Podcasts about witold lutoslawski

Michael Bates recently released an album titled Metamorphosis: Variations on Lutoskawski. This album contains Michael's arrangements and is based on arrangements of the composer Witold Lutoslawski, with music for clarinet, violin, bassoon, double bass, drums, plus string quartet. It's a hybrid of jazz, classical, and improvisation and is a wild ride of styles and textures. We talk about the genesis of this idea, what it was like traveling to Poland to record this album, plans or touring with this ensemble, future projects with the Lutoslawski quartet, and more. Check out the promo for this project on YouTube, give the album a listen on Spotify and Apple Music, and follow along with Michael's inspiring work on Instagram!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Timestamps theme music by Eric Hochberg 00:00 Introduction and Album Promotion 00:08 Discussing Michael Bates' New Album 01:02 Catching Up with Michael Bates 01:16 Exploring Lutoslavsky's Music 04:03 The Making of the Album 09:55 Sponsor Shoutout: Carnegie Mellon University 12:05 Deep Dive into Lutoslavsky's Music 16:32 The Composing Process 22:51 Finding Inspiration in the Backyard 23:31 The Art of Balancing Work and Rest 24:19 The Challenges of Being an Early Riser in the Music Industry 25:19 The Ideal Environment for Writing Music 26:22 Drawing Inspiration from Ludo Slavsky 26:43 The Journey of Creating the Album 31:03 The Influence of Polish Musicians and Culture 34:25 Future Projects and Plans 36:48 The Role of Instruments in Music Creation 42:03 The Power of Podcasts in Connecting Musicians 42:52 Wrapping Up and Looking Forward

Throughout the history of Western Classical Music, folk music has imprinted itself as an invaluable resource for composers from all over the world. In fact, it's easier to make a list of composers who never used folk music in their compositions than it is to make a list of the composers who did! This tradition began long before the 20th century, but the work of composers like Bartok and a resurgence in the influence of nationalist music sparked a massive increase in composers using folk music throughout the 20th century and into the 21st. Bartok is thought of as the king of using folk music, as he was essentially the worlds first ethnomusicologist. But Stravinsky, who used dozens of uncredited folk tunes in his Rite of Spring, as well as Bernstein, Copland, Gershwin, Grainger, Vaughan Williams, Szymanowski, Dvorak, and so many others embraced folk music as an integral source for their music. This was in stark contrast to the second Viennese school composers like Schoenberg, Berg and Webern, and post World War II composers like Stockhausen, Boulez, and others who deliberately turned their backs on folk music. One composer who straddled both worlds during their lifetime was the Polish composer Witold Lutoslawski, a brilliant composer whose career started out in the folk music realm, though not entirely by choice, and ended up in music of aleatory, a kind of controlled chaos! One of his first major works, the Concerto for Orchestra is the topic for today's show, and it is heavily influenced by folk music from start to finish. It is a piece also inspired and might even be a bit of an homage to the great Bela Bartok and his own Concerto for Orchestra, which was written just ten years earlier. Lutoslawski, if you're not familiar with him, is one of those composers that once you learn about him, you can't get enough of him. I'll take you through this brilliant and utterly unique piece today from start to finish. Join us!

Synopsis On today's date in 1909, Richard Strauss's opera Elektra had its premiere in Dresden. The libretto, a free adaptation of the grim, ancient Greek tragedy by Sophocles, was by the Austrian poet and playwright Hugo von Hofmannsthal. In ancient Greek tragedies, violence occurred off-stage, and for his libretto, Hofmannsthal honored that tradition. But the music of Strauss evoking the tragedy's violence unleashed a huge orchestra with a ferocity that stunned early listeners. After its American premiere, one New York critic wrote of “a total delineation of shrieks and groans, of tortures physical in the clear definition and audible in their gross realism . . .Snarling of stopped trumpets, barking of trombones, moaning of bassoons and squealing of violins.” Even Strauss himself later admitted Elektra (quote) “penetrated to the uttermost limits of … the receptivity of human ears,” and what he called his “green horror” opera might cause him to be type-cast as a purveyor of creepy-crawly music. And so, Strauss prudently suggested to Hofmansthal “Next time, we'll write a MOZART opera.” Almost two years later to the day, on January 26, 1911, their “Mozart” opera, Der Rosenkavalier, or the The Rose Bearer premiered. It's set in 18th century Vienna, and for this opera Strauss included anachronistic, but eminently hummable waltz tunes. Music Played in Today's Program Richard Strauss (1864 –1949) Elektra Alessandra Marc, sop.;Vienna Philharmonic; Giuseppe Sinopoli, conductor. DG 453 429 Richard Strauss Der Rosenkavalier Waltz Suite Philadelphia Orchestra; Eugene Ormandy, conductor. Sony 60989 On This Day Births 1851 - Flemish composer Jan Blockx, in Antwerp; 1886 - German composer and conductor Wilhelm Furtwängler, in Berlin; 1911 - American composer and pianist Julia Smith, in Denton, Texas; 1913 - Polish composer Witold Lutoslawski, in Warsaw; 1921 - American composer and conductor Alfred Reed, in New York City; Premieres 1817 - Rossini: opera, "La Cenerentola" (Cinderella), in Rome at the Teatro Valle; 1902 - Franz Schmidt: Symphony No. 1, in Vienna; 1909 - R. Strauss: opera "Elektra," in Dresden at the Hofoper, conducted by Ernst von Schuch, with soprano Annie Krull in the title role; 1946 - R. Strauss: "Metamorphosen," in Zürich; 1957 - Walton: Cello Concerto, by the Boston Symphony conducted by Charles Munch, with Gregor Piatigorsky the soloist; 1963 - Karl Amadeus Hartmann: Symphony No. 8, by the West German Radio Symphony, Rafael Kubelik conducting; 1987 - Paul Schoenfield: "Café Music" for piano trio at a St. Paul Chamber Orchestra concert. Links and Resources On Richard Strauss More on Richard Strauss

