll get into allll the flirting tips about how you can use your voice as in incredible tool to flirt. Not just with the words you say, but with tone, pitch, speed, volume, range, and more!  Finally, we'll wrap up with some anxiety practices and vocal exercises you can do when your tongue is tied and you feel like you might not be able to get the words out. Being able to express yourself, your needs and boundaries, and how you're feeling is wildly important in dating - and in all of your relationships. My hope with this episode is that you feel more connected to your voice and feel confident using it to communicate, have amazing conversations, and FLIRT! Enjoying the show and want to support my work? Buy the Flirt Coach a coffee! Then don't forget to subscribe, rate, and review Flirtations on your favorite podcast platform, and share this episode to spread BFE - big flirt energy, all over the world! About our guest:  Nicholas Higgs pursued his passion for music at the University of Toronto, where he earned both his Master's and Bachelor's degrees. Under the esteemed guidance of Professor Lorna MacDonald, he honed his skills and expanded his repertoire, showcasing his versatility in roles such as Count Almaviva in Mozart's Le Nozze di Figaro and Grigory in William Walton's The Bear. Other roles include Guglielmo (Così fan tutte), Abraham Kaplan (Street Scene), Papageno (Die Zauberflöte), and Curio (Giulio Cesare). Praised for his “rich and agile voice,” baritone Nicholas engages listeners as a performer, content creator, and educator. He recently served as the music director, as well as performed the role of the Escapologist, in a production of Matilda the Musical with Triple Threat Theatre in Lindsay, Ontario. Nicholas has made a significant impact as a content creator, amassing a dedicated following of over 450 thousand individuals across various social platforms. Through his online presence, he seeks to provide high-quality music education to his followers, firmly believing that everyone deserves the opportunity to sing. You can find Nicholas on social media at the username @nickhiggsthesinger. About your host:  Benjamin is a flirt and dating coach sharing his love of flirting and BFE - big flirt energy, with the world! A lifelong introvert and socially anxious member of society, Benjamin now helps singles and daters alike flirt with more confidence, clarity, and fun! As the flirt is all about connection, Benjamin helps the flirt community (the flirties!) date from a place that allows the value of connection in all forms - platonic, romantic, and with the self - to take center stage and transform lives for greater healing and deeper connections. You can connect with Benjamin on Instagram, TikTok, stream the Flirtations Flirtcast everywhere you listen to podcasts (like right here!), and find out more about working together 1:1 here.

Les amis de l'Orgue Luxembourg zelebréieren dëst Joer hire 50. Jubiläum. A fir dat ze feieren, gëtt et de Sonnden, 13. Oktober um 5 Auer e Concert an der Mäerteskierch vu Jonglënster. Mat dobäi ass den Titularorganist vun der Paräisser Kierch St-Eustache, den Thomas Ospital. Dee gëtt begleet vum Orchestre de Chambre du Luxembourg an ënner der Baguette vum Pit Brosius interpretéieren si Wierker vum William Walton a Joseph Gabriel von Rheinberger, esou wéi eng Kreatioun vum Ivan Boumans, déi extra fir d'Occasioun komponéiert gouf. D'Marie Trussart huet mam Paul Kayser, Organist a President vun den Uergelfrënn, ënner anerem iwwer d'Vergaangenheet an d'Zukunft vum Veräi geschwat, esou wéi iwwer de Programm vum Concert. De Concert ass gratis, Plaze kënne per Email um info@amisdelorgue.lu reservéiert ginn.

durée : 02:04:34 - Musique matin du mercredi 09 octobre 2024 - par : Jean-Baptiste Urbain - Pour son nouvel album, Gautier Capuçon revient à ses premières amours avec les concertos pour violoncelle des compositeurs anglais Edward Elgar et William Walton. Il sera également en concert à la Philharmonie de Paris pour la création française du 2e concerto pour violoncelle de Thierry Escaich. - réalisé par : Yassine Bouzar

Alessandra Vinciguerra, intervistata da Enrico Della Giovampaola, racconta i Giardini La Mortella di Ischia, dal 1999 parte del network Grandi Giardini Italiani. Una narrazione avvincente dagli esordi di una "botanica in erba" a Presidente della Fondazione William Walton, una tra le più illustri fondazioni di musica del panorama internazionale. Attraverso la storia professionale della Direttrice dei Giardini La Mortella scopriamo la genesi di uno scrigno botanico realizzato, in un luogo inospitale per la vegetazione, da Lady e William Walton, grazie anche al contributo del paesaggista Russell Page. Iscriviti al nostro canale Podcast e commenta sul canale Instagram @grandi_giardini_italiani la puntata.

En aquest cap

En aquest cap

En aquest cap

En aquest cap

En aquest cap

Season 6 - Episode 31 Greetings, ethereal enthusiasts! It's another week in the cosmic dance of the paranormal with me, Clinton, and as always, the ever-entertaining Linda. I've made her a hearty bacon butty this morning - and yes, always treat your spirits and your guests with equal affection, I say!Now, we dive deep into the colourful tapestry of the '90s today, and who better to help us navigate those waters than the one and only, Terry Christian? An exclusive just for you, my listeners! But before we get there, Linda fills us in on her newest escapades at the school. Let's just say it's been a rollercoaster of experiences with both staff and students.Speaking of rollercoasters, we've got a call - or should I say, calls - from the other side! Brace yourselves as we connect with the spectral voices of Whitney Houston and Les Mckeown from the Bay City Rollers. The veil between worlds is truly thin today.And from the earthly plane, our latest busker recording hails from the East Midlands. A melody that will transport you, guaranteed!Now, for those of you who love your monthly dose of mysticism, we dive into "Chat it's Fate" from December 2019 with a segment titled, "GIFT FROM THE DIVINE." Truly captivating stuff there.We also get a spine-tingling email from John Mcgeechan, detailing a haunting experience that's bound to give you goosebumps.As we wrap up our episode, we return to Terry Christian, who spills the beans on a surreal experience with a clairvoyant woman. Her visions for him? A mix of sandy beaches with palm trees, a journey, and... a knock from the police. Intrigued? So were we!So buckle up, dear listeners. The spiritual highway is revving up, and the destinations are endless. Let's ride!

This past week the opera world was plunged into mourning over the sudden death of Renata Scotto. Originally I had intended this week's episode to be devoted to her memory. But I can't even speak her name without bursting into tears. In other words, I need more time as I try to come to terms with her demise. I have decided to feature the matchless singing actor in the first episode of Season Five. In the meantime, we have another momentous occasion (and artist) to acknowledge: the 90th birthday of the English Rose: the phenomenal Janet Baker. Given that I could probably devote an entire podcast to Dame Janet, and given the wealth of material in my personal collection featuring this artist, much of it rare and unusual, I have chosen to feature this beloved artist in her third full Countermelody episode. There are few vocal artists in the history of classical music who have exhibited greater versatility than Janet Baker; this episode features many rare performances across the entirety of her long career of repertoire in which she had virtually no equal, as well as music in which she also excels but which might prove surprising. Thus we hear the expected mélodie, Lied, British song and Bach aria alongside Purcell's Dido and pants roles by both Mozart and Richard Strauss. But we also hear such surprises as Monteverdi's Poppea (sinuously and surprisingly sexy), Bellini's Romeo (opposite Beverly Sills), William Walton's Cressida (in the 1976 version of his opera Troilus and Cressida refashioned expressly for Baker), and a sublime extended orchestral song by Respighi, as well as the ultimate jaw-dropper, Rossini's Cenerentola! We wish long life and continued health and vitality to one of the greatest mezzo-sopranos of the twentieth century! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Het zintuig waar Ab vandaag graag met jou aandacht aan wil besteden is onze smaak. We gaan muziek van de Britse componist Sir William Walton proeven, genaamd ‘touch her soft lips and part'.

