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Composer Liudmila Knyazeva for listeners. I love modern classical music musical news
My new tracks
My concerts and shows
Everyone Can Love Classical Music In our series of podcasts we aim to take the mystique away from classical music and make it much more accessible. We don’t use any technical, musical terms because we don’t know any, so you can rest assured you won’t be hearing about diminished thirds and dimuendos. Our knowledge of classical music comes from 50 years of listening to this great music. Our first podcast is an introduction to orchestral works, concertos, songs, choral works and opera. Later podcasts will take you through the lives and works of great composers.
The Classical Music Pod Timmy Fisher and Sam Poppleton present classical music news, reviews, anecdotes and analyses. Is this the best classical music podcast produced in a Brixton bedroom? We think so.
Classical Music Discoveries Proudly Sponsored by La Musica International Chamber Music Festival in Sarasota Florida and Uber
Sticky Notes: The Classical Music Podcast Sticky Notes is a classical music podcast for everyone, whether you are just getting interested in classical music for the first time, or if you've been listening to it and loving it all your life. Interviews with great artists, in depth looks at pieces in the repertoire, and both basic and deep dives into every era of music. Classical music is absolutely for everyone, so let's start listening! Note - Seasons 1-5 will be returning over the next year. They have been taken down in order to be re-recorded in improved sound quality!
Surviving Classical Music Ever wonder what a full-time, professionally-trained classical musician's life is really like? How do we get gigs and prepare for them? What do we eat for dinner if we haven't worked in a month (caviar, obvs.)?Join Andrew Burn and Grace Newcombe every Tuesday for a chat about what it's like living as a freelance musician, and how we got here in the first place.
Classical Cake Welcome to Classical Cake – your unique look into Vienna, the capital of classical music. Imagine yourself as a special guest in conversation with performers and experts over one of Vienna's delicious cakes. Host Daniel Adam Maltz is your guide to discovering the hidden secrets of classical music and Austrian culture. Vienna is the home of Mozart, Beethoven, and many others because THIS is the place alive with the Sound of Music. VISIT for more exclusive content.

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History's Most Famous Classical Music Composers Hear the stories behind history's most time-honored music genre, classical music. Learn about the lives of just a few of the most famous composers to ever live, including Beethoven, Mozart, Stravinsky, Tchaikovsky, Chopin, and more. Listen to how this music has persisted for centuries and see how it continues to influence and inspire the world today. Vurbl Audio Histories of the World

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E1 Remote Work: A Musician's Guide w/ Jiří Kadeřábek and Jasmin Allpress Hello there! Come on in…
Today I’m speaking to Czech composer Jiří Kadeřábek and No Dice pianist Jasmin Allpress about their shared journey bringing the piece Hindyish together.
We’ll hear how they worked across Europe via Skype and phone calls to bring the piece together, how Jiří makes this very stylistically post-modern piece sound cohesive, as well as walk through the piece itself before ending with a recording of Jasmin playing it at our Soloist concert of June 2018.

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Links and show notes:
Ligeti Piano Concerto

Carl Vine 5 Bagatelles

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E2 Wish Bone Wish Granted Perhaps w/ David McFarlane and Gregory Kearns I chat with composer David McFarlane and writer Gregory Kearns on their 2018 collaboration about the Christmas apocalypse, which all stemmed from a set of small bells David received in a Christmas cracker set.
As well as hearing excerpts of their piece, Carol For Our Children, performed by No Dice Collective, we branch out into chats about leading community workshops, space to make mistakes, struggling to take our own creative advice, hang-ups about writing overtly emotional work, and the role of intuition and emotion vs formalised thinking in the creative process.
A really interesting, cross-disciplinary chat that touches on broad themes of individual creative processes. Should be interesting to anyone with a creative urge!
David McFarlane - Gregory Kearns -

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Links and Show Notes
David McFarlane’s eye-tracking head theramin

Cath Snow
33 ⅓ Series: 93. J Dilla’s Donuts
Alicia Keys, John Mayer & Questlove- If I ain't got you / Gravity

Tweet us your poem!

Jonathan Harvey famous bell piece

Meet The Composer Podcast - New Music Fight Club (great name)
NB: My non-binary life

Christmas in L.A. - Vulfpeck
Christmas In L.A. - The Killers

The Handsome Family - So Much Wine
The Road OST - Nick Cave & Warren Ellis

What did you think of episode two? Send us a tweet!
E3 The Ensemble of the Future w/ Manchester Collective Today I’m thrilled to share an interview with Adam and Rakhi of Manchester Collective. Emerging in 2017, they're already an established part of the Manchester scene thanks to their impressive work ethic and immersive concert experiences.
We discover their origin story: how the group was founded, its roots in changing the makeup of classical audiences, and how they came into the world seemingly full-formed with three seasons planned ahead (hint: a whole year of planning).
We also find out what their secret sauce is, their ‘warts and all’ approach to live performance, and Adam’s #logisticslife revealing the glamorous world of lighting rig updates and taping down crystal glasses that makes a concert really shine.
Manchester Collective -

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Links and Show Notes
Black Angels score Google search

Black Angels performance
Quote from Black Angels: “The crystal glasses should be goblet-shaped. A fine grade of crystal will produce a truly beautiful effect. The glasses should be mounted on a board (by taping).”
Islington Mill

Heinrich Biber - Battalia à 10 (1673) Check out the col legno (back of the bow) in movement one, the nuts dissonance in movement two, and the musket fire in movement seven!
Australian Chamber Orchestra

Rakhi performs Spiegel im Spiegel

After the Tryst (not Rakhi)

Russian Ark

One of those incredible live Nina Simone performances

Intro/outro music: Goodbye by Luke Mather

What did you think of the first three episodes? Send us a tweet!
E4 A Writer and a Reviewer Walk into a Music Podcast... Today we are blessed with a great window into the world of arts reviewing and writing thanks to Hugh Morris, and the similarities and differences to creative writing thanks to Georgia Affonso.
The pair collaborated on a piece for No Dice Collective in 2019 based on a photo of Anthony Burgess (the Clockwork Orange guy) walking his dog, and we share the stories behind the piece in this episode and play the piece in full.
Hugh Morris - Georgia Affonso -
Links and Show Notes

Harrison Birtwistle Mask of Orpheus - ENO

ENO Baylis scheme

For those as fashion unconscious as me...
Chorus of rage as ENO gives critics’ coveted extra tickets to young bloggers - The Guardian
Georgia and Hugh’s object: Anthony Burgess walking his dog
Georgia Affonso x Sophie Sully - Dilly the Slug
Hugh makes it on Buzzfeed
Good King Agatha | Hugh Morris & Edmund Phillips | Manchester Contemporary Youth Opera (check out more of Hugh’s work!)

As ever, thank you for spreading the word about the podcast!
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E5 So why are you doing the Adès? w/ Vonnegut Collective Today we’re chatting improv and Adès with the Vonnegut Collective. An enjoyably Coronavirus-free interview recorded back in March with a healthy dose of silliness and fun to complement the deep thoughts on what makes a good piece, and the place of improvisation in music education.
Vonnegut Collective -
Links and Show Notes
Omer Meir Wellber

Remix Ensemble
Frank Zappa - The Yellow Shark - Intro

Rem Koolhaas architect

As Gemma won’t give us her favourite Dire Straits song, here’s Spotify’s

Django Bates

Markus Stockhausen

Cornelius Cardew Scratch Orchestra

John Stevens - Search & Reflect

Adès Piano Quintet score (check out the sorta uncoupled piano in the first movement)

Tullis Rennie - Muscle Memory (it’s really cool)

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E6 Trumpet Player Roasts Musical Establishment for 60 Minutes Straight w/ Illy Quane Illy Quane: trumpet player extraordinaire, composer, and very funny guy. If you’re looking for some light lockdown distraction, this is it.
We chat about our disappointment with existing brass repertoire (apart from one piece for brass ensemble), Illy explains his developing thoughts on creating gran-friendly contemporary music programmes, and Joe recounts the moment he realised The Sixteen had more than sixteen members.
All in-betweeny music composed or arranged by Illy, and can be heard in full at the links below.
Links and Show Notes
Penderecki - Threnody (Animated Score) starts 0:32

Illy playing with the University of Manchester Brass Band (I’m at the back right)

Kantos Chamber Choir

AGBEKO - ‘22-legged Afro-Party Monster’
A Fela Kuti tune - Water no get enemy
EXCLUSIVE: Secret Footage of Quartet Menine Performing The Metal by Tenacious D Found in Deepest Darkest Corner of YouTube
Quartet Menine playing an arrangement of Debussy’s Dr Gradus ad Parnassum

Shout out Darren Bloom
The New New Manchester Manchester School School presents: And And And And I’ll [Live] (discussed later)
Other members of The New New Manchester Manchester School School, Izzy Williams and Aaron Breeze.
Worship Music
The Lion King (but the songs are different and the plot is terrible)

Jacob Collier’s beautiful performance of Hallelujah live for BBC
BeatSketch_#1 - BIRD SCUFF

‘Like those videos of people playing along with a Nigel Farage Speech’ example
~ ~ ~ ~ ~ ~ ~
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E7 Can you Save Cheetahs with Electroacoustic Music? Ah what a lovely chat. We begin with a love letter to new music and Manchester, work through why everyone should be improvising and the parallels between graphic scores and electroacoustic soundscapes, before ending with the role of music in activism, and electro finding a mainstream home in horror music and Amazon’s Alex Rider adaptation.
Sarah Keirle -
Links and Show Notes
The Illy Quane Episode
James Keirle
International Anthony Burgess Foundation
The Vonnegut Collective episode
I found it! Turns out we liked the piece enough to commission him… Theme & Transformations by Mark Bowler reflecting deforestation (not temperature change)
Sonification & The Problem with Making Music from Data - Tantacrul
Harrison Birtwistle: Silbury Air (with score) – See also this excellent primer by London Sinfonietta which includes an explanation of what metric modulation is if you’re wondering.
Can you hear Sarah Keirle’s burp in Okypete and Aello? I can’t. Send me a timestamp!
Danny Saul
Music played in this episode (in order)
Gethsemane intro bed
Okypete and Aello extracts throughout
Blue Lungs outro bed
Okypete and Aello final piece played in full
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E8 The Vijay Iyer Interview: Deconstructing Classical Music ⭐ Revolutionary alternatives to tokenistic diversity programmes
⭐ Deconstructing boundaries between jazz and classical and freeing yourself to make the music you want to make
⭐ Methods for sneaking improvisation in front of classical musicians without them freaking out
Vijay Iyer is an ECM-signed artist. He has worked with Yo-Yo Ma’s Silk Road Ensemble, written violin concertos for Jennifer Koh, and music for the LA Phil New Music Group. He has been ‘Jazz Artist of the Year’ more times in more magazines than it is polite to count and it is my immense honour to welcome him to Classical Music Now.
If you want to access the work for yourself and check go to

Links and Show Notes
MixTape by Vijay’s students
Wadada Leo Smith
Fluxus movement
Mutations – Vijay Iyer
Shepard tone demonstration
Probably the most famous use of it in music
Time, Place, Action – Vijay Iyer (extracts)
Still Life With Commentator – Mike Ladd, Vijay Iyer
Vijay Iyer presents Ritual Ensemble at Wigmore Ensemble
Vijay’s conversation with Georgina Born
We didn’t really dig into Vijay’s views on genre and community, but they're really good so if you're interested you can hear him talking about it in an interview for the Ojai Music Festival, where he was musical director in 2017 –

Music played in this episode
Emergence – Vijay Iyer
Read Hugh’s article on Emergence that sparked this episode!

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Published by Schott Music Corporation, New York NY
Emergence was commissioned by the National Forum of Music in Wroclaw, Poland which organizes Jazztopad Festival. It was premiered by the NFM Leopoldinum Chamber Orchestra in April 2016.
E9 Good Habits: Captivating an Audience or Picking Weird Enough Instruments That People Can’t Look Away
Cello/singer–accordion duo Good Habits perform live for us all the way from New Zealand. We chat musical storytelling, capturing attention, and moulding a bar gig into a full blown concert by playing the room right. We also hear about their experience writing pop songs for a Chinese media company!
Good Habits

Links and Show Notes
Classical evolution
The Trouble Notes
The Unthanks
The Fitzgeralds - amazing!
Silkroad Ensemble
A great series on mixing basics by Dan Worrall for Fabfilter
Benjamin Marrington-Reeve
Hugh Morris
Bonus link: (for context

Music played in this episode
Forget It (also EXCCLUSSSIVE)

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E11 Ellie Slorach: A Conducting Check-in for 2020 Ellie and I have a really open chat about our experiences with choral conducting and running a music group. Plenty of golden advice from Ellie, plus she explains why conductors shouldn’t silo into orchestral or choral, the weirdness of masterclasses, and creative administration.
Ellie is a conductor, and founder of Kantos Chamber Choir (who I sing with). She recently debuted with the Hallé and toured with Matthew Bourne’s Romeo and Juliet production as the Young Associate Conductor. She is musical director with the Hallé Youth Orchestra, Radius Opera, Stafford Choral Society; and associate conductor with Manchester Chamber Choir and Huddersfield Choral Society.
Ellie Slorach

This episode is sponsored by Dorico: the next-generation music notation software from Steinberg.

Educational & crossgrade versions available at significantly discounted prices.
Get your 30-day free trial version of Dorico that will allow you to try out all of the features Dorico has to offer with no restrictions.

Links and Show Notes
In The Field - Kantos Chamber Choir
Royal Opera House - Opportunities for Women Conductors
Ellie’s Britten-Pears Young Artist Programme masterclass with Marin Alsop
Ellie conducting the Hallé Youth Orchestra
National Theatre Live (online screenings have now finished)
Piece of the Month blog series - No Dice Collective

Music played in this episode
Robert Nathaniel Dett – O Holy Lord
Rory Wainwright Johnston – Ave Maria
Available to hear as part of Kantos’s In The Field project

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E12 A Classical Marketing Masterclass w/ Aubrey Bergauer Aubrey and I geek out about marketing in the classical realm.

Why classical’s core product will always be live music
Why we shouldn’t be streaming whole concerts for free
Plus Aubrey gives her advice on how new groups should approach finding and keeping new listeners, and how to get around the fear of the unknown with newly written music.

If you’re a musician or arts administrator of any kind, this is an essential listen. If you fall outside of that, enjoy looking behind the curtain at what an orchestra exec spends her time thinking about.
Some Aubrey bio fun facts: she grew Seattle Opera’s BRAVO! Club to the largest group for young patrons in the US, led the Bumbershoot Festival to achieve an unprecedented 43% increase in revenue, and propelled the California Symphony to double the size of its audience and nearly quadruple the donor base. 

This episode is sponsored by Dorico: the next-generation music notation software from Steinberg.

Educational & crossgrade versions available at significantly discounted prices.
Get your 30-day free trial version of Dorico that will allow you to try out all of the features Dorico has to offer with no restrictions.

Links and Show Notes
💿 Get our CD Stillness with 25% off when you order before Christmas 💿
It’s a CELLO-BRATION! - California Symphony (Available till Dec 11 2020. Emphasis mine.)
The referenced LSO video. Click ‘show chat replay’ to see Maxine Kwok in action.
Jill Robinson at TRG
Aubrey’s excellent blog. This post is California Symphony’s ‘Public Commitment to Diversity’, which I love.
Geffen Playhouse’s Zoom play: The Present
San Francisco Symphony: Throughline (free!)
Live with Carnegie Hall: Remembering Ruth Bader Ginsburg (also free!)

Enjoyed season 1 of Classical Music Now? Leave a kind word on iTunes to help others find us
Join our mailing list to fill the void in your heart between now and season 2 in March
E13 How to Write Music for Dance w/ Lara Agar Lara Agar is a composer, violinist, and collaborator who recently caught my eye with a credit on Shades of Blue, a dance piece performed at Sadler’s Wells and broadcast on the BBC. We talk about how the piece came about, curating nights, and the different relationship musicians, dancers, and actors have with their art. Also in the episode:

The benefits of long-term creative partnerships
Lara’s accidental rock opera
Lara’s love of chaos
Music’s uniquely non-visual role in today’s world

This episode is sponsored by Dorico: the next-generation music notation software from Steinberg.

Educational & crossgrade versions available at significantly discounted prices.
Get your 30-day free trial version of Dorico that will allow you to try out all of the features Dorico has to offer with no restrictions.

Links and Show Notes
Joe and Lara’s pretty faces
Rosalie Warner
Kantos – In The Field
EXAUDI vocal ensemble

Music played in this episode
Shades of Blue (intro bed and breakbeat example)
Anima Rose
JABBERWOCKY - performed by EXAUDI (excerpt and in full at the end)
Accidental Rock Opera

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E14 Raymond Yiu: Forming a Creative Identity Raymond Yiu is a Hong-Kong born, London-based composer, jazz pianist, conductor and writer on music. Originally trained as an engineer, Yiu was self-taught as a composer until he undertook his DMus under the auspice of Julian Anderson at Guildhall in 2009. His debut album The World Was Once All Miracle showcases his talent with three identity-exploring works informed by his time at Guildhall.

How to get your foot on the ladder as a self-trained composer
Why he won’t be getting a publisher any time soon
Why Raymond never wrote the Cantonese pop songs that inspired him so much
This episode is sponsored by Dorico: the next-generation music notation software from Steinberg.

Educational & crossgrade versions available at significantly discounted prices.
Get your 30-day free trial version of Dorico that will allow you to try out all of the features Dorico has to offer with no restrictions.

Links and Show Notes

Raymond Yiu: The World Was Once All Miracle out now on CD (with great liner notes)

Lontano ensemble directed by Odaline de la Martinez

North West Wind recording
Raymond with Odaline de la Martinez’
Raymond with Lukas Foss
No Dice’s latest spoken word gig
Joe Hisaishi of Studio Ghibli scoring fame (I said his name wrong)
Benetton’s ad with an image of David _Kirkby_

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E15 Jo Cheung: Fixing Music Education’s Access Problem Jo Cheung is director and founder of Olympias Music Foundation, a Manchester charity championing diversity in music – from violin lessons for children on free-school meals, to community choirs for vulnerable BAME women and school children. Since 2015, they have delivered over 2000 free music lessons to 250 children in Manchester, and engaged with many more through workshops and performances.
We chat how Olympias got here, where it’s going and stop off along the way at:

The completely unregulated nature of teaching music
Taking music education from school to the community and what that really means in practise
Olympias’s huge Making Manchester project and their plans for the next year

This episode is sponsored by Dorico: the next-generation music notation software from Steinberg.

Educational & crossgrade versions available at significantly discounted prices.
Get your 30-day free trial version of Dorico that will allow you to try out all of the features Dorico has to offer with no restrictions.

Links and Show Notes

Slung Low Theatre Company
Making Manchester
Community Integration Awards
Emma Doherty
Hayley Suviste

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E10 Shruthi Rajasekar’s Fascinating Position Shruthi Rajasekar is a composer from Minnesota USA who straddles the worlds of Western contemporary music and south Indian Carnatic music from a truly unique position. Having grown up in the US with prominent Carnatic musician Nirmala Rajasekar as a mother, Shruthi is a joy to talk with as we cover:

Choral culture and education in the US vs UK
How the pandemic is actually improving conversations around pieces in the rehearsal process
Shruthi’s experience at SOAS and RNCM
We also get super into the weeds discussing how despite its insane cross-rhythms, Carnatic music never changes time signature – plus how Shruthi breaks those rules in her piece, Numbers.

Shruthi Rajasekar

This episode is sponsored by Dorico: the next-generation music notation software from Steinberg.

Educational & crossgrade versions available at significantly discounted prices.
Get your 30-day free trial version of Dorico that will allow you to try out all of the features Dorico has to offer with no restrictions.

Links and Show Notes
Many thanks to NMC for allowing Shruthi’s piece Numbers to be played in this podcast. Find out more about their great Young Composers Scheme album on their website or stream the piece.
Shruthi’s ‘German and Sanskrit’ piece, Devotee (played throughout)
Shruthi’s mum, Nirmala Rajasekar
Out of Context #1: Diversifying Programming with Integrity – Shruthi’s article for I Care If You Listen
B C Manjunath's Instagram:
“My mood for few days has simply been in Triplets, Sextuplets and Duodeciplets” 😅
Transcribed madness. 42:28s anyone?

Music played in this episode

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Ernest Gold String Quartet - Premier - 1948 - Past Daily Weekend Gramophone Ernest Gold - While establishing a reputation in Hollywood, still had some of the Viennese Music Academy in him.

Ernest Gold - String Quartet - unidentified String Quartet - Unidentified live performance - Presumed Premier 1948 - Gordon Skene Sound Collection -

This one is going to require some sleuthing I'm afraid. Every so often, a pile of transcription discs turn up in my archive with no labels and no other identification other than a few hastily scribbled words - it's my job to track down the who, what, when, where and why of these recordings. Sometimes it's easy - the announcements are on the discs themselves and they are instantly identified. Others, like this one, only have the words Ernest Gold String Quartet on the 78 rpm labels, cut at a recording studio from what is definitely a live performance, but which is cut off at the end just as the applause gets started.

Frustrating. But I think it's safe to say it's from a concert performance somewhere in Southern California because the discs come from a small studio in Pasadena. Not much to go on, but enough to offer this performance in the hopes one of you readers may have access to other archival sources I currently don't have.

I do know the Ernest Gold Archive is located at Brigham Young University in Utah and the contents reveal notes and correspondence regarding the String Quartet. However, the information isn't available online and the University is shut down owing to COVID-19. Extra added frustration.

A little information on who we're talking about here, just as a frame of reference:

Ernst Sigmund Goldner (July 13, 1921 – March 17, 1999), known professionally as Ernest Gold, was an Austrian-born American composer. He is most noted for his work on the film Exodus produced in 1960. Gold was born in 1921 in Vienna, the son of Elisabeth (Stransky) and Gustav Goldner. Gold came from a musical family. His father played the violin, and his mother sang. His father also studied under Richard Heuberger.Gold said that he learned to read music before he had learned to read words. He studied the violin and the piano when he was only 6 years old and began composing music at 8. By age 13, he had written an entire opera. As a child, he said he wanted to go to Hollywood and be a composer. 24 Gold would go to movie theaters as a teenager not only to watch the films but also to listen to the musical score. Among prominent film composers of the time he admired Max Steiner. In 1938, Gold attended the Viennese Akademie für Musik und darstellende Kunst, but he moved to the U.S. after the Anschluss of Austria, because of the family's Jewish heritage. In the United States, Gold earned money by working as an accompanist and writing popular songs in New York City. He also studied with Otto Cesana and Leon Barzin at the National Orchestra Association. The NBC Orchestra performed Gold's first symphony in 1939, only a year after he moved to the United States. In 1941, he composed a symphony that was later played at Carnegie Hall in 1945. Gold moved to Hollywood in the same year to work with Columbia Pictures, his first significant role being the score for the melodrama Girl of the Limberlost (1945). After this opportunity, Gold wrote scores for other minor films. For the next ten years, he continued to work on B movies, mainly orchestrating and arranging music for western movies and melodramas.

So that's a little about Ernest Gold to give you some idea of what you're about to hear. The String Quartet itself certainly exemplifies Gold's roots in the Viennese Music Academy and the players of the quartet are no weekend amateurs.

So hit the play button and see what you think - any information or even hunches would be appreciated. I'm all for solving the mystery as I am sure you would too.

Enjoy the mystery.
Frank Zappa Does An Interview And Takes Questions - 1984 - Past Daily Talking Music Frank Zappa - Just another one of life's wonderful weirdos who changed Music forever.

Frank Zappa - In conversation with Charles Amirkhanian recorded on May 20, 1984, San Francisco Exploratorium - KPFA - Gordon Skene Sound Collection -

Continuing our new series with a rare interview/conversation/QA session featuring Frank Zappa, conducted by Charles Amirkhanian from Pacifica station KPFA in Berkeley and recorded during the San Francisco Exploratorium's Speaking Of Music series on May 20, 1984.

Frank comes with new material (at the time) and plays several tracks off new albums (no live band) and talks about his music in general. It runs the gamut, and at a little over 2 hours, it's a thorough and thoroughly enjoyable look into the life and creative workings of one of the truly most innovative and iconoclastic figure in music.

I would image we've arrived at the point where there are a lot of people who weren't around during Frank Zappa's intensely productive period - who were born after he left us in 1993 and missed all the live gigs.

For those who don't know - here's a little rundown on Frank Zappa and his music, just to get you ready for the QA that comes throughout this interview

Thanks Wikipedia:
Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American multi-instrumentalist musician, composer, and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity, and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse rock musicians of his era.

As a self-taught composer and performer, Zappa's diverse musical influences led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical modernism, African-American rhythm and blues, and doo-wop music. He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands, later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach whether the fundamental format was rock, jazz, or classical.

Okay - that was a taste for the newly-initiated. Now hit the play button and dive in and remember, it's a little over 2 hours long, so stock up on refreshments.

And man, is he ever missed!
Conversation With Joseph Szigeti - 1964 - Past Daily Weekend Gallimaufry Joseph Szigeti - an artist of rare intellect and integrity./strong

Joseph Szigeti - in conversation with Manoug Parikian, BBC Radio - circa 1964 - Gordon Skene Sound Collection -

The legendary violinist Joseph Szigeti, in conversation with Manoug Parikian for the BBC Radio series Talking About Music - from circa 1964.

Joseph Szigeti was a Hungarian violinist who was one of the leading musical figures in the 20th century .

Born into a musical family, he spent his early childhood in a small town in Transylvania. He quickly proved himself to be a child prodigy on the violin, and moved to Budapest with his father to study with the renowned pedagogue Jenő Hubay. After completing his studies with Hubay in his early teens, Szigeti began his international concert career. His performances at that time were primarily limited to salon-style recitals and the more overtly virtuosic repertoire; however, after making the acquaintance of pianist Ferruccio Busoni, he began to develop a much more thoughtful and intellectual approach to music that eventually earned him the nickname "The Scholarly Virtuoso".

Following a bout of tuberculosis that required a stay in a sanatorium in Switzerland, Szigeti settled in Geneva, where he became Professor of Violin at the local conservatory in 1917. It was in Geneva that he met his future wife, Wanda Ostrowska, and at roughly the same time he became friends with the composer Béla Bartók. Both relationships were to be lifelong.

From the 1920s until 1960, Szigeti performed regularly around the world and recorded extensively. He also distinguished himself as a strong advocate of new music, and was the dedicatee of many new works by contemporary composers. Among the more notable pieces written for him are Ernest Bloch's Violin Concerto, Bartók's Rhapsody No. 1, and Eugène Ysaÿe's Solo Sonata No. 1. After retiring from the concert stage in 1960, he worked at teaching and writing until his death in 1973, at the age of 80.

If you're familiar with his recordings, but not his voice or his thoughts on the art of playing, have a listen to this interview.

Manoug Parikian is a figure of note as well - made his solo début in 1947 and led several orchestras - the Liverpool Philharmonic (1947–48), London's Philharmonia Orchestra (1949–57), the Yorkshire Sinfonia from 1976 to 1978 - and was musical director of the Manchester Camerata from 1980 to 1984. He also led the English Opera Group Orchestra between 1949 and 1951, and participated in various Aldeburgh Festival concerts as a chamber musician as well as in opera productions. He died in 1987.

Masuko Ushioda, Violin With Hiroyuki Iwaki And The Los Angeles Philharmonic In Concert At The Hollywood Bowl -1968 - Past Daily Mid-Week Concert Masuko Ushioda - First Lady of New England Conservatory.

Masuko Ushioda, Violin solo - Los Angeles Philharmonic, Hiroyuki Iwaki - Hollywood Bowl - August 6, 1968 - Gordon Skene Sound Collection -

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Something special, rare and historic this week (as it seems to be a lot lately) - the celebrated Japanese violinist and pedagogue Masuko Ushioda, accompanied by the L.A. Philharmonic, guest conducted by Hiroyuki Iwaki in music of Rimsky-Korsakov, Tchaikovsky and Dvorak in concert at The Hollywood Bowl's 1968 season.