Synopsis On today's date in 2001, during the Lucerne Festival in Switzerland, the German violinist Anne-Sophie Mutter premiered a new chamber work for violin and piano titled “Tango, Song and Dance.” She had commissioned the work from Andre Previn several years earlier, but its premiere was delayed as Mutter embarked on a project to perform and record all Beethoven's Violin Sonatas. “After doing all those stern [Beethoven] recitals,” said Mutter, “I wanted to play pieces which reflected the basis of musical history, the folksongs and dances which has inspired composers through so many centuries. ‘Tango, Song and Dance' is both modern and old-fashioned, and it touches the heart, especially the slow movement, which is really a ‘Song Without Words'.” And that wasn't the only thing to touch her heart. It was around this time that Previn and Mutter became husband and wife. For his part, Andre said, “I have one piece of advice to composers for the violin – make sure Anne-Sophie premieres your piece. Then you're home and dry, and everything works!” Other composers seem to agree, and Krzysztof Penderecki, Witold Lutoslawski, Henri Dutilleux, Wolfgang Rihm, and John Williams have all written violin works for Anne-Sophie Mutter. Music Played in Today's Program Andre Previn (1929-2019) –Tango Song and Dance III. Dance (Lambert Okis, pno; Anne-Sophie Mutter, vln.) DG 8143

Teenage pianists David Allakhverdov,and Weiyin Chen,17, tear up the keyboard in a performance of Variations on a Theme by Paganini by Witold Lutoslawski

Penderecki in Memoriam Podcast is produced and hosted by Max Horowitz, Crossover Media. Created by Anna Perzanowska and Klaudia Ofwona Draber, and presented by Polish Cultural Institute New York. Penderecki in Memoriam Podcast unveils a multifaceted portrait of Krzysztof Penderecki, with commentary from musicians, colleagues, radio programmers, and writers who lend insight and memories of Poland's greatest modern composer. This podcast is part of Penderecki in Memoriam Worldwide project, honoring the life and legacy of the great composer. Thank you to project partners DUX, NAXOS, Ludwig van Beethoven Association, and Schott EAM for sharing Krzysztof Penderecki's music with the world. Anne-Sophie Mutter is a musical phenomenon: for more than 45 years the virtuoso has now been a fixture in all the world's major concert halls, making her mark on the classical music scene as a soloist, mentor and visionary. The four-time Grammy® Award winner is equally committed to the performance of traditional composers as to the future of music: so far she has given https://www.anne-sophie-mutter.de/en/page/biography/world-premieres-mutter/ (world premieres of 30 works) – Unsuk Chin, Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutoslawski, Norbert Moret, Krzysztof Penderecki, Sir André Previn, Wolfgang Rihm, Jörg Widmann and John Williams have all composed for Anne-Sophie Mutter. She dedicates herself to supporting tomorrow's musical elite and numerous benefit projects. Furthermore, the board of trustees of the German cancer charity “Deutsche Krebshilfe” elected her the new president of the non-profit organization in 2021. Starting in January 2022, she joins the foundation board of the Lucerne Festival. In the autumn of 1997 she founded the “Association of Friends of the Anne-Sophie Mutter Foundation e.V.”, to which the Anne-Sophie Mutter Foundation was added in 2008. These two charitable institutions provide support for the scholarship recipients, support which is tailored to the fellows' individual needs. Since 2011, Anne-Sophie Mutter has regularly shared the spotlight on stage with her ensemble of fellows, “Mutter's Virtuosi”. Track Credits: Hommage a Penderecki are 10 Anne-Sophie Mutter - 10 - CD 1 10 PENDERECKI La Follia (2013) for violin solo Var. VIII. Adagio tanquillo [3175364] 11 Anne-Sophie Mutter, Roman Patkolo - 11 - CD 1 11 PENDERECKI Duo Concertante for violin and double bass (2010) [3175365] 15 Anne-Sophie Mutter, Lambert Orkis - 15 - CD 1 15 PENDERECKI Sonata No. 2 (1999) for violin and piano 4. Allegro [3175369] 17 Anne-Sophie Mutter, London Symphony Orchestra, Krzysztof Penderecki - CD 2 17 PENDERECKI Metamorphosen Violin Concerto No. 2 1. Allegro man non troppo [3175371].

durée : 00:11:45 - Disques de légende du lundi 01 mars 2021 - Un chef-d'œuvre du XXème siècle ! Witold Lutoslawski commence la composition de son Concerto pour orchestre en 1950. Son dédicataire, le chef d'orchestre Witold Rowicki, qui vient de prendre la direction de la Philharmonie de Varsovie, en dirige la création le 26 novembre 1954.

