Podcasts about Yehudi Menuhin

Fondé en 1957 dans les Alpes suisses par le légendaire violoniste, pédagogue et chef d'orchestre Yehudi Menuhin, le Menuhin Festival Gstaad bat actuellement son plein. Pour sa 70e édition, Daniel Hope, l'un des élèves et héritiers spirituels du célèbre musicien, en prend les rênes avec la volonté de faire vivre l'héritage de celui qui fut non seulement un immense artiste, mais aussi l'une des grandes consciences humanistes du XXe siècle. Né en Afrique du Sud, citoyen du monde et quadrilingue, Daniel Hope ne se contente pas de diriger le festival : il y anime des masterclasses, participe à des rencontres et monte également sur scène.

Fondé en 1957 dans les Alpes suisses par le légendaire violoniste, pédagogue et chef d'orchestre Yehudi Menuhin, le Menuhin Festival Gstaad bat actuellement son plein. Pour sa 70e édition, Daniel Hope, l'un des élèves et héritiers spirituels du célèbre musicien, en prend les rênes avec la volonté de faire vivre l'héritage de celui qui fut non seulement un immense artiste, mais aussi l'une des grandes consciences humanistes du XXe siècle. Né en Afrique du Sud, citoyen du monde et quadrilingue, Daniel Hope ne se contente pas de diriger le festival : il y anime des masterclasses, participe à des rencontres et monte également sur scène.

Dans ce nouvel épisode de "Vocations", Laure Mézan reçoit Nemanja Radulović pour une discussion autour de son inspiration musicale. Yehudi Menuhin est le premier qui lui a ouvert la porte vers la musique. Il explique l'avoir vu en concert à la télévision et avoir été touché par sa façon de raconter une histoire. Ce qu'il apprécie chez lui, c'est sa douceur et sa classe.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Julian Lloyd Webber is undoubtedly one of the country's greatest living musicians – the man who, perhaps more than anyone of his generation, took classical music out of the concert hall and into the mainstream. But in October 2013, ten minutes into a recital in a Suffolk seaside town, the power drained from his right arm and he found he could barely draw the bow across his cello.Within six months, at 63, he was forced to retire – unemployed overnight and stripped of the thing that had defined him since he was a boy of thirteen.For half a century, the cello had been Julian's whole life. He toured the world, playing with everyone from Yehudi Menuhin to Elton John, took an Elgar recording to a Brit Award and his brother's Variations to number two in the pop charts. He was the first officially licensed busker on the London Underground and the only classical soloist at the London Olympics closing ceremony.Then, at 64, he sat the first job interview of his life and went on to lead the Royal Birmingham Conservatoire into a £57 million new home, winning it royal status along the way. On his 75th birthday – and while quietly managing a prostate cancer diagnosis – he walked back onto the Wigmore Hall stage and played again. And now, twelve years after the power drained from his arm, Julian is touring – a full run across Ireland this autumn with his cellist wife, Jiaxin.His memoir, Bows & Arrows, is out now, and this conversation is about the abuse he survived as a boy, the instrument he loved and lost, and how you rebuild an identity when the thing that made you who you are is taken away.POWERED BY KINGSLEY NAPLEYI know what it is to have the right legal support around you when facing a crisis. Kingsley Napley are the kind of lawyers I wish more people knew about – there to help you make the right decisions, protect what matters, and build real resilience when the pressure is on. This episode is powered by Kingsley Napley.Visit www.kingsleynapley.co.uk for more details.FOUR LESSONS FROM JULIANTalent and hard work aren't enough on their own – you need passion, because that's the only thing that gets you up to do it all again after a bad night.A second string to your bow can end up saving your life. When you lose the thing that defined you, throw yourself into whatever else genuinely moves you – even if it's nothing like what you did before. Find something that truly absorbs you, and the healing takes care of itself.When a setback knocks you down, picture the alternative. For Julian, the fear of ending up disappointed with his life was the fuel that kept him going.Healing is not forgetting; it's reaching the point where the trauma you carry doesn't drag you down.CHAPTERS04:01 – Growing up in a chaotic, bohemian home09:12 – The day on the Tube that took his childhood11:03 – Why some things you don't get over – and shouldn't have to15:21 – His father's warning that lit the fire17:39 – Fifty years at the top: how he kept the flame alive27:25 – The longest relationship of his life33:12 – A football bet, a number two record, and a gold disc35:01 – The night the power drained from his arm39:02 – Losing your job, your income and your identity overnight39:59 – The first job interview of his life, at 6444:22 – The daughter's remark that brought him back to the cello47:57 – Facing a cancer diagnosis51:32 – Why he refuses to slow down, even nowBUY JULIAN'S BOOKBows & Arrows – https://www.amazon.co.uk/Bows-Arrows-Julian-Lloyd-Webber/dp/1837360588SEE JULIAN LIVEJulian's Irish tour with his wife, Jiaxin – https://julianlloydwebber.com/events/FOLLOW JULIAN LLOYD WEBBERInstagram – https://www.instagram.com/julian.lloydwebber/FOLLOW CRISIS WHAT CRISIS?Instagram – www.instagram.com/crisiswhatcrisispodcastTikTok – www.tiktok.com/@crisispodThis was a Crisis What Crisis Production – Rex Fisher (producer), Ioana Barbu (studio manager), Fred Sharp (research), Johnny Seifert (audio), Jasper Cullen (video)

(00:00:55) Réchauffement: l'Europe est-elle armée pour arrêter de brûler ? (00:06:45) Réchauffement: les NGT sont-ils l'avenir de nos assiettes ? (00:14:39) Musique et diplomatie (Ep. 1): le geste puissant de Yehudi Menuhin

Today, we enter the world of classical music and artistic perseverance — a conversation about resilience, mastery, identity, and what it takes to stay devoted to your craft over a lifetime.Our guest is David Singer, internationally acclaimed clarinetist, educator, chamber musician, and author of the memoir From Cab Driver to Carnegie Hall.David's WebsiteDavid's Facebook pageDavid's extraordinary career has included performances at the White House for Presidents Jimmy Carter and Bill Clinton, appearances at Carnegie Hall with Yehudi Menuhin, performances alongside Yo-Yo Ma and Rudolf Serkin, and years as co-Principal Clarinetist with the Grammy Award-winning Orpheus Chamber Orchestra.But behind those accomplishments is another story — one of overcoming an abusive childhood, struggling financially as a young musician, driving a cab to support his family, and refusing to let go of his calling.The Journey from Survival to CallingDavid, your memoir title alone — From Cab Driver to Carnegie Hall — tells a powerful story of perseverance.Take us back to those early years. Despite difficult circumstances growing up and the instability of life as a young musician, what kept pulling you back toward music? At what point did you realize this wasn't simply something you loved — it was something you were willing to sacrifice for?The Influence of Rudolf Jettel and Musical ObsessionYou've described Rudolf Jettel, Principal Clarinetist of the Vienna Philharmonic, as your “musical father.”You first studied with him as a 12-year-old boy and even sat beside him during Vienna Philharmonic performances. What did those experiences awaken in you creatively and emotionally? And how did that mentorship shape not only your musicianship, but your standards for excellence?Performing at the Highest LevelYour career has brought you into some of the world's most prestigious musical environments — from Carnegie Hall to collaborations with artists like Yehudi Menuhin, Yo-Yo Ma, and Rudolf Serkin.When performing at that level, what separates technical mastery from true artistic expression? What have you learned about communication, emotion, and presence through music?Reinvention, Teaching, and Giving BackIn addition to performing, you've spent decades mentoring young musicians and building chamber music programs at institutions like Montclair State University, Yale, and Princeton.What do you believe young artists today most need to understand about building a sustainable creative life? And how has teaching deepened your own understanding of creativity and performance?Writing the Memoir: From Musician to AuthorThis book marks your debut as an author, and it goes far beyond music. It's about resilience, identity, family, and survival.What inspired you to finally tell this story now? And during the writing and audiobook process, what did you discover about yourself that surprised you?David, after a lifetime devoted to music, performance, and teaching, what advice would you give to someone who feels deeply called to a creative path — but is struggling to hold onto belief inIf you enjoyed this episode, subscribe, share it with someone who loves music and creativity, and leave us a review.