Starting the concert with the Introduction and Wedding Procession from Coq d'Or by Rimsky-Korsakov. The orchestra is joined by Masuko Ushioda in a performance of the Tchaikovsky Violin Concerto in D Major op. 35 and concludes with a performance of Dvorak's Symphony Number 8 in G Major. It was recorded on August 6, 1968 - never broadcast and long-thought lost and destroyed.

At age 14, Masuko Ushioda received widespread attention by winning First Prize in the Mainichi Competition, the most prestigious event of that kind in Japan. This was followed by high school years in which she juggled many concerts and her musical studies at Toho. In 1961, the Russian violinist Mikhail Vaiman, who was well known in Japan, was asked to invite two young Japanese students to work with him at the Leningrad Conservatory as part of its centenary celebration. Ushioda and Teiko Maehashi went there that August. She stayed for more than two years.

Ushioda competed in the 1963 Queen Elisabeth Competition in Brussels and won sixth prize. She continued her studies afterwards with Joseph Szigeti in Switzerland, where he then lived. Her life there centered around her lessons and she immersed herself in yet another new culture. She was already very active as a soloist, primarily in Europe and Japan.

In 1966, she won silver medal in the Tchaikovsky Competition in Moscow. There, she met Laurence Lesser (fourth prize winner in cello), whom she married later on. As a result of her victory, Ushioda embarked on an international life as a violin soloist, while maintaining her link to Szigeti and “home” in Switzerland. She came to the U.S. for three summers beginning in 1967 to participate in the Marlboro Music Festival.

In 1974, Ushioda and her husband Laurence Lesser were invited by then President Gunther Schuller to join the faculty of New England Conservatory. Over 39 years, Ushioda taught a total of 140 students at NEC.

Ushioda's late career was a balance of family, concertizing, and teaching. She made regular trips to Japan - for solo appearances and also as one of the concertmasters of the Saito Kinen Orchestra and the Mito Chamber Orchestra. Ushioda's last trip to Japan, to play in Mito, was in October 2012. On November 6, 2012, shortly after her return home, she was given a diagnosis of acute leukemia. While battling this disease she still taught as much as possible, inviting students one-by-one for bedside lessons. She died at Beth Israel Deaconess Medical Center in Boston on May 28, 2013.

Paul Paray Leads L'Orchestre Philharmonique De Radio France In An Imaginary Concert - 1964-1971- Episode 5 (Final) - Past Daily Mid-Week Concert Paul Paray - last episode of the 5 part series. A much loved and admired figure in French Music.

Paul Paray - Retrospective with l'Orchestre Philharmonique de Radio France - Last Episode (#5) - Radio France Musique 2014 -

The fifth and last episode of this wonderful series of live performances featuring the legendary Paul Paray leading l'Orchestre Philharmonique de Radio France - this time in an imaginary concert taken from live performances recorded between 1964 and 1971.

Here's what's on the player:

1. Richard Wagner
Overture: Der Meistersinger
Concert of 1964

2. Gabriel Fauré
Pelléas et Mélisande *
Concert of March 19, 1970

Classical symphony
Concert of March 19, 1970

4. Florent Schmitt
Tragedy of Salomé
Concert of January 22, 1971

5. Maurice Ravel
Concert of February 7, 1969

6. Gabriel Fauré

7. Claude Debussy
Last of the 3 nocturnes "Sirènes"

The working life of Paul Paray was interrupted by two World Wars, embraced a revolution in musical thought and is now preserved on a medium whose rudiments barely existed when he was born. That he achieved only minor international celebrity is to be regretted today only in that he left behind a smaller legacy of recordings than has been accorded the famous "names" (Toscanini, Walter - your choice) who led larger orchestras. More to the point, he was French, at a time when conductors were still typed by nationality. The breadth of his repertory is only partly represented by his recordings, and his modest achievements as a composer relegated to footnotes of a time when Debussy, Ravel, Roussel and Milhaud were rewriting musical syntax and grammar. We have much to celebrate in the life of Paul Paray.

Paray wasn't the kind of conductor to make headlines with his wild lifestyle. In photos, he looks cheerful and relaxed, and in earlier pictures, you can also see a kind of cautious curiosity in his eyes. His reticence did nothing to halt his rise to fame. Among his countless honors and awards, one stands out from the pack. Four years prior to his death, he was awarded the Grand Cross of the Legion of Honor. Only two other musicians had received it before him – Camille Saint-Saens and Gabriel Fauré. They were perhaps less reserved than Paray, but the three of them had at least one thing in common: they were tirelessly creative giants of their field.

Paul Paray Leads L'Orchestre Philharmonique De Radio France With Denise Monteil In Music of Paray, Lesur And Rosselini - 1959-1972- Episode 4 - Past Daily Mid-Week Concert Paul Paray - Man of many talents - inspiring others was only one of them.

Paul Paray and l'Orchestre Philharmonique de Radio France - Retrospective -Part 4 - Radio France Musique -

The fourth installment of the excellent series on the tenure of the legendary Paul Paray with l'Orchestre Philharmonique de Radio France - this time as interpreter of 20th century works, his own included. Joining him is soprano Denise Monteil.

Here's what's on the player:

1. Daniel Lesur
Ouverture pour un festival
Concert du 16 juin 1972.

2. Paul Paray
Messe pour le cinquième centenaire de la mort de Jeanne d’Arc
Concert du 18 mai 1959

3. Paul Paray
Symphonie n°1
Concert du 16 juin 1972.

4. RenzoRosselini
Canti del golfo di Napoli
Concert du 2 octobre 1973

5. Paul Paray
7 mélodies w/Denise Monteil - Soprano
Concert du 29 juin 1973

Paray never solidly established himself as a composer, although he produced a number of substantial works before his Detroit appointment. These include two full symphonies (1935, 1940), sonatas for violin and cello, the ballet Artémis troublée (also performed as a symphonic poem under the title Adonis troublé), and a Mass for the 500th Anniversary of the Death of Joan of Arc, first performed in Rouen in 1931 and recorded in Detroit in 1956. His style was traditionally diatonic, and very much in the manner of the academically-oriented early twentieth century French composers, including D'Indy and his followers.

Renzo Rosselini - (2 February 1908 – 13 May 1982) was an Italian composer, best known for his film scores.
Born in Rome, he was brother of director Roberto Rossellini and father of producer Franco Rossellini. He died in Monte Carlo.
He composed the scores of his brother's films, and others such as The Children Are Watching Us and Il segno di Venere.
He also wrote several ballets, oratorios, cantatas, four operas—La Guerra (1956), Il vortice (1958), Uno sguardo dal ponte (1961), L'Annonce faite à Marie (1970)—, symphonies, chamber music, and songs.

Enjoy and come back next week for the final episode of this great series.

Always, enjoy.
Paul Paray Leads L'Orchestre Philharmonique De Radio France With Aline Van Barentzen, Elisabeth Söderström, Yvonne Lefébure and Jean-Jacques Kantorow - 1960-1971- Episode 3 - Past Daily Mid-Week Concer Paul Paray - this time as accompanist - with a stellar cast of soloists.

Paul Paray and L'Orchestre Philharmonique de Radio France - Retrospective Part 3 - Radio France Musique -

Continuing with Paul Paray this week - part three of the excellent series produced by Radio France Musique in 2014 featuring performances with Paray leading the ORTF Orchestra, this time in a support capacity to soloists, Aline van Barentzen, Elizabeth Söderström, Yvonne Lefébure and Jean-Jacques Kantorow.

Here's what's on the player:
1. Ludwig van Beethoven
Creatures of Prometheus
Concert from 1960

2. Camille Saint-Saëns
Piano Concerto No. 2
Concert of February 7, 1969
With Aline Van Barentzen

3. Maurice Ravel
Concert of 1971
With Elisabeth Söderström

4. Robert Schumann
Piano Concerto
With Yvonne Lefébure (1970)

5. Maurice Ravel
Concerto en sol
With Yvonne Lefébure

6. Felix Mendelssohn
Violin Concerto
With Jean-Jacques Kantorow
I ran across this essay on Paul Paray during his tenure in Detroit from Peter Gutmann which adds further information to this extraordinary artist's career:
From A Frenchman In Detroit, by Peter Gutmann:

"Paray was born into a musical family in 1886. Despite the interruptions of both World Wars (he spent most of the first as a prisoner of war and the second with the Resistance) he established a solid reputation as a French conductor, heading orchestras in Lamoureux, Monte Carlo and Paris. American guest stints led to his appointment as permanent conductor of the recently reorganized DSO. Their very first records prove that he quickly forged the ensemble into a truly great orchestra and transformed its sound into a replica of those he had known in France. (Paray ultimately parted ways with the DSO in 1963 but remained active well into his ‘nineties; conductors do tend to last a very long time!)

It’s especially remarkable that the fiercely proud French tradition should thrive in the heart of America, the very place where national trends became forsaken and assimilated. After all, French culture is the most deeply chauvinistic of any, proudly defended to the death against the pollution of foreign influence. Indeed, the most famous French music has a unique sound, often described as impressionistic, much like the paintings of Monet and Renoir. It’s a valid analogy. Like that art, French impressionist music is concerned more with color effects than formal structure, as sensual melodies briefly appear before flitting away. While the overall effect is of subtle, blended mist, the sound is achieved through a layering of distinct instruments, much as in a Seraut painting in which the pastel atmosphere arises from dots of intense color. That’s what Paray gives us – not a sonic blur but precise dabs of bold instrumental coloration. Just as brushstrokes are carefully placed, the DSO’s rhythm and articulation of individual notes are always precise and luminously clear."

Enjoy - and come back for Part 4 next week.
Paul Paray Leads L'Orchestre Philharmonique De Radio France - 1960-1973- Episode 2 - Past Daily Mid-Week Concert Paul Paray - Leading the ORTF Orchestra in music by German composers this week.

Paul Paray - L'Orchestre Philharmonique de Radio France - 1960-1973 - Episode 2 - France Musique -

The second installment of the wonderful five-part series on the legendary Paul Paray and his relationship with the ORTF Orchestra (L'Orchestra Philharmonique de Radio France as it's called now), during the years 1960-1973.

Here's what's on the player:
1. Ludwig van Beethoven
Leonore III
Concert of March 7, 1964

2. Beethoven
Symphonie 1
Concert of November 11, 1960

3. Robert Schumann
Symphonie 3
Concert of October 2, 1973

4. Richard Wagner
Tristan and Isolde - death of Isolde
Concert of March 7, 1964

5. Robert Schumann
3 ° and 4 ° movement of the 4th Symphony
Paul Paray could and did conduct the entire orchestral repertoire well, but he specialised in the French symphonic literature. One of Paray's most renowned recordings, made in October 1957, is that of Camille Saint-Saëns' Symphony No. 3 in C minor. The circumstances surrounding the recording were fortuitous. Paray had built the Detroit Symphony Orchestra into one of the world's most distinguished. Marcel Dupré, a friend and fellow student from childhood, was organist for the session. Marcel Dupré, as a young student, had pulled the organ stops for the composer Camille Saint-Saëns in a performance of the Symphony No. 3 in Paris, and the organ of Ford Auditorium in Detroit was well suited to the work. As well as being among the most authoritative readings of the work, the original analogue recording on the Mercury label remains an audiophile reference in vinyl, and the analogue-to-digital transfer produced by the original recording director Wilma Cozart for CD is also available from Mercury.

Paul Paray married Yolande Falck in Cassis, France, on August 25, 1942. He was a National Patron of Delta Omicron, an international professional music fraternity. The government of France awarded him its highest honour, the Grand-Croix de la Légion d'honneur, in 1975.

Here is Part 2 from that five-part series, first aired July 7-11, 2014 from Radio France Musique.
Quatuor Pascal Play Music Of Raymond Charpentier - 1958 - Past Daily Weekend Gramophone Quatour Pascal - Face of the post-war French String Quartet, play music of Raymond Charpentier.

Raymond Charpentier - Enluminures - Quatuor Pascal - Recorded at ORTF Studios, Paris - 1958 - Gordon Skene Sound Collection -

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Music of Raymond Charpentier this weekend, as performed by Quatuor Pascal and recorded for broadcast by the ORTF in Paris in 1958.

An all but forgotten composer, as well as journalist, editor and conductor, Raymond Charpentier was very active throughout the 20th century in several capacities. After his death in 1960 his reputation began to fade and his works were performed less and less to the point where he is hardly ever performed today.

Here is a brief biography, as posted in Le Monde on the occasion of his death in 1960:

Born in 1880, Mr. Raymond Charpentier was for many years conductor of the Comédie-Française, between 1921 and 1944. He had also founded the discography section of French Radio broadcasting. For a long time also he was editor of Music Week.

He is responsible for numerous works, including more than thirty scores for stage music for the works represented at the Théâtre - Français. In the field of chamber music, his String Quartet, his Quintet, are especially noteworthy. He produced in all genres and perhaps - because he devoted most of his activity to serving others - did not care enough about his own reputation. -

The Pascal Quartet was a French string quartet musical ensemble which took shape during the early 1940s and emerged after World War II to become a leading representative of the French performance tradition. It was named after its founder, the viola player Léon Pascal, and was occasionally termed the Leon Pascal Quartet.

It's not clear if Enluminures was recorded commercially or if this the only performance of the piece. It was recorded for broadcast by the French network ORTF and I haven't seen any commercial recordings of this featuring the Pascal Quartet - so its a safe assumption this is the only known recorded performance of this work.
Lazar Berman With Klaus Tennstedt And The Finnish Radio Symphony In Concert - 1978 - Past Daily Mid-Week Concert Lazar Berman - a huge and thunderous technique.

Lazar Berman, Piano With Klaus Tennstedt Conducting The Finnish Radio Symphony - September 5, 1978 - Gordon Skene Sound Collection -

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Another historic concert this week. This time it's the Russian piano legend with Klaus Tennstedt leading the Finnish Radio Symphony in performances of music by Tchaikovsky, Scriabin, Salinen and Dvorak. No exact recording date, but this broadcast (via NPR and announced by the equally legendary Fred Calland) is from September 5, 1978.

The concert begins with a performance of the Tchaikovsky Piano concerto number 1 with Berman, followed by the Scriabin Etude as an encore. Then over to something a bit newer with Symphonic Dialogue For Percussion and Orchestra by Aulis Salinen. The concert ends with Dvorak's Symphony Number 8.

This is from the Guardian's Obituary of Berman from 2005:
The Russian pianist Lazar Berman, who has died aged 74 of a heart attack, was a virtuoso in the grandest of grand traditions. Long confined to the Soviet Union and its then communist satellite countries, he began his international career only in the mid-1970s, achieving extraordinary celebrity through performances of great power and command.
Born in Leningrad, Berman was taught the piano by his mother from the age of two, and by Samary Savshinsky of the Leningrad Conservatory from the age of three-and-a-half; his recital debut came at four. In 1939, the family moved to Moscow, and Berman continued his studies with Alexander Goldenweiser at the Central Children's music school - his concerto debut given with the Moscow Philharmonic when he was 10 - and then, from 1948 to 1953, at the Moscow Conservatory, where his postgraduate studies continued until 1957.

At the time he entered the Queen Elizabeth international competition in Brussels in 1956, such events were star-studded: on that occasion the competitors included Vladimir Ashkenazy, John Browning and Cécile Ousset, and the jurors Arthur Rubinstein, Emil Gilels and Annie Fischer. Berman came fifth, and a European tour followed, including a 1958 London recital of Beethoven, Prokofiev and Liszt at the Royal Festival Hall.

However, though Gilels had already described him as "the phenomenon of the musical world", Berman was then confined to the Soviet Union for 17 years from 1959, possibly because of his marriage to a French woman.

None the less, his reputation was still able to grow through recordings on the Melodiya label, starting with unforgettable accounts of Liszt's Transcendental Studies, first in 1959, and again to even better effect in 1963, once stereo was available. Releases of such repertoire, displaying an unbridled degree of brilliance and romantic rhetoric, followed in profusion: a disc of Rachmaninov's Six Moments Musicaux also included a scarcely credible performance of Chopin's B minor Étude, opus 25 no 10, where Berman's seamless legato octave technique is heard at its height.

Once he was free to resume international touring in 1976, he took London, Paris, New York and the rest of the musical west by storm, appearing with such celebrated conductors as Karajan, Giulini, Abbado, Bernstein and Barenboim, and with orchestras such as the Berlin and the New York Philharmonics. Extravagantly billed as "the world's greatest living pianist", he played to awe-struck audiences in programmes that often included the Liszt and Rachmaninov works known from the early recordings; new recordings included Tchaikovsky's First Piano Concerto and Rachmaninov's Third.

From 1980, at the height of his success, he was beset by further travel restrictions after the discovery of banned American books in his luggage. In 1990, he left Moscow to teach in Norway and Italy, where he eventually settled. By then, musical fashions had changed, and his popularity faded. In semi-retirement, he concentrated on teaching and appearances on competition juries, where his concentration and enthusiasm were clearly challenged.

Modest but witty in conversation, he once told me that he didn't play Scarbo, the demonic gnome that follows evocations of a water sprite and a gallows in Ravel's suite Gaspard de la Nuit "because I don't like it, and because it is a perfect gibet for the pianist. Generally speaking, I play what I like. It is the simplest and best criterion."
Relax and enjoy.
Van Cliburn With Erich Leinsdorf And The Boston Symphony - Music Of Beethoven - 1965 - Past Daily Mid-Week Concert Van Cliburn - International icon who almost singlehandedly brought a thaw to the Cold War.

Boston Symphony - Van Cliburn, piano - Erich Leinsdorf, cond. - Berkshire Festival - August 14, 1965 - Gordon Skene Sound Collection -

The legendary Van Cliburn in concert this week. Recorded during the Berkshire Music Festival on August 14, 1965 with Erich Leinsdorf and the Boston Symphony in music of Beethoven.

This is the second half of a complete concert. Sadly, the first half is missing and presumed lost. But since this is a significant concert and performance by one of the iconic figures of music during the 1950s, I figured half a concert was better than none, and the Cliburn is worth the price of admission alone. He plays the Beethoven Piano Concerto Number 5 "Emperor".

At the height of the Cold War in 1958, Van Cliburn—a 23-year-old Texan—won the first International Tchaikovsky Competition in Moscow, a contest designed to demonstrate Soviet cultural superiority on the heels of the country’s launch of Sputnik. When it was time to announce a winner, the judges asked permission of Soviet leader Nikita Khrushchev to give first prize to an American. “Is he the best?” Khrushchev asked. “Then give him the prize!” Cliburn returned home to a ticker-tape parade in New York City, the only time the honor has been bestowed on a musician.

The cover of Time magazine proclaimed him “The Texan Who Conquered Russia,” later saying that the “long-legged” pianist “had overnight become the object of the most explosive single outpouring of popular acclaim ever accorded a U.S. musician.” Instant fame begat a career that included many historical achievements: the first Grammy® for classical music; the first classical album to go triple platinum; record-breaking concert ticket sales at venues such as New York’s Carnegie Hall and Madison Square Garden, Chicago’s Grant Park, and Los Angeles’ Hollywood Bowl; and performances for every President of the United States from Harry Truman to Barack Obama, and royalty and heads of state from around the world.

Over the course of his lifetime, he was honored with a multitude of accolades, among them Kennedy Center Honors, the Grammy Lifetime Achievement Award, Russia’s Order of Friendship, and the United States’ Presidential Medal of Freedom and National Medal of Arts. In 1962, a dedicated group of Fort Worth volunteers held the First Van Cliburn International Piano Competition in his honor; the competition is now widely recognized as one of the most prestigious in the world.

Van Cliburn was born in Shreveport, La. on July 12, 1934. He began piano studies at the age of 3 with his mother, Rildia Bee O’Bryan Cliburn, made his orchestral debut at 12, and his Carnegie Hall debut two years later. In 1951, he enrolled in The Juilliard School, studying under Madame Rosina Lhévinne, who encouraged him to apply for the Tchaikovsky Competition.

July 12, 1934 – February 27, 2013.

Enjoy the concert.
Music Of Norman Symonds - CBC Toronto Symphony - 1966 - Past Daily Weekend Gramophone Norman Symonds - Romantic Realist - with no apologies.

Norman Symonds - The Nameless Hour - CBC Toronto Symphony - Victor Feldbrill, cond - Fred Stone, Flugelhorn solo - CBC - 1966 -

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Over to Canada this weekend for the music of Norman Symonds. His Nameless Hour, performed in this 1966 broadcast recording by the CBC Toronto Symphony, conducted by Victor Feldbrill and featuring Fred Stone on Flugelhorn.

For some background - his bio via the Canadian League of Composers offers the answers:
NORMAN SYMONDS (1920-1998) was born in Nelson, British Columbia. Mountains, the sea and Duke Ellington were, in that order, his first outside influences.

At eighteen, he became a naval cook and when that was over, a clarinetist in a dance band. Finally he became a leader in a group of like-minded musicians (composition-jazz) which helped to launch his career. His successes include: the group and the Dave Brubeck Quartet playing at "Jazz at the Festival" in 1957 at Stratford, Ontario, and his Concerto Grosso for jazz and symphony which was invited by the Canadian Broadcasting Corporation (CBC) and performed on CBC Radio by the Ron Collier Quintet and the CBC Symphony under Victor Feldbrill. This involvement later led to Symonds becoming what he called ' a protagonist in the CBC arena' where he enjoyed the action and participated in both media.

A decade passed and Symonds got restless and decided to take a camper across Canada to explore the country for five months. He found much inspiration in the form of landscapes, legend, fact and fiction in what he described to be 'a haunted country'.

Symonds had written major works for the Toronto Symphony, the National Youth Orchestra and the National Arts Centre Orchestra. He had also done numerous feature productions for both radio and television (CBC).

Symonds: "It was the music of jazz which propelled me into a career. And though I never learned to play it well -- too interested in the writing -- I did come to feel it deeply and respect it greatly. In regard to technique, I've learned that from the doing; mainly from all those pieces which, for one reason or another, didn't work! To sum up, I am what might be called a romantic realist -- and I bet I'm going to regret that remark. But that's about as close as I can get to a summing-up, in a couple of words."
Now that you know the story, click on the Play button and dive in. I don't think you'll be disappointed.
Sergey Khachatryan With Tugan Sokhiev And The Capitol Of Toulouse Orchestra In Concert 2015 - Past Daily Mid-Week Concert Sergey Khachatryan - wowing audiences since he was nine.

Sergey Khachatryan, violin - Capitol Of Toulouse Orchestra - Tugan Sokhiev, Conducter - April 15, 2015 - Radio France Musique -

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Over to France this week for a concert, broadcast live from Toulouse at the Halle aux Grains on April 15, 2015 featuring the Capitol of Toulouse Orchestra led by Music Director Tugan Sokhiev and featuring Sergey Khachatryan, violin in music of Kabalevsky, Khachatourian and Stravinsky.

Program opens with Colas Breugnon Overture by Kabalevsky. Sergey Khackatryan joins the orchestra in performance of the Violin Concerto of Aram Khachatourian and the concert finishes with Petrouchka by Igor Stravinsky. All pretty Russian.

Born in Yerevan, Armenia, Sergey Khachatryan he has lived in Germany since 1993 where he gave his first orchestral concert at the age of nine in the Kurhaus, Wiesbaden. He won First Prize at the VIII International Jean Sibelius Competition in Helsinki in 2000, becoming the youngest ever winner in the history of the competition. In 2005 he claimed First Prize at the Queen Elisabeth Competition in Brussels.

He made his New York City debut on August 4, 2006, playing the Beethoven Violin Concerto in Avery Fisher Hall under the baton of Osmo Vänskä. In June 2013, he played Shostakovich's first Violin Concerto with the Seattle Symphony and Ludovic Morlot conducting.his 2019/20 season Sergey’s international presence is sustained by performances with Dresdner Philharmonie (Cristian Măcelaru), Yomiuri Nippon Symphony Orchestra (Yuri Temirkanov), Frankfurt Radio Symphony Orchestra (Alondra de la Parra), Moscow Philharmonic Orchestra (Yuri Simonov), Orchestre de la Suisse Romande (Jonathan Nott), Cleveland Orchestra (Jakub Hrůša), Prague Radio Symphony (Alexander Liebreich), San Francisco Symphony (Dima Slobodeniouk).

Highlights of the past (2019) season included Sergey’s residency at the BOZAR, Brussels which comprised of a pair of recitals and concert with Orchestre National de Belgique and Hugo Wolff. Sergey also embarked on a tour of the US and Europe with Alisa Weilierstein and Inon Barnaton with a programme entitled Transfigured Nights featuring the music of Beethoven, Schoenberg and Shostakovich.

In recent seasons, Sergey has performed with the Südwestrundfunk Symphonieorchester (Christoph Eschenbach), Bamberger Symphoniker (Herbert Blomstedt and Jonathan Nott), Münchner Philharmoniker (James Gaffigan), Swedish Radio Symphony Orchestra (Juraj Valčuha), Mariinsky Orchestra (Valery Gergiev) and Orchestre de Paris (Andris Nelsons and Gianandrea Noseda). He has also collaborated with the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Radio Filharmonisch Orkest, Rotterdam Philharmonic, Orchestre National de France, London Symphony, London Philharmonic, Philharmonia Orchestra, NHK Symphony and Melbourne Symphony Orchestras.

Hit the play button and relax. It's probably been one of "those" days.
Victor And Luis del Valle With José Miguel Rodilla And Orquesta Sinfonica De La Region de Murcia In Concert 2009 - Past Daily Mid-Week Concert Victor Luis del Valle - They take their music seriously - automation . . .not so much.

Victor Luis del Valle, Duo-pianos - José Miguel Rodilla conducting Orquesta Sinfonica de la Region de Murcia - November 6, 2009 - Recorded by Radio Nacional España/Radio Clasica -

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Over to Spain this week for a concert from one of Spain's regional orchestras; Orquesta Sinfonica de la Region de Murcia, recorded on November 6, 2009 and featuring the duo-piano team of brothers Victor Luis del Valle and the orchestra conducted by Jose Miguel Rodilla in music of Manrique de Lara, Francis Poulenc and Pyotr Tchaikovsky.

The concert starts with Agamenón by Manrique de Lara. The del Valle brothers join for the Concerto for two pianos and Orchestra by Francis Poulenc. The concert concludes with the ever-popular/always-played Symphony Number 4 by Tchaikovsky.

A few words about the soloists via their Facebook page:
Victor Luis del Valle have been described by musical critics as "a prodigy", "audible beauty, their exceptional innovation of piano skill" (El País, Spanish newspaper). "Brothers Luis and Víctor del Valle, with Ravel"s "Valse", "broke" the sound barrier, achieving magical tones." (Alerta, Spanish newspaper); "...splendid and masterful virtuosity, unprecedented risk, exceptional style become one in these two musicians... One hears works of Mozart very few times in such a convincing way" (Stuttgarter Zeitung); "...they made two pianos sound like the Wiener Philharmoniker" (Panamá América- Epasa); "... these magnificent pianists respect styles and techniques, and they also show clearly and strongly their own young voice, daring, full of life and humour, expressive and musical to the utmost." (La Provincia. Las Palmas de Gran Canaria newspaper).

They have taken counsel from Pierre-Laurent Aimard, Blanca Uribe, Katia Marielle Labèque, Ferenc Rados, Menahem Pressler, Zoltán Kocsis, Daniel Barenboim and Martha Argerich.

From 2008, Victor and Luis del Valle combine their artistic activities with their teaching career in Real Conservatorio Superior de Música de Madrid, Conservatorio Superior de Música de Aragón and at the Escuela Superior de Música Reina Sofía (Madrid). They are both frequently invited to give piano and chamber music master classes in Spain as well as abroad.

The "Instituto Andaluz de la Juventud" (Andalusian Board for Youth) from the "Junta de Andalucía" (Andalusian Government) has awarded them with the Distinction "Premio Málaga Joven" for promoting Málaga abroad.