The piece of music featured in this episode is called After The Darkling Thrush. It’s a chamber piece which I wrote for a performance in New York City in 2015. The piece was later adapted to the psychedelic noir audio drama What’s The Frequency, which tells the story of Walter “Troubles” Mix and his partner Whitney as they search for a missing writer and navigate through a city quickly falling into madness. This week we’ll look at some of the insights into why and how it was made. My name is Kurt Nelson. I'm a composer from New York, and this is How I Make Music. IN THIS EPISODE 01:04 About What’s The Frequency and the backstory of how I got involved. 02:55 The work was inspired by European composers from the second half of the 20th Century, including Witold Lutoslawski, Alban Berg and Luigi Dalapicco. 04:44 I draw heavily on the symmetry of the octatonic scale in this composition. The flute solo demonstrates this in a very clear way. 06:47 This atonal type of music is a good match for a show like What’s The Frequency. The inconsistency of the tonality reflects the meltdown in reality that we experience when we listen to the audio drama. The tonality of music by Mozart, Haydn or Beethoven provides a stability. In an atonal composition, we experience a kind of freedom from that. 09:18 I use identifiable motifs to bind the piece together. One example is the dotted rhythm first heard in the piano, then the piccolo and repeatedly throughout the composition. 09:48 In a dramatic flourish, I use the piano and the vibraphone to separately play the eight notes of the octatonic scale, which I find to be a brilliant instrumental effect. 10:38 The original inspiration for After The Darkling Thrush was a poem by Thomas Hardy. The poem depicts a bleak view of the arrival of the 20th Century. The thrush in the poem is a bird that sings, oblivious to the cynicism of the poet. The flute takes a solo role to depict this innocence. 12:24 Many composers who write concert music have just one performance before they have to move on to the next project. With podcasts, I find a wonderful opportunity to give the music some life after its initial performance. SHOW NOTES Listen to audio drama What’s The Frequency by James Oliva https://wtfrequency.com/ Check out other work by Kurt Nelson https://kurtcnelson.com/ Bonus video: watch ‘After The Darkling Thrush’ being performed https://www.youtube.com/watch?v=pgoN2nUnrLk MUSIC & SFX CREDITS Witold Lutoslawski - Five Songs Alban Berg - Violin Concerto Joseph Haydn - The Creation The Darkling Thrush (by Thomas Hardy) - read by Tom O’Bedlam) Thaighaudio - Concert Applause 4 (CC0) Artemis R Swann - Song Thrush (CC0) Victor Herbert - The Prima Donna ABOUT THIS SHOW How I Make Music is where behind-the-scenes musicians get to tell their own stories. Every Wednesday, we break apart a song, soundtrack or composition and investigate the insights into how it was made. Subscribe to How I Make Music https://pod.link/1460793686 How I Make Music https://howimakemusic.com Contact How I Make Music https://johnbartmann.com/contact How I Make Music is created by John Bartmann https://johnbartmann.com

Planned ChanceMy intent was to dive into Part 2 of my “End of Melody Episode,“ but by planned chance, I rolled the dice and came up with something completely different. Unplanned, but fated to be this way? Possibly.Almost all improvisation is built upon a kind of planned chance. You set up the parameters—this theme, these scales, those chords, etc.—then...go. Does this make it ultimately...deterministic, fated to be more or less a certain way? Yes, more or less.But also no.Composers and musicians have for years experimented with various approaches to leaving parts or all of a given piece of music to chance. Why? You could make the argument that it’s simply the only way to make music in realtime. At least for humans. If computers are doing the work, then you can certainly get the same exact performance of a piece of music.And of course, when we listen to any recorded piece of music, it’s pretty much the same every time—though even here there are variables related to the equipment you’re using for playback, the space you’re in, and, of course, you state of mind. Not to mention the fact that no two people hear the same piece of music exactly the same way.Recorded Music Will Always Be an Improvisational Listening ExperienceIn that case, every music listening experience, even if you’ve heard the piece a thousand times, is a new improvisation. You man know where the music is going, but you don’t necessarily know how it will affect you, how you’ll experience it. This is because time only moves forward and no moment is the same as any other moment.Big deal, you say. But the point is, improvisation is the natural state of experiencing music for both the musician and the listener. And it doesn't matter if the music is completely written, entirely left to chance, or the kind of planned chance that I play with in this episode.It all does and doesn't work out in the end.Music Performed:Completely Unplanned Improv 1Partially planned Improv 2, with two stipulated parametersSlightly more planned Improv 3, with more stipulated parametersImprov 4, combining Improv 2 and 3Music MentionedWiltold Lutoslawski, I recommend symphony 3 and Symphony #4Peter Saltzman and the Revolution Ensemble: Indeterminacy is, in fact, the title of this track and it provides an excellent example of what I talk about in the episode: planned chance, wherein within a larger design many elements are left to the discretion of the player (and that includes me, the composer.)In reference to the above, and question of the difference between improvisation and composition,  please check out my track of the day blog post about another piece of music that incorporates both.FollowPodcast HomepageSubscribe on Apple PodcastsBandcamp PagePatreon PageTwitterPeter Saltzman WebsiteFacebookContact: info@petersaltzman.com

