Podcasts about zoltan kodaly

Zoltan Kodaly - Summer EveningMiskolc Symphony Orchestra Laszlo Kovacs, conductorMore info about today's track: Hungaroton HCD32723Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

In this podcast you can hear :- Ashley Cole accompanied by Naomi Cole playing 'Song' from 'Milestone' - Winner of the Brass Instrumental Solo Class (Adult) Aelan Morgans accompanied by Natalie Cole playing 'Two To Boogie' - winner of the brass instrumental solo class for players up to 11 years old Manx Voices conducted by Angela Stewart singing Ave Maria by Zoltan Kodaly - winners of the Vocal Ensemble Class Glenfaba Mixed Ensemble conducted by Muriel Corkish singing 'As Long As I Have Music' by Don Besig - joint 2nd in the Vocal Ensemble Class Richard Costain accompanied by Graham Kirkland singing Silent Noon by Ralph Vaughan-Williams - winner of General Vocal Solo Jessie Quigley accompanied by Graham Kirkland singing The Cloths of Heaven by Dunhill - winner of the Vocal Solo Class for ages 18 to under 26 From the Junior Songs from the Shows Class for ages 8 - 13 Accompanist - Madeline Kelly Winner - Aalish Kilgallon singing Whippoorwill from The Legend of Sleepy Hollow followed by joint 2nd placed Ava Corlett singing Popular from Wicked and Cristl Stitt singing Home from Beauty and the Beast

Kate Molleson travels to Budapest to meet Hungary's greatest living composer, György Kurtág, now 97 years old. Kurtag talks to Kate about the musical homages that he has made to friends, his early focus on the clarity of single notes at the time he wrote his Op.1 String Quartet, the influence of languages on his compositional style, and his new opera, a work based on the life of the German mathematician, Georg Christoph Lichtenberg. Above all, he talks about his Marta, his wife of over 70 years, with whom he performed piano duets, and he reveals to Kate why he stayed in Hungary in 1956.Kurtag once said that his mother tongue is Bartok, and Kate visits the Bela Bartok Memorial House where she talks to the curator, Zoltán Farkas, about the composer's relationship with Hungary and the folk traditions that he collected both at home and in neighbouring countries. During a break in a busy rehearsal schedule, the conductor Ivan Fischer also shares his views on Bartok and the distinctive sound of the Budapest Festival Orchestra.Kate joins the director of the Hungarian Radio Choir, Zoltán Pad, and the composer Daniel Dinyes, to learn how the Hungarian language is expressed in music, and hear more about the unique sound of the choir. Kate also meets Hungary's queen of song, Márta Sebestyén, who is at the very heart of Hungary's folk music. Márta Sebestyén talks with pride about her mother, a celebrated student of Zoltan Kodaly, about her own travels in search of pure folk music. She treats Kate, too, to a traditional Christmas carol.

Zoltan Kodaly - Summer EveningMiskolc Symphony OrchestraLaszlo Kovacs, conductorMore info about today's track: Hungaroton HCD32723Courtesy of Naxos of America, Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Béla Bartók verabschiedet sich mit seinem frühen Violinkonzert gleich doppelt: von seiner Geliebten Stefi Geyer, die nichts mehr von ihm wissen will - und von der Spätromantik. In dem 1908 vollendeten Werk kündigt sich ein radikaler stilistischer Wandel an. Von Michael Lohse.

Quand je discute avec des connaissances, des amis, je réalise à quel point nous sommes très nombreux à avoir des expériences négatives, des blocages venant souvent de notre enfance, liés à l'apprentissage de la musique : trop de pression lors des examens et auditions, ennui manque de motivation en cours de solfège, difficultés rythmiques, blocage lié au chant, décrochage, manque de motivation ... Le problème vient, j'en suis convaincu d'un enseignement qui trop souvent, même si cela tend à évoluer doucement, n'est pas adapté à tout le monde et va privilégier les élèves les plus scolaires et/ou motivés. Et par conséquence cela va malheureusement être la source de nombreux abandons, blocages et de ce fait de croyances limitantes telles que :  "la musique c'est difficile, c'est contraignant, cela demande de la discipline, c'est sérieux, ..." Pourtant il existe des méthodes différentes, plus ludiques, plus actives, plus accessibles, comme par exemple la pédagogie Kodaly et la méthode O'passo dont je parle si souvent dans ce podcast et qui pourraient nous réconcilier avec l'apprentissage de la musique en France et mériteraient  d'être bien plus connues. Pour découvrir cette autre façon d'apprendre la musique, j'organise une série de 3 ateliers à la journée en Corrèze. Pour en savoir plus : http://bit.ly/rythmeetchant Pour me contacter ou me retrouver sur les réseaux sociaux : Camille Houdart a-croche-toi@orange.fr https://www.facebook.com/musilasol https://www.instagram.com/musilasol    Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

En France, généralement, dans les écoles de musique, les conservatoires, l'apprentissage du rythme, passe d'abord par la lecture à voix haute sur partition, puis l'écoute et l'écriture lors des dictées rythmiques

The St. Cecilia Chamber Music Society presents duos for violin and cello.