Amongst their performances, they have played with the RTVE Orchestra, the Real Orquesta Sinfónica de Sevilla, l"Orquestra Nacional de Cambra d"Andorra, Jove Orquestra Nacional de Catalunya (JONC), "Siemens Chamber Orchestra" of the Escuela Superior de Música Reina Sofía, the Orquesta Sinfónica del Principado de Asturias, Bialystok Philharmonic, Symphonieorchester des Bayerischen Rundfunks, Munchener Kammerorchester, Radio-Sinfonieorchester Stuttgart des SWR, Helsinki Philharmonic, conducted by Bogdan Oledski, Howard Griffiths, James Ross, Miquel Ortega, Ralf Gothoni, Manuel Valdivieso, Peter Csaba, Juanjo Mena, Yakov Kreizberg, André de Ridder, Guillermo García Calvo, Okko Kamu...

They have given concerts in the International Piano Festival "Vladimir Spivakov" (Moscow), "Sommets Musicaux" in Gstaad (Switzerland), Festival Jeunes Talents (Paris), Festival Internacional de Cadaqués (Girona), Perelada International Festival (Catalonia), Santorini International Festival (Greece), Festival Internazionale "Dino Ciani" (Italy), Rheingau Musik Festival, Ludwigsburger Schlossfestspiele (Germany), Silly "Printemps Musical" in Belgium, Espoo International Piano Festival (Finland).

Now that you know; relax, get comfortable, click on the player and enjoy the next 90 or so relatively stress-free minutes. The real world can wait for a bit - it's not going anywhere.
Paul McCreesh And The Cantans Wratislava Festival Orchestra In Music Of Vaughan-Williams, Howells, Barber And Elgar - 2012 - Past Daily Mid-Week Concert Paul McCreesh - known for his work in Baroque and Renaissance periods - newer material gets a thumbs-up.

Paul McCreesh and the Wratislava Cantans Festival Orchestra - September 11, 2011 - Polski Radio -

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Music from the Wratislava Cantans Festival 2012 this week. Led by Paul McCreesh and offering one intensely soothing concert. Beginning with the Vaughan Williams Fantasia on a theme of Thomas Tallis, followed by Howells Elegie for viola, string quartet and string orchestra, Samuel Barber's Canzonetta for Oboe and Strings and ending with Elgar's Symphony Number 1. All recorded by Polish Radio on September 11, 2011 and rebroadcast here via Radio Nacional España the following year.

The name “Wratislavia Cantans” is the Latin phrase for “Singing Wrocław”. The festival from the beginning has focused primarily on presenting the beauty of the human voice. Each year, concerts attract thousands of music lovers to the concert halls of the National Forum of Music, the historic interiors of Wrocław and a dozen or so cities of Lower Silesia. In recent years, the festival has hosted, among others Philippe Herreweghe, Sir John Eliot Gardiner, Zubin Mehta, Cecilia Bartoli, Julia Lezhneva, Philippe Jaroussky, Mariusz Kwiecień, Jordi Savall, Marcel Pérès and such ensembles as: Israel Philharmonic Orchestra, Collegium Vocale Gent, Akademie für Alte Musik Berlin, Monteverdi Choir, Gabrieli Consort & Players, Il Giardino Armonico, The Swingle Singers, and English Baroque Soloists. Since 2008, Andrzej Kosendiak has been the festival’s general director, and since 2013, the outstanding Italian conductor and instrumentalist Giovanni Antonini has been the artistic director.

From the beginning, the festival’s events take place in the historic interiors of Wrocław, such as the churches: Basilica of St Elizabeth, Cathedral of St Mary Magdalene, Cathedral of St John the Baptist, University Church of the Holy Name of Jesus, Evangelical Augsburg Church of Divine Providence, Collegiate Church of the Holy Cross and Saint Bartholomew, and the White Stork Synagogue, as well as the Town Hall and university rooms (Aula Leopoldina, Oratorium Marianum). In the past, concert venues also included the Radio Wrocław Concert Hall and the hall of the former Wrocław Philharmonic.

Apart from Wrocław, Wratislavia Cantans concerts take place in the towns of Lower Silesia and Wielkopolska province, so far these have been: Bardo, Bielawa, Bolesławiec, Brzeg, Dzierżoniów, Głogów, Jelcz-Laskowice, Jelenia Góra, Kalisz, Kamieniec Ząbkowicki, Kłodzko, Krotoszyn, Krzeszów, Legnica, Lubiąż, Lubomierz, Milicz, Oleśnica, Oława, Polkowice, Prochowice, Strzegom, Szczawno-Zdrój, Syców, Środa Śląska, Świdnica, Trzebnica, Wałbrzych, Zgorzelec, and Żmigród.

Paul McCreesh is founder and artistic director of the Gabrieli Consort & Players. He has previously been the artistic director of the Wratislavia Cantans Festival in Wrocław, Poland and of the Brinkburn Festival in England. With the Gabrieli Consort & Players, McCreesh has performed in major concert halls and festivals across the world. In 2005 Loughborough University conferred on him the honorary degree of Doctor of Letters. He made his name in the music of the Renaissance and Baroque periods. In recent years he has also worked with modern instrument orchestras including the DSO Berlin, RSO Berlin, Zurich Chamber Orchestra, Ensemble Orchestral de Paris, Detroit Symphony Orchestra, Minnesota Orchestra, Gothenburg Symphony, Sinfónica de Euskadi, Stockholm Philharmonic and Beethovenhalle Bonn, the Netherlands Philharmonic Orchestra and the Orchestra Sinfonica dell'Accademia Nazionale di Santa Cecilia di Roma.

Relax and enjoy. You probably still have Christmas shopping to do.
Leonid Kogan With Lorin Maazel And The Cleveland Orchestra In Concert - 1979 - Past Daily Mid-Week Concert Leonid Kogan - considered the preeminent Soviet violinist of the 20th century.

Leonid Kogan, violin with The Cleveland Orchestra - Lorin Maazel, cond. Broadcast date: March 29, 1979 -Gordon Skene Sound Collection -

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Legendary Soviet violinist Leonid Kogan with Lorin Maazel and The Cleveland Orchestra, in concert from the 60th season of the Orchestra (1978-1979).

First off, apologies to everyone who heard on the broadcast that the final work performed was the Sinfonia Domestica by Richard Strauss but find it's not here. No, I didn't forget it - it wasn't recorded. One of the hazards you encounter when you are a multi-tasker is setting the timer on record, accidentally loading a 90 minute tape instead of a 2-hour tape - leaving, coming back home, thinking everything recorded okay - putting the tape on the shelf and forgetting about it until 40 years later, when you are looking for something to post, take the tape out, start digitizing it and realize, about three-quarters of the way through, that you never recorded the second half of the concert 40 years ago.

Long way of saying, I'm sorry - if I could communicate between the 1979 me with the 2019 me I would smack the 1979 me in the head. But until we perfect time-travel, all I can do is shrug my shoulders and say "well, at least I got the Kogan part of the concert" - and rather than not run it, figured a concert featuring this legendary figure of the violin would more than adequately make up for the lack of completeness.

So - all that said - the concert opens with Mozart's Symphony Number 9 and ends (on the tape) with Beethoven's Violin Concert with Leonid Kogan as soloist. There is no exact date on the recording. The broadcast was March 29, 1979, but I suspect it was some 3-4 months earlier. Since The Cleveland Orchestra has no archive to speak of, there is no way to ascertain the actual date, unless you were there and have a program.

Okay - I will shut up now and let you enjoy. And please do.
Kurt Masur With Mélanie Diener, Vadim Repin And The French National Orchestra In Concert 2009 - Past Daily Mid-Week Concert Mélanie Diener - Dramatic intensity and extraordinary tone.

Mélanie Diener, Soprano - Vadim Repin, Violin - Kurt Masur And The French National Orchestra - September 24, 2009 - Radio France Musique -

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Over to Paris this week for a concert by the French National Orchestra, conducted by the late Kurt Masur and featuring Mélanie Diener, Soprano and Vadim Repin, violin in music of Brahms and Beethoven - broadcast live from the stage of Théåtre des Champs-Elysées on September 24, 2009.

The concert begins with the Brahms Violin Concert, with Vadim Repin as soloist. The concert continues and concludes with music from Egmont by Beethoven, with Soprano Mélanie Diener as soloist.

Mélanie Diener has won numerous prizes at international competitions such as the Internationaler Mozartwettbewerb Salzburg and the Queen Sonja International Music Competition. She made her debut in concert in Mendelssohn's oratorio Paulus in 1995. In 1996, she made her stage debut as Ilia in Mozart's Idomeneo at the Garsington Opera. She appeared in the same role a year later at the Bavarian State Opera. Diener performed the role of Fiordiligi in Mozart's Così fan tutte at the Royal Opera House. In 1997 at the Salzburg Festival, she appeared as the First Lady in Mozart's Die Zauberflöte. She performed the title role of Korngold's Die Kathrin for the BBC that year.

Diener appeared as Donna Elvira in Mozart's Don Giovanni at the Aix-en-Provence Festival in 1998. The same year, she appeared as Agathe in Weber's Der Freischütz at the Vienna State Opera. She made her debut at the Bayreuth Festival as Elsa in Lohengrin in 1999 and performed the role the following two years. In Vienna, she also appeared as Elettra in Mozart's Idomeneo in 2000, as Contessa Almaviva in his Le nozze di Figaro in 2002, as Ellen Orford in Britten's Peter Grimes in 2005, and as Elvira, Elsa, and Chrysothemis in Elektra by Richard Strauss in 2007. In 2013, she appeared as Isolde in Wagner's Tristan und Isolde with the Canadian Opera Company in Toronto, a role which she also performed at the Opéra national du Rhin in Strasbourg.

In concert, Diener also sang the soprano parts in Beethoven's Missa solemnis, Mendelssohn's Elias, Ein deutsches Requiem by Brahms, Verdi's Requiem, and Britten's War Requiem, among others. In 1998, she appeared in Ermanno Wolf-Ferrari's cantata La vita nuova in Munich on the 50th anniversary of the composer's death.

At the age of 17, Vadim Repin became the youngest winner of violin section of the Queen Elisabeth Music Competition in Brussels, the world's premier violin competition. He was a member of the jury in the 2009 violin section of this competition.

Vadim Repin has played under such leading conductors as Simon Rattle, Valery Gergiev, Mariss Jansons, and Yehudi Menuhin. He has also played with Pierre Boulez, Riccardo Chailly, Charles Dutoit, Michael Tilson Thomas (with whom he made his United Kingdom debut at The Lichfield Festival in 1985), James Levine, Kurt Masur, Edo de Waart, Esa-Pekka Salonen, Mstislav Rostropovich, Myung-whun Chung and Riccardo Muti.

Repin has performed with the Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra, Philadelphia Orchestra and London Symphony Orchestra. He regularly collaborates with Nikolai Lugansky and Itamar Golan in recital; other chamber music partners include Martha Argerich, Evgeny Kissin, Lang Lang and Mischa Maisky.

Vadim Repin has been a frequent guest at festivals such as the BBC Proms, Tanglewood, Gstaad and Verbier. In 2010 he played the premiere of James MacMillan Violin Concerto with the London Symphony Orchestra under Gergiev which was dedicated to him.

Hit the Play button and relax - it's only Wednesday, so pace yourself.
Music Of Maurice Duruflé - French National Orchestra - 1952 - Past Daily Weekend Gramophone Maurice Duruflé - often thought of as a composer exclusively for Organ - life is full of surprises.

Murice Duruflé - Danse - French National Orchestra, Gaston Poulet, conductor - 1952 - Gordon Skene Sound Collection -

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Music of Maurice Duruflé to end the weekend. I haven't posted anything on this composer in a few years and nothing of his orchestral work, which I was a bit surprised he dealt in. Tonight it's Danse as performed by the French National Orchestra led by Gaston Poulet in this broadcast performance from 1952.

Duruflé was born in Louviers, Eure in 1902. He became a chorister at the Rouen Cathedral Choir School from 1912 to 1918, where he studied piano and organ with Jules Haelling, a pupil of Alexandre Guilmant. The choral plainsong tradition at Rouen became a strong and lasting influence. At age 17, upon moving to Paris, he took private organ lessons with Charles Tournemire, whom he assisted at Basilique Ste-Clotilde, Paris until 1927. In 1920 Duruflé entered the Conservatoire de Paris, eventually graduating with first prizes in organ with Eugène Gigout (1922), harmony with Jean Gallon (1924), fugue with Georges Caussade (1924), piano accompaniment with César Abel Estyle (1926) and composition with Paul Dukas (1928).

In 1927, Louis Vierne nominated him as his assistant at Notre-Dame. Duruflé and Vierne remained lifelong friends, and Duruflé was at Vierne's side acting as assistant when Vierne died at the console of the Notre-Dame organ on 2 June 1937, even though Duruflé had become titular organist of St-Étienne-du-Mont in Paris in 1929, a position he held for the rest of his life. In 1930 he won a prize for his Prélude, adagio et choral varié sur le "Veni Creator", and in 1936 he won the Prix Blumenthal. In 1939, he premiered Francis Poulenc's Organ Concerto (the Concerto for Organ, Strings and Timpani in G minor); he had advised Poulenc on the registrations of the organ part. In 1943 he became Professor of Harmony at the Conservatoire de Paris, where he worked until 1970; among his pupils were Pierre Cochereau, Jean Guillou and Marie-Claire Alain.

In 1947 he completed probably the most famous of his few pieces: the Requiem op. 9, for soloists, choir, organ, and orchestra. He had begun composing the work in 1941, following a commission from the Vichy regime. Also in 1947, Marie-Madeleine Chevalier became his assistant at St-Étienne-du-Mont. They married on 15 September 1953, (Duruflé's first marriage to Lucette Bousquet, in 1932, ended in civil divorce in 1947 and was declared null by the Vatican on 23 June 1953.) The couple became a famous and popular organ duo, going on tour together several times throughout the sixties and early seventies.

He was made a Chevalier de la Legion d'honneur in 1954. He was promoted to an Officier de la Legion d'honneur in 1966.

You may know his works for Organ, but this orchestral side of Maurice Duruflé is nothing to sneeze at - sit back, hit the play button and enjoy.
Night Life And Mating Rituals Of The Early 1950s - 1952 And The Lost Art Of Slow Dancing - Past Daily Weekend Pop Chronicles The People in this photograph are between 18 and 20 - they are in their 80s and 90s now - dancing like this was a common occurrence in the 1950s.

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If you grew up during this period, this post probably doesn't apply to you. You still vaguely remember what it was like before the days of Rock n' Roll, during the time when Rhythm and Blues was hidden from view. But if you were born, say at the beginning of this century, this will look and sound downright strange to you - and maybe you've never heard anything like this before - and it may seem shocking. Forget quaint - this bears no resemblance to the way life is now, certainly night life as we know it - this was from another time where people looked different and they acted different and they listened to different things.

But here's the deal - the photo represents what the majority of people in America were looking like in the early 1950s - what they were doing socially and how they were behaving towards each other - this was the norm. And the radio is playing what was the mainstream and what was the most popular music at the time. Rock n' Roll hadn't existed before this - and Rhythm and Blues and Jump Blues and all the precursors to Rock n' Roll belonged to another segment of our society - the segregated one - the one that raised eyebrows when anyone dare breach the norm to exchange ideas and finding their records was a task that bordered on the herculean.

Jazz was tolerated - and it's very likely the kids in the photograph had a Dave Brubeck record in their collection, or maybe even Stan Kenton. In 1952 Stan Kenton was touring College campuses, building a following of students - maybe like this bunch. Students were gravitating towards new Jazz in big numbers, but this was the mainstream - and this still represented the majority.

And so bands like Chuck Cabot and His Orchestra and a hundred others criss-crossed the country, playing hotels or one nighters and their music was easy and non-threatening. And radio networks across the country ran them every night, saving the more adventuresome sounds for later on, after midnight.

Getting a feel for a period of time you may not be familiar with, which may be the period of time your parents or grandparents or even great-grandparents were part of gives a better understanding of the small stuff that makes up a society and night life was an important one. Dressing up seems like a foreign concept these days, especially when going out on a date (even dating is becoming a foreign concept) - customs and rituals have changed dramatically over the years. And there are people now who long for a version of that photograph or a version of the broadcast and only know it from the broad strokes they read or hear about via TV.

If you can, sink into this for the next 30 minutes, immerse yourself in this slice of previously undiscovered society and see how it feels. Nothing dramatic or earth-shattering, just a glimpse of life that is lived differently now.

See what you think.
Talking About And Talking With Serge Koussevitsky - Past Daily Weekend Gallimaufry Serge Koussevitsky - one of the great champions of 20th Century Music who also presided over The Boston Symphony during its Golden Age.

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In the early 1970s, when National Public Radio was getting off the ground, getting its feet wet and finding its way, it was an exciting adventure in the possibilities of what Educational Radio could achieve. The promise, though reached, was never sustained and has become something of a forgotten ideal that information and education could be a creative and engaging partnership.

One of those programs, introduced in the early 70s was the short-lived, but highly important series Voices In The Wind. If memory serves, it lasted around a year (maybe more, maybe less) and it covered a multitude of topics and interests; truly eclectic but insatiably curious as to what made the world and the creative process tick in all sorts of ways.

This episode; program #5, was broadcast on July 28, 1974 and features a portrait of the legendary conductor of the Boston Symphony, musician and champion of Modern Music Serge Koussevitsky. He is heard in a 1949 interview, but also features reminiscences by Leonard Bernstein and Aaron Copland - Bernstein as a student and Copland as the recipient of early support and encouragement.

It's a fascinating segment that runs a little under a half hour of this hour-long program and also features a piece on Dave Brubeck and his teacher, the composer Darius Milhaud (who was also a recipient of support from Koussevitsky), and a brief discussion on Wine (not related to Brubeck, Milhaud or Koussevitsky, but interesting on its own).

On the one hand, it's a fascinating portrait of a truly important figure in Music of the 20th century - and on the other, shows the possibilities of what radio could accomplish, even as late as the 1970s in the area of useful and essential information about our culture and people. We could use a bit of that right about now.

Have a listen and enjoy.
Sol Gabetta With Marin Alsop And The French National Orchestra In Music Of Barber, Haydn And Shostakovich - 2012 - Past Daily Mid-Week Concert Sol Gabetta - considered by many to be one of the most impressive musicians of our time. I'll second that.

French National Orchestra - Marin Alsop, guest conductor - Sol Gabetta, cello - October 18, 2012 - Radio France Musique.

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Over to Paris this week for a concert by The French National Orchestra, guest conducted by Marin Alsop and featuring the Argentinian cello phenom Sol Gabetta in music of Barber, Haydn and Shostakovich and recorded live from the Champs-Elysées Theatre on October 18, 2012.

Starting with Samuel Barber's Essay number 2 - followed by Concerto number 1 for Cello and orchestra by Franz Joseph Haydn with Sol Gabetta as soloist along with much deserved encores. And closing with Symphony number 5 by Dmitri Shostakovich.

A sought after guest artist at leading festivals, Sol Gabetta was Artiste étoile at Lucerne Festival last season where she appeared with Wiener Philharmoniker and Franz Welser-Möst, Mahler Chamber Orchestra and Francois-Xavier Roth and the London Philharmonic Orchestra directed by Marin Alsop. She continues drawing inspiration from a wide circle of collaborators and musical encounters at the Salzburg Festival, which flourishes under her committed artistic direction.

Chamber music is at the core of Gabetta’s work, visible in her upcoming tour of Italy with Nelson Goerner, performances at Semperoper Dresden and Heidelberger Frühling with her longtime recital partner Bertrand Chamayou and recent appearances with the Hagen Quartet at Salzburg Festival, Tonhalle Zürich, Elbphilharmonie and Wiener Konzerthaus. In the past, chamber music performances led her to venues such as New York’s Lincoln Center, Wigmore Hall in London, Lucerne, Verbier, Schwetzingen and Rheingau festivals, Schubertiade Schwarzenberg and Beethovenfest Bonn.

In recognition of her exceptional artistic achievements, Sol Gabetta was honoured with the Herbert von Karajan Prize at the Salzburg Easter Festival in 2018 where she appeared as soloist with the Staatskapelle Dresden and Christian Thielemann.

From the 2019/20 season, Alsop becomes Chief Conductor of the ORF Vienna Radio Symphony Orchestra (Vienna RSO), performing in their main series at the Wiener Konzerthaus and Wiener Musikverein, recording, broadcasting, and touring nationally and internationally. Her first season coincides with the orchestra’s 50th anniversary and will emphasize women in classical music.

Her outstanding success as Music Director of the Baltimore Symphony Orchestra (BSO) since 2007 has resulted in two extensions in her tenure until 2021. Alsop has led the orchestra on its first European tour in 13 years and created several bold initiatives including OrchKids, for the city’s most disadvantaged young people. At the end of 2019, following a seven-year tenure as Music Director, she becomes Conductor of Honor of the São Paulo Symphony Orchestra (OSESP), where she will return to conduct major projects each season.

Throughout 2020, Alsop launches a global project to mark Beethoven’s 250th anniversary, in collaboration with Carnegie Hall. Her goal is to bring the messages of tolerance, unity and joy in Beethoven’s 9th Symphony to life for our 21st Century. She will conduct reimagined performances of Beethoven’s ninth symphony on five continents, with newly commissioned texts and music. Partnersincluding the Vienna RSO, BSO, OSESP, Sydney and New Zealand Symphonies, Johannesburg and Kwazulu-Natal Philharmonics and Southbank Centre, where she is Associate Artist.

Okay - now hit the Play button and relax.
Music Of Maurice Delage - Gaston Poulet And The French National Orchestra - 1954 - Past Daily Weekend Gramophone Maurice Delage - Student of Ravel with profound interest in music of the Far East.

Music of relatively unknown French composer Maurice Delage this weekend. The presumed broadcast premier of Bateau ivre (1954) after the poem by Arthur Rimbaud. The French National Orchestra is conducted by Gaston Poulet.

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Maurice Delage (1879–1961) was a French composer and pianist who showed a profound interest in the music and culture of the Far East. Delage began his study of music and composition during the post-Romantic period which was a time of great change. New musical and artistic thoughts were being experimented with, especially by composers and artists who were thought to be very radical and extreme in the directions that they were following. There were different schools of thought that were slowly being introduced from areas other than the dominance of France, Russia, Germany, Flanders, and Bohemia. This was a time for Spain, England, the United States, and India to influence the ending of one era and the beginning of another.

He was a student of Ravel and a member of "Les Apaches," an assemblage of 14 musicians, artists, and writers (hooligans) who met weekly to discuss and commiserate about the culture and politics of the 1900s. From the music and culture of Europe, Delage turned to a more exotic sound in his works after being influenced by his travels to India and the East. Ravel's "La vallée des cloches" from Miroirs was dedicated to Delage while the rest of the collection was inscribed to the members of Les Apaches.

Maurice Delage was not known as a prodigious composer nor a musician who could write quickly and easily, yet, he displayed an extraordinary capacity for integrating music as a universal language. This became apparent in his works which reflected the cultures and traditions of non-European peoples. The work "Quatre poemes hindous," which was written for piano and a vocalist, and also for violin, viola, cello, and vocalist, displayed his interest in the civilizations of India and the East and his impetus to share these insights with those from a western culture. Through such works in which he improvised Indian tonalities and harmonies within a western format, European appreciation of another culture was facilitated through the music of Maurice Delage.

Here is what very might be the premier performance of this work, as performed by the French National orchestra, led by Gaston Poulet in this broadcast by the ORTF in Paris from 1954.
Music Of Arthur Foote - Julius Baker With the Sylvan Shulman String Quartet - 1952 - Past Daily Weekend Gramophone Arthur Foote - One of The Boston Six.

Arthur Foote - A Night Piece For Flute and String Quartet - Julius Baker, flute - Sylvan Shulman, 1st violin - Bernard Robbins, 2nd violin - Harold Coletta, viola - Bernard Greenhouse, cello - Decca Records (U.S.) - DL-4013 - Circa 1952.

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The music of Arthur Foote this weekend. His Night Piece for Flute and String Quartet (1918) also known as Nocturno, with Julius Baker on flute, Sylvan Shulman, 1st violin - Bernard Robbins, 2nd violin - Harold Coletta, viola and Bernard Greenhouse, cello.

Almost totally forgotten now, save for a few discoveries here and there, Arthur Foote was a member of the "Boston Six." The other five were George Whitefield Chadwick, Amy Beach, Edward MacDowell, John Knowles Paine, and Horatio Parker.

The modern tendency is to view Foote's music as "Romantic" and "European" in light of the later generation of American composers such as Aaron Copland, Roy Harris and William Schuman, all of whom helped to develop a recognizably American sound in classical music. A Harvard graduate and the first noted American classical composer to be trained entirely in the U.S., in some sense he is to music what American poets were to literature before Walt Whitman.

Foote was an early advocate of Brahms and Wagner and promoted performances of their music. Foote was an active music teacher and wrote a number of pedagogical works, including Modern Harmony in Its Theory and Practice (1905), written with Walter R. Spalding. It was republished as Harmony (1969). He also wrote Some Practical Things in Piano-Playing (1909) and Modulation and Related Harmonic Questions (1919). He contributed many articles to music journals, including "Then and Now, Thirty Years of Musical Advance in America" in Etude (1913) and "A Bostonian Remembers" in Musical Quarterly (1937).

A good part of Foote's compositions consist of chamber music and these works are generally among his best. The Chamber Music Journal (2002), discussing Foote's chamber music, has written, "If his name is not entirely unknown, it is fair to say that his music is. This is a shame. Foote's chamber music is first rate, deserving of regular public performance." His Piano Quintet, Op.38 and Piano Quartet, Op.23, are singled out for special praise. With regard to the Piano Quintet, the author writes, "Each of the movements is a gem. The Scherzo is particularly fine and the rousing finale beyond reproach. I believe that the only reason this work never received the audience it deserved and deserves is because it was written by an American who was 'out of the loop.'" As for the Piano Quartet, the opinion is that "it is as good as any late 19th century piano quartet."

Have a listen to this 1952 recording for Decca Records U.S. - I don't think it's been reissued and I am not sure if the masters were destroyed in the Universal fire a few years ago.
Eliahu Inbal Leads The Frankfurt Radio Symphony In Music Of Mozart - 1976 Würzburg Festival - Past Daily Mid-Week Concert Eliahu Inbal - Possessing a strength for tranquility and a sense to create passion and drama.

Frankfurt Radio Symphony - Eliahu Inbal, Conductor - 1976 Würzburg Mozart Festival - Deutsche Welle Transcription service.

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A rather short-ish (just under an hour) concert this week, featuring the Frankfurt Radio Symphony, led by its former Music Director Eliahu Inbal at the 1976 Würzburg Mozart Festival, recorded and distributed by the German Broadcasting conglomerate Deutsche Welle and their Transcription service.

Eliahu Inbal has enjoyed an international career, conducting leading orchestras worldwide. Over the years, he has been appointed principal conductor of the Frankfurt Radio Symphony Orchestra (hr-Sinfonieorchester), Teatro La Fenice in Venice, RAI National Symphony Orchestra, Konzerthausorchester Berlin, Czech Philharmonic and the Tokyo Metropolitan Symphony Orchestra, who named him Conductor Laureate in 2014.

During his tenure with the hr-Sinfonieorchester (1974-1990), whose honorary conductor he remains today, Eliahu Inbal distinguished himself as an outstanding musical personality of our time. The charismatic Israeli conductor, who lives in Berlin, received international acclaim for his interpretations of Mahler and Bruckner on a number of award-winning recordings (Deutscher Schallplattenpreis, Grand Prix du Disque) and was the first to record the original versions of Bruckner’s symphonies. He has received special recognition for his interpretations of Dmitri Shostakovich’s symphonies in particular.