On this week's episode, as the funeral of Supreme Leader Ayatollah Ali Khamenei continues, Peter will be looking at the current situation in Iran and then Sarah and Peter will be comparing notes on their Desert Island Discs (Sarah tries unsuccessfully to convince Peter of the charms of Faithless), if the BBC ever come calling… And the pair pore over our mailbag to chat about dogma in education, Peter's favourite public debate, the charm of the Boston suburbs and why our politicians are all too human and why we expect too much from them.On our reading, listening and watch list this week: Sarah's Desert Island Choices: · Mendelssohn concerto in E minor: Yehudi Menuhin with the Berlin Phil (for my father) · Faithless: insomnia· Hozier: work song · Rolling Stones: Sympathy for the devil · Maria Callas: Vissi d'arte· Led Zeppelin: Fool in the Rain· David Bowie: Moonage Daydream· Pink Floyd: The Great Gig in the Sky · Book: Dante's divine comedy, I would spend my time translating it into English · Luxury: Contact lenses. Although they might be considered a necessity as I'm so blind. In which case, a hot bath. Peter's Desert Island Choices: · Bob Dylan: Tomorrow is a Long Time· Fairport Convention: Farewell, Farewell· Purcell: Nymphs and Shepherds· Purcell: Rondeau · Gustav Holst: St Paul's Suite· George Butterworth: The Banks of Green Willow· Handel: Solomon· Beethoven: Seventh Symphony· Book: A collection of the Sherlock Holmes Short and Long Stories· Luxury: A Fridge Please do get in touch, email: Alas@dailymail.co.uk you can leave a comment on Spotify or even send us a voice note on Whatsapp – on 07796 657512, start your message with the word ‘alas'. Presenters: Sarah Vine & Peter HitchensProducer: Philip WildingEditor: Chelsey MooreProduction Manager: Vittoria CecchiniExecutive Producer: Jamie East A Daily Mail production. Seriously PopularTo get in touch email alas@mailonline.co.uk, you can leave a comment on Spotify or even send us a voice note on WhatsApp - on 07796 657512 start your message with the word 'alas'Presenters: Sarah Vine & Peter HitchensProducer: Phillip WildingEditor: Chelsey MooreProduction Manager: Vittoria CecchiniExecutive Producer: Jamie EastA Daily Mail production. Seriously Popular Hosted on Acast. See acast.com/privacy for more information.

Enfant prodige devenu « le violoniste du siècle », Yehudi Menuhin aura, grâce à son art, œuvré toute sa vie à la fraternité entre les peuples.Découvrez l'épopée fascinante du jeune prodige Yehudi Menuhin, devenu l'un des plus grands violonistes du XXe siècle. Prodige dès son plus jeune âge, Menuhin a su transcender les frontières et les époques troubles pour faire rayonner la musique partout où il passait.Alors qu'il n'a même pas 10 ans, le jeune Yehudi séduit Paris et le monde entier avec son interprétation du Concerto pour violon de Mendelssohn. Sous la tutelle du maestro Georges Enesco, il se forge un style intemporel, d'une profondeur et d'une sensibilité hors du commun. Ses enregistrements légendaires, notamment du Concerto pour violon d'Elgar sous la direction du compositeur lui-même, propulsent Menuhin au rang de superstar internationale. Mais son parcours est bien plus qu'une simple carrière de virtuose. Pendant la Seconde Guerre mondiale, il donne plus de 500 représentations pour remonter le moral des troupes alliées, faisant preuve d'un engagement humanitaire remarquable. Après-guerre, Menuhin se fait le passeur d'un message de réconciliation, n'hésitant pas à jouer aux côtés de figures controversées comme le chef d'orchestre Wilhelm Furtwängler. Toujours soucieux de tisser des liens entre les peuples, il explore les musiques du monde, du jazz à la musique indienne, avec une curiosité insatiable.Ambassadeur de l'humanité et de la paix, Yehudi Menuhin a marqué son époque de son empreinte chaleureuse et indélébile. Cet épisode des Grands dossiers de l'Histoire vous invite à (re)découvrir la vie et l'œuvre d'un des plus grands violonistes du siècle dernier, véritable artiste engagé et humaniste

Enfant prodige devenu « le violoniste du siècle », Yehudi Menuhin aura, grâce à son art, œuvré toute sa vie à la fraternité entre les peuples.Découvrez l'épopée fascinante du jeune prodige Yehudi Menuhin, devenu l'un des plus grands violonistes du XXe siècle. Prodige dès son plus jeune âge, Menuhin a su transcender les frontières et les époques troubles pour faire rayonner la musique partout où il passait.Alors qu'il n'a même pas 10 ans, le jeune Yehudi séduit Paris et le monde entier avec son interprétation du Concerto pour violon de Mendelssohn. Sous la tutelle du maestro Georges Enesco, il se forge un style intemporel, d'une profondeur et d'une sensibilité hors du commun. Ses enregistrements légendaires, notamment du Concerto pour violon d'Elgar sous la direction du compositeur lui-même, propulsent Menuhin au rang de superstar internationale. Mais son parcours est bien plus qu'une simple carrière de virtuose. Pendant la Seconde Guerre mondiale, il donne plus de 500 représentations pour remonter le moral des troupes alliées, faisant preuve d'un engagement humanitaire remarquable. Après-guerre, Menuhin se fait le passeur d'un message de réconciliation, n'hésitant pas à jouer aux côtés de figures controversées comme le chef d'orchestre Wilhelm Furtwängler. Toujours soucieux de tisser des liens entre les peuples, il explore les musiques du monde, du jazz à la musique indienne, avec une curiosité insatiable.Ambassadeur de l'humanité et de la paix, Yehudi Menuhin a marqué son époque de son empreinte chaleureuse et indélébile. Cet épisode des Grands dossiers de l'Histoire vous invite à (re)découvrir la vie et l'œuvre d'un des plus grands violonistes du siècle dernier, véritable artiste engagé et humaniste

durée : 00:21:10 - Les Nuits de France Culture - par : Albane Penaranda - Dans "Carnet de notes - Archives d'un mélomane : Menuhin, Bartók : une rencontre à New York", le violoniste racontait dans une archive de 1988 sa rencontre avec Béla Bartók, en 1943, à New York. - réalisation : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:14:37 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Complices et amis de longue date, Kerson Leong, premier prix au Concours international de violon Yehudi Menuhin en 2010, et Jonathan Fournel, lauréat du Grand Prix International Reine Élisabeth en 2021, se retrouvent autour de Fauré. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:14:37 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Complices et amis de longue date, Kerson Leong, premier prix au Concours international de violon Yehudi Menuhin en 2010, et Jonathan Fournel, lauréat du Grand Prix International Reine Élisabeth en 2021, se retrouvent autour de Fauré. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Today we're joined by David Singer — an internationally acclaimed clarinetist whose remarkable career has taken him from driving a cab in Los Angeles to performing at the White House for Presidents Jimmy Carter and Bill Clinton, and on the stages of Carnegie Hall with legends like Yehudi Menuhin, Yo-Yo Ma, and Rudolf Serkin. A longtime co-Principal Clarinetist with the Grammy-winning Orpheus Chamber Orchestra, David has recorded for Naxos, Deutsche Grammophon, and was recently featured on a landmark reissue with Rudolf Serkin. He's also a beloved professor, chamber music coach, and the author of the new memoir From Cab Driver to Carnegie Hall. With a life full of inspiring stories, stunning performances, and deep musical wisdom, David Singer joins us to share his extraordinary journey.https://singerclarinet.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/i-am-refocused-radio--2671113/support.Subscribe now at YouTube.com/@RefocusedNetworkThank you for your time. 

durée : 01:00:09 - par : Priscille Lafitte - La pudeur, la passion, le corps et l'âme... autant de sujets de réflexion pour le philosophe Eric Fiat, qui prête ici, pour Musique émoi, une oreille mélomane et attentive à l'expression des sentiments par les compositions de Chabrier, Ravel, Couperin et Bach, et l'archet de Yehudi Menuhin. - réalisation : Claire Lagarde, Maud Noury - invités : Eric Fiat Professeur de philosophie à l'Université Paris-est, reponsable d'un master d'éthique médicale et hospitalière appliquée Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Dietmar Mueller-Elmau is the owner of Schloss Elmau, a resort hotel in the Bavarian Alps, 60 miles from Munich. It was set up in 1916 by his grandfather, the philosopher and writer Johannes Müller. He wanted people to take “a holiday from the ego” and to enjoy classical concerts.Over the decades, it hosted performances by the likes of Benjamin Britten, Yehudi Menuhin and Alfred Brendel. Dietmar continues that tradition, with musicians such as Yuja Wang and the Kanneh-Masons, along with jazz concerts, events with writers and philosophers, and the G7 leaders conference – twice. Dietmar's music choices include Mendelssohn, Beethoven, Liszt and Chopin.

durée : 01:28:37 - par : Philippe Cassard - Portraits de Famille autour de quelques solistes du grand chef d'orchestre allemand : Yehudi Menuhin, Edwin Fischer, Kirsten Flagstadt etc. - réalisation : Philippe Petit, Dorothée Goll Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Een bijzondere avond, vrijdag 27 februari 2026. Allereerst een voorpremiere van het nieuwe programma van het North Sea String Quartet, hèt Nederlandse jazz-strijkkwartet van dit moment. Aansluitend een presentatie van Miriam Kroeze en Ruud Ouwehand. Zij vertellen over hun zelfgebouwde Cello (Honey) en Contrabas (Honey-B). Hoewel de jazztraditie vooral geassocieerd wordt met blaasinstrumenten, piano en ritmesectie, hebben strijkinstrumenten zoals viool en cello door de hele jazzgeschiedenis een verrassende rol gespeeld. In deze TORcast aandacht voor strijkers in de jazz. Playlist: Joe Venuti, Eddie Land & Their All-Star Orchestra: After You’ve Gone; Yehudi Menuhin, Stephane Grapelli, Max Harris, Alan Clare Denny Wright: Fascinating Rhythm; Tim Kliphuis: The Nearness Of You; Charlie Parker with Strings: Everything Happens To Me; Charlie Parker with Strings: Autumn In New York; North Sea String Quartet: One Night Music Stand; ZAPP4 & Hermine Deurloo: Het Gouden Wagentje; Fred Katz: Feeling The Blues; Jean-Luc Ponty: King Kong; Regina Carter: Georgia On My Mind; Nigel Kennedy, Stephane Grapelli: Melody In The Wind.