I och med corona-viruset har våra kulturmönster hastigt tvingats att förändras. Vad betyder det att kulturens mötesplatser stänger och finns det rent av något att lära sig här? I samband med internationella Piano day nästa vecka har pianisten Anders Teglund konsert i vardagsrummet hemma hos artisten Love Antell  de är gäster i dagens program. AKADEMIKRISEN BLIR OPERA Svenska akademiens kris i kölvattnet av metoo och avslöjandena kring kulturprofilen blir nu opera. Ikväll uruppförs Makten och härligheten på Helsingborgs konserthus. P1 Kultur har träffat tonsättaren Fredrik Österling. WITOLD LUTOSLAWSKI  EN MILD MODERNIST Polske Witold Lutoslawski är en av efterkrigstidens främsta tonsättare. Nu är hans tredje symfoni aktuell med en ny inspelning med Finska radions symfoniorkester som spelar under ledning av Hannu Lintu. P2:s Johan Korssell har lyssnat till denne milda men aldrig slätstrukna modernist. INUITISKA FILMKOLLEKTIVET ISUMA VISAS I GÖTEBROG På Göteborgs konsthall pågår just nu utställningen "Varje Löv är ett öga" med bland andra det inuitiska filmkollektivet Isuma som deltog i Kanadas paviljong på förra årets konstbiennal i Venedig. P1 Kultur passade då på att träffa Asinnajaq - curatorn för 2019 års paviljong - och Isumas Lucy Tulug-arjuk. CHINUA ACHEBE OCH VÄRLDENS SÖNDERFALL Chinua Achebe föddes 1930 i Nigeria och dog 2013 i USA och han var en av 1900-talets både mest lästa och inflytelserika författare. Dagens Obs-essäist; Dan Jönsson, reflekterar här över Achebes betydelse och litteratur, kanske med särskilt fokus på den löst sammanhållna trilogi som inleddes redan med den tongivande debuten från 1958: "Allt går sönder". Programledare: Lisa Wall Producent: Eskil Krogh Larsson

This week, I have the incredible honor of welcoming renowned pianist Ursula Oppens to the show. A legend among American pianists, Ursula is widely admired for both her original and perceptive readings of new music, and for her knowing interpretations of the standard repertoire. As you'll hear in the episode, she's an incredibly passionate and wise musician!  Her and I covered several topics, from the reality of a career in music today, to how she approaches learning repertoire, and how she's stays focused in the practice room! In this episode, Ursula expands on: Her love of new music and how it developed early on in her life How she approaches bringing new music to life Why she doesn't think musicians should have a niche but should, instead, be interested in learning Her view of the musical landscape of today What improvisation can bring to our playing How she loves practicing (and I love that she said that so much!) How mental and muscle memory develop together Why she thinks it's important to memorize music in order to learn it better Her strategies to find energy, motivation, and focus to practice Why flexibility is a crucial skill to develop How a well-rounded education is also very helpful Her very wise piece of advice for young musicians Ursula is a force of nature and very generous with her insight. I know you'll love this discussion!     The Mind Over Finger Podcast on YouTube: https://www.youtube.com/channel/UCtQSB1IVNJ4a2afT1iUtSfA/videos   Sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY! Click HERE or visit www.mindoverfinger.com!   MORE ABOUT URSULA: Website: https://colbertartists.com/artists/ursula-oppens/ YouTube channel: https://www.youtube.com/channel/UCqj7e-6dIIBw2OkKmHxYItw   Ursula Oppens, a legend among American pianists, is widely admired particularly for her original and perceptive readings of new music, but also for her knowing interpretations of the standard repertoire. No other artist alive today has commissioned and premiered more new works for the piano. A prolific and critically acclaimed recording artist with five Grammy nominations, Ms. Oppens most recently released a new recording of Frederic Rzewski's The People United Will Never Be Defeated, nominated for a Grammy in 2016, and Piano Songs, a collaboration with Meredith Monk. Earlier Grammy nominations were for Winging It: Piano Music of John Corigliano; Oppens Plays Carter; a recording of the complete piano works of Elliott Carter for Cedille Records (also was named a “Best of the Year” selection by The New York Times long-time music critic Allan Kozinn); Piano Music of Our Time featuring compositions by John Adams, Elliott Carter, Julius Hemphill, and Conlon Nancarrow for the Music and Arts label, and her cult classic The People United Will Never Be Defeated by Frederic Rzewski on Vanguard. Ms. Oppens recently added to her extensive discography by releasing a two-piano CD for Cedille Records devoted to Visions de l'Amenof Oliver Messiaen and Debussy's En blanc et noir performed with pianist Jerome Lowenthal. Over the years, Ms. Oppens has premiered works by such leading composers as John Adams, Luciano Berio, William Bolcom, Anthony Braxton, Elliott Carter, John Corigliano, Anthony Davis, John Harbison, Julius Hemphill, Laura Kaminsky, Tania Leon, György Ligeti, Witold Lutoslawski, Harold Meltzer, Meredith Monk, Conlon Nancarrow, Tobias Picker, Bernard Rands, Frederic Rzewski, Allen Shawn, Alvin Singleton, Joan Tower, Lois V Vierk, Amy Williams, Christian Wolff, Amnon Wolman, and Charles Wuorinen. As an orchestral guest soloist, Ms. Oppens has performed with virtually all of the world's major orchestras, including the New York Philharmonic, the Boston Symphony Orchestra, the Los Angeles Philharmonic, the American Composers Orchestra, the Boston Modern Orchestra Project (BMOP), and the orchestras of Chicago, Cleveland, San Francisco, and Milwaukee. Abroad, she has appeared with such ensembles as the Berlin Symphony, Orchestre de la Suisse Romande, the Deutsche Symphonie, the Scottish BBC, and the London Philharmonic Orchestras.  Ms. Oppens is also an avid chamber musician and has performed with the Arditti, Cassatt, JACK, Juilliard, and Pacifica quartets, among other chamber ensembles. Ursula Oppens joined the faculty of the Mannes College of Music in the fall of 2017, and is a Distinguished Professor of Music at Brooklyn College and the CUNY Graduate Center in New York City. From 1994 through the end of the 2007-08 academic year she served as John Evans Distinguished Professor of Music at Northwestern University in Evanston, IL. In addition, Ms. Oppens has served as a juror for many international competitions, such as the Concert Artists Guild, Young Concert Artists, Young Pianists Foundation (Amsterdam), and Cincinnati Piano World Competition.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