Dediquem el programa a la m

As the CBSO prepares for a summer of tours to Aldeburgh, Japan, and the BBC Proms, the orchestra's new Chief Conductor Kazuki Yamada speaks to presenter Tom Service about the joy of music and the goosebumps he experiences while conducting. Tom travels to the South Downs to speak to Australian director Barrie Kosky about a new production, opening this weekend at Glyndebourne, of Poulenc's Dialogues des Carmélites. He's joined by sopranos Golda Schultz and Sally Matthews, as well as conductor Robin Ticciati, to talk about the story of sixteen nuns who meet their death at the hands of the French Revolution. Amid rehearsals at the Royal Opera House, Music Matters hears about the World Premiere of a new ballet, Untitled 2023 – a collaboration between the Royal Ballet's resident choreographer Wayne McGregor and composer Anna Thorvaldsdottir. They discuss the somatic relationship between body, dance and music, and why listening to Thorvaldsdottir's compositions is not a passive experience. And one hundred years after its premiere at the Aeolian Hall in June 1923, Tom speaks to the writer and broadcaster William Sitwell about his great-aunt Edith Sitwell's creative relationship with the composer William Walton – a collaboration which resulted in the entertainment, Façade. He's also joined by writer and researcher Lucy Walker. Together they discuss the work's nonsensical parody of popular music, jazz, and poetry and knotty issues it presents to contemporary audiences.

William Walton composed music for the coronation of Queen Elizabeth II and King George VI, pieces of pomp and circumstance. But Walton grew up far from Buckingham Palace and the world of the Windsors, in the northern working-class town of Oldham, seemingly destined to work at the cotton mill. Even when he escaped to Oxford and then London, making high-society friends such as the Sitwells, his early music was intense and avant-garde - not at all suitable for a royal affair. So how did Walton become the royal composer of choice? This week, we'll find out. Music Featured: Coronation Te Deum Litany Façade: 2. En famille Portsmouth Point Sinfonia Concertante Façade (extracts) Viola Concerto As You Like It: A Poem for Orchestra after Shakespeare Symphony No 1 Crown Imperial Violin Concerto Henry V Hamlet Troilus and Cressida (excerpts) Orb and Sceptre Cello Concerto Presented by Donald Macleod Produced by Alice McKee For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for William Walton (1902-1983) https://www.bbc.co.uk/programmes/m001lbzn And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Tal como prometimos volvemos con una segunda entrega de fragmentos de bandas sonoras de películas inspiradas en obras de William Shakespeare, sin duda uno de los autores más representados y adaptados tanto en cine, como televisión, teatro, ópera, musicales, etc. En este segunda playlist encontraremos las músicas de Nino Rota para “La fierecilla domada” como “Romeo y Julieta”, Toru Tamekitsu en “Ran”, Trevor Jones en Ricardo III”, William Walton en “Enrique V” y de Patrick Doyle en sus trabajos con Kenneth Brannagh para “Mucho ruido y pocas nueces”, “Como gustéis”, “Hamlet” o “Enrique V”, dejando “Trabajos de amor perdidos” para otra playlist que vamos a dedicar en breve, íntegramente a Patrick Doyle. Hemos dejado fuera entre otras muchas a Leonard Bernstein y “West Side Story”, el “Kiss me, Kate” de Cole Porter o a Richard Rodgers con “The boys from Syracuse” ya que nacieron para el teatro, no para el cine y la de Stephen Warbeck para “Shakespeare enamorado” ya que es una fantasía sobre la vida del bardo. 00h 00’00” Presentación 00h 01’07” Cabecera 00h 01’42” NINO ROTA – La fierecilla domada 00h 01’42” Overture 00h 05’59” Suite 00h 15’46” NINO ROTA – Romeo y Julieta 00h 15’46” Suite 00h 30’35” PATRICK DOYLE – Mucho ruido y pocas nueces 00h 30’35” Overture 00h 34’51” A star danced 00h 37’31” Sigh no more ladies 00h 39’28” PATRICK DOYLE – Como gustéis 00h 39’28” As you like it 00h 46’09” The forest of Arden 00h 50’17” Violin romance 00h 55’13” PATRICK DOYLE - Hamlet 00h 55’13” All that lives must die 00h 57’50” Good night sweet prince 01h 01’22” In pace 01h 04’27” Sweets to the sweet - Farewell 01h 09’05” PATRICK DOYLE – Enrique V 01h 09’05” Non, nobis domine 01h 13’10” St Crispin day – The bbattle of Agincourt 01h 27’18” Theme – The board’s head 01h 30’00” TORU TAKEMITSU – Ran (Rey Lear) 01h 30’00” Buddist prayer temple – Last 11.000 & hidetora – Fury of Ootemon – 2nd castle 01h 31’50” Hell’s picture scroll 01h 370300” Ending credits 01h 41’00” TREVOR JONES – Ricardo III 01h 41’00” The battle 01h 45’25” The tower 01h 47’27” WILLIAM WALTON – Enrique V 01h 47’27” Prelude 01h 54’19” Epilogue

Paris From the Earliest Period to the Present Day; Volume 2

Durante la última visita de nuestro amigo Juan Marco, os prometimos que este simpático violista de Caudete volvería pronto para hablar de un tema que le toca bien de cerca. Ese día ha llegado, ya que hoy nos acompaña para hablar sobre el compositor inglés William Walton, famoso por haber escrito un concierto para viola absolutamente espectacular y muy querido por todos los intérpretes de este instrumento. Además de eso, analizaremos por qué Walton fue un músico inglés con muy poco en común con el resto de compositores de su país, pues su exilio voluntario en Ischia es solo el final de una carrera un tanto diferente de la de sus contemporáneos. En nuestra opinión, un compositor muy infravalorado y cuyas obras, el concierto para viola incluído, merecen otro sitio en el repertorio de las grandes orquestas.