Im Radio bringen wir Musik auch zu Hörerinnen und Hörern, die zum Teil nicht die Möglichkeit haben, live ins Konzert zu gehen und freuen uns, ihr Leben auf diese Weise mit Musik bereichern zu können. Dieses Ziel verfolgte auch Yehudi Menuhin, als er 1977 den Verein Live Music Now gegründet hat. Live Music Now organisiert inzwischen auch in Deutschland kostenlose Konzerte für Menschen, die dauerhaft oder vorübergehend in Krankenhäusern, Senioren- und Pflegeheimen oder anderen sozialen Einrichtungen leben.

The highly renowned classical clarinetist, David Singer, has performed many times at Carnegie Hall. He was a principal member and soloist with the Grammy Award-winning Orpheus Chamber Orchestra for 36 years and is featured on many of the group's 70 CDs on Deutsche Grammophon. David began with Orpheus when the group was playing for free. He has played with many of the world's greatest classical musicians, including legends like Yehudi Menuhin, Itzhak Perlman, Rudolf Serkin, and Yo-Yo Ma among others.David has also performed at the White House with Music from Marlboro and The Lincoln Center Chamber Music Society for Presidents Carter and Clinton.  David's recently published memoir, From Cab Driver to Carnegie Hall, is more than a musician's autobiography; its inspiring narrative will resonate with anyone who has faced life's challenges head-on. It's an ode to the power of never giving up while giving oneself every chance to succeed. I've read David's book and found it to be a fascinating, uplifting reflection of a life in music that's been full of challenges, triumphs, and the transformative power of music. If you enjoy stories about artists succeeding despite difficult obstacles, I highly urge you to read David's entertaining memoir. 

Dedicamos el episodio a uno de los artífices del jazz en Europa y un referente imprescindible del violín de Jazz: Stephane Grappelli. Nació en enero de 1908, cuando la palabra "jazz" aún no existía. Estudió violín en el conservatorio, pero lo abandonó antes de obtener su diploma. Junto a Django Reinhardt alumbró la versión europea del jazz, sin piano, sin metales, solo con cuerdas. Y, ya sexagenario, cuando su carrera languidecía, obtuvo el éxito y el reconocimiento internacional, demostrando que el violín podía ser instrumento central del jazz. Playlist. Musica ambiental (hasta el minuto 6'20): – Librairie Musicale, Sur Le Pont De Nogent; – Charles Chaplin, Smile; – Eddie Lang y Joe Venuti, Goin' Places; – Librairie Musicale, Palace Hotel; – Eddie Lang y Joe Venuti, Goin' Places; – Django Reinhardt y Louis Vola, Carinosa; – Stéphanie Grappelly, Django Reinhardt y Louis Vola, Sweet Sue. Selección musical (desde el minuto 6'20): – Quintette du Hot Club de France, Minor Swing; – Quintette du Hot Club de France, Djangology; – Quintette du Hot Club de France, Limehouse Blues; – Quintette du Hot Club de France, Nuages; – Stéphane Grappelli y George Shearing Trio, La chanson de rue; – Django Reinhardt, Blues Clair; – Django Reinhardt y Stéphane Grappelli, Swing 39; – Django Reinhardt, Nuages (versión con guitarra eléctrica de 1953); – Stéphane Grappelli, A Nightingale Sang in Berkeley Square – Yehudi Menuhin, J.S. Bach, Violin Sonata No. 1 in G Minor, BWV 1001: I. Adagio; – Stéphane Grappelli y Yehudi Menuhin, Jealousy; – Stéphane Grappelli y Yehudi Menuhin, Tea for Two; – Oscar Peterson y Stéphane Grappelli, Makin' Whoopee; – Yo-Yo Ma y Stéphane Grappelli, Anything Goes; – Michał Urbaniak y Stephane Grappelli, Summertime;

Daniel Hope gehört zur Weltelite der Klassik. Als kleiner Junge begleitete er in London seine Mutter bei der Arbeit, die als Sekretärin von Yehudi Menuhin, dem berühmtesten Violinisten des 20. Jahrhunderts, engagiert war. Es entstand eine enge Verbindung zwischen Hope und Menuhin. Zuletzt war Daniel Hope auf Konzertreise in den USA und China und präsentierte Werke von Mozart und dessen Zeitgenossen Joseph Bologne. Im Februar gastiert er mit seinem neuen Programm in der Hamburger Elbphilharmonie.

durée : 00:25:10 - Itzhak Perlman, violoniste (3/5) - par : Judith Chaine - Après avoir débarqué à la Juilliard School de New York, Itzhak Perlman nous raconte comment il a découvert les idoles de ses disques fétiches en concerts : Yehudi Menuhin, David Oïstrakh, Zino Francescatti et surtout Jascha Heifetz. - réalisé par : Adrien Roch Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Un 15 de octubre nos dejó uno de los mayores compositores de la música popular del siglo XX. Recordamos algunas de sus grandes canciones en grabaciones de Louis Armstrong ('Let´s do it'), Ella Fitzgerald ('I love Paris', 'Begin the beguine'), Billie Holiday ('Night and day'), Bebel Gilberto ('Night and day'), Frank Sinatra ('I´ve got you under my skin'), Tony Bennett & Lady Gaga ('I´ve got you under my skin', 'I concentrate on you'), Caetano Veloso ('Love for sale', 'So in love'), Melody Gardot ('Get out of town'), Tom Zé ('Você é o mel') y Stéphane Grappelli & Yehudi Menuhin ('I get a kick out of you').Escuchar audio

Wie lange können sich Traditionsgeschäfte in den Zeiten des Onlinehandels noch in den Innenstädten halten? Und doch: Sorgt nicht gerade der Fachhandel für Flair? Feature über eine Musikalienhandlung in Leipzig.

durée : 00:21:10 - Les Nuits de France Culture - par : Albane Penaranda - Dans "Carnet de notes - Archives d'un mélomane : Menuhin, Bartók : une rencontre à New York", le violoniste racontait dans une archive de 1988 sa rencontre avec Béla Bartók, en 1943, à New York. - réalisation : Virginie Mourthé - invités : Yehudi Menuhin Violoniste et chef d'orchestre américain (New-York, 22 avril 1916 - Berlin, le 12 mars 1999)

In this first half of a special two-part conversation, Devin Patrick Hughes speaks with broadcaster and author John Suchet about Beethoven's beginnings in Bonn, his precocious childhood on the Rhine, his mentors and patrons, and the myths surrounding his father and early works. Together, they explore Beethoven's revolutionary ideas, his first “unplayable” compositions, and the legendary (and mysterious) meeting with Mozart. Along the way, Suchet shares insights from his new book, In Search of Beethoven: A Personal Journey, and we hear the music that shaped the young Beethoven and echoed throughout his career. Featured Music All works composed by Ludwig van Beethoven, unless noted. Große Fuge, Op. 133 — Artemis Quartet (live, Paris 2001) Musik zu einem Ritterballet, WoO 1: No. 8 Coda — Günther Herbig & Staatskapelle Berlin (1971) Quartet WoO 36 No. 3 in C Major: I. Allegro Vivace — Christoph Eschenbach, Norbert Brainin, Peter Schidlof, Martin Lovett Sonatina in E-flat Major WoO 47, Kurfürstensonate No. 1 — Jörg Demus Cantata on the Death of Emperor Joseph II, WoO 87 — Reetta Haavisto, Juha Kotilainen, Leif Segerstam, Turku Philharmonic, Chorus Cathedralis Aboensis Violin Concerto in D Major, Op. 77: II. Adagio — Johannes Brahms, Itzhak Perlman, Chicago Symphony, Carlo Maria Giulini “Aria de Florestan: Gott!” from Fidelio — Jonas Kaufmann, Nikolaus Harnoncourt 12 Variations on “Se vuol ballare”, WoO 40 — Yehudi Menuhin & Wilhelm Kempff For more information on John Suchet, see https://www.johnsuchet.co.uk. You can find his most recent book In Search of Beethoven, A Personal Journey where ever books are sold. You can always find more info at OneSymphony.podbean.com.  If you appreciate what we do you can Support the show and get exclusive content at patreon.com/onesymphonywithdevinpatrickhughes. Feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