Zoltan Kodaly developed a method for teaching music. It is still used by teachers around the world today. Jill Trinka, who teaches the Kodaly Method, talks with Naomi Lewin.

Zoltan Kodaly was not the only composer to use folk tunes in the music he wrote. Here are some others.

Kodaly's opera Hary Janos is about a real person who told real whoppers - big, fat lies. If you listened to him, you'd think he defeated Napoleon's army all by himself.

Zoltan Kodaly was born in a small town in Hungary. His father worked for the Hungarian railroad, so the family moved around a lot. This meant that as a kid, Zoltan heard folk music from many different parts of the country. When he grew up, Hungarian folk music became his passion. Kodaly spent a large part of his life collecting his native music, and teaching his countrymen about it.

Pittsburgh Symphony cellist Will Chow talks about his recording of Zoltan Kodaly's Cello Sonata made Center Stage at Heinz Hall. Will picks a favorite recording of the Kodaly among many. In this discussion with Jim Cunningham he recalls his work with the Pittsburgh Symphony since joining in 2016, an appearance on From the Top with Chrisopher O'Riley, heading out with Curits on Tour during his workk at the Curtis Institute, recording Two by Four for the Cedille label with Jaime Laredo and Jennifer Koh and looks forward to working with fellow Curtis scholar conductor Earl Lee in the Tchaikovsky Rococo Variations at Hartwood Acres this summer.

Die Geigerin Hellen Weiß und der Cellist Gabriel Schwabe erzählen, wie man als Musikerehepaar das Üben zuhause organisiert und was man in der Besetzung Geige/Cello alles spielen kann, warum sie so gern unterrichten und wie es sich anführt, mit einem neuen Instrument ins Aufnahmestudio zu gehen.

Le narrateur de cette histoire connaît deux grands malheurs. Le premier, c’est d’être veuf. Le second, c’est de travailler pour la télévision. Jean Berthier publie « Ici commence le roman » aux éditions Robert Laffont. « La vie a un coût, et la raconter consiste à en fixer la valeur ». Voilà ce que dit le narrateur à sa petite fille. Il est bien placé pour en parler, car des histoires, sa vie consiste à en lire. Il est en effet lecteur de scénarios pour la télévision. Il connait aussi le coût de la vie car il a peur de perdre son travail, et parce qu’il est veuf. C’est donc un roman sur le deuil et la paternité empli de tendresse, mais aussi d’humour et d’ironie que nous allons feuilleter aujourd’hui. Un roman écrit par Jean Berthier un véritable raconteur d’histoires. « Ici commence le roman » est paru aux éditions Robert Laffont.  Reportage : Direction la Hongrie pour une découverte musicale. Judit Rajk est contralto. La chanteuse vient de sortir un disque, où elle interprète des mélodies du compositeur Zoltan Kodaly, mais aussi des œuvres écrites pour elle par de jeunes compositeurs hongrois. Florence La Bruyère l’a rencontrée à Budapest. Retrouvez le règlement complet du jeu concours de VMDN en suivant le lien : → rfi.my/jeuVMDN.    

durée : 00:24:59 - Zoltan Kodaly, Hary Janos - par : Anne-Charlotte Rémond - Selon Bartók, avec Hary Janos, Kodaly arrive à une véritable apothéose de la musique paysanne hongroise. L’œuvre que son créateur appelle lui-même « jeu de chansons », fut créée le 16 octobre 1926 à l’Opéra Royal de Budapest. - réalisé par : Claire Lagarde