In this episode, I have the pleasure of speaking with Mr. Frank Battisti about his views on music and music education. Known affectionately to many of his students as “Mr. B”, Battisti has led a prolific career as an educator at Ithaca High School (NY) and the New England Conservatory. Bonus features of this episode include ideas on the importance of music to the human experience and a remarkable story of an impromptu performance featuring Benny Goodman playing a student’s clarinet.    Topics include: (03:02) Battisti talks about his life and professional background (05:19) The educational objectives of any academic institution  (07:07) The role of music in a comprehensive education  (11:32) Finding quality in repertoire selections (13:00) Getting kids to fall in love with music (21:45) Using repertoire to build and enrich audiences (24:41) Using repertoire to build lifelong consumers of music  (27:47) Getting students to bring out the expressive elements of music (30:20) Better to illuminate than to shine!  (35:41) The role of adjudications/contests in music education (46:41) Battisti shares stories from his career  (55:47) Favorite rehearsal tactics (58:25) Why do we teach music?  (01:00:26) Battisti discusses leaders that have made an impact on his life  (01:13:53) Measuring the impact educators make on students (01:05:57) Advice for music educators   Links:  Banddirector.com Interview with Battisti - https://www.youtube.com/watch?v=R2k1giCGTlg Battisti’s lecture at TMEA 2001 - https://www.youtube.com/watch?v=a0BC9F7znSw&list=PLB2D441350229D202 New England Conservatory Wind Ensemble Recordings featuring Battisti as conductor -  https://www.youtube.com/watch?v=inZ1bMGHucI&list=OLAK5uy_kZQaNmdXJI8xy4HbvWVdvL4LYxNQK978s https://www.youtube.com/playlist?list=OLAK5uy_mEOFWHilHoCi0l3nhfu07tM1HHCilIwr8 https://www.youtube.com/watch?v=0v1XCZteVts&list=OLAK5uy_kyPcTwdJzP2d39r3UuqtB-G1Lq2yAH97E   Bio:  Frank Battisti began his teaching career as an instrumental teacher in the Ithaca (New York) Public Schools in 1953. He became Director of Bands at Ithaca High School in 1955 and remained there until 1967. He also served as chairperson of the Instrumental Music Department from 1961 - 67. The Ithaca High School Band, under Battisti’s direction, achieved national recognition as one of the finest and most unique high school bands in the nation. The concert band performed at the Ithaca College School of Music, Eastman School of Music, Music Educators National Conference (MENC), Mid-West National Band and Orchestra Clinic (Chicago 1965), Rockefeller Center, the New York World’s Fair (1964) and at other regional and national music events. In 1997 the John Philip Sousa Foundation selected Battisti’s Ithaca High School Concert Band for their Historic Roll of Honor of High School Concert Bands, 1920-1980. Eugene Migliaro Corporon, Director of Wind Studies at North Texas State University, hails the Ithaca High School Band under the leadership of Frank Battisti “as one of the truly great achievements of instrumental music education in the twentieth century.” From 1958 - 67, the Ithaca High School Band commissioned 24 works for band. The commissioned composers included Warren Benson, David Borden, Carlos Chavez, Barney Childs, Walter Hartley, Vincent Persichetti, Armand Russell, Alec Wilder and Pulitzer Prize in Music winners Leslie Bassett, Karel Husa, Robert Ward, Gunther Schuller. Guest soloists and conductors appearing with the Ithaca High School Band from 1955-67 included Benny Goodman, Carl “Doc” Severinson, Donald Sinta, Harvey Phiillips, The New York Brass Quintet, Jimmy Burke, Vincent Persichetti, Norman Dello Joio, Thomas Beversdorf, Clyde Roller, Frederick Fennell, William D. Revelli and Walter Beeler. Battisti was conductor of the Symphonic Wind Ensemble and a faculty member at Baldwin-Wallace College Conservatory of Music from 1967 – 69. In 1969 President Gunther Schuller invited him to come to the New England Conservatory in Boston to start the wind ensemble. Under his 30 years of leadership the ensemble became recognized as one of the premiere ensembles of its kind in the United States and throughout the world. The ensemble recorded for Centaur and Albany records and its performances were broadcast over the National Public Radio Network (NPR) and other classical music radio stations throughout the United States and world. While at the Conservatory Battisti commission works from distinguished national and international composers such as Robert Ceely, John Harbison, Robin Holloway, Witold Lutoslawski, William Thomas McKinley, Michael Colgrass, Daniel Pinkham, Gunther Schuller, Robert Selig, and Sir Michael Tippett. When he retired from the Conservatory in 1999 he was named Conductor Emeritus of the NEC Wind Ensemble. Dr.Battisti has guest conducted numerous university, college, military, professional and high school bands and wind ensembles and served as a visiting teacher/clinician throughout the United States, England, Europe, Middle East, Africa, Scandinavia, Australia, China, Taiwan, Canada, South America, South Korea, Iceland and the former U.S.S.R. Past President of the U.S. College Band Directors National Association (CBDNA), Battisti is also a member of the American Bandmasters Association (ABA) and founder of the National Wind Ensemble Conference, World Association of Symphonic Bands and Ensembles (WASBE), Massachusetts Youth Wind Ensemble (MYWE), New England College Band Association (NECBA) and the Tanglewood Institute’s Young Artists Wind Ensemble. In 1986 and 1993 Dr. Battisti was a visiting fellow at Clare Hall, Cambridge University, England. He is the recipient of many awards and honors including an Honorary Doctor of Music degree from Ithaca College in 1992 and the Ithaca College Alumni Association’s Lifetime Achievement Award in 2003, the first Louis and Adrienne Krasner Excellence in Teaching Award from the New England Conservatory of Music in 1997, the Lowell Mason Award from the Massachusetts Music Educators Association in 1998, the New England College Band Association's Lifetime Achievement Award in 1999, Midwest International Band and Orchestra Clinic's Medal of Honor in 2001 and the National Band Director’ AWAPA in 2006.