Aprovechando que el programa de “Cuéntame un musical” estaba dedicado al musical “& Juliet”, que nos presenta una simpática historia con la pugna entre Shakespeare y su mujer Anne Hathaway para conseguir cambiar el argumento de “Romeo y Julieta”, decidimos montar unas playlists de fragmentos de bandas sonoras de películas, que han tenido las obras del escritor inglés como fuente de inspiración. En este primer programa tendremos las músicas de Angelo Francesco Lavagnino para el “Campanadas a medianoche” y el “Othelo” de Orson Welles, a Carter Burwell y sus temas para “Hamlet” y “Mackbeth”, Elliot Goldenthal con “La tempestad” y “Titus”, Ennio Morricone con Hamlet, Erich Wolfgang Korngold y Felix Mendelsshon para “El sueño de una noche de verano”, Jocelyn Pook con “El mercader de Venecia”, John Scott para “Marco Antonio y Cleopatra”, Masaru Sato para “Trono de sangre” y Miklos Rozsa para “Julio César”. El mes próximo sacaremos un segundo volumen con temas de Patrick Doyle, Toru Takemitsu, Trevor Jones y William Walton. Esperamos haber acertado con la selección 00h 00’00” Presentación 00h 01’07” Cabecera 00h 01’42” ANGELO FRANCESCO LAVAGNINO – Campanadas a medianoche 00h 01’42” Apertura festosa 00h 02’55” Intermezzo agreste 00h 06’03” Corale mistico 00h 09’13” ANGELO FRANCESCO LAVAGNINO – Othelo 00h 09’13” Chant 00h 13’15” The seed of doubt 00h 16’17” The deciver is revealed – The death of Othelo 00h 18’39” CARTER BURWELL – Hamlet 00h 18’39” Too too solid flesh 00h 21’17” Murder most foul 00h 24’28” To be or not to be 00h 27’05” The end 00h 30’24” CARTER BURWELL – La tragedia de Mackbeth 00h 30’24” Birnam wood 00h 32’48” The end of Mackbeth 00h 36’11” ELLIOT GOLDENTHAL – La tempestad 00h 36’11” O mistress mine 00h 39’12” High day too-step 00h 41’12” Full fanthom five 00h 45’18” Brave new world 00h 47’57” ELLIOT GOLDENTHAL - Titus 00h 47’57” Suite 00h 59’36” ENNIO MORRICONE – Hamlet 00h 59’36” Suite 01h 09’35” ERICH W. KORNGOLD / FELIX MENDELSSHON – El sueño de una noche de Verano 01h 09’35” Obertura 01h 16’28” JOCELYN POOK – El Mercader de Venecia 01h 16’28” With wandering steps 01h 18’34” Her gentle spirit 01h 21’24” How sweet the moonlight 01h 25’37” Bridal ballad 01h 30’08” JOHN SCOTT – Marco Antonio y Cleopatra 01h 30’08” Overture 01h 39’23” Main titles 01h 43’00” Egyptian bacchanal 01h 46’55” Eternal rest 01h 48’52” MASARU SATO – Trono de sangre (Mackbeth) 01h 48’52” Main theme 01h 52’41” MIKLOS ROZSA – Julio César 01h 52’41” Overture 01h 55’44” Prelude – Idle creatures 01h 58’40” Titanus enclosed – Caesar revenged- Caesar, now be still- Rites of burial - Finale

David Owen Norris chooses his favourite recording of William Walton's Viola Concerto. It was conductor Sir Thomas Beecham's suggestion that Walton should write a viola concerto for the virtuoso Lionel Tertis. But things did not go according to plan when Tertis sent back the music by return of post saying it was 'too modern'. So the 1929 premiere was given by Paul Hindemith (who had been sent the concerto by the BBC's Edward Clark) at the Queen's Hall, just around the corner from Broadcasting House. It was a success and Tertis, in the audience, relented. But although he subsequently played the concerto, Tertis continued to disparage it and was heard to say that Walton had 'murdered' the viola. Despite its inauspicious beginning, Walton's Viola Concerto has long been recognised as one of his most important early works and is well established a cornerstone of an albeit limited repertoire. Perhaps the root of its appeal is to be found in its dedication 'to Christabel', the lyrical melancholy and poetic longing at the concerto's heart reflecting Walton's unrequited passion for Christabel, Lady Aberconway.

durée : 00:25:09 - William Walton, chapitre 2, se faire un nom - par : Anne-Charlotte Rémond - Dans cet épisode de Musicopolis, Anne-Charlotte Rémond nous raconte l'ascension du compositeur britannique William Walton (1902-1983). - réalisé par : Claire Lagarde

durée : 00:25:09 - Musicopolis - par : Anne-Charlotte Rémond - Dans cet épisode de Musicopolis, Anne-Charlotte Rémond nous raconte l'ascension du compositeur britannique William Walton (1902-1983). - réalisé par : Philippe Petit, Claire Lagarde

L'

Tom Service chooses his favourite recording of William Walton's Symphony No 1 in B flat minor. In 1932, with the spectacular success of Belshazzar's Feast behind him, Walton began his Symphony No 1. But, always a slow worker, the symphony took him two painful years to complete – painful because what lay behind most of the Symphony was the emotional upheaval that came with the end of a relationship. The result was the greatest English symphony of its time, its darkly menacing first movement bursting with seemingly elemental power, is followed by a bitter scherzo marked Presto 'con malizia' ('with malice'), a melancholic slow movement and a joyful major key finale.

A. “Lovers, murderers & Thieves” Metropole Orkest o.l.v. Vince Mendoza * The Godfather - Nino Rota (arr. Lefteris Kordis) * Cittá Violenta - Ennio Morricone (arr. Jules Buckley) * A streetcar named desire - Alex North (arr. Vince Mendoza) * Henry V ; Touch her soft lips and part - William Walton (arr. Vince Mendoza) * The taking of pelham - David Shire (arr. Vince Mendoza) * Butch Cassidy and the Sundance Kid - Burt Bacharach (arr. Vince Mendoza) * The French Connection - Don Ellis (arr.Trapp) * Spellbound - Miklós Rózsa (arr. Lefteris Kordis) * Chinatown - Jerry Goldsmith (arr. Jim McNeely) * Barefoot in the Park - Neal Hefti (arr. Joop Elders) * Death Wish - Herbie Hancock (arr. Jules Buckley) * Peter Gunn theme - Henry Mancini (arr. Ilja Reijngoud) * Cinema Paradiso: tema d'amore per nata' - Ennio Morricone (arr. Vince Mendoza) * Shaft ; Theme - Isaac Hayes (arr. Vince Mendoza) * Sophie's choice medley - Marvin Hamlisch (arr. Vlad Nikolov) * James Bond ; Theme - Monty Norman (arr. Christopher Lennertz) * Doctor Zhivago ; “Lara's Theme” - Jean-Michel Jarre (arr. Rik Elings) Opname van het concert van 6 november 2009 vanuit Vredenburg Leidsche Rijn in Utrecht. B.  Radio Filharmonisch Orkest Holland o.l.v. Edo de Waart * Cuban Overture - George Gershwin * West Side Story: Symfonische dansen - Leonard Bernstein * Short ride in a fast machine - John Adams Opname van 8 mei 2004 in Muziekcentrum Vredenburg in Utrecht

Synopsis On today's date in 1953, thousands crowded the route to and from London's Westminster Abbey for the coronation of Queen Elizabeth II and, at the Queen's own request, the event was televised live by the BBC. British composer William Walton was asked to write two new pieces. The first Walton's “Coronation Te Deum”, a work that he had begun almost a decade earlier for a quite different occasion, namely the opening night of the 1944 London Proms. The piece got shifted to a back-burner when Walton was asked to work on Lawrence Olivier's wartime film of Shakespeare's “Henry V.” For the new Queen's Coronation, Walton returned to his abandoned score, writing to friends, “I've got cracking on the Te Deum. Lots of counter-tenors and little boys Holy-holy-ing, not to mention all the Queen's Trumpeters and a side drum. You will like it, I think, and I hope He will too.” “He” was capitalized, so presumably Walton was referring to either the Deity -- or Winston Churchill, perhaps. Walton was also asked to compose a “Coronation March,” which he entitled “Orb and Scepter” after a line, coincidentally, from Shakespeare's “Henry V.” Walton's March may have seemed a bit jazzy to the more conservative audiences of the day, but one critic, slipping into Cockney slang, gushed, “It sounds like a right royal knees-up!” Music Played in Today's Program William Walton (1902 - 1983) – Coronation Te Deum (Andrew Lumsden, organ; Finzi Singers; Paul Spicer, cond.) Chandos 9222 William Walton (1902 - 1983) – Orb And Sceptre March (English Northern Philharmonia; Paul Daniel, cond.) Naxos 8.553981