2016 marked Eliahu Inbal’s 80th birthday. Throughout the year, he featured as a guest conductor with the Stuttgart Radio Symphony Orchestra (SWR) in Basel, Vienna and at the Spring Festival in Monte-Carlo, conducted Bruckner’s Symphony No. 9 with the Orchestre Philharmonique de Radio France at the Philharmonie de Paris, Symphony No. 4 at the Konzerthaus Berlin and the Alte Oper Frankfurt, and Symphony No. 8 with the Orchestra del Teatro la Fenice. In 2017, a performance of Bruckner’s Eighth followed at the Philharmonie de Paris as well as Mahler’s Eighth at the Elbphilharmonie Hamburg shortly after its opening, in addition to a tour to Seoul and Japan with the Konzerthausorchester Berlin. In spring 2018 he will return to Asia for two months, on the invitation of orchestras including the China Philharmonic, Tokyo Metropolitan Symphony and the Singapore Symphony.

His operatic engagements have taken him to opera houses in Paris, Glyndebourne, Munich, Stuttgart, Zurich and Madrid, among others. He celebrated the 2013 Wagner anniversary year with highly acclaimed performances of Tristan and Isolde at the Festival de Opera de A Coruña and Parsifal at the Vlaamse Opera (International Opera Award 2014). Eliahu Inbal has been awarded the national Italian critic’s prize Abbiati et Viotti for his exceptional interpretations of Wagner’s Ring with the RAI National Symphony Orchestra.

Eliahu Inbal’s extensive discography includes the complete symphonic works of Berlioz, Brahms, Bruckner, Mahler, Ravel, Schumann, Shostakovich, Scriabin, Stravinsky, Richard Strauss, and the Second Viennese School. He has recorded these works with the hr-Sinfonieorchester as well as the Philharmonia Orchestra London, Orchestre National de France, Vienna Symphony, London Philharmonic, Orchestre de la Suisse Romande and the Czech Philharmonic. His performance of Mahler’s Symphony No. 10 (completed version by D. Cooke), part of the Royal Concertgebouw Orchestra’s Mahler cycle, was also released on DVD.

Born in Israel, Eliahu Inbal studied violin and composition at the Jerusalem Music Academy before completing his studies at the Conservatoire National Supérieur in Paris on the recommendation of Leonard Bernstein. His teachers there included Louis Fourestier, Olivier Messiaen and Nadia Boulanger. He was also greatly influenced by Franco Ferrara in Hilversum (Netherlands) and Sergiu Celibidache in Siena (Italy). In 1990, the French government named Eliahu Inbal an officer of the Order of Arts and Letters. In February 2001 he was awarded the Golden Medal for Merit from the city of Vienna. He received the Goethe Badge of Honour from the City of Frankfurt and the Order of Merit from the Federal Republic of Germany in 2006.

During this concert he is joined by Flautist Aurele Nicolet and harpist Charlotte Cassedanne for the Concerto for Flute, harp and Orchestra k. 299 - the concert begins with Mozart's Symphony number 29 in A maj, K. 201.

Welcome to your dose of Mid-Week Anti-Road Rage.

Victor Pablo Pérez And Orquesta de la Communidad de Madrid In Music Of Granados, Medina And Shostakovich - 2016 - Past Daily Mid-Week Concert Victor Pablo Pérez - Another star on the rise. (Photo Felix Méndéz)

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Orquesta de la Communidad de Madrid, Chorus And Orchestra - Victor Pablo Pérez, cond - January 25, 2016 - RNE Radio Clasica -

Sticking around Spain again this week for a concert by Orquesta de la Communicad de Madrid led by the star-on-the-rise conductor Victor Pablo Pérez and recorded by Radio Nacional de Espña on January 25, 2016.

Starting off with the Intermezzo from Goyescas by Enrique Granados. Followed by performance of Cantata Gregoriana Aita Gurea by the Spanish composer Juan Antonio Medina with the Orchestra Chorus joining in.

Ending up with a performance of Symphony Number 11 (Year 1905) by Dmitri Shostakovich.

Victor Pablo Pérez was born in Burgos in 1954. He studied at the Royal Conservatory of Music in Madrid and at the “Hochschule für Musik” in Munich, as well as in Italy and Austria. He was Director of Opera and Concert Performance at the Choir School in Madrid. He is renowned for the work carried out at two of Spain’s most famous ensembles, in whose formation he played a pivotal role: the Symphony Orchestra of Tenerife, which he headed as artistic director and conductor from 1986 to 2006, and the Symphony Orchestra of Galicia, which he has headed since 1995. He has recorded works by Mozart, Rossini, Prokofiev, Dvorak, Falla, Barbieri, Arrieta, Villalobos, Albéniz, Montsalvatge and Sorozábal, among others.

Juan Antonio Medina began his musical studies at the conservatories of Teruel and Zaragoza . Later, he moved to Madrid to finish the musical composition and electroacoustic career with Antón García Abril and Zulema de la Cruz and obtained the highest qualifications and the Final Degree Award.

He has completed composition courses with Agustí Charles , Joan Guinjoan , Ramón Barce , Albert Sardà , José Ramón Encinar , Josep Soler i Sardà , Cristóbal Halffter and Leonardo Balada . In 1999 he won a scholarship from the Ministry of Foreign Asustos as resident composer for the Academy of Spain in Rome . Today is a professor of Computer Music at the Madrid Royal Conservatory.

Hit the Play Button and relax, it's Anti-Road Rage Wednesday anyway!
Guillermo Garcia-Calvo And Orquesta Sinfonica de Barcelona y Nacional de Cataluña In Music Of Schubert, Baguer And Weber - 2012 - Past Daily Mid-Week Concert Guillermo Garcia-Calvo - Enjoying amazing success with critics and audiences. And for good reason.

Guillermo Garcia-Calvo and Orquesta Sinfonica de Barcelona Y Nacional de Cataluña - May 6, 2012 - RNE-Radio Clasica -

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Over to Spain this week for a concert by Orquesta Sinfonica de Barcelona Y Nacional de Cataluña, conducted by the extremely popular star-on-the-rise Guillermo Garcia-Calvo at the helm and recorded live by Radio Nacional España on May 6, 2012.

Much as I like to run historic concerts featuring celebrated artists of the distant and not-so-distant past, I love seeing what's going on now. There's a lot to excited about. You just have to dial-hop all over the world to get it. I make no bones about loving French and Spanish radio. I have, in my own weird way, fashioned this website after a combination of French Radio outlets - places you go where you hear the unfamiliar or the familiar played in new and enthusiastic ways and get turned on to things on a daily basis - whether it's music or culture or history - places that keep the flames bright.

All that said - this is probably one of the more meat-and-potatoes concerts I've heard, but it's no less refreshing to hear. Starting off the Schubert's Overture In The Italian Style and then going to a performance by the Catalonian composer Carlos Baguer (1768-1808) - his Second symphony, which I admit to not being familiar with. The second half devoted to a performance of Carl Maria von Weber's Invitation To The Dance (arr.Hector Berlioz) and closing with Schubert's Symphony Number 3.

In case you're just becoming familiar with Guillermo Garcia-Calvo - here's a blurb from his website, FYI:

"In January 2011 Guillermo García Calvo made his opera debut in Spain with the premiere of Tristan and Isolde at the Teatro Campoamor of Oviedo, where he initiated the first release of the Ring des Nibelungen in the city of Oviedo in September 2013. The first opera of Wagner's tetralogy, Das Rheingold, enjoyed an overwhelming success among critics and the public. In December 2009 Guillermo García Calvo conducted the new production of Macbeth at the Vienna State Opera standing in for Daniele Gatti, shortly after having celebrated his debut at the Deutsche Oper Berlin with another new production in May 2009, La Cenerentola.

Guillermo García Calvo has always maintained a strong relation with the Vienna State Opera ever since he started working there in November 2004. He has conducted more than 200 performances at the renowned opera house, interpreting titles such as Macbeth (Première), Rigoletto, La fille du régiment, Lucia di Lammermoor, The Barber of Seville, The Magic Flute, La traviata, L'elisir d'amore, Nabucco, La Sonnambula, Coppélia, The Nutcracker, Onegin, Don Quixote, Giselle, Mayerling, Anna Karenina, Romeo and Juliet and Swan Lake.

Born in Madrid in 1978 Guillermo García Calvo began his musical education at the age of seven. He concluded his musical studies at the University of Music in Vienna with a thesis on Parsifal and a performance of the Overture from Tannhäuser in the Großer Saal at the Musikverein. Between 2001 and 2002 he worked as assistant for Iván Fischer and the Budapest Festival Orchestra and in the summer of 2007 for Christian Thielemann and Der Ring des Nibelungen at the Bayreuther Festspiele. In March 2003 he celebrated his debut as opera conductor with a performance of Hansel and Gretel at the Schlosstheater Schoenbrunn."

So there you go - nice concert all the way around - terrific band and Radio Nacional España do their customary top-notch job of recording on the fly (the concert was recorded live only a few hours earlier).

Hit the play button and relax.
David Fray With Daniele Gatti And Orchestre National De France In Music Of Wagner, Schoenberg And Debussy - 2010 -Past Daily Mid-Week Concert David Fray - sometimes compared to Glenn Gould, but only in the grunts and bellows department.

David Fray With Daniele Gatti and Orchestre National de France - Concert of May 21, 2010 - Radio France Musique -

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Music of Wagner, Schoenberg and Debussy this week, featuring pianistic dynamo David Fray in a performance of the Schoenberg Piano Concerto. Daniele Gatti leads the orchestra in Wagner's Siegfried Idyll, music from Parsifal and Nocturnes by Claude Debussy. It was all recorded in concert at Théâtre des Champs-Elysées by Radio France Musique on May 21,2010.

David Fray was born in Tarbes, near the Pyrenees. Both his parents are teachers, his father's subject being philosophy and his mother's German.

Fray entered the professional classical music world after receiving the Second Grand Prize at the Montreal International Music Competition in 2004. After this acclaim he released "Schubert, Liszt", a CD compilation of works by the two composers, on the ATMA Classique label. More recently, he has done video recordings of piano concertos by J.S. Bach with the Deutsche Kammerphilharmonie Bremen, as well as Schubert's Wanderer Fantasy during the Festival of La Roque d'Anthérnon. In 2008 he released a second CD, "Bach / Boulez Piano Recital", which was another compilation of two composers from separate musical periods. He has performed with many established conductors such as John Axelrod, Kurt Masur, Jaap van Zweden and Christoph Eschenbach.

Fray has won a number of awards, including the "Révélation Classique" (Classical Discovery) from ADAMI, the "Jeune Soliste de l'Année" (Young Soloist of the Year) from the French Language Public Radio Coalition, and the Diploma for Outstanding Merit from the Hamamatsu Competition.

Described by the press as the “perfect example of a thinking musician” (Die Welt) and acclaimed for his interpretations of music from Bach to Boulez, David Fray continues to thrill audiences worldwide as a recitalist, soloist and chamber musician. He has collaborated with leading orchestras under distinguished conductors such as Marin Alsop, Semyon Bychkov, Christoph Eschenbach, Daniele Gatti, Paavo Järvi, Kurt Masur, Riccardo Muti, Esa-Pekka Salonen, Michael Sanderling, Yannick Nézet-Séguin and Jaap van Zweden. Orchestral appearances in Europe have included the Royal Concertgebouw Orchestra, Bavarian Radio Orchestra, Budapest Festival Orchestra, Philharmonia Orchestra, Academy of St. Martin in the Fields, London Philharmonic, Dresden Philharmonic, Deutsche Kammerphilharmonie Bremen, Salzburg Mozarteum, Orchestra del Teatro alla Scala, Orchestre de Paris and Orchestre National de France. David Fray made his US debut in 2009 with the Cleveland Orchestra followed by performances with the Boston Symphony, San Francisco Symphony, New York Philharmonic, Chicago Symphony and the Los Angeles Philharmonic. He has given recitals at Carnegie Hall, Lincoln Center, Park Avenue Armory in New York, Chicago’s Symphony Hall and appears regularly at the Vienna Konzerthaus, Mozarteum Salzburg, London’s Wigmore Hall, Théâtre des Champs Elysées and many other major venues worldwide.

Nice concert, love the orchestra - hit the Play button and relax.
The Halifax Trio Play Music Of Violet Archer - Past Daily Weekend Gramophone Violet Archer - One of Canada's most highly regarded Women composers.

Violet Archer - Trio Number 2 (1958) The Halifax Trio - CBC International - Gordon Skene Sound Collection -

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The Music of Canadian composer Violet Archer this week. Her Trio Number 2 as played on this CBC transcription disc by The Halifax Trio, recorded in the early 1960s.

Violet Archer wrote more than 280 compositions. Her repertoire is wide and extensive, ranging from music for solo flute to electronic music, with an emphasis on chamber music, choral music and songs for solo voice and piano.

Her teaching career was an extensive one and very active in the guiding of young composers. Many of her former composition students both in Canada and the United States are now professionals and recognized in their field.

She was an ardent promoter of Canadian music and other 20th-century music, being active on the boards of a large number of national and regional organizations. She was also active both as a national and regional adjudicator of young composers' contests in the United States and later in Canada.

The guiding aesthetic force in Archer's music is best described as neo-classic. "The Norton-Grove Dictionary of Women Composers" describes her music thusly: "Archer's music is on the one hand dissonantly contrapuntal yet on the other refreshingly folksy. Early modality gave way to a more chromatic style, with a period during the 1950s in which the influence of Hindemith and Gebrauchsmusik is strongly evident. Although she taught 12-tone technique to her students in the USA, she has not used it in her own music, and it is mainly in her variation technique or in a short-lived expressionistic phase in the mid-1960s that her study of Arnold Schoenberg is discernible. Her works are generally characterized by economical, almost lean, textures, skillful manipulation of form, and counterpoint. She has explored new sonorities using parallelism and folk tunes, while rejecting serialism and chance music."

She was also a deeply religious person who credited her achievements to her faith: "I believe we are guided in what we do. Without my faith I wouldn't be able to do what I'm doing and, of course, I always feel that each new piece should be better than the last one."

Dr. Violet Archer was born in Montréal, Québec in 1913, lived most of her mature life in Edmonton, Alberta, and passed away on February 22, 2000 in Ottawa, Ontario, Canada.

Hilary Hahn With Mikko Franck And The Philharmonic Of Radio France Play Music Of Meyer And Prokofiev - 2011 - Past Daily Mid-Week Concert Hilary Hahn - Uncommonly thoughtful and well-rounded with a huge repertoire under her belt. (photo: Kasskara)

Hilhary Hahn, violin - Philharmonic of Radio France, Mikko Franck, cond. Live from Salle Pleyel, Paris - September 16, 2011 - Radio France Musique -

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Three time Grammy winner Hilary Hahn this week, with the Philharmonic of Radio France, conducted by Mikko Franck in music by Edgar Meyer and Sergei Prokofiev.

Only two works in this concert - starting with the Violin Concerto of Edgar Meyer (dedicated to Hilary Hahn) and concluding with the Symphony Number 5 by Prokofiev.

Edgar Meyer grew up in Oak Ridge, Tennessee. He learned to play the double bass from his father, Edgar Meyer, Sr., who directed the string orchestra program for the local public school system. Meyer later went on to Indiana University to study with Stuart Sankey.

As a composer, his music has been premiered and recorded by Emanuel Ax, Joshua Bell, Yo-Yo Ma, the Boston Symphony Orchestra, Bela Fleck, Zakir Hussain, Hilary Hahn, and the Emerson String Quartet, among others. The Nashville Symphony and the Aspen Music Festival and School commissioned his first purely orchestral work which was premiered by the Nashville Symphony in March 2017. Additionally, Bravo! Vail and The Academy of St. Martin in the Fields commissioned an Overture for Violin and Orchestra that was premiered by Joshua Bell and ASMF in June 2017.

Meyer's most recent recording is a collection of Bach trios with Chris Thile and Yo-Yo Ma, and he was honored with his fifth Grammy Award in 2015 for his Bass & Mandolin recording with Chris Thile.

Meyer is Artist in Residence at Vanderbilt University's Blair School of Music and is on faculty at the Curtis Institute of Music.

Some career highlights of Hilary Hahn (as of 2011):

1991: She makes her major orchestra debut with the Baltimore Symphony.
1995-96: She begins a three-year run at the Marlboro Music Festival. In 1996 she graduates from the Curtis Institute of Music and becomes a full-time touring soloist. She signs her first recording contract.
2004: Plays on the soundtrack for M. Night Shyamalan's The Village, which garners its composer, James Newton Howard both an Academy Award nomination and an AFI nomination to its “100 Years of Great Film Scores” list.
2007: Plays on two tracks from singer-songwriter Tom Brousseau's album Grand Forks. She also begins collaborating with singer-songwriter Josh Ritter. She plays in the Vatican City as part of the ceremonies honoring the election of Pope Benedict XVI.
2010: She premieres a violin concerto by her teacher/ friend Jennifer Higdon. The concerto wins the Pulitzer Prize.

There you go - hit the play button and enjoy.
Music Of Roy Harris - Eastman-Rochester Wind Ensemble - 1953 - Past Daily Weekend Gramophone Roy Harris - one of the foremost American composers, but inexplicably not a household name.

Roy Harris - Cimarron - Eastman-Rochester Wind Ensemble - Frederick Fennell, Cond. NBC: America's Composers - March 23, 1953 - Gordon Skene Sound Collection -

Roy Harris to end the week and start a new one. One of the foremost American composers and one of the greatest of the 20th Century, Roy Harris is probably best known for his 3rd Symphony, which was a landmark when it was first performed by The Boston Symphony under Serge Koussevitsky in 1934 and has been considered the single greatest contribution to American music and has made him a household name, although he composed over 15 symphonies as well as some 170 works, including many works for amateurs. His output includes works for band, orchestra, voice, chorus and chamber ensembles.

Harris was a champion of many causes. He founded the International String Congress to combat what was perceived as a shortage of string players in the U.S., and co-founded the American Composers Alliance. In 1958 the U.S. State Department sent him, along with some fellow composers including Peter Mennin and Roger Sessions, to the Soviet Union as a "cultural ambassador"; he was impressed by the support for composers that the Soviet state provided, not aware at the time of how carefully his visit was managed. He was a tireless organizer of conferences and contemporary music festivals and a frequent radio broadcaster. His last symphony, a commission for the American Bicentennial in 1976, was mauled by the critics at its first performance. This may have been due to its themes of slavery and the Civil War, which were in contrast to the celebratory mood of the country.

Although the rugged American patriotism of his works of the 1930s and 1940s is reflected in his research into and use of folk music (and to a lesser extent of jazz rhythms), Harris was paradoxically obsessed with the great European pre-classical forms, especially the fugue (which we hear in the Third Symphony) and passacaglia (as featured in the Seventh). His customary mode of musical discourse, with long singing lines and resonant modal harmonies, is ultimately based on his admiration for and development of Renaissance polyphony. He also used antiphonal effects, which he exploited brilliantly with a large orchestra. Like many American composers of his time, he was deeply impressed by the symphonic achievement of Sibelius. In Harris's best works the music grows organically from the opening bars, as if a tiny seed gives birth to an entire tree. This is certainly the case with the Third Symphony, which joined the American repertoire during the same era as works by Aaron Copland and Virgil Thomson. The first edition of Kent Kennan's The Technique of Orchestration (1952) quotes three passages from this symphony to illustrate good orchestral writing for cello, timpani, and vibraphone, respectively. The book quotes no other Harris symphonies. Few other American symphonies have acquired such a position in the standard performance repertory as has this one, due in large part to the championing of the piece by Leonard Bernstein, who recorded it.

Here is a radio performance of Cimarron, premiered in 1941. This performance features the Eastman-Rochester Wind Ensemble led by Frederick Fennell and is from the America's Composers series from NBC Radio on March 23, 1954.

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Riccardo Chailly And The RSO Berlin In Music Of Schoenberg - 1985 - Past Daily Mid-Week Concert Riccardo Chailly - Making the transition from Opera to Symphonic over time.

Shoenberg: Gurre Lieder - Soloists and The RSO-Berlin conducted by Riccardo Chailly -May 27, 1985 - Sender Freies, Berlin -

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The music of Arnold Schoenberg in concert this week, featuring the RSO, Berlin conducted by Riccardo Chailly and featuring a full roster of exquisite talent in a performance or Arnold Schoenberg's masterpiece, Gurre-Lieder.

With Soprano Susan Dunn, Alto Brigitte Fassbaender, Teno Heiki Siukola, Hermann Becht, bass, Horst Hiestermann, Teno and Boris Cameli, Speaker along with the Men's Chorus Of The Dusseldorf Music Society and the Choir of St. Hedwig's Cathedral, Berlin.

It was recorded by Sender Freies, Berlin on May 27, 1985.

Riccardo Chailly started his career as an opera conductor and gradually extended his repertoire to encompass symphonic music.

Chailly made his debut with the Concertgebouw Orchestra, Amsterdam in 1985. From 1988 to 2004, Chailly was chief conductor of the Royal Concertgebouw Orchestra (RCO), where he dedicated himself to performances of the standard symphonic tradition, notably Anton Bruckner and Gustav Mahler, with which the orchestra made its name but also significantly broadened the repertoire with 20th century and contemporary music. Among notable projects, Chailly led the 1995 Mahler Festival that celebrated the 100th anniversary of Mahler's first concert at the Concertgebouw. Chailly also conducted opera in Amsterdam, both at the RCO's annual Christmas Matinee concert as well as at De Nederlandse Opera (DNO), where his final opera production in Amsterdam was DNO's staging of Giuseppe Verdi's Don Carlo. One report stated that Chailly decided in 2002 to leave the RCO when, at his last contract negotiations, the orchestra offered him an extension for two years rather than five.

In 1986, Chailly conducted the Gewandhausorchester Leipzig for the first time, at the Salzburg Festival, after Herbert von Karajan had introduced Chailly to the orchestra. His next guest-conducting appearance with the Leipzig orchestra was in 2001, and after an additional appearance, he was named the 19th Kapellmeister of the orchestra. In August 2005, he officially became the chief conductor of the Gewandhausorchester Leipzig and general music director (GMD) of Oper Leipzig. His initial Leipzig contract was to run through to 2010. In May 2008, he extended his contract with the Gewandhausorchester to 2015. However, he concurrently resigned as GMD of the Oper Leipzig, reportedly after conflict over the hiring of personnel without his consultation. In June 2013, the Gewandhausorchester and Chailly agreed on a further extension of his contract through 2020. However, in September 2015, the Gewandhausorchester announced the newly scheduled conclusion of Chailly's tenure as Gewandhauskapellmeister in June 2016, four years ahead of the previously agreed upon contract extension, at Chailly's request. His projects in Leipzig have included an international Mahler festival in May 2011, featuring 10 different orchestras.

Chailly became the first music director of the Orchestra Sinfonica di Milano Giuseppe Verdi (La Verdi) in 1999, and held the post until 2005. He now has the title of Conductor Laureate with La Verdi. In December 2013, La Scala announced the appointment of Chailly as its next music director, from 1 January 2017 to 31 December 2022. Chailly is scheduled to take the title of principal conductor of La Scala as of 1 January 2015, and to hold that title until 31 December 2016.In August 2015, the Lucerne Festival Orchestra announced the appointment of Chailly as its next music director, effective with the 2016 Lucerne Festival, with an initial contract of 5 years. On 31 January 2019 the Lucerne Festival Orchestra announced that the music director Chailly's tenure has extended to 2023.

Chailly has an exclusive recording contract with Decca, and his recordings with Decca include complete cycles of the symphonies of Johannes Brahms, Gustav Mahler and Anton Bruckner. His Brahms cycle with the Gewandhausorchester won the 2014 Gramophone Award for Recording of the Year. Other notable achievements include recordings of Igor Stravinsky, Edgard Varèse and Paul Hindemith. More recently, with the Gewandhaus Orchestra, Chailly has led recordings of Felix Mendelssohn, Johann Sebastian Bach, Brahms, Robert Schumann's symphonies in the re-orchestrations by Mahler, and a complete cycle of Beethoven's symphonies. His past recordings with American orchestras included Shostakovich: The Dance Album with the Philadelphia Orchestra and Stravinsky's Le Sacre du printemps with the Cleveland Orchestra.

Chailly has been married twice. He has a daughter, Luana, by his first marriage to Anahi Carfi, and a stepson from his second and current marriage to Gabriella Terragni.

In 1900, Arnold Schoenberg began composing the work as a song cycle for soprano, tenor and piano for a competition run by the Wiener Tonkünstler-Verein (Vienna Composers' Association). It was written in a lush, late-romantic style heavily influenced by Richard Wagner. According to Schoenberg, however, he "finished them half a week too late for the contest, and this decided the fate of the work." Later that year, he radically expanded his original conception, composing links between the first nine songs as well as adding a prelude, the Wood Dove's Song, and the whole of Parts Two and Three. He worked on this version sporadically until around 1903, when he abandoned the mammoth task of orchestrating the work and moved on to other projects.

By the time he returned to the piece in 1910, he had already written his first acknowledged atonal works, such as the Three Pieces for Piano, Op. 11, Five Pieces for Orchestra, Op. 16 and Erwartung, Op. 17. He had also come under the spell of Gustav Mahler, whom he had met in 1903 and whose influence may be discernible in the orchestration of the latter parts of the Gurre-Lieder. Whereas Parts One and Two are clearly Wagnerian in conception and execution, Part Three features the pared-down orchestral textures and kaleidoscopic shifts between small groups of instruments favoured by Mahler in his later symphonies. In Des Sommerwindes wilde Jagd, Schoenberg also introduced the first use of Sprechgesang (or Sprechstimme), a technique he would explore more fully in Pierrot Lunaire of 1912. The orchestration was finally completed in November 1911.

National Gallery Orchestra With Richard Bales - Americana Concert - 1982 - Past Daily Mid-Week Concert Samuel Adler - One of the many luminaries taking part in this week's festivities.

National Gallery Orchestra In Concert - Richard Bales, Conductor - June 29, 1982 - NPR - Gordon Skene Sound Collection -

A heavy-duty dose of Americana this week in the form of The National Gallery Orchestra, under the leadership of Music Director Richard Bales and featuring a veritable feast of American composers, most of whom a lot of us are not familiar.

The concert, broadcast by National Public Radio in June of 1982, opens with a performance of Summerstock Overture by Samuel Adler. It's quickly followed by a performance of the film score to Our Town by Aaron Copland. After that, a world premier performance of 612 for Piano And Chamber Orchestra by Frederick Koch, who also plays the piano. Followed by two short works by conductor Richard Bales; In Memory Of Leopold Stokowski, followed by Aaronesque, in honor of Aaron Copland on the occasion of his 80th birthday. After the Bales pieces, Symphony Number 1 by Beatrice Laufer and in conclusion, two marches by John Philip Sousa.

The American conductor and composer; Richard (Henry Horner) Bales, attended Episcopal High School in Alexandria, and then went on to study music at at the Eastman School of Music in Rochester, New York (Mus.B., 1936), at the ]uilliard Graduate School in New York (1938-1941), and conducting under the late master conducto Serge Koussevitzky at the Berkshire Music Center in Tanglewood (summer, 1940).

In 1935 Richard Bales made his conducting debut with the National Symphony Orchestra in Washington, D.C.; then was conductor of the Virginia-North Carolina Symphony Orchestra (1936-1938). In 1942 he became the first music director of the National Gallery of Art in Washington, D.C., and in 1943 founded the National Gallery Orchestra. He organized, promoted and presented Sunday concerts for more than four decades. He retired from the National Gallery in the summer of 1985 after 42 years as assistant director for music. In that period, he was responsible for 1,786 free concerts in the museum's Garden Courts, and he raised the National Gallery Orchestra from a fledgling ensemble to a level of musical eminence. He was a prominent figure in the Washington area for over fifty years. He also was music director of the Washington, D.C., Cathedral Choral Society (1945-1946). In 1960 he received the Alice M. Ditson Award. During his long tenure at the National Gallery of Art, he introduced numerous works by American composers, both old and new.