2004-ben Esterházy Péter kapta meg a Német Könyvkereskedelem rangos Béke-díját. Ez az elismerés olyan alkotóknak jár, akik műveikkel a békét, az emberi jogokat és a kultúrák közötti párbeszédet szolgálják. A díjat korábban Konrád György, író is elnyerte, míg nemzetközileg olyan jelentős személyiségeket tüntettek ki vele, mint Albert Schweitzer, orvos, teológus, Yehudi Menuhin hegedűművész, Václav Havel író, drámaíró és későbbi cseh államfő is. Esterházy kitüntetésével a német kulturális közélet a közép-európai történelem és identitás feldolgozásában betöltött írói szerepét ismerte el. Ebből az alkalomból beszélgetett 2004-ben Friderikusz Sándor a kiváló íróval.Hogyan támogathatja a munkánkat? - Legújabban már a Donably felületen is támogathat bennünket, itt ÁFA-mentesen segítheti munkavégzésünket: https://www.donably.com/friderikusz-podcast - De lehet a patronálónk a Patreon-on keresztül is, mert a támogatása mértékétől függően egyre több előnyhöz juthat: https://www.patreon.com/FriderikuszPodcast - Egyszerű banki átutalással is elismerheti munkavégzésünk minőségét. Ehhez a legfontosabb adatok az alábbiak: Név: TV Pictures Számlaszám: OTP Bank 11707062-21446081 Közlemény: Podcast-támogatás Ha külföldről utalna, nemzetközi számlaszámunk (IBAN - International Bank Account Number): HU68 1170 7062 2144 6081 0000 0000 BIC/SWIFT-kód: OTPVHUHB Akármilyen formában támogatja munkánkat, nagyon köszönjük!Kövessenek, kövessetek itt is:youtube: https://www.youtube.com/c/FriderikuszPodcastFacebook: https://www.facebook.com/FriderikuszPodcastInstagram: https://www.instagram.com/friderikuszpodcastAmazon Music: https://music.amazon.com/podcasts/a159b938-d63e-4927-9e9b-bea37bc378d3/friderikusz-podcastSpotify: https://spoti.fi/3blRo2gYoutube Music: https://music.youtube.com/playlist?list=PLu6L9HlV4-KuNOYy_rS97rP_Q-ncvF14rApple Podcasts: https://apple.co/3hm2vfiDeezer: https://www.deezer.com/hu/show/1000256535

El 9 de junio de 1891 nació en una pequeña población del estado de Indiana uno de los mayores compositores de la historia de la música popular. Clásicos de Cole Porter en grabaciones de Stéphane Grappelli & Yehudi Menuhin ('I get a kick out of you'), Louis Armstrong ('Let´s do it'), Ella Fitzgerald ('Love for sale', I love Paris'), Frank Sinatra ('I´ve got you under my skin', 'Just one of those things'), Tony Bennett & Lady Gaga ('I concentrate on you'), João Gilberto ('You do something to me'), Bebel Gilberto ('Night and day'), Caetano Veloso ('So in love'), Melody Gardot ('Get out of town') y John Coltrane ('Everytime we say goodbye').Escuchar audio

Londra'da genç bir piyanist konuğum var: Can Arısoy. Dünyanın en ünlü müzik okullarından Yehudi Menuhin'de tam burs alarak 14 yaşında Londra'ya taşınan Can, Londra'nın en prestjli müzik okullarından Guildhall School of Music'te yine tam burslu olarak lisans eğitimini bitirip şimdi orada master yapmaya devam ediyor. Zetland Vakfı, Talent Unlimited, Dr Nejat Eczacıbaşı Vakfı, Sevda Cenap Müzik Vakfı gibi çeşitli vakıflar tarafından da desteklenen genç bir sanatçı. Bir yandan eğitimine bir yandan sanat çalışmalarına devam eden Can, ayrıca yapımcılık ve film besteciliği de yapıyor. Geçtiğimiz sene kendi başvurusuyla İngiltere'de yeni başlayan Global Talent vizesine geçiş yapan Can ile hem bu vize türünü, hem aldığı bursları ve eğitimini hem de sanatçı yönünü konuştuk.Bu bölüm, İngiltere ve İrlanda'da öğrenci konaklaması için en iyi imkânları sunan GoBritanya'nın katkılarıyla sizlere buluşuyor. 2013'ten beri öğrencilere konaklama çözümleri sunan GoBritanya, özellikle uluslararası öğrencilerin ilk tercihi olmaya devam ediyor. Daha fazla bilgi için www.gobritanya.com'u ziyaret edebilirsiniz

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

I'm joined by Janusz Marynowski the director of Sinfonia Varsovia, Poland's biggest and most successful orchestra and one of Europe's finest. We talk about their upcoming tour, their past directors including Yehudi Menuhin and Nigel Kennedy and their future.Learn more about them at: Sinfonia Varsovia

durée : 00:25:12 - Daniel Hope, violoniste (5/5) - par : Judith Chaine - Musicien curieux, humaniste et engagé, le violoniste Daniel Hope est notre invité cette semaine. De sa relation privilégiée avec Yehudi Menuhin à ses années au Beaux-Arts Trio en passant par sa formaation auprès de Zarkhar Bron, il se livre sur sa vie musicale et sur sa vision de l'artiste. - réalisé par : Adrien Roch

durée : 00:25:05 - Daniel Hope, violoniste (1/5) - par : Judith Chaine - Musicien curieux, humaniste et engagé, le violoniste Daniel Hope est notre invité cette semaine. De sa relation privilégiée avec Yehudi Menuhin à ses années au Beaux-Arts Trio en passant par sa formaation auprès de Zarkhar Bron, il se livre sur sa vie musicale et sur sa vision de l'artiste. - réalisé par : Adrien Roch

durée : 00:25:13 - Daniel Hope, violoniste (2/5) - par : Judith Chaine - Musicien curieux, humaniste et engagé, le violoniste Daniel Hope est notre invité cette semaine. De sa relation privilégiée avec Yehudi Menuhin à ses années au Beaux-Arts Trio en passant par sa formaation auprès de Zarkhar Bron, il se livre sur sa vie musicale et sur sa vision de l'artiste. - réalisé par : Adrien Roch

durée : 00:25:19 - Daniel Hope, violoniste (3/5) - par : Judith Chaine - Musicien curieux, humaniste et engagé, le violoniste Daniel Hope est notre invité cette semaine. De sa relation privilégiée avec Yehudi Menuhin à ses années au Beaux-Arts Trio en passant par sa formation auprès de Zarkhar Bron, il se livre sur sa vie musicale et sur sa vision de l'artiste. - réalisé par : Adrien Roch

durée : 00:25:06 - Daniel Hope, violoniste (4/5) - par : Judith Chaine - Musicien curieux, humaniste et engagé, le violoniste Daniel Hope est notre invité cette semaine. De sa relation privilégiée avec Yehudi Menuhin à ses années au Beaux-Arts Trio en passant par sa formaation auprès de Zarkhar Bron, il se livre sur sa vie musicale et sur sa vision de l'artiste. - réalisé par : Adrien Roch

Rodney Trudgeon's guest on People of Note this week is the South African born viola player, educator and philanthropist Louise Lansdown who is serving as Head of Strings at the Royal Northern College of Music in Manchester and Professor of Viola at the Yehudi Menuhin school. Louise also directs two major viola competitions in the UK and has been in Cape Town to play principal viola with the Mzanzi National Orchestra.

The Sixth Annual Elgin Thanksgiving Day Greeting To America, originally broadcast November 27, 1947, 77 years ago. Jimmy Durante and Garry Moore perform together for the first time "since getting shows of their own." "News Scoops From Hollywood," Candy Candido appears as "Mr. Ripple." Fifteen-year-old Mary Jane Smith sings. Sir Lancelot sings a calypso watch commercial!Larry Storch does impersonations. Margaret Whiting and Vera Vague join Jimmy Durante singing a clever original parody about a possible woman president. The Page Cavanaugh Trio sings a delightful Elgin commercial to the tune of, "The Lady From Twentynine Palms."Bob Sweeney and Hal March drive to the studio. The winners of the SPEBQSA competition sing barbershop harmonies. Yehudi Menuhin plays "Habanera" by Sarasate (accompanied by his sister on the violin). He then plays a duet with another violinist...Jack Benny! Artie Auerbach does an Elgin commercial as, "Mr. Kitzel.Cathy and Elliott Lewis are featured in a well-written story about a housewife's last day. Good radio! "A Child's Thanksgiving" features Red Skelton as, "Junior, The Mean Widdle Kid." After he says grace, Clem Kaddiddlehopper finds himself in one of the Elgin watch commercials!Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

This episode features violinist Madeleine Mitchell introducing the return of the Red Violin Festival in Leeds, her connection with Yehudi Menuhin, and the career-long fascination with composer Herbert Howells whose In Gloucestershire Quartet forms part of a new release of recordings on the SOMM label of rarely heard works by the English composer. The Red Violin Festival runs from 14th to 19th October 2014. Madeleine Mitchell and the London Chamber Ensemble's recordings of works by Howells and Charles Wood is released on Friday 18 October.