Subscribe Apple | Google | Spotify | Stitcher | iHeart   Support The Daily Gardener Buy Me A Coffee   Connect for FREE! The Friday Newsletter | Daily Gardener Community   Historical Events 1621 Birth of Andrew Marvell, English poet and politician. He was a friend of John Milton. In addition to writing The Garden - one of the most famous English poems of the seventeenth century - he wrote this little garden verse: I have a garden of my own But so with Roses overgrown And Lilies, that you would it guess To be a little wilderness.   1824 Birth of Dietrich Brandis, German forester and botanist. He's remembered as the Father of Forestry in India, the Father of Modern Forest Management, and the Father of Tropical Forestry. Concerned about the unregulated destruction of the forests in India, the British wanted people in India to help manage and protect the trees. In 1856, Dietrich left his botany professorship in Bonn (where his father had been a professor) for a civil service position managing the teak forests in Burma. Eight years later, Dietrich was in charge of all the forests in India. In Carl Alwin Schenck's Birth of Forestry in America, there's a fascinating story about how Deitrich inventoried the Teak trees in the forest. [He rode] an elephant, on such trails as there were, with four sticks in his left hand and a pocketknife in his right. Whenever he saw in the bamboo thickets a teak tree within two hundred feet of his trail, he cut a notch in stick number 1, 2, 3, or 4, denoting the diameter of the tree. It was impossible for European hands, dripping with moisture, to carry a notebook. At the end of the day, after traveling some twenty miles, Brandis had collected forest stand data for a sample plot four hundred feet wide and twenty miles long, containing some nineteen hundred acres. He continued his cruise for a number of months, sick with malaria in a hellish climate. Moreover, he underwent a trepanning operation (brian surgery), and for the rest of his life, he carried a small hole filled with white cotton in the front of his skull. But he emerged from the cruise with the knowledge needed for his great enterprise. Dietrich established modern "sustainable" agroforestry principles that are still followed today. For two decades, Dietrich measured, itemized, and chronicled the forests of India. He started forest management schools and created training protocols for his employees. In 1878, Deitrich founded the Forest Research Institute in the Doon Valley in Dehradun. Styled in Greco Roman architecture, the building is beautiful and is the largest purely brick structure in the world. Sir Joseph Hooker recognized Deitrich's work and named the flowering-plant genus Brandisia in his honor.   1848 Birth of William Waldorf Astor, American-British attorney, politician, businessman (hotels and newspapers), and philanthropist. In 1891, a tall, shy William Waldorf Astor moved to Britain after declaring that "America is not a fit place for a gentleman to live." After over a decade living in England, William bought a run-down double-moated Hever Castle, which was Anne Boleyn's family home four hundred years earlier. Between 1904 and 1908, William oversaw the installation of the extensive gardens designed by Frank Pearson to surround the castle. William diverted water from a nearby river to make a 35-acre lake to make his vision a reality. It is said that eight hundred men hand-dug and stomped on the clay soil to make the bottom of the lake. Mature trees were harvested from Ashdown Forest and transplanted at Hever. Two mazes were installed. Topiary chessmen were pruned for the chess garden. Thousands of roses were brought in for the rose garden. But, the most impressive Garden at Hever was and is the Italian Garden, which features colonnades, classical sculptures, antiquities dating back to Roman times, and a loggia. There's also a long pergola on one end that features cool dripping fountains the entire length. Even today, it's staggering to think the whole project was completed in four short years.   1924 Birth of Leo Buscaglia, American author, motivational speaker, and professor in the Department of Special Education at the University of Southern California. Leo believed education should be the process of helping everyone to discover his uniqueness. Leo learned to Garden from his father, and he once wrote, To this day I cannot see a bright daffodil, a proud gladiola, or a smooth eggplant without thinking of Papa. Like his plants and trees, I grew up as a part of his garden. Leo was a self-help guru who preached love so much that he became known as "Dr. Love." He once wrote,  A single rose can be my garden; a single friend, my world. He also wrote, There are many miracles in the world to be celebrated and, for me, garlic is the most deserving.   Grow That Garden Library™ Book Recommendation Passions by Carolyne Roehm   This book came out in 2021 at the end of the year in December, and this is actually a collection of three books. All three books feature Carolyn's passions: flowers and gardens, feminine touch (which is all about how Carolyn loves to decorate), and furry friends, which of course, shares Carolyn's love of animals, especially her pups.  I have to say that I love the book sleeve for these books slip into because the artwork is reminiscent of Maria Sibylla Merian. Carolyn writes, I hope that this little trio of books about the joy that I found in flowers and gardening, feminine allure and feminine style and the love of furry friends delights and inspires you as it has me.  When I think about this book set, I think about it like a gift - a little book set to gift - so if you're looking for something special for yourself or a friend, this little set of books should be at the top of your list. The photography in all of these little books is absolutely stunning; it's all Carolyn Roehm. If you're a Carolyn Roehm fan, if you love her home in Connecticut or if you've watched any of her styling videos on YouTube, then you will immediately recognize the deeply saturated hues and the stunning compositions that she puts together with flowers and exquisite objects in her home. The balance of color, form, and architecture - all the incredible details that she pulls together - is just drop-dead gorgeous. This book is 240 pages of Carolyn Rome's passions - her favorite things - flowers and gardens, feminine allure and design,  and furry friends.  You can get a copy of Passions by Carolyne Roehm and support the show using the Amazon link in today's show notes for around $34.   Botanic Spark 1962 On this day, a landscape worker hit a line connecting President Kennedy's White House to the Strategic Arms Command, the line vital to launching a nuclear attack. The project was led by Bunny Mellon, who was in charge of designing a new rose garden outside the President's office. Robert Kennedy once reflected on Bunny in the Garden, saying, Often during cabinet meetings, we would see her out there in the rose garden – a little figure with a bandana on her head.  One of Bunny's first tasks was to find a gardener to implement her designs. She selected a man named Irvin Williams, who was a government gardener at Kenilworth Aquatic Gardens. After Bunny brought him to the White House, he would stay on as the head gardener for almost fifty years. In early talks for the rose garden redesign, the Park Department voiced concerns about hitting underground lines. Bunny's plan called for large magnolia trees, which after some debate, were eventually ordered. But on this day, the underground line was cut during ground preparation. Bunny recalled that the problem was handled calmly and that she was never reprimanded. Bunny found the perfect magnolia trees for the White House over by the Tidal Basin overlooking the Jefferson Memorial. Once again, the Parks Department said "no" (due to costs). But Irvin Williams supported Bunny's idea, and he made arrangements to have the trees brought to the White House.  The roses included a yellow rose from the state of Texas called the Speaker Sam rose in honor of the late speaker of the House Sam Rayburn, a bright red variety from the World's Fair, a white rose name Frau Karl Druschki, and pink Doctor roses. Twenty-four days after the underground line was hit, the Garden, complete with magnolia trees and roses, was unveiled to the public. The updated rose garden was an instant success. The artist and friend of the Kennedys, William Walton, later wrote, [President Kennedy's] pleasure in that garden was infinite.   Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, Garden every day.