Joseph Angyal ble født i 1955 i Ungarn. Bestefar var musiker og Joseph fikk sin egen fiolin veldig tidlig. Han gikk på den verdensberømte skolen til Zoltan Kodaly og de ukenlige korøvelsene med de 1300 elevene og Kodaly som dirigent, er uforglemmelige. Kjærligheten brakte ham til Drammen der han har de 20 siste årene har vært musikalsk leder for Brageteateret. For noen år siden ble han utnevnt til æresborger av sin hjemby. - Jeg er stolt av den ungarske kulturen og bakgrunnen min. Og hjemme er der kjærligheten er, sier Joseph. En ny episode av podkasten Ypsilonsamtaler kommer hver torsdag morgen. Alle episodene med en videopresentasjon av hver person, finnes på www.ypilsonsamtaler.no Ta gjerne kontakt med Ivar Flaten på ivar@kirkeligdialogsenter.no med forslag og tilbakemeldinger!Ypsilonsamtaler er en podkast av og med Ivar Flaten fra Kirkelig Dialogsenter Drammen. Ypsilon er den ikoniske gangbroen over Drammenselva. Drammen er elveby og en by for brobyggere. Som daglig leder og dialogprest inviterer Ivar mennesker til samtaler der kulturmøter, brobygging og samfunnsliv er tema. De inviterte har bidratt - og bidrar til at verden blir et bedre sted gjennom arbeidsliv, frivillig innsats og samfunnsengasjement på ulike måter.Drammen kommune har omtrent 100.000 innbyggere med røtter i over 150 nasjoner. Her lever mennesker med veldig mange ulike historier, kulturelle referanser og religiøse tradisjoner. Gjennom 15 års prestetjeneste og like lang dialogpraksis, har Ivar snakket med svært mange mennesker og fått et stort nettverk.Kulturmøtene i internasjonale Drammen er rammen for samtaler med livshistorier, kunnskap om forskjellige tenkemåter og levemåter - og mye materiale til refleksjon. Kort sagt vil Ypsilonsamtaler gi deg muligheten til lå bli litt mer kjent med mange fascinerende mennesker.Utgiver: Kirkelig Dialogsenter DrammenProdusent og programvert: Ivar FlatenMusikk: Ole Jørn MyklebustVignett/kjenning: Are Tågvold FlatenBildet på logoen er tatt av Per Ulleland See acast.com/privacy for privacy and opt-out information.

On today's date in 1911, the Independent Music Society of Paris sponsored "An Anonymous Concert" at which the audience was invited to guess the composers of a number of pieces presented without attribution. In the audience was the French composer Maurice Ravel, who had agreed to let a suite of his new piano pieces be performed as part of the experiment. Some professional music critics were also in attendance, although they prudently refused to reveal their guesses, fearing their professional reputations might suffer as a result. "The title Valses nobles et sentimentales is a sufficient indication that my intention was to compose a chain of waltzes following the example of Schubert," Ravel wrote. "They were performed for the first time, amidst protests and booing, at this concert." Even more droll, recalled Ravel, were the reactions of some his most ardent admirers, who attended the concert with him, but didn't know any of his own music would be played. They jeered at his waltzes, calling them "ridiculous pages," and ventured the guess the composer must be either Erik Satie or Zoltan Kodaly. Ravel accepted their comments in stoic silence. The majority of the audience proved more astute than Ravel's friends, however. "The paternity of the Waltzes was correctly attributed to me," recalled Ravel, "but by a weak majority." The following year, Ravel prepared this orchestral version of his waltz suite for use as a ballet score.

On today's date in 1911, the Independent Music Society of Paris sponsored "An Anonymous Concert" at which the audience was invited to guess the composers of a number of pieces presented without attribution. In the audience was the French composer Maurice Ravel, who had agreed to let a suite of his new piano pieces be performed as part of the experiment. Some professional music critics were also in attendance, although they prudently refused to reveal their guesses, fearing their professional reputations might suffer as a result. "The title Valses nobles et sentimentales is a sufficient indication that my intention was to compose a chain of waltzes following the example of Schubert," Ravel wrote. "They were performed for the first time, amidst protests and booing, at this concert." Even more droll, recalled Ravel, were the reactions of some his most ardent admirers, who attended the concert with him, but didn't know any of his own music would be played. They jeered at his waltzes, calling them "ridiculous pages," and ventured the guess the composer must be either Erik Satie or Zoltan Kodaly. Ravel accepted their comments in stoic silence. The majority of the audience proved more astute than Ravel's friends, however. "The paternity of the Waltzes was correctly attributed to me," recalled Ravel, "but by a weak majority." The following year, Ravel prepared this orchestral version of his waltz suite for use as a ballet score.