On this latest Interplay, Conversations in Music, Michael Shapiro speaks to his longtime friend, composer Malcolm Singer about a lifetime spent in music, from the days of his study with Nadia Boulanger, to his work with Yehudi Menuhin as head of the Menuhin School, to his work with countless musicians, and his leadership in bringing along generations of young composers and players. A thrilling examination of a composer's life. Not to be missed! www.michaelshapiro.com

durée : 01:29:05 - Lord Yehudi Menuhin, violoniste légendaire et chef inspiré - par : Aurélie Moreau - Enfant prodige, Yehudi Menuhin avait débuté en concert à 14 ans dans la Symphonie espagnole de Lalo, avec l'Orchestre Symphonique de San Francisco. Il fut l'un des plus grands violonistes au monde par sa virtuosité, sa musicalité et son humanité.

It's been almost seventy years since the arrival of Indian classical music in Europe and the United States. Starting in 1956, English violinist YEHUDI MENUHIN's interest in Indian music led to collaborations and concert tours with two of the then hottest young musicians in India—sitar master RAVI SHANKAR and sarod master ALI AKBAR KHAN. It was the beginning of a period of cross-fertilization of Indian and Western classical music. And in the 1960's, the famous adoption of the Indian sitar by GEORGE HARRISON of THE BEATLES brought awareness of Indian music to the mainstream. Today, recordings, films, videos, and digital networks have led to a broadening of cultural communication, where influence and interaction occur across many genres simultaneously. Western musicians study Indian microtonal scales, play Indian instruments, and create new hybrid styles—while Indian musicians study western tempered scales, harmony, and orchestration, play electronic instruments, and extend the traditions of Indian music to an international audience. On this transmission of HEARTS of SPACE, contemporary, traditional, and sacred sounds of India, on a program called INDIA NAVIGATION 2. Music is by sitarists JASDEEP SINGH DEGUN, ANOUSHKA SHANKAR, and NILADRI KUMAR, bansuri flutists MARK SEELIG and VIRGINIA NICOLI, sarod and santur by CHINMAYA DUNSTER, and producer CRAIG PRUESS and the great devotional singer ANURADHA PAUDWAL. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

durée : 01:02:27 - Yehudi Menuhin et l'Inde - par : Françoise Degeorges - Yehudi Menuhin et l'Inde, vu par Marianne Poncelet et Kiran Vyas - réalisé par : Pierre Willer

Matt and Rob sit down with the legendary progressive rock guitarist, Steve Hackett formerly of GENESIS and GTR Steve talks about his current tour (recently winding down) called FOXTROT AT FIFTY, what the term progressive means, what John Lennon said about Genesis, his incredible new album "The Circus and the Nightwhale" and more. We had 30 minutes to talk to Steve which in itself is incredible since he was in the middle of a tour of the US. ******** JUST A LITTLE BIT ABOUT STEVE HACKETT: Steve Hackett is renowned as an immensely talented and innovative rock musician. He was lead guitarist with Genesis as part of their classic line up with Gabriel, Collins, Banks and Rutherford, that produced acclaimed albums such as Selling England by the Pound (a favourite of John Lennon). With Steve's extraordinary versatility in both his electric guitar playing and his composing, he involves influences from many genres, including Jazz, World Music and Blues. He is equally adept in his classical albums that include renditions of pieces by composers from Bach to Satie, his own acoustic guitar compositions that have gained the admiration of many, including Yehudi Menuhin, and ambitious guitar/ orchestra albums such as A Midsummer Night's Dream, recorded with the Royal Philharmonic.   With Genesis, Steve's guitar playing produced some of the most memorable moments, from the sensitivity of his acoustic sound on Horizons and Blood on the Rooftops to the dramatic rock guitar solos of Firth of Fifth and Fountain of Salmacis. As he embarked on his solo career he developed his exceptional range, pushing musical boundaries into exciting areas, inventing new sounds and also techniques such as 'tapping'. His solo career went from strength to strength and the mid eighties not only saw the hit single Cell 151, but also the Steve Hackett and Steve Howe super group GTR, highly successful in America. ************ You can find STEVE at hackettsongs.com, Facebook and Instagram (@stevehackettofficial)  Be sure to listen to his incredible new album THE CIRCUS AND THE NIGHTWHALE! ************ KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora and almost anywhere you listen to podcasts.     If you go to www.linktr.ee/knowgoodmusic you can find all the links to the podcast platforms we are on.    Visit our YouTube Channel where you can see video promos from some of our interviews.  Just search "know good music"."