Misan Harriman didn't become a photographer till five years ago, when his wife gave him a camera for his fortieth birthday. Since then he's become world-famous, photographing celebrities such as Tom Cruise, Cate Blanchett, and Meghan Markle – his was the romantic black-and-white photograph of Harry and Meghan announcing her pregnancy last year. Alongside these high-profile celebrity commissions, he's also become a photographer known for documenting Extinction Rebellion, anti-Trump protests, and the Black Lives Matter movement. In 2020 he became the first black person in the 104-year history of British Vogue to shoot the cover of its prestigious September issue; last year he became the Chair of the Southbank Centre, the renowned arts complex in London. In conversation with Michael Berkeley, Misan talks about his journey to become a photographer, from early childhood in Nigeria to his time at an English boarding school. He reveals his “superpower” of dyslexia, and how he's found a new way of shooting portraits in lockdown: “remote photography”. Misan Harriman is a passionate film buff, and all his music choices come from movies that have made a profound impression on him, from the soundtrack to “Ghost” which he saw as a boy, to William Walton's score for “Henry V” and the moving Dunkirk scene in “Atonement”. A Loftus Media production for BBC Radio 3 Produced by Elizabeth Burke

What happens to the narrative when an iconic theme like the "Imperial March" becomes diegetic? What does that do to the audience? Samantha Tripp is here to help us explore this fascinating topic today. We discuss Solo, Rebels, the British Empire, the efficacy of propaganda music, and other bits and pieces from minutes 11-15 of Solo: A Star Wars Story. Discussion Guide: 00:00 - Hello there! 01:49 - Characteristics of the diegetic Imperial March in Solo ("Empire Recruitment") 18:25 - John Powell's own words about his diegeticization of the Imperial March. 26:30 - Comparing this to Star Wars: Rebels ("Glory of the Empire") 35:35 - Could we reverse-engineer Williams's original "Imperial March" by taking this Edwardian Pax-Britannica-style version and putting it through a filter of chromaticism? 45:01 - Does the propaganda do its job? 50:49 - David Glen Russell possibly wrote the "Glory of the Empire" theme for Rebels. 1:02:40 - SWMM Questionnaire Things Mentioned: Star Wars Rebels Season 1 - "Glory of the Empire" - https://youtu.be/TouCl6yp13A Elgar - Pomp and Circumstance March No. 1 (Land of Hope and Glory) - https://youtu.be/Vvgl_2JRIUs Walton - Orb and Sceptre Coronation March - https://youtu.be/Qir5ndIlsJ8 Walton: Crown Imperial: A Coronation March - https://youtu.be/fraKCzza0To Resistance Broadcast interview with John Powell: https://youtu.be/Ujm6aLuN7yQ Another example of a patriotic march but for the USA: The Stars and Stripes Forever by John Philip Sousa - "The President's Own" U.S. Marine Band - https://youtu.be/a-7XWhyvIpE Themes: 4. Han & Q'ira 2a. Young Han Solo (Searching, comp. JW) 3. Secrets 10a. Imperial March (Theme) 1. Young Han Solo (Heroic, comp. JW) 5. The Gang Note: I use the theme names and numbers established in Frank Lehman's Complete Catalogue of the Musical Themes of Star Wars. You can download it free at his website: https://franklehman.com/starwars/. Soundtrack: "Spaceport" / "Spaceport (1M6-7)" "Gonna Be a Pilot (1M8)" "Empire Recruitment (1M9)" "Mimban Battle (1M10A-B)" STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? Powerful, evocative, grandiose. 2. What's something related to Star Wars music or sound that you want to learn more about? Musician stories from recording the sequel films, particularly The Rise of Skywalker. What is it like sitting in the orchestra, hearing those themes, and trying to make connections in the film ahead of time? 3. What's a score or soundtrack you're fond of besides anything Star Wars? The Shape of Water (composed by Alexandre Desplat) Bonus Question: What would you encourage listeners to pay extra attention to on their next viewing of Solo: A Star Wars Story? The juxtaposition between the Imperial March in the advertisement versus the battle. Also, the way that John Powell's score creates and plays with tension as Han and Qi'ra are trying to make their way through the barrier, then later on, as Han is hiding. Listen for the string ostinati, etc. Samantha Tripp: YouTube channel and website in progress! -------- If you enjoyed this episode and want to show extra appreciation, feel free to buy me a coffee and shout out the guest! https://buymeacoffee.com/starwarsmusmin If you want to support the show, consider becoming a patron!  https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Spotify: https://smarturl.it/swmm-spotify Apple Podcasts: https://smarturl.it/swmm-apple YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Twitter: https://twitter.com/StarWarsMusMin Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com For those curious, here is the full abstract for the talk Samantha is preparing. The abstract was co-written by Samantha Tripp and her advisor Frank Lehman. The Suns Never Set on the Galactic Empire: Recursive References and In-Universe Instances of “The Imperial March”  Allowing a non-diegetic theme to slip into the realm of source music is nothing new: ever since Siegfried tooted his own horn(motif), composers of narrative multimedia have found ways for underscore to peek into the diegetic world. But while such moments of diegeticization provide yet another example of the eminently-permeable “fantastical gap,” their ramifications often run deeper than a blurring of narrational levels (Stilwell 2004, Heldt 2013). Because when fictional characters hear their own music, it can provoke a rehearing for the audience. Indeed, the recontextualized “source” of such underscore-as-source-music may turn out to reside as much in nonfictional reality as some fictional diegesis. This presentation explores the implications of rehearing an iconic theme—John Williams' “Imperial March”—through two in-universe instances: David Glen Russell's “Empire Day” from Rebels (2014), and John Powell's “Empire Recruitment” from Solo (2018). These cues both reimagine the minor-mode leitmotif as major-mode musical propaganda. Through close analysis, we demonstrate two contrasting approaches to diegeticization: parodic hyper-chromaticization of the theme's non-functional tonality in Rebels' ceremonial parade; and nostalgic diatonic hyper-correction for Solo's military-recruitment ad. By cannily channeling the nobilmente style of Elgar/Walton, these cues resurface a subtextual “source” of Williams's theme—Edwardian Pax-Britannica style nationalism—and with it the complex relation of imperial-versus-revolutionary politics in Star Wars generally (Buhler 2002, Lerner 2004). We conclude by situating the “Imperial March” at one further level of remove: out of the meticulously controlled diegetic canon of Disney-era Star Wars and into the real world of contemporary protest music.