Richard Bales was also very well known for his compositions of music relating to the American Revolution and the Civil War. The most well known are The Confederacy, The Union, and The Republic. The latter has been performed at every presidential inauguration since 1955. He composed over 35 pieces of work, been a guest conductor for many of the nation's best orchestras, performed for presidents and foreign heads of state and received numerous honors and awards.

Richard Bales died on June 25, 1998 at the health care center at Lake Ridge. He had Parkinson's disease.

Beatrice Laufer (b New York, April 27, 1923) studied composition with Marion Bauer and Roger Sessions and orchestration with Vittoria Giannini. She has composed in a variety of instrumental and vocal genres. In 1952 she received permission to convert Eugene O’Neill’s play Ile into a one-act opera. The story tells of a sea captain’s obsession with whaling and its destructive effect on his wife, leading to a threat of mutiny. Sung in Swedish, Ile was first performed at the Royal Opera House, Stockholm, on 28 October 1958 and received ten further performances there. The first American production, directed by Phyllis Curtin, was at the Yale School of Music (1977). It was videotaped for the National Public Radio festival of one-act operas and broadcast in 1980. In June 1988, Ile had ten performances in Chinese at the Shanghai Opera House. The music, in keeping with O’Neill’s stormy style, is dramatic and colorful....

And that's a sample of what's in store for you when you hit the play button and settle down for a listen. Fascinating stuff - hardly, if ever played, but worth checking out and forming your own opinion on it. Some of it is over-the-top, some is light and frothy, some is self-conscious and some demands repeat listenings and a chance at further exposure in the concert halls.


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Vaclav Neumann And The Czech Philharmonic In Music Of Martinu And Beethoven - 1982 - Past Daily Mid-Week Concert Vaclav Neumann - Distinguished and unforgettably charismatic.

Vaclav Neumann - The Czech Philharmonic - Prague Spring Festival - May 18, 1982 - Gordon Skene Sound Collection -

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Historic concerts this week. From the 1982 Prague Spring Festival, a concert by The Czech Philharmonic led by Music Director and Principle Conductor Vaclav Neumann in music of Bohuslav Martinu and Ludwig van Beethoven.

The concert was given as part of the 40 year observance of the massacre and the burning of the village of Lidice during World War 2.

The concert starts with Martinu's Symphony Number 1 - and then is followed by the intermission which features a Czech Philharmonic broadcast recording of Martinu's Memorial To Lidice, written in 1943.

The concert ends with Beethoven's Symphony Number 3 "Eroica".

A bio via the Supraphon Record Company site (a long time affiliation with Neumann and The Czech Phil.):

Václav Neumann (1920–1995), a distinguished Czech conductor and unforgettably charismatic music director of the Czech Philharmonic Orchestra, made the highest number of discs of any artist, irrespective of profession, for Supraphon. They above all include complete sets and individual recordings of major works, with many of them having received the world’s most prestigious awards, as well as minor, generally popular pieces. The present album comprises a large selection of the recordings Václav Neumann made before he assumed the post of principal conductor of the Czech Philharmonic, with most of them possessing a great historical value. And a number of the featured recordings are appearing on CD for the very first time.

Unlike many other famed conductors, by the time he became head of the Czech Philharmonic, Neumann was already an established artist of international renown. He started his professional career as a violinist (he studied at the Prague Conservatory with Josef Micka) and concurrently took conducting lessons (from Pavel Dědeček and Metod Doležil). While still a student, he initiated the establishment of the legendary Smetana Quartet, in which he initially played first violin and later on viola. Following the end of World War II, be became a violist of the Czech Philharmonic, which from 1942 to 1948 was led by Rafael Kubelík. Neumann, however, wanted above all to be a conductor and definitely decided to pursue this path in 1947, after leaving the Smetana Quartet. A watershed in his career came in March 1948, when he had to stand in for Kubelík, who had suddenly fallen ill. In the same year, Kubelík emigrated and Neumann took over the majority of his scheduled concerts, conducting performances in Prague and other cities in Czechoslovakia. He led the Czech Philharmonic during its tour of East Germany and in 1949 conducted Smetana’s My Country at the opening concert of the Prague Spring music festival. Nevertheless, at the time he lacked sufficient experience to head as renowned an orchestra as the Czech Philharmonic and hence after a year left his post of chief conductor. From 1951 to 1954, Neumann served as music director of the Plzeň Radio Orchestra (today’s Plzeň Philharmonic), in 1954 he became conductor of the Brno Region Symphony Orchestra, which two years later he merged with the Brno Radio Symphony Orchestra, thus giving rise to the Brno State Philharmonic. Subsequently, he joined the Prague Symphony Orchestra, with whom he made his debut at the Komische Oper in Berlin. In 1957, he was appointed its chief conductor.

The Martinu is naturally engrossing and riveting.

Caveat: There is one glitch, and it happens 1 hour and 4 minutes into the concert, during the first movement of the Eroica. A tape break in the middle of recording resulted in the loss of a few seconds of music. So it sounds like a sudden skip in music. It's not. Blame using used tape to record concerts with at the time. But at least you've been warned - the rest of the concert is in good shape, and my apologies in advance.

Nikolai Lugansky And Ernest Martinez With Orquesta Sinfonica de Barcelona y Nacional de Cataluña In Concert 2010 - Past Daily Mid-Week Concert Nikolai Lugansky - extraordinary depth and versatility.

Orquesta Sinfonica de Barcelona y Nacional de Cataluña - Ernest Martinez, cond - Nikolai Lugansky, piano - May 9, 2010 - RNE

The highly acclaimed Russian pianist Nikolai Lugansky in concert from Barcelona this week. In a broadcast by Spanish Radio network RNE and their Radio Clasica channel from May 9, 2010, Lugansky along with Orquesta Sinfonia de Barcelona y Nacional de Cataluña and conducted by Ernest Martinez in a program of music by Ives, Guinjoan and Rachmaninov.

Starting with Ives' The Unanswered Question, followed by Catalonian composer Joan Guinjoan and his Soncrotro-Alba (Symphony Number 3) - Guinjoan died in January of this year. And ending the official portion of the concert with a performance of Rachmaninov's Piano Concerto Number 2 featuring Nikolai Lugansky. Quickly followed by a number of encores and a very enthusiastic audience.

A bit about Joan Guinjoan via his website:

Born on November 28th 1931 in Riudoms (Tarragona, Spain), Joan Guinjoan studied piano at the Conservatori del Liceu, Barcelona and the École Normale de Musique (Paris). He later studied composition with Taltabull (Barcelona) and at the Schola Cantorum (Paris).

Joan Guinjoan

After a brief but intense career as a pianist, from 1960 onwards he devoted himself to both composition and the dissemination of contemporary music. He founded the chamber group Diabolus in Musica together with Juli Panyella. With this formation, which he directed until 1986, he premiered many of his own works and those of other Spanish and international composers, and also offered a traditional 20th century repertoire including works by Stravinsky, Schoenberg and Webern, to mention but a few.

Since 1986, Joan Guinjoan has dedicated his career to composition. His catalogue contains over a hundred scores, including work for piano, chamber, orchestra, concerti for soloists and orchestra, vocal pieces, etc. His music has been performed in the five continents. Guinjoan has also received numerous composition prizes (Reina Sofía, National Music Prize, City of Barcelona, Koussevitsky Prize from the IRCA of New York and finalist in the Premio Mundial del Disco). There are six books dedicated to the analysis of his music, of which Testimonio de un músico by J.L. García del Busto is an outstanding example.

Joan Guinjoan has participated in many activities related to contemporary music (international composition competition juries, guest composer in the U.S.A., Germany, Poland, Switzerland, Russia, France, Cuba, etc., director of the Spanish National Television program Pentagrama siglo XX, director of the International Festival of Contemporary Music of Barcelona 1994, founder of the international composition competition Ciutat de Tarragona, etc.). He has also received various distinctions (the Gold Medal of Merit in the Fine Arts, the Cross of Sant Jordi, Doctor Honoris Causa of the Rovira i Virgili University of Tarragona, Commandeur des Arts et des Lettres). He is a member of the Barraquer Foundation, the Royal Catalan Academy of Fine Arts of Sant Jordi and the Board of Directors of the Sociedad General de Autores y Editores (SGAE). During his long artistic trajectory he has received numerous commissions from both Spain and abroad.

Among the most recent activities related with the composer, we must mention the Prize Daniel Montorio by the opera Gaudí and, the Premio Iberoamericano de Musica Tomás Luis de Victoria 2004, considered the Prize Cervantes of the music. Besides he premiered the composition of the work Arrels – for the Cobla Sant Jordi, under the conduction of Josep Pons, premiered in the Palau de la Música in 2008–, and Sonidos de la Tierra by Iñaki. Guinjoan passed away on January 1, 2019.

And Lugansky:

Highly acclaimed by the press, Nikolai Lugansky is a pianist of extraordinary depth and versatility.

He regularly works with top level conductors such as Osmo Vänskä, Yuri Temirkanov, Mikhail Pletnev and Gianandrea Noseda. Concerto highlights for the 2018/19 season include performances with the Minnesota Orchestra, Tokyo Metropolitan Symphony Orchestra, Orchestre de Paris, Russian National Orchestra, Orquesta Nacional de España, Iceland and Bamberg symphonies. A tour with Orchestre National de France takes him to China and then onto Taipei and Japan with St Petersburg Philharmonic.

A regular recitalist the world over, upcoming performances include the International Piano Series in London, Amsterdam’s Muziekgebouw, Paris’ Théâtre des Champs-Élysées and a residency at Flagey in Brussels. He has made a number of award-winning recordings and will release a new solo disc of Debussy for harmonia mundi later this year.

So now you know. Sit down, relax and hit the play button and come back in about 90 minutes.

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Alejandro Posada Leads The RTVE Symphony In Music Of Galindo, Roldan, Tovar And Marquez - 2010 - Past Daily Mid-Week Concert Alejandro Posada - innovative, visionary and champion of Latin American Music throughout the world.

Alejandro Posada and Orquesta de RTVE, España - In concert - October 15, 2010 - RNE Clasica -

Over to Spain this week for a rather short concert by the celebrated Orquesta Sinfonica de RTVE in Madrid, broadcast live and recorded on October 15, 2010 by Radio Nacional España.

Led by the Colombian-born Spanish conductor Alejandro Posada, the concert features works by Blas Galindo, Amadeo Roldan, Alejandro Tobar and Arturo Marquez. Sones de Mariachi by Galindo, followed by La Rembambaramba by Roland - Kalmary by Tobar and ending with Danon Number 2 by Marquez.

Maestro Alejandro Posada has developed an important artistic work in Europe and Latin America. He was the first Colombian in the history of his native country (Colombia) to be appointed Principal of a professional European orchestra of the Orquesta Sinfónica de Castilla y León 1 OSCyL) from 2002 to 2009 . His connection with this orchestra for more than a decade, led her to become one of the leading orchestras of the Spanish scene.

He is the founder and Artistic Director of Iberacademy - Iberoamerican Philharmonic Academy, and in addition to the OSCyL, he has been Principal Conductor of the Philharmonic and Chamber Orchestra of Sarajevo (Bosnia-Herzegovina), City Orchestra of Baden (Austria) and the National Orchestra from his native country (Colombia).

In addition to his outstanding career as a conductor, Maestro Posada has been internationally recognized as a visionary, mentor and pedagogue of young and talented musicians with the creation of several pioneering programs in Latin America, among which are: Iberacademy and the Philharmonic Academy of Medellín, AFMED. The Congress of the Republic of Colombia conferred Knight's order for "his work for the benefit of the Universal Culture" and the city of Miami made a special recognition for his successful international career and for "serving as an outstanding source of innovation" He is currently also a professor of direction at EAFIT University.

He frequently works with first-rate symphonic groups - he has directed close to 70 different orchestras, in more than 20 countries - which has allowed him to accumulate an extensive national and international career with internationally renowned soloists such as Gidon Kremer, Frank Peter Zimmermann , Julian Rachlin, Natalia Gutman, Gil Shaham , Ewa Podles , Alessio Bax , Steven Isserlis, Lilya Zilberstein, Simon Trpceski , Sergei Krilov , Maria Joao Pires , Lars Vogt, Sarah Chang, Gary Hoffman, Jean Yves Thibaudet, Piotr Anderwzeiski, Simon Trpčeski, Sarah Chang among others. In Medellín he conducted the only concert with orchestra that the renowned pianist Lang-Lang made in Colombia.

His discography includes more than fifteen international discs and DVDs, two of them nominated in Spain to the "Premios de la Música". He studied conducting at the University of Vienna where he graduated with honors unanimously, receiving the academic award of excellence granted by the Austrian Government.

This concert might be full of unfamiliar music to you - that should certainly not stop you from hitting the play button and enjoying this to pieces. Wonderful concert, top-notch band and excellent live recording. Can't ask for better.

Arthur Benjamin And The CBC Vancouver Symphony In Music Of Fleming And Champagne - 1944 - Past Daily Weekend Gramophone Arthur Benjamin - noted British composer who spent the war years as a noted Canadian conductor.

Arthur Benjamin, conducting The CBC Vancouver Symphony - Canadian Music In Wartime - October 5, 1944 - Gordon Skene Sound Collection -

The noted British composer Arthur Benjamin in a different role as conductor, leading an orchestra he was associated with during the years of World War 2, from 1941-1946.

This concert, a rarity that came by way of a program exchange between NBC Radio and The CBC in Canada called Canadian Music In Wartime features the CBC Vancouver symphony in works by two prominent Canadian composers; Robert Fleming and Claude Champagne.

Opening is Suite for Strings by Robert Fleming and concluding with a performance of Evocation by Claude Champagne.

About Arthur Benjamin (via the Boosey Hawkes website):
Arthur Benjamin was born in Sydney, Australia, on 18 September 1893 and received his earliest education in Brisbane. Even as a boy, he was determined to pursue his musical training in London, and in 1911 he achieved his aim, studying composition with Sir Charles Villiers Stanford and piano with Frederick Cliffe. At the outbreak of war in 1914 Benjamin joined the army, later transferring to the RAF. His wartime service was curtailed when his plane was shot down and he was captured. Demobilised on the return of peace, he travelled home to Australia, where he began to compose in earnest. But he soon found the atmosphere too restrictive, and in 1921 returned to England.

Although his First String Quartet (Pastorale Fantasia) was awarded a Carnegie Prize in 1924, Benjamin’s reputation was established initially through teaching: in 1926 he took up a professorship of piano at the Royal College of Music, where his students included the young Benjamin Britten. Benjamin’s compositions began to make an impact from the early 1930s onwards, particularly with his Violin Concerto (1932) and a comic opera, The Devil Take Her (1931), which enjoyed the championship of Sir Thomas Beecham.

In addition to his popular Overture to an Italian Opera (1938), Benjamin composed a number of light-music pieces, and it was one of these, the Jamaican Rumba, published in 1938, that brought him popular acclaim, making him something of a household name – so much so that the Jamaican government assigned him a free barrel of rum a year for his contribution to making the country known.
About Robert Fleming:
Robert James Berkeley Fleming (November 12, 1921 – November 28, 1976) was a Canadian composer, pianist, organist, choirmaster and teacher.

Robert was born in Prince Albert, Saskatchewan. At a young age his family settled in Saskatoon where he first studied with his mother. Between 1937 and 1939 he studied under Arthur Benjamin, and Herbert Howells in England at the RCM.

When he returned to Saskatoon he taught piano before making his formal debut in 1940 at Darke Hall in Regina and later toured Saskatchewan as a recitalist. While studying piano with Lyell Gustin in 1941-2 he became the assistant organist at the Church of St Alban the Martyr in Saskatoon. In 1941 and 1945 he attended The Royal Conservatory of Music (RCM), to which in later years he contributed music.

While at RCM he studied under Healey Willan for composition, Norman Wilks for piano, Ettore Mazzoleni for conducting, and John Weatherseed and Frederick Silvester for Organ. Between 1945 and 1946 he taught at Upper Canada College before joining the National Film Board, where he worked in Ottawa and Montreal as a staff composer between 1946 and 1958 before becoming music director between 1958 and 1970.

Between those years he was music director for the Ottawa Ballet Festival in 1953 and organist-choirmaster at Glebe United Church in 1954 and at St George's Anglican Church in Sainte-Anne-de-Bellevue, Quebec.

In 1970 he and his family moved back to Ottawa, where he taught 20th-century music and Canadian composers at Carleton University. In 1972 he became the organist-choirmaster at St Matthias' Anglican Church in Ottawa (Westboro). He died November 28, 1976, and is survived by his wife Margaret Fleming, his children Berkeley, Michael, Richard and Margot, and nine grandchildren.

And about Claude Champagne:

Claude Champagne (27 May 1891 – 21 December 1965) was a Canadian composer, teacher, pianist, and violinist. He played an instrumental role in establishing the Conservatoire de musique et d'art dramatique du Québec in 1942. In 1943 he was appointed the first assistant director of the Montreal Conservatoire. In the 1950s, with Boris Berlin, he published a series of sight reading exercise books for students. In 1950 his post-romantic work Concerto was recorded by BMI Canada, and in about 1955 his First String Quartet was performed by the Montreal String Quartet, and recorded by the CBC Transcription Service.

He was attached to the Montreal Catholic School Commission as co-ordinator of solfége in elementary schools, and he was at the same time professor at the McGill Conservatory. After that, he taught many Canadian composers including Jean Vallerand and François Morel.
Enjoy this broadcast performance from October 1944.
Stephen Hough With Leonard Slatkin And Orquesta y Coro Nacionales de España Play Music Of Ruiz, Rachmaninoff And Berlioz - 2010 - Past Daily Mid-Week Concert Stephen Hough - a Distinguished dual career as Pianist and composer.

Stephen Hough, Piano - Orquesta y Coro Nacionales de España cond. by Leonard Slatkin - May 23, 2010 - RNE Radio Clasica -
Concerts from Madrid this week, via Radio Nacional de España featuring British pianist Stephen Hough and the Orquesta y Coro Nacionales de España guest conducted by Leonard Slatkin in a concert recorded on May 23, 2010 by RNE's Radio Clasica in Madrid.

Pretty straightforward concert this week, with one notable exception - the opening work, Nebula by contemporary Spanish composer Manuel Ruiz. It's a nice contrast and compliments (in many ways) the rest of the concert. It's followed by Stephen Hough joining the orchestra in Rachmaninoff's Rhapsody on a Theme of Paganini, and an encore by Albeniz. At intermission there is an interview with Stephen Hough, which I have left in and then to finish the concert, Symphonie Fantastique by Hector Berlioz.

A bit about Stephen Hough via his website (which is always worth a visit):
One of the most distinctive artists of his generation, Stephen Hough combines a distinguished career as a pianist with those of composer and writer. Named by The Economist as one of Twenty Living Polymaths, Hough was the first classical performer to be awarded a MacArthur Fellowship and was made a Commander of the Order of the British Empire (CBE) in the New Year’s Honours 2014.

Since taking first prize at the 1983 Naumburg Competition in New York, Hough has performed with many of the world’s major orchestras and has given recitals at the most prestigious concert halls. He is a regular guest at festivals such as Salzburg, La Roque- d'Anthéron, Mostly Mozart, Edinburgh, and BBC Proms, where he has made more than twenty concerto appearances.

In 2001 Mr. Hough was the first classical performing artist to win a MacArthur Foundation Fellowship. He was awarded Northwestern University’s 2008 Jean Gimbel Lane Prize in Piano, won the Royal Philharmonic Society Instrumentalist Award in 2010 and in January 2014 was made a Commander of the Order of the British Empire by Queen Elizabeth in the New Year’s Honors List. He has appeared with most of the major European and American orchestras and plays recitals regularly in major halls and concert series around the world. His recent engagements include recitals in Chicago, Hong Kong, London, New York’s Carnegie Hall and Lincoln Center, Paris, Boston, San Francisco, the Kennedy Center and Sydney; performances with the Czech, London and New York Philharmonics, the Chicago, Boston, Pittsburgh, San Francisco, St. Louis, National, Detroit, Dallas, Atlanta and Toronto symphonies, and the Philadelphia, Minnesota, Budapest Festival and Russian National Orchestras; and a performance televised worldwide with the Berlin Philharmonic and Sir Simon Rattle. He is also a regular guest at festivals such as Aldeburgh, Aspen, Blossom, Edinburgh, Hollywood Bowl, Mostly Mozart, Salzburg, Tanglewood, Verbier, Chicago’s Grant Park, Blossom, and the BBC Proms, where he has made over 25 concerto appearances, including playing all of the works written by Tchaikovsky for piano and orchestra over the summer of 2009, a series he later repeated with the Chicago Symphony.

Many of Mr. Hough’s catalogue of over 50 albums have garnered international prizes including the Deutsche Schallplattenpreis, Diapason d’Or, Monde de la Musique, several Grammy nominations, eight Gramophone Magazine Awards including ‘Record of the Year’ in 1996 and 2003, and the Gramophone ‘Gold Disc’ Award in 2008, which named his complete Saint-Saens Piano Concertos as the best recording of the past 30 years. His 2012 recording of the complete Chopin Waltzes received the Diapason d’Or de l’Annee, France’s most prestigious recording award. His 2005 live recording of the Rachmaninoff Piano Concertos was the fastest selling recording in Hyperion’s history, while his 1987 recording of the Hummel concertos remains Chandos’ best-selling disc to date. His most recent releases, all for Hyperion, include Grieg Lyric Pieces; a recording of his mass, “Missa Mirabilis,” with the Colorado Symphony and Andrew Litton; a recital disc with Steven Isserlis including Mr. Hough's Sonata for cello and piano (Les Adieux); a solo recital of Scriabin and Janacek; and the Dvorak and Schumann concertos with the CBSO and Andris Nelsons.

Mr. Hough is also the featured artist in an iPad app about the Liszt Piano Sonata, which includes a fully-filmed performance and was released by the cutting-edge, award-winning company Touch Press.

Published by Josef Weinberger, Mr. Hough has composed works for orchestra, choir, chamber ensemble and solo piano. His “Mass of Innocence and Experience” and “Missa Mirabilis” were respectively commissioned by and performed at London’s Westminster Abbey and Westminster Cathedral. In 2012, the Indianapolis Symphony commissioned and performed Mr. Hough’s own orchestration of “Missa Mirabilis,” which was subsequently performed by the BBC Symphony as part of Mr. Hough’s residency with the orchestra. Mr. Hough has also been commissioned by the musicians of the Berlin Philharmonic, the Gilmore Foundation, The Genesis Foundation, London’s National Gallery, Wigmore Hall, Le Musée de Louvre and Musica Viva Australia among others.

A noted writer, Mr. Hough regularly contributes articles for The Guardian, The Times, The Tablet, Gramophone and BBC Music Magazine and wrote a blog for The Telegraph for seven years which became one of the most popular and influential forums for cultural discussion and for which he wrote over six hundred articles. His book, The Bible as Prayer, was published by Continuum and Paulist Press in 2007, and his first novel, The Final Retreat, will be published in early 2018 by Sylph Editions. Mr. Hough resides in London where he is a visiting professor at the Royal Academy of Music and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. He is also a member of the faculty at The Juilliard School.

Your job is to hit the play button and relax for the next 90 or so minutes. Fair enough? Come back next week.
Seiji Ozawa And The Boston Symphony In Music By Handel, Panufnik And Schumann - 1982 - Past Daily Mid-Week Concert Andrzej Panufnik - a world premier of his Sinfonia Votiva.

Seiji Ozawa and The Boston Symphony - Music of Handel, Panufnik and Schumann - January 30, 1982 - Gordon Skene Sound Collection -

Another historic concert this week - again featuring Seiji Ozawa leading the Boston Symphony. This time it's a World Premier - Sinfonia Votiva by Andrzek Panufnik, including an interview with the composer just prior to the playing of the piece.

Opening the concert is Handel's Concerto Grosso in D - followed by the Panufnik and ending the concert with Schumann's Symphony Number 4.

A few words on Sir Andrzej Panufnik via his biography:
Andrzej Panufnik is one of the most important and original symphonic composers of the 2nd half of the 20th century. His output includes ten symphonies, with Centenary commissions from Sir Georg Solti for the Chicago Symphony Orchestra and Seiji Ozawa for Boston. The London Symphony Orchestra commissioned three works from him, and recorded many more of his works under the direction of Jascha Horenstein and then of the composer himself. Leopold Stokowski premièred several of his works in the USA and England. Gennady Rozhdestvensky recorded his Hommage à Chopin in Leningrad. The young Evelyn Glennie first came to prominence winning the Shell-LSO Scholarship with his Concertino for Timpani, Percussion Strings; this work later received its US première conducted by André Previn. Yehudi Menuhin commissioned his Violin Concerto for the Windsor Festival and recorded it with Panufnik conducting. Mstislav Rostropovich premièred and recorded his Cello Concerto with the LSO, and the Royal Philharmonic Society commissioned his Ninth Symphony, which was premiered by the BBC Symphony Orchestra conducted by the composer. In addition to four concertos, he composed three string quartets, three cantatas and many works for chamber and string ensembles. His works are probably as much recorded as any classical composer’s of that period. Choreographers of his music have included Martha Graham, Kenneth MacMillan, Krzysztof Pastor, Robert Cohan, David Bintley, Gerald Arpino, Emil Wesołowski and Paul Mejia.

Born in Warsaw on 24th September 1914, Panufnik started to compose at the age of nine. He graduated from the Warsaw Conservatoire with Distinction in both composition and conducting, developing his classical conducting skills as a favourite pupil of Felix Weingartner at the Vienna Academy, and then studying French Impressionist composers with Philippe Gaubert in Paris, with further music explorations in London. Just before the outbreak of World War II Panufnik returned to Warsaw to look after his parents.

In Nazi-occupied Poland, with public concerts banned, he arranged a massive amount of classical music for two pianos which he played as a duo in “artistic cafés” with his friend and contemporary Witold Lutosławski; also performing with his Jewish violinist friend Tadeusz (known post-war as Thadé Geisler). Despite the Nazi terror in Warsaw, at great personal risk he conducted illegal concerts and composed patriotic resistance songs, including the still-famous Warszawskie Dzieci. During the war he lost most of his closest relatives, as well as every note of music he had composed in his first 30 years, including two symphonies, destroyed by fire during the 1944 Warsaw Uprising.

In 1945 the 31-year-old Panufnik, eager to help the revival of classical music post-war, was appointed chief conductor of the Kraków Philharmonic Orchestra, having to seek out instrumentalists, old and young, scattered all over Poland. Then, in 1946 he was similarly asked to restore the Warsaw Philharmonic to life.

In those early post-war years, he began to reconstruct his lost symphonies and other works, but soon decided he must bury the past and start afresh. He kept only three restorations, his Five Polish Peasant Songs, the Piano Trio (his Opus 1) and Tragic Overture (dedicated to his courageous brother Mirek, a radio operator in the Polish Underground). He won international admiration and honours in his own country, the originality of those mid-1940s works establishing him as the “father” of the Polish avant-garde.

After 1948, with the imposition of Soviet Socialist Realism, Panufnik’s situation changed dramatically. As Poland’s leading composer, greatly respected throughout Europe, he was under much more intense pressure than his compatriots, bullied to write according to the Soviet imposition of Socialist Realism, artificially “positive” music composed according to the dictates of the authorities. Everything he composed of value was condemned as “western, bourgeois, decadent”. In 1949, the centenary of Chopin’s death, he was elected Vice-President of the Music Council of UNESCO, though the Polish authorities never allowed him to attend any connected ceremonies or concerts. He worked tirelessly to try to obtain better financial and other help for his fellow composers and cared deeply about the future of Polish music; however, creatively stultified by criticism, restrictions and intolerable political pressures, he ceased to be able to compose, the driving force of his life thus extinguished. In 1954 he made a dramatic escape from Poland as a protest against Communist control over creative artists, and this resulted in a raft of vicious propaganda and lies put out about him followed by total censorship of his name and his music in Poland for 23 years

Eventually, from 1977, Panufnik works were gradually performed in the ever-innovatory Warsaw Autumn Festival thanks to the insistence of his fellow Polish composers. Having left as a protest, he refused to return to Poland while the Communists were still in power. In 1990, when democracy was restored, he made a momentous return to the city of his birth for the performance of eleven of his works at the Festival. He was greeted on the airport tarmac by a crowd carrying red roses and brass players performing his Fanfare.
If you aren't already familiar, now you are. As for the rest - sit back and relax. This concert's a good one.
Sir Michael Tippett And The Boston Symphony In Music Of Sir Michael Tippett - 1978 - Past Daily Mid-Week Concert Sir Michael Tippett - One of the leading British Composers of the 20th century.