Grammy nominated Welsh cellist and conductor Paul Watkins has enjoyed an illustrious musical career. Whether performing as a chamber musician or music director, his talent for collaboration is unparalleled. Paul reflects on his early beginnings, why he saw professional classical musicians as untouchable in his youth, and how this perspective changed while he attended the Yehudi Menuhin school as a teenager. David asks what it was like to lead the cello section of the BBC Symphony Orchestra at age 20 without any professional experience (terrifying!) and how Paul found the courage to ultimately forge a path as a soloist and chamber musician. Paul discusses how he nearly turned down an audition for the famed Emerson String Quartet, which he ultimately joined thanks to his encouraging wife and a bottle of champagne! To close it out, Paul leaves listeners with invaluable advice.Check out Paul Watkins on Spotify, Apple Music, or the web.You can listen to and learn more about the Emerson String Quartet on YouTube, Twitter, Facebook, Instagram, Apple Music, Spotify, and the web.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.Photograph of Paul Watkins by Jurgen Frank.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2024 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Il y a 25 ans que nous a quittés celui qui est considéré comme un des plus grands violonistes du XXème siècle : Yehudi Menuhin. L'occasion pour nous de lui rendre hommage, au travers de sa musique, bien sûr, mais surtout en réécoutant ce qu'il disait de l'humain, du monde, de la société, et de lui-même. Des paroles de sage puisées dans les archives de la Sonuma. Sujets traités : Yehudi Menuhin, musique, violoniste,russe Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Part II Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   Transcript     Welcome to the Historical String Recordings podcast, a show that gives you a chance to hear rare and early recordings of great masters and their stories.  My name is Linda Lespets and my co host is Eric Wan. This is part two of the story of the remarkably talented violinist Kathleen Parlow. In part one, we met a prodigious talent. She was the first foreigner to study in the Russian Conservatorium in St. Petersburg with the famous teacher Auer, and her most ardent admirer had given her an extraordinary gift of a Guarneri del Gesù violin. But just how far can talent, hard work, and good looks get this young woman in the beginning of the 20th century? Keep listening to find out. So now it's 1909 and Kathleen has her career taking off. She has her teacher with connections, she has her violins, and the concert that she did in the National Theatre, the one where Einar saw her for the first time, the one with Johan Halvorsen conducting, well Kathleen and Johan hit it off. And now, a year later Johan Halvorsen has finished his violin concerto, and he's been working so long and hard on it, like it's his baby and, he actually dedicates this concerto to Kathleen Parlow, and asks her to premiere it with the Berlin Philharmonic at the Modenspa outside The Hague in the Netherlands in the summer of 1909. Then Johan Halversen writes this concerto, which is sort of athletic and sort of gymnastic to play. And  he finishes it and dedicates it to her to Kathleen Parlow. And she plays this very tricky piece which kind of shows his faith in her virtuosic talents.  Well, one of her first recordings was the Moto Perpetuo by Paganini and Auer says it's one of the most difficult pieces in terms of bowing technique ever written, he says in one of his books. The reason why is one has to keep a very controlled bow, crossing strings all over the place, and play it very rapidly. Now Kathleen Parlow's recording of the Paganini Moto Perpetuo, which was made in her first recording session for HMV, is really astounding. It's the fastest  version ever made. I think it's even faster than the Jascha Heifetz and Yehudi Menuhin.  Clean as a whistle, but she also phrases it so beautifully. So she doesn't just play it technically very fast. She really shapes, you know, it's all regular sixteenth notes or semiquavers, and yet she shapes the line beautifully and really gives a direction. So when you hear this, you realize she's more than just a virtuoso performer. She's somebody with real musicianship.  She's an astounding player. And this concerto, it's quite interesting. It's, it's tricky and it's a piece that really shows off a virtuoso. So it's, it's quite a good one for Kathleen. And at the same time, he gives it a Norwegian twist. It's cleverly composed and a virtuoso such as Kathleen was perfect for playing this piece. There are references to Norwegian folk music. In the last movement, we can hear pieces that were traditionally played on the Norwegian Hardanger fiddle. So it's a violin that has sympathetic strings that run under the fingerboard, and it gives it quite like a like a haunting sound, a very kind of Scandinavian sound. So there are bits in this concerto that are from traditional music played on that violin. Then there's, there's this fun bit which makes a reference to a traditional Norwegian dance called the Halling Dance. And the Halling Dance is danced, it's danced by men at weddings or parties, and there's really no other way to describe it than breakdancing and it's like the ancestor of breakdancing. So what happens is the men, they show off their prowess to the ladies by doing this really cool sort of these acrobatics and the music for this hailing dance itself is quite tricky and you have to play it with like a rhythm to get the crowd moving and to give the dancer like the impetus to do his tricks and the men, they wear these like traditional costumes of like high waisted breeches and red waistcoats with long puffy sleeves and this little black hat. It's a bit like Mr. Darcy meets Run DMC.  You've got this man in this traditional dress doing this breakdancing, basically. And then they do they do backflips. They do that thing where you hold your foot and you jump through it with your other foot. They do like the caterpillar move. Even like spitting around on their heads. And what happens is they'll be, they'll be dancing to this music often played with, you know, the epinette and they'll be spinning around and then intermittently after spinning around, they'll do, you know, the backflip and the headspin or the, the caterpillar. And it's, I don't know how they do it. It's, they must be very dizzy. Anyway, it's incredible. And then sort of the climax of the dance is that there's a woman also, you know, dressed traditionally, and she's got this pole, this long pole. And on the end of the pole is a hat. And the idea is you have to kick the hat off, but the pole is three meters high.  So she's standing on like a ladder with the pole. And so the dancer, he'll do this kind of flying kick in the air. Either you can, you kick it off or you miss it. So in Johan Halvorsen's concerto at the end, there's this high harmonic and that you either have to hit on the G string. And like in the dance, you know, you're hitting that hat off. And so you're always there. You're always wondering if the soloist can pull it off. Can they, can they hit that high harmonic? And it's, it's the same sort of the equivalent of the spinning high kick from the dance. So, and if you were Norwegian, You would get this, I think, from the, from the music and you'd hear it. You hear that you do hear it in the music. So Kathleen Parlow, she plays this Halversen concerto and she plays it three times that year, and when she plays the piece in the National Theatre in September, there's sort of, there are mixed reviews with the critics saying that the piece was too unconventional. It's a little bit different and here's where Halvorsen, he like, he kicks up a stink a bit. This, because this concerto is like his baby and he's really protective and he's like, you know, he's quite fragile. He's, he's worked so much on this thing and people are just saying, you know, nasty things.  They don't understand the work that went into it. Yeah, you write a concerto.  So people, they flocked to hear Kathleen play Johan Halversen's concerto at the theatre. And it was full to bursting on several nights in a row. And if you consider on the same night in Oslo in another hall, Fritz Kreisler was playing and here you have Kathleen Parlow and people are just like cramming in to see her and Halvorsen's concerto. She was a huge name in her time. Only after a few performances and the negative critiques, Johan Halvorsen, he cancelled all the future performances of the work and, and when he retired, he burnt the manuscripts and asked for all the copies to be destroyed as well, it really, he was really hurt. Well, it was to be lost forever, except So a hundred years later, a copy of the concerto was serendipitously found in the University of Toronto's Faculty of Music, when one of the employees was looking through, not music, but personal documents of Kathleen's and it had been filed in there by mistake. And because it was with her personal files, it hadn't really, like her letters and things, it had been overlooked. So they found it and they resurrected it and they've re performed this concerto that had been lost for a hundred years.  And that's another role as a musician. You're also not managing, but you also have to deal with composers that could have quite be quite touchy and everything like a musician has to have, have on their plate. Well, I think being a musician, not only do you have to have an incredible skill level, you have to have an engaging personality. You have to be able to transmit a personality through the music itself. And you have to have incredible social grace to navigate charming not only your audience, but charming the people who create the concerts, the sponsors, the people who bankroll them. I think it's an incredibly difficult task. Because the skill level playing the violin is so difficult. That in itself would take up most people's energy. But on top of that, also have to be ingratiating and charming. I think it's an incredibly difficult life. Yeah, must be exhausting. And she does get exhausted. She'll have Breakdowns through, like her first one is when she's about 22. She has like almost like a nervous breakdown. And so it's kind of, she runs hot for a long time and then crashes.  And it might be like, you're saying like all these different things they have to, all the balls that they have in the air that they're juggling to keep it going. Kathleen Parlow, she's still in her teens. She's still a teenager. She has incredible success. She's performing in Germany and the Netherlands. And later that same year, she returns to Canada where she makes an extensive tour. She makes her debut in New York and Philadelphia.  I mean, she's just like, she's just all over. I mean, America's a big place and she's just all over the place.  And then in 1909, at the age of 19, she gets a recording contract with the gramophone company known as his master's voice. And that's the one with the dog listening into a recording trumpet.  And she was offered a 10 percent artist's royalty figure. So is that good? Getting 10 percent royalties? Yes. A 10 percent royalty at that time. is really quite unheard of. I believe the gramophone company gave that to their superstars. Louisa Tetrazzini, for example, was the great coloratura soprano of the day, and she received 10 percent of the sales royalty. So for Kathleen Parlow to be receiving that percentage really attests to her status. Yeah. And like you were saying before, it was, it's like amazing that we've forgotten about her. Oh, it's kind of astounding. She was an absolute star. The concert halls and one newspaper wrote an article and I quote one of the articles, the young woman could not mistake the furor she created. She was, so she was described as the greatest woman violinist in the world and the girl of the golden bow and Of course the obsession with her willowy figure and pale complexion and feminine wilds continues Which is sort of I mean even the case today I suppose will people will go into describing a woman and what she's wearing what she looks like a bit more than a guy, this thing that's just pervaded and then there was Einar Bjornsson, always there in the background. The communications between them, himself and Kathleen, was sort of constant. He was always visiting and in her diary she was, you know, just abbreviating his name because it was so his feelings for the young woman were extreme and the money he borrowed from his father, he would never be able to repay. So he was sort of indebted his whole life because of this. It must have been a little bit awkward explaining to his wife as well where the money has gone. Yeah, it's a big chunk of her dowry. I mean, even if he did tell her, maybe, you know, I don't know, maybe he didn't tell her. Maybe she, it was possible for him to do that. I'm not sure how the laws in Norway work. If, you know, sometimes in some countries, once you marry, your, your money becomes your husband's.  Basically, after the successful gramophone company recordings, she was really launched her career. She travelled all over. She travelled to, back to the United States, even though she's from Canada. She was regarded as a British artist, primarily because Canada was part of Britain, but then she made her success in the United States. And she was a very big success, so much so that the Columbia Record Company decided to offer her a recording contract. Now, there were two main companies in the United States. One of them was the Victor talking machine, which is essentially, that later became RCA Victor when it was bought by the Radio Corporation of America. But it originally started as the Victor talking machine. They had many, many big artists. They had people like Fritz Kreisler and Mischa Elman, and they also engaged a female violinist by the name of Maude Powell, who was an American born violinist. And so the Columbia Record Company decided that they should have their own roster of great instrumentalists, particularly violinists. And so they signed up Eugene Ysaie,  the great Belgian violinist, but at the same time they also signed up And I think, in a sense, that was to somehow put themselves in competition with the Victor Company. These two major record companies in the United States. So you had  the Victor Company with Mischa Elman and Fritz Kreisler and their female star, Maude Powell. And then you have Columbia answering back with Eugenie Ysaie and their female star, Kathleen Parlow.  Yeah. So you have like we were saying, like all the relationships that you have to keep juggling as a musician. And I think what Kathleen Parlow had on top of that was this. This complicated relationship with Einar, her, her patron, who was, who it was, it's all a bit ambiguous what was going on there, but she also had that in the equation. So it's not surprising that she had multiple breakdowns like she would just go for it and then, and crash. And she plays, I think Kreisler's tambourine chinois. And was that because there was sort of this, like this kind of fascination with the Orient at that time in the, in like the 1910s, 1920s? Well, the origin of tambourine chinois, apparently according to Kreisler, but Kreisler always spun tall tales. He said that he was in a Chinese restaurant in San Francisco when the idea, the musical ideas of tambourine chinois came to, to being. So, but Kreisler always. You know, invented stories all the time. I mean, the thing is, it's a very  playful, it's a very you know, fun piece of music. It's very bustling.  So, hence, that's why probably Fritz Kreisler is associated with a busy Chinese restaurant in San Francisco, because it's very, very bustling in its character. But the middle section of Tamborine Chinois It's Act Viennese,  so it's funny, because the middle section, when you hear it, it doesn't sound like anything  to do with the Orient, or if anything, it sounds like the cafe, coffeehouses  of Vienna. Yeah, it'd probably be cancelled anyway today. Well, if they heard that story, it certainly would. Then, she actually only does her first tour in America when she's 20. Kathleen, she continues with her endless touring and concert. Her money management was never great, although, you know, she's still, she's still earning quite a lot of money, and her mother and herself had, they had enough to live on, but never enough to be completely hassle free. And not that she wanted it, it seemed like she was sort of addicted to this life of the stage, and she once said when she was older that she thought maybe she had to get a job teaching, but she just couldn't do it.  She played more than 375 concerts between 1908 and 1915 and, and you can believe it to get an idea. So she's 19 year old's touring schedule. Here are the countries she played in in 1909. And you have to remember the concerts are nonstop every night, almost in different cities, but here are just, here are just some of the countries she travelled to in this year, in 1909. Germany, England, Poland, Netherlands, then she goes back to England, Ireland, Germany, England, the Netherlands, Norway, Wales, England again, Ireland again, England, Scotland, Poland. Man, I gave it, it was just, you know, huge. And in her diaries we can see that she's, like, she's just a young woman, like, about town when she's in London, she takes trips to the theatre, and she talks about going to see Madame Butterfly, and she goes shopping, and she goes to tea with people she has like, appointments at the dressmaker for fittings for new dresses, and, and all of this is in between lessons, and rehearsals, and concerts. And her diary is just jam, she has these day books and they're just jam packed. Then Auer when he comes to London, her diary, it's like she has lessons with him. And you can see she's sort of excited, she's like hours arriving and then she'll see him and then she'll often have lunch with him and lessons and sometimes the lessons are at eight o'clock at night or, or 10am on a Saturday or at the middle of the night on a Monday. And she'll skip from him to rehearsals with her pianist from Carlton Keith. And she's lots of tea. She's going to tea a lot with a lot of different people. She's still only 19 here. So her popularity, it's like, it's far reaching and she's not just playing like classical music. She'll also play just popular pieces of the day. There's Kreisler's Tambourine Chinoise. And then she'll play, there's some of the recordings. They're these Irish, little Irish. Songs. So it was to appeal to the general public as well, her repertoires and her recordings. And then in 1910, she turns 20 and she has her first tour in North America. And then in 1911, the New York Herald declares her as one of the phenomena of the musical world on par with Mischa Elman. That must have been frustrating because for years she's in the same class as him and she knows him. And everyone just keeps comparing her to, she's like, Oh, she's almost as good as this guy. But no, here they're saying she is as good as this guy. I could just, must've been a little bit frustrating. Then she makes an appearance with the Toronto Symphony in 1911 and she'll go back there many times. And in the next year, in 1912, she moved with her mother, who's still her mentor and manager and chaperone, to England, where they, they rent a house just out of Cambridge, you know, in the peaceful countryside away from the big cities. And in between her touring from here, she went, she goes to China, to the U. S., to Korea and Japan. And in Japan, she records with Nipponophone Company. She recorded quite just in a not much in a short space of time. She could have, she could have recorded more afterwards, because yeah, but she doesn't. Then the news of the tragic sinking of the Titanic in April had Kathleen jumping on a streamliner herself to play a benefit concert in New York for the survivors of the disaster. And I've seen that booklet, and that you open the booklet, and there's like, life insurance.  And then there's actually ads for another streamliner, and you're like, too soon, too soon, people don't want this. And then she plays, so on that same trip, she plays at the Met Opera. She plays Tchaikovsky's Serenade, Melancholique.  And in New York, she signed up by Columbia Record, by the Columbia Record Company. And her first records for the US label are brought out alongside those of Eugene Ysaye. So she's alongside these, they all, they must've all known each other. She was a contemporary and she just kind of slips off the radar. And as with all the recordings of the great violinists of the day, most of Paolow's recordings on American Columbia were of popular songs and that, that would attract the general public. But the fact that most of these recordings were accompanied by an orchestra and not just piano highlights her status as a star. So they had the, they got together an orchestra for her, so she's worthy of an orchestra.  Still in 1912, Kathleen, she's 22 now and she's been traveling so much, she's, now it's happening, it's hitting her, she's exhausted and she has a kind of breakdown it'd probably be like a burnout and, which, it's amazing she's lasted this long, since, you know, age 5, 6, up to 22. So she's both mentally and physically exhausted and her mother, acting as her agent, realizes that she needs to reduce some of her tours. She retreats to Meldreth, that's that house just outside of Cambridge that they have, that they've been renting. It's quite close to London, that little cottage that they have. They have easy access to London by train. And not only could they go easily to London, but traveling, traveling businessmen! From Norway! Could come to them! Easily. She continues with the concerts, one at Queen's Hall in London. So she has her little burnout, but then she's back again. Plays Schubert's Moment Musical around this time. After they've rented this home for four years, they end up buying it. So she does have enough money to buy a house, so she is you know, not frittering away all her money. So this gives her some sort of stability. And it, even though it's a, it's still a very unusual existence for a young lady of the day. So she's breaking a lot of stereotypes and this could end up being exhausting after a while. So it was nice for her to have a calm place to kick up her heels or fling off her corset. But no, she didn't, but willowy frame, she doesn't look like she's got a corset. I don't think you can play. Can you? Could you play that much? You know, you can't breathe. But, but, aren't there like old photos of, of lady violinists in corsets? I don't know how they do it. Like, you can't.  Well, you had to do everything else in the corset.  But you get kind of hot and sweaty and you're under the lights and it must have been exhausting. At least she was like lucky to have that pre Raphaelite fashion where she could be wearing, you know, the flowing sort of we're heading into the, the sort of the looser clothes in this era. But I think some people are still hanging on to corsets, but it's like the end of corsets and you're getting more loose clothing thankfully for her. And according to letters Kathleen wrote to friends her and her mother, and they fell in love with the village life in Mildreth. Kathleen was able to relax and lead a normal life in between tours. And then in 1915, you have World War I hits, and her tours are less frequent. Her, her patron Einar, must have been having some lively fun. Dinner conversations with his family on opposing sides.  So you've got, you know, with his, you know, fascist party, enthusiastic brother and his ex-prime minister brother in law and his theatre operating lefty brother and his Jewish wife and his Left wing satirical journalist sister, and her German husband, and then,  and then his patriot father. So Einar probably just wanted to run away to willowy Kathleen, and her stunning violin. But she remains in England for much of the war, and she does a few concerts locally.  And her diary is quite blank until about 1916. And she uses, like, so she uses this time to relax. So ironically, she needed a war. To have a rest. That was the only thing slowing her down. She could, because she couldn't travel and tour. Now she's 26, but I feel like she's just, she's lived so much already. It's incredible. So Meldreth was the happy place where she enjoyed their lovely garden and their croquet lawn and Miss Chamberlain from the Gables next door would come and play croquet and she could escape to another world, almost. She'll go through periods of having these sort of breakdowns. I think she just pushes, there are some people like that. They'll push themselves; they just keep pushing themselves until they collapse. And I feel like she was one of, she looks like she didn't really pace herself. She just went, just hurtling into it. She just catapults herself into life and concerts and playing.  In 1916, she returned to the US. She toured Norway and the Netherlands. For playing she was said to possess a sweet legato sound that made her seem to be playing with a nine foot and was admired for her effortless playing, hence her nickname, the girl with the nine foot bow. So yeah, so she must have had this really kind of, it's hard to tell, you want to be there in the concert hall to hear her. I feel like the recordings don't do her justice. A lot of Experiencing music and these pieces is actually going to a concert and it's the same today listening  on a you know, at home, it's not the same as being in a concert hall and having that energy of the musician and the energy of the orchestra and the and the audience,  it's very different dynamic. She recorded a few small pieces for Columbia records. And then that was, that was it. And we have no more recordings of her. And between 1917 and 1919, she wasn't able to tour outside England due to the war that was going on. And for the last 12 years, Einar Bjornsson had. He'd been this presence in her life, but now in the summer of 1920, he visited her one last time in London before sailing home for good. So that.  So it finishes at this time, so he was, he was married, he had children, he was also broke. Buying a horrendously expensive violin and giving it to a girl can do that to you. And Kathleen writes, Kathleen writes in her diary simply, E. B. Sailing home. Einar had to return to his family as soon as possible because he couldn't afford to divorce his wife. Elspeth Langdon, she was, she wasn't going to let him off that easily. And if he left, he would have had to repay the, the dowry, I imagine.  Thank you. Thank you very much.  As I said, there are just no letters of her correspondence. There's correspondence between her and everyone else, but not with them. So that still remains. But you can sort of see by circumstance what was kind of going on. And after the Great War, Kathleen Parlow, she resumed her career in full force. She gave several world tours traveling to the Middle East, to India, to China, to Korea and Japan. And she toured the States, Canada, Indonesia and the Philippines in that year and she played concerts in 56 different cities. It was just non stop and in, and when I say 56 different cities, that's not 56, you know, concerts. That's like multiple concerts in each.  City, night after night.  And then in 1926, Kathleen and her mother, they leave England and they move to San Francisco. She takes a year off due to her mental health. So again, she's like, she's overdone it. The stress and basically, you know, a nervous breakdown and she's now in her mid thirties. But after having this year off, she's back onto it. She's back touring again. It's like this addiction, like you were saying, this is what, it's kind of like her, what makes her run. It's what, You know, keeps her going. But at this point she begins to slow down slightly and she starts teaching a bit. Starts teaching more and in 1929 she tours Mexico and she travels without her mother for the first time. Because her mother, Minnie, she would have been getting quite old and then Kathleen she's 39 now. So despite playing many concerts and receiving very high praise financially, she's barely kind of breaking even and she later told an interviewer that when things were very hard she and her mother had talked about her getting a job to ensure their security for the future but she just couldn't do it. And then, but then she did end up teaching at Mills College, Oakland, California. For from 1929 to 1936, but then her world tours continued and this is like, this is how she thrived, even though she would, you know, she'd crash and burn and from the exhaustion and, but then, you know, then she would go back. She realized she had to teach to earn some money. And then she returned to Canada in 1941, where she remained until she remains there until she dies in 1963.  She's offered a job at the Toronto College of Music and she begins making appearances with orchestras. She has a pianist, she has the, she creates the Parlow String Quartet, which was active for 15 years. Even though this time was difficult financially for her, she would,  she would never give up her violin. You know, she was struggling, just scraping by, but she, she would never give up her violin and so, I mean, it was a tricky situation. It was, it was a gift. Yeah. I mean, could you imagine? Like, she must've realized what Einar went through to give this to her and she can't, you know, she can't just be like, I'm going to sell it. So there's this sort of, it's like she's holding on to a bit of him really, like, by keeping it, if she, she gives that up.  So she taught at the University of Toronto and on her wall was a large portrait of her teacher, Leopold Auer, whom she would always refer to as Papa Auer. Now that she'd given up her career as a soloist, but she still remains very active in chamber music, concerto appearance. October of 1959, she was made head of the string department at the London College of Music in West Ontario, Canada. She never marries, and she dies in Oakville, Ontario, in 1963 at the age of 72. She kept her Guarneri del Gesu until her dying day, and the instrument was sold with her estate. The Kathleen Parlow scholarship was set up with the proceeds from the sale of her violin and the money from her estate. So Kathleen Parlow was a somewhat extraordinary woman, ahead of her times in many ways, and her relationship with Einar, must have been pretty intense. And it was, there was obviously strong feelings there. And even though it's a very grey area, we don't know her love life contrasts with her, her brilliant career and her phenomenal touring and the, the energy that she had to do, it was.  Exceptional she just does these brief recordings and then she does no more. And maybe, maybe that's why we've forgotten her. Have the other, did the others go on to keep recording? Well, they did. They certainly did. I think I'm surprised that Kathleen Parlow didn't make more recordings. I really am. And I don't know what that's about. I can only speculate, but I think she also kind of retreated from concertizing, didn't she,  in her twenties? So, I mean, you know, she did play as far afield as the, you know, she went to China, she went to Japan. She even made recordings for the Niponophone Company in the early twenties. So she was obviously still a great celebrity. But it's sort of puzzling how somebody who had all their ducks in place to make a superstar career. You know, she had  talent, she had beauty, she had interest. You know, from the public, so support from her teacher, all those elements would guarantee a superstar career. But it's so mysterious that she kind of fell off the radar. So much so that her name is completely forgotten today. Yeah, it's one of the big mysteries, but it's really quite remarkable that she was such a terrific violinist, even at the end. It wasn't that she lost her nerve or lost her playing ability. She obviously had it. So there are definitely other factors. that made her withdraw from public concertizing.  And just her touring schedule is just exhausting. Like just the traveling. Yeah, it's crazy. I mean, I mean, this is truly an example of burnout. Yeah. But, but then she would, she would have the crisis and then she'd be back on, she'd be back touring.  Well, you know, she was pretty resilient. But I think just the sheer number of years, I think, must have taken its toll. I think she loved being in England, in Cambridgeshire. I think those were some really happy years for her, to have a home and in a beautiful setting. But it really, it's a very complicated life and a life that really, one would want to try to understand in a deeper way.  Yeah, and it seems a little nothing was ever very simple. Yeah, and she never, she never marries, she never has a family. It's Yes. Her life is really And you'd imagine she'd have suitors, you know, send them off because, you know, she was a talented, beautiful woman. So she's got Misha Elman. He could, like, if you were a man, you could easily get married and then your wife would have children. But at that time, if you married, like, she had to choose between getting married and her career. You couldn't work if, like and it often, like, you weren't allowed to work. Absolutely. Terrible. No, it's true. So she had this like, this threat, and that's all she could do. That was her life playing. And then if she married, that would be taken away from her. So she had to decide between, you know, a career and this. It's kind of, it's a bit sad, but yeah, it's a huge choice that she made and she  was married to life. Yeah. The sacrifice. One way or the other. Well, I think it's wonderful that she is being remembered  through this Buddulph recordings release.  And it's the first time there's ever been a recording completely devoted to her. So I'm really glad that. will be able to somehow restore her memory, just a little bit even. Well, thank you for listening to this podcast. And I hope you enjoyed this story about the incredible Kathleen Parlow.  If you liked the podcast, please rate it and review it wherever you listen to it. And I would really encourage you to keep listening to Kathleen Parlow's work. What you heard today were just excerpts from her songs. So if you would like to listen to. The whole piece, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version.  Goodbye.   ​ 