Donald Macleod explores the life and work of Edward Gregson and Alan Bush This week, Donald Macleod is in conversation with British composer, Edward Gregson, who offers a fascinating window into his own story and also the life and work of his mentor, Alan Bush. We'll see how both composers have made significant contributions to Britain's musical story, and we explore the events that led to the very different trajectories of their careers. Edward Gregson knew that classical music would be his life after encountering Brahms's music as a teenager. He studied composition with Alan Bush, and his natural instinct for melody and brilliant orchestral colour have made him a popular choice with audiences and performers across the world. He also prides himself in rising to a challenge, including taking on the leadership of one of Britain's major musical conservatoires. In the early part of the twentieth century, Alan Bush seemed destined to become of the regular stalwarts of Britain's music scene, alongside his contemporaries William Walton and Michael Tippett. It was not to be. Bush's conversion to communism put him at odds with the British establishment and sent his career in a very different direction. His story is intriguing and frustrating in equal measure but, Edward argues, Bush's ever-present political agenda shouldn't detract from the intrinsic quality of his music. Music Featured: Gregson: Concerto for Orchestra (III. Toccata) Gregson: Quintet for Brass, (1st mvt) Gregson: Music for Chamber Orchestra (I. Lento maestoso) Gregson: Connotations Gregson: Six Little Pieces for piano (Nos. 1-4) Gregson: The Kings go Forth (I. The Church) Bush: Concert-Piece for cello and piano (opening) Bush: Relinquishment Bush: Dialectic Bush: Piano Concerto (extract) Bush: Symphony No 1 (1st mvt) Gregson: Stepping Out Gregson: Violin Concerto (2nd mvt) Gregson: Shadow of Paradise Gregson: Make a Joyful Noise Gregson: Clarinet Concerto (Part 1) Bush: Three Concert Studies (I. Moto Perpetuo) Bush: Violin Concerto (II. Andante espressivo) Bush: Symphony No 2, ‘The Nottingham Symphony' (III. ‘Castle Rock' & IV ‘Goose Fair') Bush: Voices of the Prophets (Nos. 1-3) Bush: Africa - Symphonic movement for piano and orchestra (extract) Gregson: Symphony in two movements (I. Toccata) Gregson: String Quartet No 1 (1st mvt) Bush: Symphony No 4, ‘Lascaux Symphony' (II. ‘The Children') Gregson: Dream Song Presented by Donald Macleod Produced by Chris Taylor for BBC Wales For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Edward Gregson (b 1945) and Alan Bush (1900-1995) https://www.bbc.co.uk/programmes/m0014g7k And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Isabel Allende was born in Peru in 1942 and raised in Chile. Most famous for her novel The House of the Spirits, her works have been both bestsellers and critically acclaimed, translated into more than forty-two languages and selling more than seventy-five million copies worldwide. Her latest book, Violeta, is a fictional account of one woman's life through an extraordinary century of history. Isabel talks about her life, her special relationship with her mother and her pursuit of equality. Freya McClements reports from Derry/Londonderry where The White Handkerchief, a play marking the 50th anniversary of Bloody Sunday, is about to open. Freya speaks to members of the production team and hears about plans for a public memorial to commemorate the dead and injured this coming Sunday. A new recording by Roderick Williams and Tamsin Dalley of Facade, an “entertainment” by Edith Sitwell and William Walton, has been released 100 years after its first performance. Dame Edith's great nephew William Sitwell and Professor Faye Hammill discuss the story behind the piece, its impact and the part it has played in the movement of Modernism. Presenter: Samira Ahmed Producer: Harry Parker Photo: Isabel Allende Credit: Lori Barra

For Part I of the interview, please see Previous Post With a shared passion for Music, Text & Story, we talk about the many hurdles young musicians face in getting the support they need to succeed. We talk about the impact of the pandemic and the lessons we've learned along the way. Most importantly we talk about the soul-deep need for community that is the human experience, and how we can use music to connect. New music powerhouse Dr. Lisa Neher (pronouns: she/her, last name pronounced "NEER") is an award-winning composer, mezzo-soprano, and actress on a mission to transform audiences through sound, story, and vulnerability. Described as a “maestro of beautifully wacky noises” (Oregon ArtsWatch) and a composer of “varied and imitable” vocal lines (Contemporary Classical), Lisa writes music inspired by female athleticism, the tender love of friends, the ambiguities of death, and the eerie mystery of deep ocean life. Praised as “a small woman with a very big voice” and “especially alive” (Oregon ArtsWatch), Lisa captivates audiences as a performer with her electrifying dramatic commitment and unforgettable vocal colors. Lisa's musical-theatrical fluency and passion for contemporary music have led to engagements such as Reciter for William Walton's Façade with the Portland Columbia Symphony Orchestra, the world premiere of Space Station 189: A Micro-Opera for Instagram at New Music Gathering, the first staged version of Sun Songs: Three Micro-Operas by Augusta Read Thomas with the Center for New Music, the world premiere of Aaron Israel Levin's Fiumana, for mezzo-soprano singing while playing the bass drum, and the leading role of Jennifer in the world premiere of Rita Ueda's chamber opera One Thousand White Paper Cranes for Japan with the Singaporean ensemble Chamber Sounds. Her recent engagements include performances with Third Angle New Music, the Resonance Ensemble, Opera Theatre Oregon, Queer Opera, and the International Saxophone Symposium. Lisa is an active advocate for new music, frequently premiering new works as well as established masterworks of the last fifty years. She is the creator of the One Voice Project, a one-woman performance combining contemporary poetry and new musical works for unaccompanied voice chosen through a call for scores initiative. ​Lisa is in high demand as a concert soloist. Her credits include Duruflé's Requiem, Mozart's Requiem, Vesperae Solennes de Confessore, and Coronation Mass, Bach's Magnificat and Ascension Oratorio, and Arvo Part's Pässio, with groups such as the Central Iowa Symphony, the Grinnell Oratorio Singers, and the Chamber Singers of Iowa City. Her operatic credits include Dorabella in Così fan tutte with Iowa City Concert Opera, Dolores in The Gondoliers, Mrs. Malaprop in The Rivals, Orlofsky in Die Fledermaus and Annio in La clemenza di Tito with Martha-Ellen Tye Opera Theatre, the Student in the premiere of the chamber opera The Nightingale and the Rose by Li Kai Han Jeremiah with Helianthus Ensemble, and Cherubino in Le nozze di Figaro with the Midwest Institute of Opera. Lisa was a Young Artist with Cedar Rapids Opera Theatre and the Vancouver International Song Institute. Lisa's compositions include solo and chamber music for instruments and vocal works in the operatic, song, and choral genres. Her particular passion for text and poetry has led to works such as her chamber operas Sense of Self, about a triathlete struggling with a breast cancer diagnosis and White Horizon, about a nineteenth-century Arctic expedition gone wrong. Lisa's major song cycle, No One Saves the Earth from Us But Us speaks the the urgency of the global climate crisis. Her commissioners include Third Angle New Music, Third Angle New Music, Opera Elect, Opera Theatre Oregon, Coe College Symphony Orchestra, Kirkwood Community College Choirs, the Glass City Singers, tenor Zach Finkelstein, pianist Michael Kirkendoll, and flutists Rose Bishop and Hal Ide. Lisa was selected to be part of the inaugural year of the Gabriela Lena Frank Creative Academy of Music. Lisa is a member of the Iowa Composer's Forum, Cascadia Composers, the National Association of Teachers of Singing, and ASCAP. In addition to her creative work, Lisa coaches singers on technique, acting, and interpretation, and composers on writing and marketing their music. Recognized in particular for her deep knowledge of the voice and extended techniques, she frequently teaches workshops on composing for singers. Lisa has served on faculty at Lewis & Clark College, Coe College, Kirkwood Community College, and Grinnell College. ​Lisa graduated summa cum laude from Lewis & Clark College with degrees in vocal performance, music composition, and theatre, and holds a master's degree in music composition from the University of Kansas and a Doctor of Musical Arts in voice performance and pedagogy from the University of Iowa. Her doctoral essay explores the chamber vocal works of composer Gabriela Lena Frank. She is a vocal student of Julia Nielsen, Stephen Swanson, Katherine Eberle, Julia Broxholm, and Susan McBerry, and studied composition under the tutelage of Michael Johansen and Forrest Pierce. Born just south of Seattle, Lisa is an outdoor enthusiast and triathlete. She spends her free time distance running, watching science fiction movies, and baking delicious treats involving copious amounts of chocolate.​ DR. LISA NEHER: Facebook Twitter LinkedIn Instagram LATEST NEWS: Announcing Something About Isolation, a series of web releases Nov 8-20 Lisa is selected as one of 10 composers for this season's NATS Mentoring Program for Composers Lisa's opera with Kendra Preston Leonard Par for the Course​ programmed on New Opera West's Pop-Up Festival 2022! Lisa's choral work Three Basho Haiku chosen for Project: Encore Catalog Lisa is the winner of the 2021 Iowa Composer's Forum / Iowa Choral Directors Association Composition Contest for Three Basho Haiku Lisa and Kendra Preston Leonard release new Halloween songs for young singers ​Read Now: BRINGING GRIT AND GUTS TO OPERA, a profile of Lisa in Oregon ArtsWatch Read Now: MUSICAL READINGS ON A BROKEN WORLD, the story behind Red Vespa's commission of Upon a Broken World in Women's Song Forum