When I was 17 and still in the throes of my love affair with jazz, I came upon a passage in a biography about J.S. Bach that really messed with my head. I read that, on-demand—from emperors, dukes, church officials and whoever else made demands of musicians in the 18th century— Bach could brilliantly improvise multi-voice fugues on the keyboard that rivaled or even surpassed his written works in that form. When I was 18, I read a biography about Beethoven, in which I learned that he could improvise multi-movement piano sonatas that rivaled or surpassed his written works in that form. Fugues. Sonatas. Fugues! These are among the most complex musical forms to craft, and you’re telling me these dudes could just make them up on the spot? Somewhere deep down, I decided that I wanted to be able to do that. Or something like it. Impressions As an impressionable young pianist/composer/jazzer/songwriter, I read the biographies of great musicians the way a religious fanatic reads the bible—absorbing everything, and worrying about how all of it applied to me. If I read that Charlie Parker, the great bebop saxophonist, was addicted to heroine, I wondered if my lack of drug use would be a problem in being a jazz musician. (Never got further than pot and booze.) I worried extensively about being a white kid playing black music. (Every white kid playing black music worries about that at some point.) Most of all, I worried about whether or not I’d ever be worthy of my heroes. Many of the musicians I jammed with, often twice my age, let me know in no uncertain terms that I would never reach those heights, that I should just settle for musical competency—like them. But even though what I read in these biographies worried me, it also inspired me in two important ways. One, unless they were hagiographies, they humanized my heroes—brought them down from the pedestals that insecure and mediocre artists and critics put them on in their need to make what they masters did unattainable. By making them flawed, showing how they struggled to scale the heights, I gradually came to understand that there was a path towards musical greatness, one that involved many tough choices along the way. Too often, with the greats, we assume they were just born that way. Not so. Quite the opposite. The truly great artists fight for every note for the simple reason that they’re not the notes everyone else is playing—that everyone else assumes are the notes you should be playing. Improvisation as Proof of Concept The other thing I learned was the importance of improvisation itself throughout musical history. Improvisation was not just a thing jazz musicians did, but a vital part of the creative process in all great musical traditions. In effect, what the great jazz improvisers did was bring it back—remind us that it was an integral part of the compositional process and that if your musical language couldn’t be improvised, then there was a problem. And there was a problem in the Western Art Music tradition when I was young. We were still under the sway of advanced serialism, a musical language so convoluted that it could only be appreciated by the “experts”—meaning the composers who meticulously created it and the small cadre of musicians who played it. In its purest (puritanical) form, It certainly could not be improvised by human musicians. You’d need a pretty powerful computer for that. (Interestingly, a significant advance in the musicality of serialism came when composers like Witold Lutoslawski figured out how to use it in an improvisational setting, what is called aleatoric, or chance, music.) All of which proves two things: one, improvisation is vital to the creative health of any musical tradition. And two, there is no one way or approach to improvising. For a long time, jazz musicians improvised around the tune, the chord changes of popular or jazz tunes. Many still do this in various forms. But there are other ways, including free improvisation (which itself has many subsets.) And then there are the ways I learned from reading about Bach and Beethoven’s improvisations mastery. A Third Way Bach, with his ability to improvise fugues, and Beethoven with his ability to improvise sonatas. What did this tell me? That there was a third or fourth way: not purely free improvisation, but not wholly married to a tune like in most jazz. You could improvise on themes—freely, but with the aim being some kind of structure that added up to a story. That’s what I wanted to do. Follow Podcast Homepage Episode Transcript Subscribe on Apple Podcasts Bandcamp Page Patreon Page Twitter Peter Saltzman Website Facebook Contact: info@petersaltzman.com