Jess Gillam meets Swedish-Norwegian violinist Johan Dalene to swap some of their favourite music.At 23 years old, Swedish-Norwegian violinist Johan Dalene is already the winner of several awards, including the prestigious Carl Nielsen Competition in 2019, the Gramophone Young Artist of the Year Award in 2022, and a Swedish Grammy in 2023. His music choices include a squelchy bassline from Thundercat, a Swedish Eurovision classic, and a virtuosic violin concerto that's close to his heart. Jess's choices include Bernstein conducting a favourite Mozart symphony, and music from the saxophonist Branford Marsalis.PLAYLIST:LUDWIG VAN BEETHOVEN – Sonata for Violin and Piano No 8 in G major, Op 30 No 3 (3rd mvt) [Gidon Kremer, Martha Argerich] BRANFORD MARSALIS – A Thousand Autumns [Branford Marsalis Quartet] TOMMY KÖRBERG - Stad i ljus (City in Light) WOLFGANG AMADEUS MOZART – Symphony No 40 in G minor, K 550 (1st mvt) [Vienna Philharmonic Orchestra, Leonard Bernstein] THUNDERCAT – Them Changes CARL NIELSEN – Violin Concerto Op 33 (IIb – Rondo: Allegretto Scherzando) [Arve Tellefsen, Yehudi Menuhin, Royal Philharmonic Orchestra] YEAH YEAH YEAHS FT. PERFUME GENIUS – Spitting Off the Edge of the World PYOTR ILYICH TCHAIKOVSKY – The Nutcracker, Op 71: Miniature Overture [Simon Rattle, Berlin Philharmonic Orchestra]