Sir Michael Tippett conducts The Boston Symphony - August 5, 1978 - Gordon Skene Sound Collection -

A historic concert this week. Sir Michael Tippett, considered one of the leading British Composers of the 20th century, leading the Boston Symphony in a performance of his A Child In Our Time. It was broadcast from Tanglewood and recorded on August 5, 1978.

The soloists include: Benita Valente, soprano - Lili Chookasian, contralto - Alexander Stevenson, tenor and Norman Baily, baritone. The Tanglewood Festival Chorus is conducted by John Oliver.

The concert opens with a performance of Bach's Brandenburg Concerto Number 3 with members of the Boston Symphony.

Sir Michael Tippett (2 January 1905 – 8 January 1998) rose to prominence during and immediately after the Second World War. In his lifetime he was sometimes ranked with his contemporary Benjamin Britten as one of the leading British composers of the 20th century. Among his best-known works are the oratorio A Child of Our Time, the orchestral Fantasia Concertante on a Theme of Corelli, and the opera The Midsummer Marriage.

Tippett's talent developed slowly. He withdrew or destroyed his earliest compositions, and was 30 before any of his works were published. Until the mid-to-late 1950s his music was broadly lyrical in character, before changing to a more astringent and experimental style. New influences, including those of jazz and blues after his first visit to America in 1965, became increasingly evident in his compositions. While Tippett's stature with the public continued to grow, not all critics approved of these changes in style, some believing that the quality of his work suffered as a consequence. From around 1976 Tippett's late works began to reflect the works of his youth through a return to lyricism. Although he was much honored in his lifetime, critical judgement on Tippett's legacy has been uneven, the greatest praise being generally reserved for his earlier works. His centenary in 2005 was a muted affair; apart from the few best-known works, his music has been performed infrequently in the 21st century.

Having briefly embraced communism in the 1930s, Tippett avoided identifying with any political party. A pacifist after 1940, he was imprisoned in 1943 for refusing to carry out war-related duties required by his military exemption. His initial difficulties in accepting his homosexuality led him in 1939 to Jungian psychoanalysis; the Jungian dichotomy of "shadow" and "light" remained a recurring factor in his music. He was a strong advocate of music education, and was active for much of his life as a radio broadcaster and writer on music.

Enough out of me - hit the play button and relax - it's Wednesday and it's all downhill from here.
Grant Johannesen With Lorin Maazel And The Cleveland Orchestra In Concert - 1978 - Past Daily Mid-Week Concert Pianist Grant Johannesen - once received a staggering 16 encores.

Cleveland Orchestra In Concert - Grant Johannesen, Piano - Lorin Maazel, Conductor - Broadcast July 27, 1978 - Gordon Skene Sound Collection -

Another historic Cleveland Orchestra concert. This week featuring the legendary American pianist Grant Johannesen, along with Conductor Lorin Maazel in music of Ravel, De Falla, Milhaud, Debussy and Dukas.

Starting with Ravel's Me Mere l'Oye - followed by Johannesen joining Maazel and the orchestra for performances of De Falla's Nights in The Gardens Of Spain and the first Cleveland performance of Darius Milhaud's Le Carnival d'Aix - followed by Debussy's Iberia and ending with one of the slowest performances ever of Dukas' L'apprenti sorcier.

It was recorded much earlier than the broadcast date, which was July 27, 1978, so if anyone has the correct date, I'm open to suggestions.

Grant Johannesen was born in Salt Lake City and discovered at the age of five by a teacher who lived across the street. He imitated whatever he heard her play, and she did not appreciate it.

He studied with Robert Casadesus, Egon Petri, Roger Sessions, and Nadia Boulanger. He made his Manhattan recital debut when he was 23, and won the Concours International when he was 28.

He toured extensively, both with the New York Philharmonic under Dmitri Mitropoulos, and as a solo performer. His performances in Moscow were especially well received. He was once encored 16 times.

He was known as an interpreter of French piano music and recorded the complete piano works of Gabriel Fauré.

He served as director of the Cleveland Institute of Music from 1974 to 1985. He was a frequent soloist with both the Cleveland Orchestra and the Utah Symphony.

He was a National Patron of Delta Omicron, an international professional music fraternity. He was awarded an honorary doctorate of music degree from the Hartt School, University of Hartford in 1993.

Johannesen was married to the Juilliard-trained composer Helen Taylor (whose works for piano were among his recordings) from 1943 until her death in an automobile accident in 1950. He was married to his second wife, the cellist Zara Nelsova (with whom he sometimes performed), from 1963 until their divorce in 1973. From his first marriage, he had a son, David Johannesen.

He died in 2005 at the age of 83 in Germany, where he had been visiting friends.

Sit back and enjoy the concert.
Carlo Maria Giulini And The Philharmonia At The 1961 Edinburgh Festival - Past Daily Mid-Week Concert Carlo Maria Giulini - Achieved results by projecting serene authority and providing a model of selfless devotion to the score.

Carlo Maria Giulini And The Philharmonia in concert at the 1961 Edinburgh Festival - September 7, 1961 - BBC Radio - Gordon Skene Sound Collection -

Something historic this week. A concert from the 1961 Edinburgh Festival featuring Carlo Mari Giulini leading the Philharmonia in music by Mussorgsky and Tchaikovsky. Recorded by the BBC on September 7, 1961 at Usher Hall in Edinburgh.

Starting with Mussorgsky's Prelude to Act 1 of Khovanschina - followed by a performance of Tchaikovsky's Symphony number 6 "Pathetique' and ending with Mussorgsky again; his Pictures at An Exhibition.

Giulini made his conducting debut with the Augusteo orchestra in May 1945. The following year, he became musical director of Italian Radio, forming the Milan Radio Orchestra in 1950 and making numerous broadcasts of little-known works. He made his debut in the opera house with La Traviata at Bergamo in the same year, and conducted important revivals of Verdi's Attila (in a concert version) in Venice in 1951, and in 1952 Cavalli's Didone at the Florence Maggio Musicale and Gluck's Iphigénie En Tauride at Aix-en-Provence.

Return visits to these and other festivals brought more successes, but it was a broadcast performance of Haydn's comedy Il Mondo Della Luna (The World Of The Moon, then virtually unknown) which proved the turning point. It attracted the attention of Arturo Toscanini, and subsequently of Victor de Sabata, who quickly engaged him as his assistant at La Scala: in February 1952, with Falla's La Vida Breve, Giulini conducted his first opera at Italy's most famous opera house, and succeeded De Sabata as its principal conductor in 1953.

Meanwhile he had not neglected the concert platform. He made his US debut in Chicago in 1955, and in 1958, at the time of the Covent Garden Don Carlos, began an association with the Philharmonia Orchestra which was to bear fruit in a rich succession of concerts and recordings for EMI.

This began in 1959 with two Mozart recordings, Don Giovanni and Le Nozze Di Figaro: brilliantly produced by Walter Legge, who assembled for both operas casts that could hardly be matched in their day, these have come to be regarded as classics. The records that followed during the early 1960s maintained a quality that came to be expected as a matter of course, and reflect a London concert repertory that included music by Schubert, Brahms, Dvorak, Tchaikovsky, Debussy, Ravel, brilliant Rossini overtures and memorable performances of the Verdi Requiem - finally committed to disc, with the four Pezzi Sacri, in 1964.

This concert, from the 1961 season of the Edinburgh Festival was part of that long and historic association. Although many of the live concerts with Giulini and the Philharmonia have been issued commercially over the years, and this performance of Pictures At An Exhibition is one of them, many have not. As far as I can tell, neither the Khovanschina nor the Tchaikovsky from this concert have been released commercially - so you may have an extra added rarity here.

In any case - it's Wednesday and it's time to relax and get ready for the rest of the week.

Miguel Harth-Bedoya And Orquesta Sinfonica de RTVE Play Music of Soro, Benzecry And Dvorak In Concert - 2013 - Past Daily Mid-Week Concert Miquel Harth-Bedoya - Peruvian conductor with a vast range of repertoire.

Miquel Harth-Bedoya And Orquesta Sinfonica de RTVE - Live in Concert - February 22, 2013 - RNE Radio Clasica -

Concerts from Spain this week with a really fascinating one featuring Orquesta Sinfonica y Coro de RTVE in concert from Madrid and recorded live by RNE Radio Clasica on February 22, 2013.

Two composers I am not very familiar with begin the concert: Tres Aires Chilenos by Chilean composer Enrique Soro and Colores de la Cruz del sur by Argentinian composer Esteban Benzecry. The concert concludes with Dvorak's Symphony number 7.

A few words about Enrique Soro (via Wikipedia and a gist translation):
Considered one of the first Chilean symphonists, Enrique Soro Barriga made his first studies in Concepción, with Clotilde de la Barra ( piano ) and Domingo Brescia ( harmony and counterpoint ). With scholarship from the Chilean Senate. In 1898 he went to study in Italy, at the Royal Conservatory of Milan, one of the most important in the world at that time. From this place he graduated in 1904, the year in which he began a recognized and extensive career of pianist works of the universal repertoire, in addition to their own.

With musician Luigi Stefano Giarda, Soro soon became professor of harmony and counterpoint of the National Conservatory of Music in Chile, where he quickly became deputy ( 1907 ) and then director, professor of composition and professor of piano ( 1919 ), remaining linked to this institution for almost two decades. He was professor to: Domingo Santa Cruz , Juan Allende-Blin, Nino Marcelli, Héctor Melo, Juan Casanova Vicuñaand Roberto Puelma, all relevant personalities of the Chilean musical world that survived him.

He premiered and presented his works in Europe, the United States and Latin America ; He recorded piano rolls for the Aeolian Company, records for Columbia and received a 50-year contract with the publisher Schirmer .

Recognized as a great improviser in the piano, his life was linked to great personalities of the time, such as Pau Casals , Vincent D'Indy , Pietro Mascagni , Ignacy Paderewski , Giacomo Puccini , Maurice Ravel and Camille Saint-Saëns , among others.

From the musical point of view, his work is linked to the classical-romantic tradition, with a recognized style immersed in classical forms, full of a spontaneous lyrical sense. The researcher Raquel Bustos recognizes two periods in his work: from its beginnings until 1911 (beginning period), and, subsequently, from 1911 until his death in 1954 (maturity period). He wrote few works with vernacular material in its natural state, being the most interpreted Tres aires chilenos, from 1942.
And these words about Esteban Benzecry from the Philadelphia Chamber Music Society website:
Argentinean composer Esteban Benzecry was born in 1970. After receiving his diploma as professor of painting from the Buenos Aires Superior School of Fine Arts, Benzecry studied musical composition with H. Gerardi and S. Hualpa in Argentina and with J. Charpentier at the Paris CNR, where he was awarded First Prize by a unanimous jury in 1999. He pursued his studies in composition with P. Mefano and in electro acoustic music with L. Naon and L. Cuniot at CNSM. His most recent works attempt a fusion between diverse aesthetic currents in European contemporary music and rhythms and folklore rooted in the Latin American tradition.

His works have been commissioned and performed by the Carnegie Hall, Sydney Opera House, The Royal Concertgebouw Orchestra, Los Angeles Philharmonic, Gothenburg Symphony Orchestra, Helsinki Philharmonic, Tampere Philharmonic, Stavanger Symphony, Sydney Symphony Orchestra, Orquesta de RTVE Radio Television espaí±ola, Orquesta y Coro de la Comunidad de Madrid, Orquestra Gulbenkian de Lisboa, Orchestre National de France, Orchestre Philharmonique de Radio France, Orchestre National de Montpellier, Atlanta Symphony Orchestra, Fort Worth Symphony Orchestra, the Colburn Orchestra, Orchestre Colonne de Paris, Orchestre Pasdeloup, Orchestre Lamoureux,
ensemble Itineraire, Simon Bolivar Orchestra of Venezuela, among others, and the principal orchestras of Latin America.

He was distinguished by the Musical Critics Association of Argentina, Academie des Beaux Arts de l’Institut de France . In 1995 he was composer-in-residence at the Yehudi Menuhin International Music Academy (Switzerland) and in 2004 he was winner of the Fondation d’entreprise Groupe Banque Populaire. He is a resident composer at the Casa de Velázquez in Madrid from 2004 to 2006. In 2008 he received a John Simon Guggenheim Memorial Foundation Fellowship for Music Composition.
An interesting and very rewarding concert that certainly qualifies in the Anti-Road Rage Wednesday category. I would definitely pull up a chair, relax and spend the next 90 minutes with this one.
Jean Martinon And The Radio Eireann Symphony Play Music Of E.J. Moeran - 1948 - Past Daily Weekend Gramophone E.J. Moeran - A rich tapestry of landscapes.

E.J. Moeran - Serenade in G - Radio Eireann Symphony - Jean Martinon, Conductor - 1948 - Gordon Skene Sound Collection -

The music of E.J. Moeran this weekend - taking a small break from our festival of Americana (back next week . . .I promise). A performance, and I suspect the radio premier performance of his Serenade in G for Orchestra, premiered in 1948. Although there are no dates of exactly when this broadcast aired, it's fairly certain that 1948 is the year of this broadcast. First, 1948 was the year it had changed its name from The National Symphony Orchestra of Ireland to Radio Eireann Symphony (later RTÉ) and that Jean Martinon was a frequent conductor of the orchestra from 1946 until Milan Horvath became Music Director in 1953. So I think it's safe to say this was the first broadcast performance of this work. Perhaps RTÉ can shed some light if they've kept paperwork.

Ernest John (E.J.) Moeran was born in Heston (now in the London Borough of Hounslow), the son of the Rev Joseph William Wright Moeran, an Irish-born clergyman, and his wife Ada Esther (born Whall). The family moved around for several years as his father was appointed to various parishes but they eventually settled in Bacton, on the coast of Norfolk.

Moeran studied the violin and the piano as a child. He was educated from an early age at home, by a governess. At the age of ten, he was sent to Suffield Park Preparatory School in Cromer, north Norfolk. In 1908, he was enrolled at Uppingham School where he spent the next five years. He was taught music by the director Robert Sterndale Bennett (grandson of Sir William Sterndale Bennett), who greatly encouraged his talents. On leaving Uppingham in 1913, he studied piano and composition at the Royal College of Music with Charles Villiers Stanford. He was also a member of the prestigious Oxford & Cambridge Musical Club.

His first mature compositions, songs and chamber music, date from this time. He also began collecting and arranging folk music of Norfolk and other regions. He collected about 150 folk songs in Norfolk and Suffolk. His preferred method was to sit in a country pub and wait until an old man started singing. He noted the song down and then asked for more. According to the biography The Music of E. J. Moeran by Geoffrey Self (1986), he spent time living with gypsies, but no further details are available. He spent some time after the war living at Kington, Herefordshire.

By the mid-1920s, Moeran had become close friends with Peter Warlock and they lived for some years in Eynsford, Kent, notorious among the locals for their frequent drunken revelry. For the rest of his life, Moeran had problems with alcohol, later joined by mental instability. After Warlock's death in 1930, Moeran became interested in his Irish roots and began spending much of his time in Kenmare, County Kerry.

As a person, E. J. Moeran was greatly influenced by a number of people. However, it was the time spent with Peter Warlock in Eynsford that had the greatest impact on his life. While Warlock was seemingly capable of drinking alcohol to excess without any apparent long-term effects, Moeran developed a dependency which handicapped him for the remainder of his life. His later problems have been attributed to his war wound to the head, but this is incorrect. By 1930, Moeran had become an alcoholic.

Although English and middle-class, Moeran was at ease in a bar surrounded by local characters from local farms. Indeed, until 2007, "Moeran's Bar" at the hotel in Kenmare where he lived was named after him. He was looked on with affection by all who knew him, and his gauche, bumbling personality belied a very sharp-witted character who was quick to learn and take up new approaches to music. He also had an encyclopedic knowledge of trains and train timetables.

He married the cellist Peers Coetmore on 26 July 1945. Although the marriage was not entirely happy, it inspired two of Moeran's finest late works, the Cello Concerto and Cello Sonata.

He died suddenly in 1950, probably from a cerebral hemorrhage, in Kenmare at the age of 55. He was found in the Kenmare River and it was at first assumed he had drowned. However, an inquest later established that he had died before falling into the water.

Interest in Moeran's music has resurfaced in recent years, although much of it is still unknown to most listeners. His Serenade has been recorded several times over the years, so it's not that much of a stranger to audiences.

Whether or not you are familiar with his music, E.J. Moeran is a figure worth a look at and listen to - it's a good addition to the library.

Sir Colin Davis And The Boston Symphony Play Music Of Mendelssohn And Sibelius - 1975 - Past Daily Mid-Week Concert Sir Colin Davis - made a historic contribution to music.

Sir Colin Davis and The Boston Symphony in Concert- November 28, 1975 - Gordon Skene Sound Collection -

Sir Colin Davis leads the Boston Symphony this week in another historic concert from the vaults. This one is from November 28, 1975 and features Sir Colin leading the orchestra in music by Mendelssohn and Sibelius.

Starting off with selections from Midsummer Nights Dream and then continuing with Sibelius' Tapiola Suite and ending the concert with Sibelius' Symphony number 6. It was recorded on November 28, 1975.

Sir Colin Rex Davis CH CBE (25 September 1927 – 14 April 2013) was an English conductor, known for his association with the London Symphony Orchestra, having first conducted it in 1959. His repertoire was broad, but among the composers with whom he was particularly associated were Mozart, Berlioz, Elgar, Sibelius, Stravinsky and Tippett.

He studied clarinet, but was intent on becoming a conductor. After struggles as a freelance conductor from 1949 to 1957, he gained a series of appointments with orchestras including the BBC Scottish Orchestra, the BBC Symphony Orchestra and the Bavarian Radio Symphony Orchestra. He also held the musical directorships of Sadler's Wells Opera and the Royal Opera House, where he was principal conductor for over fifteen years. His guest conductorships included the Boston Symphony Orchestra, the New York Philharmonic and the Dresden Staatskapelle, among many others.

As a teacher, Davis held posts at the Royal Academy of Music, London, and the Landesgymnasium für Musik "Carl Maria von Weber" (preparatory school for music) in Dresden. He made his first gramophone recordings in 1958, and his discography over the next five decades was extensive, with a large number of studio recordings for Philips Records and a substantial catalogue of live recordings for the London Symphony Orchestra's own label.

n the 1960s, Davis signed as an exclusive artist for Philips Records, with whom he made an extensive range of recordings in the symphonic repertoire and a large number of operatic recordings, including the major Mozart operas; operas by Tippett, Britten, Verdi and Puccini; and a comprehensive survey of the operas of Berlioz, culminating in an award-winning first recording of the complete Les Troyens issued in May 1970.

Davis's 1966 Philips recording of Handel's Messiah was regarded as revelatory at the time of its issue for its departure from the large-scale Victorian-style performances that had previously been customary. Other Philips recordings included a 1982 set of Haydn's twelve London symphonies with the Royal Concertgebouw Orchestra "distinguished by performances of tremendous style and authority, and a sense of rhythmic impetus that is most exhilarating"; and a 1995 Beethoven symphony cycle with the Dresden Staatskapelle, of which Gramophone wrote, "There has not been a Beethoven cycle like this since Klemperer's heyday."

Davis made a number of records with the Boston Symphony Orchestra for Philips, including the first of his three Sibelius cycles, which remains in the CD catalogues. They also recorded works by Debussy, Grieg, Schubert, Schumann, and Tchaikovsky.

For RCA Victor Red Seal, Davis recorded complete symphony cycles of Sibelius (with the LSO), Brahms (Bavarian Radio Symphony Orchestra, 1989–98), and Schubert (Dresden Staatskapelle, 1996).

Perfect Anti-Road Rage Wednesday Music - grab a chair, a glass (or a pipe, or a bag of something) and relax for the next 80 or so minutes. You earned it.
Beatrice Uria-Monzon With Michel Plasson And Orchestre National de Lyon In Concert From Paris - 2011 - Past Daily Mid-Week Concert Beatrice Uria-Monzon - Carmen was her calling card.

Beatrice Uria-Monzon with Michel Plasson conducting Orchestre National de Lyon - In Concert from Paris - March 6, 2011 - Radio France Musique

Over to Paris this week for a special concert featuring the Spanish-born Mezzo-soprano Beatrice Uria-Monzon and the Orchestre National de Lyon led by the legendary Michel Plasson. It was all recorded for posterity by Radio France Musique from the stage at the Opera Comique Salle Favart in Paris on March 6, 2011.

Totally French this week - with Pelléas et Mélisande by Gabriel Fauré - Poémé de l'amour et de la mer by Ernest Chausson - Scénes de féerie by Jules Massenet and ending the concert with a performance of the Bizet Symphony in C major.

A few words about Béatrice Uria-Monzon via her website (gist translated):
Béatrice Uria-Monzon spent her formative years in her native town of Agen south west of France. With her Baccalauréat safely under her belt and with her love of Art acquired from her father painter, she then studied in Art History while attending at the same time the Bordeaux Conservatoire, followed in 1984 by the Centre National d’Artistes Lyriques (CNIPAL) in Marseille. She took further advanced musical training at the l’École d’Art Lyrique from the Paris National Opera and rapidly made her debuts in the major French opera houses : Lyon, Toulouse, Aix-en-Provence, Bordeaux, Nancy, Marseille in a varied repertoire.

1993 marked a turning point in her career with her debut in the role of Carmen in J-L Gomez’s new production at the Bastille Opera, where her interpretation distanced her straight away from the standard usually performances associated with the character. She then revived the role on both national and international stages: the Teatro Colon in Buenos Aires, Miami Opera, the Teatro Regio in Turin, Arènes in Verona, the Orange Summer Festival, the Vienna Staatsoper, the Metropolitan Opera in New York, Houston Grand Opera, the Bayerische Staatsoper in Munich, Liceu de Barcelone, la Fenice, Palermo….

She then enlarged her French repertoire with her first Dalila in Zurick,then Béatrice in Béatrice and Bénédicte in Bordeaux, Nancy, Tours, Giulietta in » les Contes d’Hoffmann » at the Chorégies d’Orange, french summer festival, La Scala de Milan, and the Paris National Opera.

She has also addressed the German repertoire first with Orlowsky from Johan Strauss at the Paris National Opera and Venus in Tannhaüser she gave four times at the Paris National Opera, at the “ Teatro dell Opera di Roma”, at the Gran Teatro del Liceu in Barcelona and the Opera National du Rhin in Strasburg.

She gave as well Ghita in » Der Zwerg » from Zemlinsky at the Paris National Opera.
One should also add Judith in the Beard Blue Castle from Bartok at the Paris National Opera.
A few weeks back for her debut in Lady Macbeth in Brussels, the press recognized unanimously her remarkable performance.
Coming soon in the Opera Bastille in Paris she will be singing La contessa de Sérisy in « Trompe la mort « from Luca Francesconi, a contemporary first worldwide creation

During her career she has worked with conductors such as S. Ozawa, K. Nagano, A. Jordan, G. Prêtre, M. Plasson, A. Lombard, M-W. Chung, J-C Casadesus, G. Bertini, J. Conlon, L. Slatkin, N. Santi, M. Janowski, A. Lombard, B. De Billy, Daniel Oren, Evelino Pido, Paolo Carignani , Alain Altinogliu.

Amongst the list of directors appear R. Carsen, H. Kupfer, J-L Gomez, E. Sagi, L.Ronconi, G. Deflo, La Fura dels Baus, P. Caurier et M. Leiser, K. Warnert, P.Konwitschny…C.Bieito…N. Dufflot, J.C.Auvray…C.Roubeau.

Béatrice Uria-Monzon can often be found performing in concerts with Orchestra. Her credits include “Les Nuits d’Eté” and « la mort de Cléopâtre » from Berlioz. Shéhérazade from Ravel, “Le Poème de l’Amour et de la Mer” from Chausson, the Wesendonk lieder from Wagner. With piano, Ravel, Duparc and Fauré, the Spanish repertoire of Granados, De Falla, Montsalvatge and Mompou and in Oratorio : the Requiem of Verdi, Fauré and the Stabat Maters of Rossini and Pergolesi.
Once again, Anti-Road Rage Wednesday scores mightily - the relaxation settings are on maximum. Take advantage of the peace and chill out for at least the next 75 minutes. Come back a new person.
Valery Gergiev And The London Symphony - In Concert At Aix En Provence Festival 2011 - Past Daily Mid-Week Concert Valery Gergiev - A celebrated conductor, not without baggage.

Valery Gergiev and The London Symphony - Music Of Debussy and Shostakovich - Aix en Provence Festival - July 23, 2011 - Radio France Musique.

Celebrated conductor Valery Gergiev leads the London Symphony in music of Debussy and Shostakovich at the 2011 Aix en Provence Festival - recorded on July 23, 2011 by Radio France.

The concert starts with Debussy's La Mer and heads right into Shostakovich's Symphony Number 8.

Valery Gergiev is a Russian conductor and opera company director of Ossetian origin. He is general director and artistic director of the Mariinsky Theatre, chief conductor of the Munich Philharmonic and artistic director of the White Nights Festival in St. Petersburg.

In 1978, he became assistant conductor at the Kirov Opera, now the Mariinsky Opera, under Yuri Temirkanov, where he made his debut conducting Sergei Prokofiev's War and Peace. He was chief conductor of the Armenian Philharmonic Orchestra from 1981 until 1985 – the year he made his debut in the United Kingdom, along with pianist Evgeny Kissin and violinists Maxim Vengerov and Vadim Repin at the Lichfield Festival.

In 1991, for the first time, Gergiev conducted a western European opera company with the Bavarian State Opera in a performance of Modest Mussorgsky's Boris Godunov in Munich. In the same year, he made his American début, performing War and Peace with the San Francisco Opera. Since then, he has conducted both operatic and orchestral repertoire across the world. He also participates in numerous music festivals, including the White Nights in St. Petersburg.

He became chief conductor and artistic director of the Mariinsky in 1988, and overall director of the company, appointed by the Russian government, in 1996. In addition to his artistic work with the Mariinsky, Gergiev has worked in fundraising for such projects as the recently built 1100-seat Mariinsky Hall, and intends to renovate the Mariinsky Theatre completely by 2010.

From 1995 to 2008, Gergiev was principal conductor of the Rotterdam Philharmonic Orchestra. In 1997, he became principal guest conductor of the Metropolitan Opera in New York City. His contract there ran until the 2007–2008 season, and his premieres included a new version of Mussorgsky's Boris Godunov, revised and reorchestrated by Igor Buketoff in a manner faithful to Mussorgsky's intentions (unlike the Rimsky-Korsakov revision mostly used for many years until the 1960s or 1970s). In 2002, he was featured in one scene in the film Russian Ark, directed by Alexander Sokurov and filmed at the Hermitage Museum in Saint Petersburg, Russia.

In 2003, he initiated and conducted at the Mariinsky Theatre the first complete cycle of Wagner's The Ring of the Nibelung to be staged in Russia for over 90 years. The production's design and concept reflects many aspects of Ossetian culture. Gergiev conducted this production in Cardiff in 2006 at the Wales Millennium Centre, in Costa Mesa, California in October 2006 in the Orange County Performing Arts Center, and in July 2007 in Lincoln Center, New York City to great acclaim and completely sold-out houses.

In 1988, Gergiev guest-conducted the London Symphony Orchestra for the first time. In his next appearance with the LSO in 2004, he conducted the seven symphonies of Sergei Prokofiev. This engagement led to his appointment in 2005 as the Orchestra's fifteenth principal conductor, succeeding Sir Colin Davis effective 1 January 2007. Gergiev's initial contract with the LSO was for 3 years.