With a shared passion for Music, Text & Story, we talk about the many hurdles young musicians face in getting the support they need to succeed. We talk about the impact of the pandemic and the lessons we've learned along the way. Most importantly we talk about the soul-deep need for community that is the human experience, and how we can use music to connect. New music powerhouse Dr. Lisa Neher (pronouns: she/her, last name pronounced "NEER") is an award-winning composer, mezzo-soprano, and actress on a mission to transform audiences through sound, story, and vulnerability. Described as a “maestro of beautifully wacky noises” (Oregon ArtsWatch) and a composer of “varied and imitable” vocal lines (Contemporary Classical), Lisa writes music inspired by female athleticism, the tender love of friends, the ambiguities of death, and the eerie mystery of deep ocean life. Praised as “a small woman with a very big voice” and “especially alive” (Oregon ArtsWatch), Lisa captivates audiences as a performer with her electrifying dramatic commitment and unforgettable vocal colors. Lisa's musical-theatrical fluency and passion for contemporary music have led to engagements such as Reciter for William Walton's Façade with the Portland Columbia Symphony Orchestra, the world premiere of Space Station 189: A Micro-Opera for Instagram at New Music Gathering, the first staged version of Sun Songs: Three Micro-Operas by Augusta Read Thomas with the Center for New Music, the world premiere of Aaron Israel Levin's Fiumana, for mezzo-soprano singing while playing the bass drum, and the leading role of Jennifer in the world premiere of Rita Ueda's chamber opera One Thousand White Paper Cranes for Japan with the Singaporean ensemble Chamber Sounds. Her recent engagements include performances with Third Angle New Music, the Resonance Ensemble, Opera Theatre Oregon, Queer Opera, and the International Saxophone Symposium. Lisa is an active advocate for new music, frequently premiering new works as well as established masterworks of the last fifty years. She is the creator of the One Voice Project, a one-woman performance combining contemporary poetry and new musical works for unaccompanied voice chosen through a call for scores initiative. ​Lisa is in high demand as a concert soloist. Her credits include Duruflé's Requiem, Mozart's Requiem, Vesperae Solennes de Confessore, and Coronation Mass, Bach's Magnificat and Ascension Oratorio, and Arvo Part's Pässio, with groups such as the Central Iowa Symphony, the Grinnell Oratorio Singers, and the Chamber Singers of Iowa City. Her operatic credits include Dorabella in Così fan tutte with Iowa City Concert Opera, Dolores in The Gondoliers, Mrs. Malaprop in The Rivals, Orlofsky in Die Fledermaus and Annio in La clemenza di Tito with Martha-Ellen Tye Opera Theatre, the Student in the premiere of the chamber opera The Nightingale and the Rose by Li Kai Han Jeremiah with Helianthus Ensemble, and Cherubino in Le nozze di Figaro with the Midwest Institute of Opera. Lisa was a Young Artist with Cedar Rapids Opera Theatre and the Vancouver International Song Institute. Lisa's compositions include solo and chamber music for instruments and vocal works in the operatic, song, and choral genres. Her particular passion for text and poetry has led to works such as her chamber operas Sense of Self, about a triathlete struggling with a breast cancer diagnosis and White Horizon, about a nineteenth-century Arctic expedition gone wrong. Lisa's major song cycle, No One Saves the Earth from Us But Us speaks the the urgency of the global climate crisis. Her commissioners include Third Angle New Music, Third Angle New Music, Opera Elect, Opera Theatre Oregon, Coe College Symphony Orchestra, Kirkwood Community College Choirs, the Glass City Singers, tenor Zach Finkelstein, pianist Michael Kirkendoll, and flutists Rose Bishop and Hal Ide. Lisa was selected to be part of the inaugural year of the Gabriela Lena Frank Creative Academy of Music. Lisa is a member of the Iowa Composer's Forum, Cascadia Composers, the National Association of Teachers of Singing, and ASCAP. In addition to her creative work, Lisa coaches singers on technique, acting, and interpretation, and composers on writing and marketing their music. Recognized in particular for her deep knowledge of the voice and extended techniques, she frequently teaches workshops on composing for singers. Lisa has served on faculty at Lewis & Clark College, Coe College, Kirkwood Community College, and Grinnell College. ​Lisa graduated summa cum laude from Lewis & Clark College with degrees in vocal performance, music composition, and theatre, and holds a master's degree in music composition from the University of Kansas and a Doctor of Musical Arts in voice performance and pedagogy from the University of Iowa. Her doctoral essay explores the chamber vocal works of composer Gabriela Lena Frank. She is a vocal student of Julia Nielsen, Stephen Swanson, Katherine Eberle, Julia Broxholm, and Susan McBerry, and studied composition under the tutelage of Michael Johansen and Forrest Pierce. Born just south of Seattle, Lisa is an outdoor enthusiast and triathlete. She spends her free time distance running, watching science fiction movies, and baking delicious treats involving copious amounts of chocolate.​ DR. LISA NEHER: Facebook Twitter LinkedIn Instagram LATEST NEWS: Announcing Something About Isolation, a series of web releases Nov 8-20 Lisa is selected as one of 10 composers for this season's NATS Mentoring Program for Composers Lisa's opera with Kendra Preston Leonard Par for the Course​ programmed on New Opera West's Pop-Up Festival 2022! Lisa's choral work Three Basho Haiku chosen for Project: Encore Catalog Lisa is the winner of the 2021 Iowa Composer's Forum / Iowa Choral Directors Association Composition Contest for Three Basho Haiku Lisa and Kendra Preston Leonard release new Halloween songs for young singers ​Read Now: BRINGING GRIT AND GUTS TO OPERA, a profile of Lisa in Oregon ArtsWatch Read Now: MUSICAL READINGS ON A BROKEN WORLD, the story behind Red Vespa's commission of Upon a Broken World in Women's Song Forum

With our digital screenings of William Walton's The Bear now in full swing, OHP's CEO and Director of Opera James Clutton caught up with cast and creative team members Clare Presland, John Andrews and John Wilkie to talk about the process of creating the film, the unique skill of performing for the screen rather than the stage, and why they wanted to use the film to recreate the experience of watching a live show. On 9, 10, 11, 12 and 13 November at 7.30pm, and on 12 and 13 November at 1pm, we'll be holding online screenings of our new film of William Walton's The Bear. Pre-booking is essential, and you can find all the details here: operahollandpark.com/online/the-bear/ From the Producer's Office is a series of informal podcasts with Opera Holland Park's Director of Opera, James Clutton. In conversation with creatives and collaborators across the industry, we explore the process of putting opera on stage, and how the artists involved approach their craft.

Il 12 Giugno del 1923 presso l'Aeolian Hall di Londra avviene la prima esecuzione pubblica di Façade di William Walton, Oreste Bossini lo racconta a Wikimusic

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.