John Wilson's guest is the violinist Nigel Kennedy. A prodigy whose childhood talents were nurtured by Yehudi Menuhin, one of the greatest violinist of the 20th century, Kennedy himself became an international star in 1989 with his recording of Vivaldi's Four Seasons. It sold over three million copies, topping the UK classical charts for a year and went on to be listed as the biggest selling classical album of all time in the Guinness Book Of Records. An unconventional classical musician from the outset, it wasn't just his wardrobe, accent and attitude that set him apart. As well as recording all the major violin concertos, his repertoire includes jazz standards, folk tunes and Jimi Hendrix. He remains one of the world's greatest virtuosos. For This Cultural Life, Nigel chooses his two violinist mentors; Yehudi Menuhin and the French musician Stéphane Grappelli with whom he shared a love of jazz and improvisation. Going to New York to study at the prestigious Juilliard School also proved a turning point for Kennedy, not so much for the teaching he received there, but for the legendary jazz musicians like Jimmy Rowles and Ellis Larkins that he sought out in clubs downtown and in Harlem. Nigel also discusses how being a fan of Aston Villa football club has made him think about crowd dynamics in his concerts and reveals the influence of his dog Huxley on his approach to his career. Producer: Edwina Pitman

Saskia is the producer and presenter of her own programme ‘SaskiaUnreserved' for the Cyprus Broadcasting Corporation's Radio 4, which has been recently named RIK Classic.Saskia was born in Famagusta, Cyprus. Following the completion of her BMus(Hons) from the University of the Witwatersrand, she joined the National Symphony Orchestra of South Africa as a violinist where she played under conductors such as Zubin Mehta, Victor Yampolsky, Yehudi Menuhin, Enrique Batiz, Efrem Kurz and Carlo Franci. Her entrepreneurial spirit and love of travel led her to open a tour operating company with its own aircraft and a cargo department.Due to continuing violence in South Africa, Saskia moved to Cyprus in 2000, and joined the Cyprus Broadcasting Corporation, where she developed her own daily, classical music programme, PM Classics. Saskia also worked as a music critic in Cyprus, and had her own column in major English-language newspapers such as the Cyprus Mail and Cyprus Weekly. Interviews over the years have included personalities such as Nelson Mandela, Placido Domingo, Grigory Sokolov, Mahan Esfahani and Norman Lebrecht amongst others.Saskia furthered her qualifications by attaining an MBA from Aspen University, USA in 2011. She was awarded the accolade Cyprus Business Woman of the Year in 2010 for the launching of an online ticketing system and for initiating the children's gardening programme “Green Fingers”, which to date, has been attended by over 8,500 children. She has been CEO of Apollon International Connections, which developed into a multi-faceted company dedicated to the organisation and promotion of international concerts and festivals, in prestigious venues such New York's Carnegie Hall and London's Cadogan Hall, as well as launching the Cyprus International Food Festival.In 2018, the ‘no-holds-barred' programme – ‘SaskiaUnreserved' was launched on the newly formed Classic Channel of the Cyprus Broadcasting Corporation. As producer and presenter, she interviews high profile achievers across a broad spectrum of subjects interspersed with a selection of classical music.Saskia is passionate about gardening, basketball and travel, and takes every opportunity to do so with her daughter, Sandra.