His first official concert as principal conductor of the LSO was on 23 January 2007; this was originally scheduled for 13 January, but was postponed due to Gergiev's illness.

In June 2011, Gergiev joined the International Tchaikovsky Competition and introduced reforms to the organisation, which included replacing academic judges with notable performers and introduced an openness to the process, arranging for all performances to be streamed live and free on the internet and for the judges to speak their minds in public as and whenever they wished.

Since 2015, Gergiev is chief conductor of the Munich Philharmonic.

On 5 May 2016, Gergiev competed at the Roman Theatre of Palmyra at a concert event called Praying for Palmyra – Music revives ancient ruins. It was devoted to the victims who died while liberating Palmyra from ISIS and should emphasize the state of the ancient city.

In all fairness, Gergiev has been at the center of several social controversies and has ruffled more than a few feathers over the years, but it's probably best to let the music speak for itself.

Time to let the notes take over.
Music Of Harry Somers - CBC String Orchestra Of Toronto - 1960 - Past Daily Weekend Gramophone Harry Somers - one of Canada's most prolific, original and important composers.

Harry Somers - North Country Suite - 1948 - CBC String Orchestra, Toronto - Paul Schermann, cond. - 1960 - CBC Transcription Service - Gordon Skene Sound Collection -

Music of celebrated Canadian composer Harry Somers this weekend. His North Country Suite, which was composed in 1948 and is given here in this broadcast recording from 1960 by the CBC String Orchestra of Toronto, conducted by Paul Schermann.

Somers was a gifted pianist and gave several recitals in the late 1940s, including one of Barbara Pentland's music and one of his own in March 1948 at the Royal Conservatory. He had begun composing without guidance in 1939, but in 1941 he joined John Weinzweig’s class. Except for a period of service with the Royal Canadian Air Force (1943–45) he was with Weinzweig until 1949, when a $2,000 Canadian Amateur Hockey Association scholarship afforded him a year in Paris with French composer and teacher Darius Milhaud.

In 1948, Somers gave up his burgeoning career as a pianist to devote himself to composing. During the 1950s, he also mastered the guitar. He continued to compose prolifically, earning extra income as a music copyist, an activity that refined the meticulous penmanship for which his manuscripts are known. Some of his earlier commissions include: Five Songs for Dark Voice (1956), by the Stratford Festival for Maureen Forrester; String Quartet No. 3 (1959), by the Vancouver International Festival for the Hungarian Quartet; as well as The Fisherman and His Soul (1956); Ballade (1958); and The House of Atreus (1963), commissioned by the National Ballet of Canada.

Somers’ many commissions indicate the level at which his work was appreciated. In the 1980s, his commissions included: Three Limericks (1980) for the Guelph Spring Festival; Elegy, Transformation, Jubilation (1981) for the TSO; Concerto for Guitar and Orchestra (1984) for the Guitar Society of Toronto; the test-pieces Movement for String Quartet (1983) and Shaman's Song (1983), for the Banff International String Quartet Competition and the Eckhardt-Gramatté Competition respectively; and the operas A Midwinter Night's Dream (1988) for the Canadian Children's Opera Chorus, Serinette (1990) for Music at Sharon, and Mario and the Magician (1992), after Thomas Mann's novella of the same name, for the COC.

Although Somers absorbed many influences in the course of his career (e.g., Weinzweig, Bartók, baroque counterpoint, 12-tone procedures, Gregorian chant), his music retained certain trademarks independent of trends, such as the serialism of the 1950s. Many of these characteristics can be found even in his student works. The piano pieces of 1939–41, written before his studies with Weinzweig, are mood essays with descriptive titles and a marked interest in non-functional harmonic colour. A favourite device is the parallel movement of fourths, fifths, triads, and the seventh and ninth chords. This persists in his works of the 1940s (e.g., the introduction to the first movement of North Country, 1948).

After Somers’ death in 1999, various concerts were dedicated to his music: James Parker, Jean Stilwell and the Esprit Orchestra performed at Massey Hall in November 1999; Victor Feldbrill conducted the TSO in May 2000; Serinette was revived in concert in Toronto in May 2001; and screenings of Images of Canada took place at the CBC Museum in Toronto, also in 2001.

In the mid-1970s, CBC issued an LP boxed set of Somers' compositions. His work was not often recorded on CD until after he died. CBC Records released Harry Somers: A Celebration in 2000 (SMCD 5199), and Centrediscs launched A Window on Somers, a seven-disc series, in February 2001, through the Harry Somers Recording Project.

With all that in mind - here is his 1948 composition, North Country as performed by the CBC String orchestra of Toronto, conducted by Paul Schermann.
Elisabeth Leonskaja And Christoph Eschenbach Play Music Of Bach And Mendelssohn - In Concert 2009 - Past Daily Mid-Week Concert Elisabeth Leonskaja - characterized as explosive with dreamy lyricism and a steely firmness of tone.

Elisabeth Leonskaja and Christoph Eschenbach - NDR Symphony - In Concert - May 3, 2009 - Radio France Musique -

Certainly qualifies as a quintessential Wednesday Anti-Road Rage concert this week. The legendary Russian/Austrian pianist Elisabeth Leonskaja, together with Christoph Eschenbach and the North German Radio Symphony in a concert of music by Felix Mendelssohn-Bartholdy and Johann Sebastian Bach.

Here's what's on the player:
Concert donné le 3 mai 2009 à la Laeiszhalle Musikhalle, Hamburg.

Jean-Sébastien Bach (1685-1750)
Concerto pour deux claviers, cordes et basse continue en do mineur Bwv.1060

Félix Mendelssohn (1809-1847)
Symphonie N°5 en ré majeur Op.107, Réformé

Jean-Sébastien Bach (1685-1750)
Concerto pour deux claviers, cordes et basse continue en do majeur Bwv.1061

Félix Mendelssohn (1809-1847)
Symphonie N°4 en la majeur Op.90, Italienne

Elisabeth Leonskaja, Piano
Orchestre symphonique de la NDR
Christoph Eschenbach, Direction piano
Elisabeth Leonskaja has appeared as a soloist with virtually all the leading orchestras in the world, such as the New York Philharmonic, the Los Angeles Philharmonic Orchestra, the Cleveland Orchestra, the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, the BBC Symphony Orchestra London, the Zurich Tonhalle Orchestra, the Berlin Philharmonic Orchestra, the Gewandhausorchester Leipzig, the radio orchestras of Hamburg, Cologne and Munich, the Czech Philharmonic Orchestra and many others, under the baton of such leading conductors as: Kurt Masur, Sir Colin Davis, Christoph Eschenbach, Christoph von Dohnanyi, Kurt Sanderling, Maris Jansons, Yuri Temirkanov, Tugan Sokhiev, and many others.
Elisabeth Leonskaja is a frequent and welcomed guest at prestigious summer music festivals, such as the Salzburg Festival, the Vienna and Lucerne Festivals, the Schleswig-Holstein Festival, the Schubertiade in Hohenems and Schwarzenberg, and she also gives recitals in the Piano Series in the world's major musical centers, such as Berlin, Paris, Madrid, Barcelona, London, Edinburgh, Munich, and Vienna.

 Despite her busy schedule as a soloist, chamber music has always played a prominent role in her creative work, and she frequently appears with the Emerson, Borodin and Artemis Quartets.
Numerous recordings bear testimony to the outstanding artistic achievements of this pianist and she has been awarded prizes such as the Caecilia Prize for her Brahms piano sonatas, or the Diapason d´Or for her recordings of works by Liszt. Other significant recordings include the Tchaikovsky Piano Concertos with the New York Philharmonic Orchestra under Kurt Masur, the Chopin Piano Concertos with the Czech Philharmonic Orchestra under Vladimir Ashkenazy, and the Shostakovich Piano Concertos with the Saint Paul Chamber Orchestra.
Her newest CD "PARIS" with works by Ravel, Debussy and Enescu was released by the Berlin-based Label eaSonus and was awarded Solo CD of the year 2014 at the ICMA prizes. A complete-recording of the Schubert Sonatas will follow, also due to be released on eaSonus.
In her adopted home, the Republic of Austria, Elisabeth Leonskaja’s outstanding achievements have also gained her great recognition. She has been made an Honorary Member of the Konzerthaus of Vienna. In 2006, she was awarded the Austrian Cross of Honor, First Class, for her services to the cultural life of the country – the highest award of its kind in Austria. Today the “Lioness of the Keyboard” has matured into an exceptional pianist, one who is above emphasizing her virtuosity and who enjoys the warmest of receptions wherever she appears.

Okay - enough out of me - relax - get comfy - pull up a chair - and hit the play button. And be amazed.
Soprano Grace Moore - 10 Year Old Piano Prodigy Byron Janis - Alexander Woollcott - All This And So Much More - The Magic Key 1939 - Past Daily Weekend Gramophone Grace Moore - The Tennessee Nightingale and acknowledged diva.

NBC Blue Network - The Magic Key - Grace Moore - Byron Janis and many others - Feb. 12, 1939 - Gordon Skene Sound Collection -

Another installment of The Magic Key this weekend. featuring the celebrated Soprano, Grace Moore as well as a 10 year old Piano Prodigy Byron Janis, commentator Alexander Woollcott, the NBC Studio Symphony conducted by Frank Black.

As I said before, The Magic Key was something of an extravaganza in radio at the time. Since RCA sponsored it and since RCA owned NBC as well as RCA Victor Records and RCA Communications and RCA radios and phonographs, it was a bigger-than-life showcase for what RCA was doing in the 1930s; making records, making record players and becoming one of the biggest broadcasting networks in the country - CBS boasted the same, so it was neck-and-neck for years.

RCA did have an edge in many ways and this program was ample proof of it.

Grace Moore was what you could probably describe in 2019 terms as a Pop Culture Diva. A singer,as well as a broadway and movie performer, she transitioned over to Opera in the late 1920s and could add Diva to her list of credits. She was a figure out of another era -- almost a geological age's distance -- in popular entertainment: an opera singer who found success on the silver screen and even charted some hit records. Her story is also one of the most compelling tales of success, defeat, redemption, and tragedy in the history of American entertainment. Born to the family of a traveling salesman (and later department store owner) in Tennessee, she developed a love of music and, fueled by a magnificent voice, bluffed her way onto the Broadway stage. From an eventual star's berth at the Met, she jumped to motion pictures with the advent of the talkies, was destroyed at one studio by the pressures for success, and was then rescued and given a whole second career onscreen and the concert stage by the politics at another studio, only to die in an air crash a decade later.

This performance on The Magic Key was one of the rare cases she may not have been under contract to RCA Victor at the time. Most of her recordings (few though they are) were done primarily for Decca/Brunswick.

The other interesting performer is the 10 year old Byron Janis along with 10 year old Joyce Hall as duo-pianists. Janis went on to become one of the Great Pianists of the 20th Century, and he did have a long association with RCA Victor.

A full hour of music and variety - exactly as it was heard on February 12, 1939.
José Miguel Rodilla And Orquesta Sinfónica de la Región de Murcia Play Music Of Turina And Moreno-Buendia -2009- Past Daily Mid-Week Concert José Miguel Rodilla - elegance with an electrifying brilliance.

Miguel José Rodilla and The Orquesta Sinfonica de la Region Murcia - In Concert - Dec. 4, 2009 - Radio Nacional España -

Into the realm of the reasonably unfamiliar (at least to some of us) this week. A concert broadcast by Radio Nacional de España on December 4, 2009 featuring The Orquesta Sinfonica de la Region de Murcia lead by its Music Director Miguel José Rodilla in music by Joaquin Turina and Manuel Moreno-Buendía. Turina's Sinfonia Sevillana and two works by Moreno-Buendia: Concerto for Flute and orchestra (with Juan Antonio Nicolas, flute) and Celtiberia (Suite de Danzas).

A little background on Miguel José Rodilla (via his website):
Rodilla made his debut as a conductor with the Orquesta del Conservatorio de Murcia in 1990, where is the Chief Conductor from 1996, touring in Spain, Hungary and Portugal. In 1991 he received the “Best Conductor Prize” in the Murcia International Youth Orchestra Festival.

In 1993, he formed the Concertus Novo Chamber Orchestra, realizing his ambition of creating an ensemble to perform contemporary music. There followed numerous engagements with the most prestigious contemporary music festivals. Some of those performances were featured in live radio broadcasts by RNE.

From 1996 to 2012 he assumed the position of Principal Conductor of the Orquesta Sinfónica de la Región de Murcia. He has conducted a wide range of repertoire, from early music to modern works, and has performed with numerous international soloists.

As a guest conductor, he has appeared with major orchestras including the Prague Radio Symphony Orchestra, Sinfónica de RTVE, Baden-Baden Philarmonie, Aachen Symphony, Filarmónica de Buenos Aires, Beijing Symphony, Hradec Kralove Philarmonie, Szeged Symphony, Toronto Philarmonia, Istanbul State Symphony, Gangneung Philharmonic (South Korea), Rousse State Opera, Bilkent Symphony, Cascais e Oeiras Chamber Orchestra, Martinu Philarmonic, North Czech Philarmonic Teplice, Moravian Philarmonic Olomouc, Czech Chamber Orchestra Pardubice, Karlovy Vary Symphony Orchestra, Sinfónica Municipal de Caracas, Sinfonica di San Remo, FVG Mitteleuropa Orchestra Udine, Filarmónica de Jalisco, Kuzbass Symphony Orchestra in Kemerovo (Russia), Comunidad de Madrid, Sinfónica del Principado de Asturias, Philarmonia Czestochowa, Poznan Academy Symphony, ÂÂ Orchestra da camera Milano Classica, Orchestra da Camera Fiorentina, Sinfonica di Bari, Orquesta de Valencia, Orquesta de Extremadura, Nacional do Porto, Orquestra do Algarve, Radio Bratislava Symphony, Bayonne Côte Basque, Sinfónica de Castilla y León and Ciudad de Málaga.
And a few words about the composer, Manuel Moreno-Buendia (via Wikipedia - gist translation):
Born in Murcia ( Spain ) but his family moved to Madrid in 1942. He studied at the Conservatory of Madrid where he will have as a composition teacher operas and zarzuelero Conrado del Campo .

In 1957 it belongs to the denominated New Music Group , a group whose aim would be to update the Spanish classical music. In it belong authors such as Luis de Pablo , Antón García Abril or Cristóbal Halffter or an interpreter such as Manuel Carra or Alberto Blancafort .

Between 1970 and 1981 he served as musical director of the Teatro de la Zarzuela . Since 1980 he is Professor of Harmony at the Superior Conservatory of Music of Madrid .

Manuel Moreno-Buendía wanted to update the zarzuela . Although already in the 60s he composed pieces like Carolina when the zarzuela genre was already beginning to languish, it would be in the following decade when he made a series of renewed zarzuelas (they contained elements of the musical, dance, the singers had only a lyrical role), with La isla of Impossible Dreams (1971), The Wanderers (1977) based on a text by Máximo Gorki , and Fuenteovejuna (1981) based on the homonymous work by Lope de Vega .

He composed different music for the scene, highlighting the ballet Eterna Castilla for Antonio El Bailarín , which premiered in 1964 at the Teatro de la Scala in Milan . He also composed incidental music for various works: Ligazón (1969) or Antonio and Cleopatra .

In the symphonic field, the concertanta Suite for harp and orchestra composed in 1958 stands out and he provided the National Music Prize, the infantile songs for voice and piano (1956) and the Concierto del buen amor for guitar and orchestra (1992), inspired by the work of the Archpriest of Hita .
So now you know - all  you have to do is hit the play button and make a discovery. It's well worth it and hopefully it will get you exploring.

Relax, enjoy, repeat.
Orchestre Philharmonique De Radio France Play Music Of Zemlinsky - 2011 - Past Daily Mid-Week Concert Alexander von Zemlinsky - after decades of neglect, only recently re-discovered

Alexander von Zemlinsky - La Petit Sirène (The Little Mermaid) - Irène Jacob, narrator - Orchestre Philharmonique de Radio France - Andrey Boreyko, Conductor - live in concert - February 23, 2011 - Radio France Musique -

The music of Alexander von Zemlinsky this week. The Little Mermaid, a work long thought lost after its 1905 premier, only to be rediscovered in the 1980s. Like Zemlinsky himself; a composer of considerable talent and influence who languished in obscurity until recent decades where his music has been re-discovered and a whole new light has been cast on his remarkable voice and talents. Collectors know his work as a conductor from the relatively small, but important series of 78s he made with the Berlin Philharmonic in the late 1920s.

The Little Mermaid is performed by Orchestre Philharmonique de Radio France, conducted by Andrey Boreyko and narrated by the celebrated French actress Irène Jacob. It was performed live in concert on February 23, 2011.

Zemlinsky's best-known work is the Lyric Symphony (1923), a seven-movement piece for soprano, baritone and orchestra, set to poems by the Bengali poet Rabindranath Tagore (in German translation), which Zemlinsky compared in a letter to his publisher to Mahler's Das Lied von der Erde (though the first part of Schoenberg's Gurre-Lieder is also a clear influence). The work in turn influenced Alban Berg's Lyric Suite, which quotes from it and is dedicated to Zemlinsky.

Other orchestral works include the large-scale symphonic poem Die Seejungfrau (The Mermaid), based on the tale of the same name by Hans Christian Andersen. It premiered in 1905 at the same concert as Schoenberg's Pelleas und Melisande. Zemlinsky withdrew the work, which was thought lost until a copy was discovered in the 1980s. It was performed again in 1984 in Vienna. It has become one of Zemlinsky's most frequently performed scores. A three-movement Sinfonietta written in 1934, admired by Schoenberg and Berg, is written in a style comparable to contemporary works by Paul Hindemith and Kurt Weill.

Among his other works are eight operas, including Eine florentinische Tragödie (1915–16) and the semi-autobiographical Der Zwerg (The Dwarf, 1919–21), both based on works by Oscar Wilde; chamber music, including four string quartets; and the ballet Der Triumph der Zeit (1901). He also composed three psalm settings for chorus and orchestra and numerous song cycles, both with piano and with orchestra, of which the Sechs Gesänge, Op. 13, to texts by Maurice Maeterlinck is the best-known.

While the influence of Brahms is evoked in Zemlinsky's early works (prompting encouragement from Brahms himself), an original voice is present from the first works on, handling dissonances in a much freer manner than Brahms. Later works adopt the kind of extended harmonies that Wagner had introduced and also reflect the influence of Mahler. In contrast to his friend Schoenberg, he never wrote atonal music, and never used the twelve-tone technique. However, some of his late works such as the Symphonische Gesänge, Sinfonietta and the third and fourth string quartets move away from post-Romanticism towards a leaner, harder-edged idiom that incorporates elements of Neue Sachlichkeit, Neoclassicism, and even jazz.

As a conductor, Zemlinsky was admired by, among others, Kurt Weill and Stravinsky, not only for his notable interpretations of Mozart, but also for his advocacy of Mahler, Schoenberg and much other contemporary music. As a teacher, his pupils included Erich Wolfgang Korngold, Hans Krása and Karl Weigl.

If you haven't discovered him yet, you really need to do yourself a favor and seek out this treasure trove of heady and luxuriant music.

You can start by hitting the Play button and becoming acquainted. Works all the time.
Lorezno Gatto And Éliane Reyes In Recital - Barcelona - 2010 - Past Daily Mid-Week Concert Lorenzo Gatto - An intended Aeronautical career got sidetracked - lucky for us.

Lorenzo Gatto - Éliane Reyes - Recital from Barcelona - December 2, 2010 - Radio Nacional España -

Lorezno Gatto in recital from Barcelona in 2010 this week. Accompanied by Éliane Reyes they play music of Mozart, Tchaikovsky, Saint-Saens, Ysaye and Prokofiev - all recorded live and preserved for posterity by Radio Nacional España on December 2, 2010.

A few weeks ago I ran a relatively recent concert featuring the celebrated Spanish conductor Josep Pons - it was quite popular with readers and it confirmed my suspicions that there is a lot of good music being made by relative newcomers who, like their predecessors, share a wonderful gift of talent and unique point of view. That's not to say there's no room for the Moura Lympanys or Martha Argerichs on the Mid-Week concert schedule, far from it. But it means there's room for some balance and that newer talents, those artists just arriving on the scene, are just as valid and appreciated - plus, it makes for new discoveries. As with everything I do on this site; I try to offer the best of everything, or at least some contrasts for you to form on opinion.

That said - here are two artists who have started coming into their own and who are good to hear from.

Here are a few words from Opera Musica about Lorenzo Gatto:
"When Lorenzo Gatto studied violin at the Queen Elizabeth Music Chapel - with dreams of law, math and becoming an aeronautical engineer - the first encounter with the Queen Elisabeth Competition. He felt the need to start anew, and studied for four years with Boris Kuschnir in Vienna. This prize is awarded Second Prize and the Public Prize at the Queen Elisabeth Competition 2009.

The invitation to the 'Rising Star' 2010 Philippe Herreweghe, Vladimir Spivakov, Walter Weller, Jan Willem van Vriend, Jaap van Zweden, Martin Sieghart, Andrey Boreyko and Yannick Nézet-Séguin. Recently, Lorenzo has started collaborating with the talented young Belgian pianist Julien Libeer. He makes recordings on a regular basis.

Gatto: 'From my teachers Veronique Bogaerts, Augustin Dumay, Herman Krebbers and Kuschnir, I have understood that to discover musical ideas while playing, and letting the music grow in a natural way, takes a lot of time in preparation. Sometimes old masters give the impression of playing slower than we do today. It's surely not a question of tempo: it's a question of relaxing, of savoring every note, of taking the time to understand.

François Lafon wrote: 'Style, tone, musicality, inventiveness: Lorenzo Gatto is the true heir of the famous Franco-Belgian school of violin - from Vieuxtemps through Ysaÿe, Grumiaux and Dumay. His Concerto Breathes freely but without pathos, his romances are lyrical wonders. '
And for Éliane Reyes, this from Wikipedia:
"First trained by her mother, she then went to the Royal Conservatory of Brussels. This was followed by the prestigious Queen Elisabeth Music Chapel in Jean-Claude Vanden Eynden’s class. From there she went to the Hochschule der Künste in Berlin, to the Mozarteum in Salzburg with Hans Leygraf, the Lemmensinstituut with Alan Weiss and thereafter to the Conservatoire National Supérieur de Musique in Paris under the aegis of Michel Beroff, Brigitte Engerer and Jacques Rouvier. During her training, Ms Reyes also attended numerous master classes with Martha Argerich, Vladimir Ashkenazy, Paul Badura-Skoda, Murray Perahia, Abdel Rahman El Bacha, György Sebők, Michel Beroff, Brigitte Engerer and Vitaly Margulis. Upon completion of her studies, she was appointed professor of complementary piano at the Conservatoire National Supérieur de Musique de Paris (CNSM).

Eliane Reyes has a predilection for French composers and contemporary music. Her discography consists of works by Nicolas Bacri, F. Chopin, C. Debussy,], F. Liszt, Michel Lysight, Darius Milhaud, Maurice Ravel, Alexander Tansman, as a consequence she obtained many awards such as “Pianiste Maestro” by the French magazine Pianiste, “Ring” by Classic Info, “Joker” by Crescendo Magazine and a “Supersonic” award from Pizzicat and notably from ResMusica, where she was awarded “La Clef d’or” for her solo recording of the 24 Intermezzi by A. Tansman.

A number of very prominent figures of the music world think highly of her. These include Vladimir Ashkenazy, who upon hearing her at a very young age declared: "For many years no one has impressed me as much as this young pianist," as well as Martha Argerich, “A wonderful talent for music” and Tibor Varga, who after conducting her in a Joseph Haydn concerto at the age of 10 had this to say about her performance: "... touching, deeply moving, unforgettable."
Here they are together, in recital from a concert given in Barcelona on December 2, 2010 - with Spanish announcements and a splendid time guaranteed for all.

Éliane Reyes - with fans like Martha Argerich and Vladimir Ashkenazy how can you possibly go wrong?
A Word Or Two With Gregor Piatigorsky - 1974 - Past Daily Weekend Gallimaufry Gregor Piatigorsky - a life-long love affair with the Cello.

Gregor Piatigorsky in conversation with James Day - Day At Night - May 24, 1974 - Gordon Skene Sound Collection -

Gregor Piatigorsky. Without question one of the greatest cellists of the 20th century, and to some the greatest string player of all time. The Ukranian born American cellist settled in the U.S. after fleeing Nazi-occupied France in 1940, where he became a much in-demand professor of cello at The Curtis institute in Philadelphia as well as Tanglewood and Boston University, and on the West Coast at UCLA and USC in Los Angeles. He was active all the way until the time of his death in 1976.

Many of those composers wrote pieces for him, including Sergei Prokofiev (Cello Concerto), Paul Hindemith (Cello Concerto), Mario Castelnuovo-Tedesco (Cello Concerto), William Walton (Cello Concerto), Vernon Duke (Cello Concerto), and Igor Stravinsky (Piatigorsky and Stravinsky collaborated on the arrangement of Stravinsky's "Suite Italienne", which was extracted from Pulcinella, for cello and piano; Stravinsky demonstrated an extraordinary method of calculating fifty-fifty royalties). At a rehearsal of Richard Strauss's Don Quixote, which Piatigorsky performed with the composer conducting, after the dramatic slow variation in D minor, Strauss announced to the orchestra, "Now I've heard my Don Quixote as I imagined him."

Piatigorsky had a magnificent sound characterized by a distinctive fast and intense vibrato and he was able to execute with consummate articulation all manner of extremely difficult bowings, including a downbow staccato that other string players could not help but be in awe of. He often attributed his penchant for drama to his student days when he accepted an engagement playing during the intermissions in recitals by the great Russian basso, Feodor Chaliapin. Chaliapin, when portraying his dramatic roles, such as the title role in Boris Godunov, would not only sing, but declaim, almost shouting. On encountering him one day, the young Piatigorsky told him, "You talk too much and don't sing enough." Chaliapin responded, "You sing too much and don't talk enough." Piatigorsky thought about this and from that point on, tried to incorporate the kind of drama and expression he heard in Chaliapin's singing into his own artistic expression.

He owned two Stradivarius cellos, the "Batta" and the "Baudiot." According to, Piatigorsky also owned the famous Montagnana cello known as the Sleeping Beauty from 1939 to 1951.Modern Italian Jago peternella cello.

This conversation, with James Day is part of the series Day At Night and was first broadcast on May 24, 1974
The Takacs Quartet In Concert From Paris - 2013 - Past Daily Mid-Week Concert Takacs Quartet - "Even in the most fiendish repertoire, they know no fear". A nice attitude to have, ya gotta admit.

The Tackacs Quartet - Live at Théåtre de la Ville å Paris - October 31, 2013 - Radio France Musique -

The legendary Takacs Quartet tonight. From a concert recorded live in Paris on October 31, 2013 by the venerable Radio France Musique. The quartet plays music of Ravel, Bartok, Dvorak and an encore by Haydn.

Starting with the F-Major String Quartet of Ravel and then the Opus 1 Quartet of Bartok and finishing the with Opus 10 Quartet by Dvorak. And coming back for an encore with the 4th movement of the op. 64 Quartet by Haydn. A good night of music making all around.

In case you're just getting your feet wet with Chamber Music, or with ensembles of the last few decades, which I confess I'm a little remiss on, being a big fan of the "old groups" - here's some background on this highly regarded little band:

The Takács Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takács-Nagy, Károly Schranz, Gabor Ormai and András Fejér, while all four were students. It first received international attention in 1977, winning First Prize and the Critics’ Prize at the International String Quartet Competition in Evian, France. The Quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981. The Quartet made its North American debut tour in 1982. After several changes of personnel, the most recent addition is second violinist Harumi Rhodes, following Károly Schranz's retirement in April 2018. In 2001 the Takács Quartet was awarded the Order of Merit of the Knight’s Cross of the Republic of Hungary, and in March 2011 each member of the Quartet was awarded the Order of Merit Commander’s Cross by the President of the Republic of Hungary.