Panelen hyllar hornisten i orkestern Anima Eterna, hör Bayerska radions symfoniorkester ha en bra vecka på jobbet och faller i gråt av John Eliot Gardiners "Odysseus återkomst" av Monteverdi.   Veckans skivor: SCHUBERT, BERWALD ANIMA ETERNA BRUGGE Musik av Franz Schubert och Franz Berwald Anima Eterna Brugge Alpha Classics Alpha 461 Betyg: 5 - totalfemma! BRUCKNER SYMPHONIE NR. 9 Symfoni nr 9 i d-moll av Anton Bruckner Bayerska radions symfoniorkester Mariss Jansons, dirigent BR Klassik 900173  Betyg: 4 VIERNE, FRANCK VIOLIN SONATAS Musik av Eugène Ysaye, César Franck, Louis Vierne och Lili Boulanger Alina Ibragimova, violin Cédric Tiberghien, piano Hyperion CDA68204 Betyg: 4 MONTEVERDI IL RITORNO DULISSE IN PATRIA Opera av Claudio Monteverdi Sångare: Furio Zanasi, Lucile Richardot, Krystian Adam English Baroque Soloists Monteverdi Choir John Eliot Gardiner, dirigent SDG730 Betyg: 5 - totalfemma! Musikrevyn möter: Dirigenten Edward Gardner  Den engelske dirigenten Edward Gardner har gjort en lång rad inspelningar, däribland samtliga orkesterverk av Witold Lutoslawski samt nyckelverk av tonsättare som Szymanowski, Britten, Janacek och Grieg. William Waltons och Elgars symfonier, Schönbergs Gurrelider och Berlioz Reqiuem finns också i hans discografi. Sofia Nyblom mötte Edward Gardner i Konserthuset i Stockholm.

The film "Cold War" serves as the inspiration and exploration of Polish national identity through cultural mixture and romance. Here's the playlist (also on Spinitron.com): 1. Chór Dana “Oj Dana, Dana” from Pierwsi Polscy Rewelersi on 4everMUSIC 2. Witold Lutoslawski, Pawel Lukaszewski, SWR “10 Polish Folk Songs” from 10 Polish Folk Songs 3. Nina Simone “I Loves You, Porgy” from Nina Simone and Her Friends (Remastered 2013) (1959) 4. Arthur Rubenstein “Fantasie Impromptu in C Sharp Minor, Op. 66” from 8 Polonaise 5. Bill Haley & His Comets “(We're Gonna) Rock Around the Clock (Single Version)” from Salut les copains : Les pionniers du rock on Universal Music Division MCA 6. Magda Umer, Anna Maria Jopek “Dwa Serduska Cztery” from Pleiades 7. Dave Brubeck Quartet “My Favorite Things” from take five 8. Louis Jordan & His Tympani Five “IS YOUR IS OR IS YOU AIN'T MY BABY (LIVE 2015)” from LIVE AT COTTON CLUB 9. Bobby Jaspar “I remember you” from Clarinescapade on TP4 Music 10. Natasza Zylska “Bajo-Bongo” from 40 Piosenek Nataszy Zylskiej on WM Poland/WMI 11. Alexandrov Ensemble & Viktor Eliseev “Katyusha” from The Soul of Russia - The Ultimate Collection (2014) 12. Krosno Ensemble “Johnny Sits On a Chestnut Horse - Mountain Song” from Polish Folk Songs and Dances (1954) on Folkways Records. Special thanks to Marzanna Poplawska!