Deel 1: Concert gegeven op 8 juli 2018 vanuit de Grote Zaal van het Concertgebouw te Amsterdam door het Radio Filharmonisch Orkest en Groot Omroepkoor olv. Markus Stenz, met medewerking van vocale solisten. 1. Symfonie nr.104 in D gr.t. ?London? van Joseph Haydn. 2. Requiem in d, KV 626 van Wolfgang Amadeus Mozart Met Sumi Hwang, sopraan; Matthew Rose, bas; Lilly Jørstad, mezzosopraan; Robin Tritschler, tenor. Deel 2: Concert gegeven op vrijdag 30 november 2018 in de Jacobikerk door het Groot Omroepkoor onder leiding van Peter Dijkstra m.m.v. Leo van Doeselaar, orgel. 3. Laudes organi van Zoltan Kodaly. 4. Agnus Dei van Krysztof Penderecki. 5. ? which was the son of ? van Arvo Pärt

The skill of the arranger is being able to adapt to any circumstance. With music by composers such as William Walton, Ravel or Zoltan Kodaly, the problem is to fit everything they wrote onto a 25-piece brass band.  When working from original music for piano, the arranger has to much more inventive.  In this episode we celebrate some of the most successful adaptations of glorious music from the opera house, the ballet and the concert hall plus we hear the occasional original masterpiece written for brass band.

Zoltan Kodaly developed a method for teaching music. It is still used by teachers around the world today. Jill Trinka, who teaches the Kodaly Method, talks with Naomi Lewin.

Zoltan Kodaly was not the only composer to use folk tunes in the music he wrote. Here are some others.

Kodaly's opera Hary Janos is about a real person who told real whoppers - big, fat lies. If you listened to him, you'd think he defeated Napoleon's army all by himself.

Zoltan Kodaly was born in a small town in Hungary. His father worked for the Hungarian railroad, so the family moved around a lot. This meant that as a kid, Zoltan heard folk music from many different parts of the country. When he grew up, Hungarian folk music became his passion. Kodaly spent a large part of his life collecting his native music, and teaching his countrymen about it.

Zoltan Kodaly

Zoltan Kodaly

The voice of Marta Sebestyen is closely associated with the folk traditions of Hungary and its neighbouring regions. Through her work with the band Muzsikas, she helped revive the cultural phenomenon of Tanchaz, dance house, which preserved music and dance traditions and, during the Soviet era, provided a beacon for national identity - perhaps most vividly in the dissenters' song The Unwelcome Guest. Her mother had studied with the folklorist and composer Zoltan Kodaly and Marta inherited her passion for music and village culture, collecting and recording songs from across the Balkans, some of which have found their way onto the soundtracks of films, such as The English Patient and Only Yesterday. Marta talks about her relationship to the music of her homeland, its political connotations and the quality of the voices of village singers she's most admired. Producers: Simon Broughton and Alan Hall A Falling Tree production for BBC Radio 4 first broadcast in September 2014.

“Musical nourishment which is ‘rich in vitamins' is essential for children.” ~ Zoltan Kodaly, music educator Music is a powerful tool, and an absolutely unique vehicle for ideas, emotions, and stimulation. As parents, we need to train our children to recognize music that is good and music that is not worth listening to. By exposing our children to lots of different types of music, we can help them to make judgments and choose what is good. We can't underestimate the importance of music in our culture and in our home. "Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything." ~ Plato

“Musical nourishment which is ‘rich in vitamins’ is essential for children.” ~Zoltan Kodaly, music educator Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and … Continue reading The post MP 038 : Music in the Home appeared first on Messy Family Project.

Summertime is here! How best to celebrate? Make a playlist! In part one of this two-part series we explore works by John Philip Sousa, Zoltan Kodaly, Darius Milhaud, Antonio Vivaldi, and Claude Debussy. We're makin' the living easy! Join Salon97 online: www.salon97.org http://twitter.com/salon97 http://www.facebook.com/Salon97 gplus.to/salon97 http://pinterest.com/salon97/ http://salon97.tumblr.com/

Friends and colleagues remember Zoltán Kodály for the tall tales he used to share at the local pub. Most of these stories were obvious exaggerations, and some might have been outright lies. But one of Kodály’s stories actually seems plausible: he said this particular composition was inspired by the sound of the clock he heard at Viennese court during Emperor Napoleon’s regime. More info about Kodaly and the Musical Clock: http://www.classicsforkids.com/composers/bio.asp?id=32 Youtube: http://www.youtube.com/watch?v=dGm__iVsaNI http://www.youtube.com/watch?v=xsdi1LTK7HQ http://filesource.abacast.com/king/music/exploringmusic/3133196.mp3