For this episode we welcome back a pair of string soloists who have performed before on Young Artists spotlight — April Park and Claire Park. They are sisters, and they both attend Stockdale High School in Bakersfield. April plays viola, and Claire plays violin. We hear them perform some solo pieces and a duo, with music from Henryk Wieniawski, Fritz Kreisler, William Walton, Arthur Benjamin, and Johann Halverson.

durée : 01:57:02 - En pistes ! du mardi 02 février 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme : trois concertos pour violon d'Andreas Romberg en première mondiale ; le violoncelliste Damien Ventula rend hommage à la musique française avec Camille Saint-Saëns, Maurice Ravel et Thierry Huillet ; les motets sacrés d'Anton Bruckner et la musique de chambre de William Walton... - réalisé par : Gilles Blanchard

Continuing with the music of England in the 20th century, MOZART BEETHOVEN Y MAS explores the music ofBritish composer WILLIAM WALTON

Continuing with the music of England in the 20th century, MOZART BEETHOVEN Y MAS explores the music of British composer WILLIAM WALTON

durée : 01:59:46 - Musique matin du mercredi 28 octobre 2020 - par : Jean-Baptiste Urbain - Heroes, le nouveau disque d'Adrien La Marca sorti sur le label La Dolce Volta, aborde trois pièces pour alto et orchestre : le concerto pour alto de William Walton, On the Reel du compositeur belge Gwenaël Mario Grisi, ainsi qu'une transcription du ballet Roméo et Juliette de Prokofiev. - réalisé par : Yassine Bouzar

Segunda y última cita con grandes maestros de la historia de la música, en concreto Jerome Moross, Camille Saint-Saëns, Richard Strauss, Dimitri Shostakovich, Joaquín Turina, Aram Khachaturian, Erich Korngold, William Walton y Ralph Vaughan Williams, protagonistas cinematográficos en las películas Rachel, Rachel (Americana miniature) - L’assassinat du Duc de Guise (Suite); El Caballero de la Rosa (Suite); Hamlet (Suite); Eugenia de Montijo (Romanza & Ante el espejo) – Otelo (Danza); Robin de los bosques (Suite -versión en directo-); Ricardo III (Preludio); Scott en la Antártida (Prólogo). Sintonía compuesta por Curro Martín. Voz de Pablo Silicato.

Segunda y última cita con grandes maestros de la historia de la música, en concreto Jerome Moross, Camille Saint-Saëns, Richard Strauss, Dimitri Shostakovich, Joaquín Turina, Aram Khachaturian, Erich Korngold, William Walton y Ralph Vaughan Williams, protagonistas cinematográficos en las películas Rachel, Rachel (Americana miniature) - L’assassinat du Duc de Guise (Suite); El Caballero de la Rosa (Suite); Hamlet (Suite); Eugenia de Montijo (Romanza & Ante el espejo) – Otelo (Danza); Robin de los bosques (Suite -versión en directo-); Ricardo III (Preludio); Scott en la Antártida (Prólogo). Sintonía compuesta por Curro Martín. Voz de Pablo Silicato.

Welcome to Episode 55 of my podcast interview from the crow's nest. It is Mr Romeo crow coming into your earholes, so to speak, and. Oh, just walked outside of the moon is really bright and clear. That's very cool. Excuse me. What an episode already. And it's been lovely day today, I didn't do any work. You know the last if you've been following the podcast for the last few days, it's been really pretty intense for me. With the launch of audience ninja my new agency and bringing on board our first staff and our first client and doing all of those in the same week, and there's just been so much to do. And it's been brilliant, but I really needed to break, and today was Family Day. So, had the had a day off. And we had a plan. So we are on an island called Ischia in the Bay of Naples, and we've been here since the lockdown came in first of March we actually got here we're only meant to stay for five or six days and then we're going to fly off to Paris to Disney, and then the lockdown came in prevented us flying off, and then prevented us going on to the UK and then to Spain, which was the original plan. So we've been here. Unexpectedly, and we've been on this island for whatever you know March April May June July, all these months. And so we were going to go today for our big family day, we were actually going to leave the island we were going to go to the island next door which is about 20 minutes. Coffee away could Prachi there. We'd been there once before my birthday last year and it was a very abortive day. Because we, the kids were in a bad mood last year and they're all stripy, and then we left late and by the time we got there the kids didn't want to go anywhere. We didn't have the car at that point. So we ended up basically getting to the poor, temperature, waiting for a bus, taking the bus to a bus stop. Standing at the bus stop for about 15 minutes after dropped us off. And then just getting the bus back to the port and waiting for the next boat and coming home. It was a complete waste of a day. So today we're really looking forward to doing things a bit differently with the car everyone was in a good mood etc etc. And we got to the front of the queue for the car fairy, and they told us. Oh no, you can't bring a car to bracha, because you're residents of Ischia, and this is Italy, so therefore no logic to it whatsoever, but you can't if you're going to Naples, or if you're if you're coming from anywhere outside of the region, you can bring the car temperature. But if you live in the region you can't bring a car to Florida, unless you live on property. So, in typical, you know, bonkers Italian fashion, we literally had to do a U turn, physically or metaphorically, and so instead we went to someplace we were kind of planning to go next week which is called latimore teller allama della is basically kind of subtropical gardens. Very unique uniqueness key and probably unique in the world. And it's, it was the home of William Walton, the composer British composer, and his wife lady Milton, who may have been Argentinian I can't remember. And over the course of like 50 years or however long they had this place. He was very successful they built it up, and they loved travelling, especially like he was conducting all over the world or what have you and composing and they brought back she was very keen on gardens, they brought back all these exotic trees, particularly in plants from all over the world, and bit by bit the garden was made and grown and now it's, it's pretty spectacular place with influences from, you know, all over the world, some really cool areas and it's all very, it's kind of built on the side of a mountain says a lot of up and down steps and stuff and little grottoes to go in and little areas and sections and stuff is, if you ever want Ischia, one should definitely go, and it's now been taken over by the wildlife taken over but by the Prince's Trust, Prince Charles has certainly been here a bunch of times. As --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/theviewfromthecrowsnest/message Support this podcast: https://anchor.fm/theviewfromthecrowsnest/support

Conductor and Music Director Wes Schulz talks about the four upcoming concerts in our local orchestra's new 2016-17 season, its 44th. Each concert will be totally unique to Bainbridge Symphony Orchestra, and never before performed here. The season kicks off on the evenings of November 12th and 13th with “The British are Coming.” The music comes from three great English composers - William Walton, Vaughan Williams, and Elgar - with “resplendent orchestration, grandeur, and pomp” (as only the British can do it). Particularly unique and special will be the second concert, Mahler's Symphony #1, which will be performed in March by Bainbridge Symphony Orchestra together with the orchestra of the University of Puget Sound. The performance of that symphony requires a large number of instruments and musicians, so the combining of these two orchestras will bring us a spectacular performance. Each of the two Mahler performances will be off-site - at the Bainbridge High School on March 4th, and at the University of Puget Sound campus on March 5th. In this podcast, Wes also provides some insight into the creative process of how a symphony concert comes together. See further details about the Bainbridge Symphony Orchestra and its season of classical performances at the website of Bainbridge Performing Arts. Credits: BCB host: Channie Peters; BCB audio editor: Tim Bird; BCB social media publisher: Barry Peters.

Donald Macleod follows William Walton through the distinct eras of his life and explores the many sides to the man and his music