Ensemblet Theatre of Voices og Smith Kvartetten fra England markerer 100-året for Polens uafhængighed i Diamanten i København med musik af en række - hovedsagelig kvindelige - polske komponister: Agata Zubel, Witold Lutoslawski, Rafael Augustin, Grazyna Bacewicz og Henryk Górecki. (Diamanten 11. november). Vært: Anne Bro. www.dr.dk/p2koncerten

Musiques pour piano de Busoni ; Symphonie no 1 et Concerto pour piano no 1 de Beethoven ; Tétralogie de Wagner ; Concertos pour violon et orchestre de chambre de Bach ; Musiques orchestrales de Witold Lutoslawski.

Musiques pour piano de Busoni ; Symphonie no 1 et Concerto pour piano no 1 de Beethoven ; Tétralogie de Wagner ; Concertos pour violon et orchestre de chambre de Bach ; Musiques orchestrales de Witold Lutoslawski.

Donald Macleod is joined by Dr Nicholas Reyland to explore Witold Lutoslawski's life

Orchestergraben Blog: http://orchestergraben.blogspot.de Hörbeispiele Link 1 (20s): https://youtu.be/eLLS0oatUEA?t=18 Link 2 (20s): https://youtu.be/eLLS0oatUEA?t=184 Link 3 (26s): https://youtu.be/eLLS0oatUEA?t=312 Link 4 (30s): https://youtu.be/eLLS0oatUEA?t=460 Link 5 (30s): https://youtu.be/eLLS0oatUEA?t=560 Link 6 (30s): https://youtu.be/eLLS0oatUEA?t=904 Witold Lutoslawski: https://de.wikipedia.org/wiki/Witold_Lutosławski Klavierkonzert: https://en.wikipedia.org/wiki/Piano_Concerto_(Lutosławski)

Corinna Simon (Klavier)

Karol Szymanowski: Sinfonie Nr. 2 B-Dur op. 19 | Witold Lutoslawski: "Livre pour Orchester", "Musique funèbre à la mémoire de Béla Bartók" | Polish National Radio Symphony Orchestra | Leitung: Alexander Liebreich

Konzert für Orchester; "Kleine Suite" für Orchester; Symphonie Nr. 4 (in einem Satz) | NDR Sinfonieorchester | Leitung: Krzysztof Urbanski

Fra Mogens Dahl Koncertsal. Schubert: Sange til tekster af Johann Gabriel Seidl. Fauré: Sange til tekster af Paul Verlaine. Mark Padmore, tenor. Julius Drake, klaver. Koncerten begynder kl. 20. Kl. ca. 21:30 kan du møde violinisten Joanna Konarzewska, der er debuteret fra Syddansk Musikkonservatorium. Hun spiller musik af Per Nørgård og Witold Lutoslawski. (Sendt første gang 11. februar). Vært: Anne Bro.

Viaje a Lutoslaswki sinfónico: Pequeña suite (III-Piosenka), Variaciones Paganini, Sinfonía nº 1 (III-Allegro Misterioso), Concierto para orquesta (II-Capricho notturno ed arioso), Concierto para piano y orquesta (IV), Música fúnebre para cuerda (IV-Epílog0), Chain II (III-Ad libitum) y Variaciones sinfónicas (fragmento). Un breve paseo por algunas de sus mejores aportaciones orquestales, núcleo fundamental de su pensamiento creador. Quiero ofrecerles una crónica fragmentaria de su trabajo: música para retener en nuestra memoria el legado de un autor que, sin duda, estará cada vez más presente en las salas de concierto.Pequeña suite (III-Piosenka), Variaciones Paganini, Música fúnebre para cuerda (IV-Epílogo) y Variaciones sinfónicas (fragmento): Polish National Radio Symphony Orchestra (Katowice); Antoni WittSinfonía nº 1 (III-Allegro Misterioso) y Concierto para orquesta (II-Capricho, notturno ed arioso): Polish Radio National Symphony Orchestra ; Witold LutoslawskiConcierto para piano y orquesta (IV): Piotr Paleczny (piano); Polish National Radio Symphony Orchestra (Katowice); Antoni WittChain II (III-Ad libitum): Krzystof Bakowski (violín); Polish National Radio Symphony Orchestra (Katowice); Antoni Witt Escuchar audio

Conductor and composer Esa-Pekka Salonen celebrates the music of Polish composer Witold Lutoslawski and his landmark work from the early 1960s, Jeux Venitiens. Writer Paul Griffiths explains how the composer used chance within the score to create rhythmic complexity; and we hear from Lutoslawski himself, in conversation with Thea Musgrave in 1973.

Annika Täuschel stellt das Konzert für Orchester von Witold Lutoslawski zusammen mit Frank Reinecke, Kontrabassist im Symphonieorchester des Bayerischen Rundfunks, vor.