That, via their webpage which says it all and straight to the point.

All you have to do, should you choose - is get comfortable and hit the play button - and enjoy.
Pablo Casals - Marlboro Festival - 1967 - Past Daily Mid-Week Concert Pablo Casals - the legendary cellist in the role of Conductor.

Pablo Casals and the Marlboro Music Festival orchestra - July 17, 1967 - August 3, 1968 - Gordon Skene Sound Collection -

Something historic and rare this holiday week. Since tomorrow is Thanksgiving, what better way to convey "everything is going to be okay" than to run a concert from the 1967 season of this iconic music festival?

Two works from two different concerts from this series - the opening work is Introduction and Variations on Trockne Blumen from Die schöne Müllerin, D. 802 by Franz Schubert with Paula Robison, Flute and Rudolf Serkin, Piano. The concert concludes with Haydn's Symphony Number 94 with Casals leading the Marlboro Festival Orchestra.

Marlboro Music is acclaimed worldwide as an institution devoted to artistic excellence and to developing new musical leaders who illuminate all areas of music today. It is where the concept of having master artists play together with exceptional young professional musicians was born—initiating a dynamic new approach to learning.

After three weeks of daily rehearsals, Marlboro presents a portion of its musical collaborations at weekend concerts, held from mid-July to mid-August. Audiences share in the sense of discovery—seeing exciting young musicians playing side-by-side with master artists, and hearing chamber music masterworks and unfamiliar pieces performed with great passion and joy.

Since its founding in 1951, Marlboro Music has transformed the world of chamber music and played a vital role in developing generations of new musical leaders. Marlboro was created by eminent pianist Rudolf Serkin—its artistic director until his death in 1991—and co-founders Adolf and Herman Busch, and Marcel, Blanche, and Louis Moyse.

Pablo Casals, was a cellist, composer, and conductor from Catalonia, Spain. He is generally regarded as the pre-eminent cellist of the first half of the 20th century, and one of the greatest cellists of all time. He made many recordings throughout his career, of solo, chamber, and orchestral music, also as conductor, but he is perhaps best remembered for the recordings of the Bach Cello Suites he made from 1936 to 1939. He was awarded the Presidential Medal of Freedom in 1963 by President John F. Kennedy (though the ceremony was presided over by Lyndon B. Johnson).

Okay, now you know - dive in and enjoy.
Seiji Ozawa And The Boston Symphony In Music Of Tchaikovsky, Griffes And Bartok - 1976 - Past Daily Mid-Week Concert Seiji Ozawa - One of the 18 greatest conductors of all time.

Seiji Ozawa and The Boston Symphony - In Concert - February 3, 1976 - Gordon Skene Sound Collection -

More historic concerts this week. The Boston Symphony under their then Music Director Seiji Ozawa in a concert recorded on February 3, 1976.

A good one - Starting with Tchaikovksy's Symphony Number 6 (Pathétique), continuing with Charles Tomlinson Griffes' The Pleasure Done of Kubla Khan and concluding with Bartok's Suite from The Miraculous Mandarin.

Between 1964 and 1973, Ozawa directed various orchestras; he became music director of the Boston Symphony Orchestra in 1973. His tenure at the BSO was maintained for 29 years, the longest tenure of any music director, surpassing the 25 years held by Serge Koussevitzky.

Ozawa won his first Emmy Award in 1976, for the Boston Symphony Orchestra's PBS television series, Evening at Symphony. In 1994, the BSO dedicated its new Tanglewood concert hall "Seiji Ozawa Hall" in honor of his 20th season with the orchestra. In 1994, he was awarded his second Emmy for Individual Achievement in Cultural Programming for Dvořák in Prague: A Celebration.

In an effort to merge all-Japanese orchestras and performers with international artists, Ozawa, along with Kazuyoshi Akiyama, founded the Saito Kinen Orchestra in 1992. Since its creation, the orchestra has gained a prominent position in the international music community.

In the same year, he made his debut with the Metropolitan Opera in New York. He caused controversy in 1996–1997 with sudden demands for change at the Tanglewood Music Center, which caused Gilbert Kalish and Leon Fleisher to resign in protest.

A controversy subsequently developed over various perceptions of the quality of Ozawa's work with the BSO. Ozawa stood down from the BSO music directorship in 2002.

Ozawa has been an advocate of 20th-century classical music, giving the premieres of a number of works including György Ligeti's San Francisco Polyphony in 1975 and Olivier Messiaen's opera Saint François d'Assise in 1983. He also became known for his unorthodox conducting wardrobe, where he wore the traditional formal dress with a white turtleneck, not the usual starched shirt, waistcoat, and a white tie.

In 2001, Ozawa was recognized by the Japanese government as a Person of Cultural Merit. In 2002, he became principal conductor of the Vienna State Opera. He continues to play a key role as a teacher and administrator at the Tanglewood Music Center, the Boston Symphony Orchestra's summer music home that has programs for young professionals and high school students. On New Year's Day 2002, Ozawa conducted the Vienna New Year's Concert. In 2005, he founded Tokyo Opera Nomori and conducted its production of Richard Strauss's Elektra. On February 1, 2006, the Vienna State Opera announced that he had to cancel all his 2006 conducting engagements because of illness, including pneumonia and shingles. He returned to conducting in March 2007 at the Tokyo Opera Nomori. Ozawa stepped down from his post at the Vienna State Opera in 2010, to be succeeded by Franz Welser-Möst.

In October 2008, Ozawa was honored with Japan's Order of Culture, for which an awards ceremony was held at the Imperial Palace. He is a recipient of the 34th Suntory Music Award (2002) and the International Center in New York's Award of Excellence.

On January 7, 2010, Ozawa announced that he was canceling all engagements for six months in order to undergo treatments for esophageal cancer. The doctor with Ozawa at the time of the announcement said it was detected at an early stage. Other health problems with Ozawa have included pneumonia and lower back surgery. Following his cancer diagnosis, Ozawa and the novelist Haruki Murakami embarked on a series of six conversations about classical music that form the basis for the book Absolutely on Music.

On 6 December 2015, Ozawa was honored at the Kennedy Center Honors.

Since then, he's been having long periods of rest and spending less time on the podium owing to continuing health issues, but at 83 it's almost a given you slow down at least a little bit.

As a reminder of his long tenure at the BSO, here is a concert from 1976 - fits in perfectly with Anti-Road Rage Wednesday.

Relax and enjoy.
Claudio Abbado And The Cleveland Orchestra Play Mahler - 1972 - Past Daily Mid-Week Concert Claudio Abbado - One of the most celebrated and respected conductors of the 20th century, particularly in the music of Gustav Mahler.

Claudio Abbado - Cleveland Orchestra - Mahler: Symphony No. 6 - Nov. 6, 1972 - Gordon Skene Sound Collection -

A historic concert this week (again) - this time it's the legendary Claudio Abbado guest conducting the Cleveland Orchestra in a performance of Mahler's Symphony Number 6 - broadcast on November 6, 1972.

Claudio Abbado was one of the most celebrated and respected conductors of the 20th century, particularly in the music of Gustav Mahler, he served as music director of the La Scala opera house in Milan, principal conductor of the London Symphony Orchestra, principal guest conductor of the Chicago Symphony Orchestra, music director of the Vienna State Opera, founder and director of Lucerne Festival Orchestra, music director of European Union Youth Orchestra and principal conductor of the Berlin Philharmonic orchestra.

Abbado studied piano, composition, and conducting at the Milan Conservatory, and graduated with a degree in piano in 1955. The following year, he studied conducting with Hans Swarowsky at the Vienna Academy of Music, on the recommendation of Zubin Mehta. Abbado and Mehta both joined the Academy chorus to be able to watch such conductors as Bruno Walter and Herbert von Karajan in rehearsal. He also spent time at the Chigiana Academy in Siena.

In 1958, Abbado made his conducting debut in Trieste. That summer, he won the international Serge Koussevitzky Competition for conductors at the Tanglewood Music Festival, which resulted in a number of operatic conducting engagements in Italy. In 1959, he conducted his first opera, The Love for Three Oranges, in Trieste. He made his La Scala conducting debut in 1960. In 1963, he won the Dimitri Mitropoulos Prize for conductors, which allowed him to work for five months with the New York Philharmonic as an assistant conductor to Bernstein. Abbado made his New York Philharmonic professional conducting debut on 7 April 1963. A 1965 appearance at the RIAS Festival in Berlin led to an invitation from Herbert von Karajan to the Salzburg Festival the following year to work with the Vienna Philharmonic. In 1965, Abbado made his British debut with the Hallé Orchestra, followed in 1966 by his London Symphony Orchestra (LSO) debut.[

Abbado taught chamber music for 3 years during the early 1960s in Parma. His early advocacy of contemporary music included conducting the world premiere of Giacomo Manzoni's Atomtod, on 25 March 1965, in Milan.

In 1969, Abbado became principal conductor at La Scala. Subsequently, he became the company's music director in 1972. He took the title of joint artistic director, along with Giorgio Strehler and Carlo Maria Badini, in 1976. During his tenure, he extended the opera season to four months, and focused on giving inexpensive performances for the working class and students. In addition to the standard opera repertoire, he presented contemporary operas, including works of Luigi Dallapiccola and of Luigi Nono, in particular the world premiere of Nono's Al gran sole carico d'amore. In 1976, he brought the La Scala company to the USA for its American debut in Washington D.C. for the American Bicentennial. In 1982, he founded the Filarmonica della Scala for the performance of orchestral repertoire by the house orchestra in concert. Abbado remained affiliated with La Scala until 1986.

On 7 October 1968, Abbado made his debut with the Metropolitan Opera with Don Carlo. He began to work more extensively with the Vienna Philharmonic (VPO) after 1971, which included two engagements as conductor of the orchestra's New Year's Day concert, in 1988 and 1991. He was a recipient of both the Philharmonic Ring and the Golden Nicolai Medal from the Vienna Philharmonic.

He served as Principal Guest Conductor of the London Symphony Orchestra (LSO) from 1975 to 1979 and became its Principal Conductor in 1979, a post he held until 1987 (he was also the LSO's Music Director from 1984 until the end of his principal conductor tenure). From 1982 to 1985, he was principal guest conductor of the Chicago Symphony Orchestra (CSO). In 1986, Abbado became the Generalmusikdirector (GMD) of the city of Vienna, and in parallel, was music director of the Vienna State Opera from 1986 to 1991. During his tenure as GMD in Vienna, in 1988, he founded the music festival Wien Modern.

So sit back and enjoy the concert - Claudio Abbado conducts the Cleveland Orchestra in Mahler's 6th.
The Magic Key - 1937 - Ania Dorfmann's U.S. Debut - Max Reinhardt - Ezio Pinza - Fats Waller - Past Daily Weekend Gramophone Ania Dorfman - Making her American Debut in January 1937.

The Magic Key - January 3, 1937 - Gordon Skene Sound Collection -

In the late 1930s, when radio was becoming the preeminent entertainment source for most of America, the technology was now making it possible for programs to be sent and received from all over the world via much improved Shortwave. This was an exciting development, and one which would be indispensable only a year later when the Munich Crisis turned radio into an information gathering medium. The possibilities were endless and the opportunities ran the gamut.

One of those programs which took maximum advantage of this new technology was a program called The Magic Key. It was, in essence, an hour long commercial for RCA Victor Records and Phonographs, but it did something almost no variety program was doing at the time; offering a wide range of artistry before the microphones as well as not being hampered by barriers of distance. The programs featured a vast array of notables from the music world (who all just so happened were RCA Victor artists) but it also featured many non-musical notables, such as this episode which offers an interview with the legendary theatre impresario Max Reinhardt - it is probably one of the few recordings in existence featuring the voice of this legendary figure.

In addition, this program also includes the American debut of the Russian pianist Ania Dorfmann, as well we several arias sung by then-Metropolitan Opera Bass Ezio Pinza. And for variety's sake, a guest spot with Fats Waller and his orchestra as well as solo work. The announcer is Milton Cross, who would go on to become the regular announcer throughout the 1950's and 60s (and up to the 70s) for the Metropolitan Opera broadcasts. It also features RCA Victor's Head of the Classical Division, Dr. Frank Black conducting the NBC Symphony Orchestra (some argue as to whether this is Toscanini's NBC Symphony or the NBC Studio Orchestra calling itself NBC Symphony, I think the latter).

At any rate, this is an hour's worth of Music, presented by a label whose artists were considered some of the greatest of the day in a concert setting - with numerous plugs to buy phonographs and the latest discs.

These days they call them Infomercials - but back then it was just a happy coincidence.

Enjoy nonetheless.
Sir Colin Davis And The Boston Symphony - In Concert At Tanglewood - 1976 - Past Daily Mid-Week Concert Sir Colin Davis - A historic contribution to music as well as a huge inspiration to others.

Sir Colin Davis, Boston Symphony In Concert At Tanglewood - All Beethoven - August 6, 1976 - Gordon Skene Sound Collection-

Continuing with historic concerts. This week it's the 1976 Tanglewood appearance of Sir Colin Davis, leading an all Beethoven program. Beginning with the Coriolanus Overture, followed by Symphony No. 1 and ending with Symphony No. 7.

Sir Colin Rex Davis CH CBE (25 September 1927 – 14 April 2013) was an English conductor, known for his association with the London Symphony Orchestra, having first conducted it in 1959. His repertoire was broad, but among the composers with whom he was particularly associated were Mozart, Berlioz, Elgar, Sibelius, Stravinsky and Tippett.

He studied as a clarinetist, but was intent on becoming a conductor. After struggles as a freelance conductor from 1949 to 1957, he gained a series of appointments with orchestras including the BBC Scottish Orchestra, the BBC Symphony Orchestra and the Bavarian Radio Symphony Orchestra. He also held the musical directorships of Sadler's Wells Opera and the Royal Opera House, where he was principal conductor for over fifteen years. His guest conductorships included the Boston Symphony Orchestra, the New York Philharmonic and the Dresden Staatskapelle, among many others.

As a teacher, Davis held posts at the Royal Academy of Music, London, and the Landesgymnasium für Musik "Carl Maria von Weber" (preparatory school for music) in Dresden. He made his first recordings in 1958, and his discography over the next five decades was extensive, with a large number of studio recordings for Philips Records and a substantial catalogue of live recordings for the London Symphony Orchestra's own label.

In 1970, Sir David Webster, who ran the Royal Opera and the Royal Ballet companies at Covent Garden, invited Davis to succeed Sir Georg Solti as principal conductor of the opera. At about the same time, the Boston Symphony Orchestra invited him to become its musical director, but Davis felt that if Covent Garden needed him, it was his duty to take on the post. Webster's vision was that Davis and the stage director Sir Peter Hall, formerly of the Royal Shakespeare Company, would work in equal partnership as musical director and director of productions. After early successes together, including the première of Michael Tippett's The Knot Garden in December 1970, Hall left to succeed Laurence Olivier as director of the National Theatre. Webster had retired by that time, leaving Davis, together with Webster's successor as General Administrator, Sir John Tooley, to run the Royal Opera.

The Royal Opera House, Covent Garden, where Davis was musical director between 1970 and 1986
Davis' early months in charge at Covent Garden were marked by dissatisfaction among some of the audience, and booing was heard at a "disastrous" Nabucco in 1972. His conducting of Wagner's Ring cycle was at first compared unfavourably with that of his predecessor. Among his successes were Berlioz's massive Les Troyens (with Jon Vickers and Anja Silja) and Benvenuto Cellini, Verdi's Falstaff, the major Mozart operas, and, as one critic put it, he "confirmed his preeminence as a Britten and Stravinsky interpreter" with productions of Peter Grimes and The Rake's Progress. Davis conducted more than 30 operas during his fifteen-year tenure, but "since people like Maazel, Abbado and Muti would only come for new productions", Davis yielded the baton to these foreign conductors, giving up the chance to conduct several major operas, including Der Rosenkavalier, Rigoletto and Aida.

In addition to the standard operatic repertoire, Davis conducted a number of modern and unfamiliar operas, including Tippett's The Knot Garden and The Ice Break (of which he is the dedicatee), and Alexander Zemlinsky's The Dwarf and Eine florentinische Tragödie. With later stage directors at Covent Garden, Davis preferred to work with those who respected the libretto: "I have a hankering for producers who don't feel jealous of composers for being better than they are, and want to impose their, often admittedly clever, ideas on the work in hand." Davis hoped that Götz Friedrich, with whom he worked on Wagner's Ring cycle, would take on the role of principal producer vacated by Hall, "but it seemed that nobody wanted to commit themselves."

During his Covent Garden tenure, Davis returned to the BBC Symphony Orchestra as principal guest conductor from 1971 to 1975, and held the same post with the Boston Symphony Orchestra from 1972 to 1984. In 1977, he became the first English conductor to appear at Bayreuth, where he conducted the opening opera of the festival, Tannhäuser. Despite the Bayreuth habitués' suspicion of newcomers, his Tannhäuser was "highly successful". He debuted at the Metropolitan Opera, New York City, in 1967 with Peter Grimes, the Vienna State Opera in 1986 and the Bavarian State Opera in 1994.

Sit back and relax and enjoy this slice of the BSO with Sir Colin Davis at Tanglewood in 1976.
Elly Ameling With Gerard Schwarz And The L.A. Chamber Orchestra In Concert - 1981 - Past Daily Mid-Week Concert Elly Ameling - A world of expression.

Elly Ameling With Gerard Schwarz And The Los Angeles Chamber Orchestra In Concert - April 5, 1981 (broadcast date) - Gordon Skene Sound Collection

Another historic concert this week. Featuring the legendary Dutch Soprano Elly Ameling with the Los Angeles Chamber Orchestra, led by its then-new Music Director Gerard Schwarz in this recording broadcast on April 5, 1981 (recorded in 1980).

The program starts with Samuel Barber's Serenade For String Orchestra Op. 1, in honor of Barber's 70th birthday. It's followed by Berlioz' Les Nuits d'été and finally Bach's Suite Number 3 in D Major BWV 1068. There was a performance of Respighi's Ancient Airs and Dances #1, but the tape ran out before it was over, so I didn't include it.

The art song was the centerpiece of Elly Ameling's long and distinguished career. Born in Rotterdam, Holland, in 1933, she became well known for her recital appearances early on. Blessed with a soprano that was bright, warm and agile all at once, she excelled as an interpreter in a great breadth of music — Mozart, Brahms, Wolf, Schubert and Fauré. In New York, her recitals at Carnegie Hall were anticipated as fervently as those of Janet Baker. She was a cerebral singer who also conveyed great joy in singing; as a recitalist, she scored not only an artistic but a commercial triumph. Opera appearances were rare — she made a belated debut in 1973, as Idomeneo's Ilia at the Netherlands Opera — but she was also much in demand as an oratorio and concert singer, in works ranging from Bach's "Jauchzet Gott in allen Landen" to Berlioz's Les Nuits d'Été.
Contemporary works, particularly by her countrymen Bertus van Lier (nl) and Robert Heppener, are also part of her large repertoire. Ameling has recorded more than 150 albums and has won many recording prizes, including The Edison Award, the Grand Prix du Disque and the Preis der deutschen Schallplattenkritik. When she retired in 1995, she was regarded as one of the most admired and recorded female lieder singers.

Born in America to Viennese parents, Gerard Schwarz began studying piano at the age of five and soon focused on the trumpet. A graduate of both New York City's High School of Performing Arts and The Juilliard School, he joined the New York Philharmonic in 1972 as co-principal trumpet, a position he held until 1977. Schwarz’s numerous previous positions include Music Director of New York’s Mostly Mozart Festival (1982-2001), where he presided over sold-out houses, developed the orchestra’s international touring, maintained a nine-year residency in Tokyo, considerably expanded its Mozart repertoire and lead numerous televised Live from Lincoln Center appearances. His tenure as Music Director of the Royal Liverpool Philharmonic (2001-2006) initiated the long-standing partnership between the orchestra and Classic FM, expanded recordings on the RLPO Live label, initiated a new partnership with Avie records, created the enormously popular Sunday matinee Musically Speaking concert series, led highly acclaimed tours to Spain and Prague and brought the orchestra to National Television in BBC Proms broadcasts. As Music Director of the Los Angeles Chamber Orchestra (1978-1985) and New York Chamber Symphony (1977-2001) he expanded concert series and audiences, made award-winning recordings and championed new works. In addition, he served as Artistic Advisor to the Tokyo Philharmonic.

Definitely a candidate for Mid-Week anti Road-Rage Music. I suggest you pull up a chair and hit the play button. Let the sounds do their work.
Luciano Berio With The Swingle Singers And The Boston Symphony Play music Of Boccherini, Bach And Berio - 1982 - Past Daily Mid-Week Concert Luciano Berio - The Composer/interpreter - always a fascinating combination.

Luciano Berio, Guest Conductor, The New Swingle Singers - Boston Symphony - August 22, 1982 - Gordon Skene Sound Collection -

More historic performances this week. The Boston Symphony in concert at The Berkshire Festival on August 22, 1982, featuring contemporary Composer Luciano Berio in the role of guest Conductor, with The New Swingle Singers in a program of Boccherini (arr. Berio), J.S. Bach and Berio.

Starting the concert with Berio's arrangement of Luigi Boccherini's Versions (4) of His Ritirata Notturna di Madrid. Followed by Bach's Brandenburg Concerto Number 1 and ending up the concert with a performance of Berio's own Sinfonia for Eight Voices and Orchestra (5 movements), featuring The New Swingle Singers.

For a little background on the life and work of Luciano Berio, here is an excerpt of his biography via his own website:
Luciano Berio was born at Oneglia, Liguria, on 24 October 1925 into a family in which music was a long-standing tradition. Both his father Ernesto and his grandfather Adolfo were composers, and he took his first steps in music with them.
In 1945 he moved to Milan, where he attended the Conservatorio «Giuseppe Verdi», studying composition with Giulio Cesare Paribeni and Giorgio Federico Ghedini, as well as conducting with Carlo Maria Giulini and Antonino Votto. In 1952 he attended the courses taught by Luigi Dallapiccola at Tanglewood, USA. From the early fifties Berio made a name for himself as an authoritative exponent of the new generation of the musical avantgarde. This period saw the composition of Cinque Variazioni (1952-53), Chamber Music (1953), Nones (1954) and Serenata (1957).
In December 1954 Berio and Maderna created Italy’s first studio of electronic music at the RAI Milan headquarters, inaugurated the following year as the Studio di Fonologia Musicale. Here he was able to experiment with the interaction of acoustic instruments and electronically produced sounds (Momenti, 1957; Différences, 1958-59) and explore new relationships between sounds and words (Thema. Omaggio a Joyce, 1958; Visage, 1961). Moving into the sixties, Berio was exploring further complex combinations of timbres (Tempi concertati for 4 soloists and 4 orchestras, 1959; Sincronie for string quartet, 1964). His investigation of the expressive resources of the female voice – prompted by the voice of Cathy Berberian – proceeded with Epifanie (1959-60, incorporated into Epiphanies, 1991-92), Circles (1960) and Sequenza III for voice (1965). The dramatic dimension of these vocal works was made more specific and refined in his first works for theatre such as Allez-Hop (1959, with Calvino), and Passaggio (1962) and Laborintus II (1965), both with texts by Sanguineti.
In 1958, with Sequenza I for flute, he began an exploration of the idiomatic potential of individual instruments which was to produce the 14 Sequenze for solo instruments (the last, for violoncello, was completed in 2002-03). This series of solo works with the relative Chemins – elaborations for instrumental ensemble of some of the Sequenze – exemplifies Luciano Berio’s approach to composition as “work in progress”, conceived as a potentially never-ending process of comment and elaboration which continues and proliferates from one piece to the next. In his compositions for large symphony orchestra he explored new spatial layouts (foreshadowed in the fifties in Alleluja I and Alleluja II) and new instrumental formations: Eindrücke (1973-74), Bewegung (1971/83), Formazioni (1985-87), Continuo (1989-91) and Ekphrasis (Continuo II, 1996). The dialectical relationship between solo instrument and orchestra is at the heart of works such as Concerto for two pianos (1973); “Points on the curve to find…” for piano and chamber orchestra (1974), which became Concerto II (Echoing curves) for piano and two instrumental groups (1988-89); Voci (Folk songs II) for viola and two instrumental groups (1984), and Alternatim for clarinet, viola and orchestra (1994). The concerto was not the only traditional genre Berio reworked; he also tackled the string quartet (Quartetto, 1956; Sincronie, 1964; Notturno, 1993; Glosse, 1997) and even the piano, an instrument redolent of traditional connotations which he subjected to new aural, formal and expressive criteria in a series of works starting with Sequenza IV (1966) and culminating with Sonata (2000).
Berio’s musical research is characterised by his attainment of an equilibrium between a keen awareness of tradition and a propensity to experiment with new forms of musical communication. In his various creative phases the composer invariably tried to relate music to various fields of knowledge: poetry, theatre, linguistics, anthropology and architecture. His interest in the multiple expressions of human musicality led him to return again and again to various repertories of the oral tradition (Folk songs, 1964; Questo vuol dire che…, 1968; Cries of London, 1974-76; Voci, 1984). He explored the vast patrimony of Western music in his adaptations of Monteverdi (Combattimento di Tancredi e Clorinda), Bach (Contrapunctus XIX), Boccherini (Ritirata notturna di Madrid), Mozart (Vor, während, nach Zaide), Schubert (Rendering), Brahms (Op. 120 N. 1), Mahler (the two cycles of Frühe Lieder), Puccini (the Finale of Turandot), and more besides. His ideal of uniting the various dimensions and traditions of successive civilizations can also be seen in such works as Sinfonia (1968), Coro (1975-76) and Ofanìm (1988-92), this last work preparing the ground for his last two theatrical works.
Music theatre constituted a fundamental focus for Berio’s research and poetics. After the first works for the stage in the fifties and sixties (Allez-Hop, Passaggio), he conceived his first musical action organized in three acts with texts he wrote himself: Opera (1969-70/1977). This was followed by La vera storia (1977-79), text by Calvino, Un re in ascolto (1979-83) with texts by Calvino, Gotter, Auden and Berio, Outis (1992-96) with texts by Dario Del Corno, and Cronaca del Luogo (1997-99) with a text by Talia Pecker Berio. A special place was occupied by A-ronne (1974-75), a radio documentary for 5 actors (reworked in 1975 for 8 voices) with a text by Sanguineti, the culmination of the experimentations for radio that Berio undertook in the fifties.
Luciano Berio died in Rome on 27 May 2003. In his last work, Stanze (2003, for Baritone, three men’s choruses and orchestra, with texts by Celan, Caproni, Sanguineti, Brendel and Pagis) he gave voice to a last, intimate compendium of his own expressive credo.

Okay. Now sit back, hit the play button and enjoy.
Viktoria Postnikova With Gennady Rozhdestvensky And The Chicago Symphony Play Music Of Tchaikovsky - 1978 - Past Daily Mid-Week Concert Viktoria Postnikova and Gennadi Rozhdestvensky - not just any old Husband and wife team . . .

Viktoria Postnikova, Piano - Gennady Rozhdestvensky, Cond. Chicago Symphony In Concert - July 2, 1978 - Gordon Skene Sound Collection -

More legends in concert this week. This time it's the Husband-Wife team of Viktoria Postnikova and Gennady Rozhdestvensky with the Chicago Symphony in music of Tchaikovsky.

Only two works, but seldom heard. First is a complete, unedited performance of the 2nd Piano concerto. And in the second half, the complete four movement symphonic Tableux Manfred.

Viktoria Postnikova was born in Moscow into a family of musicians. She entered the Central Music School of the Moscow Conservatory at age six, studying with E.B. Musaelian. She graduated in 1967, having studied there and in postgraduate courses with Professor Yakov Flier. In 1965 she won a prize at the International Chopin Piano Competition. She subsequently also won prizes at the Leeds International Piano Competition in England, the Vianna da Motta International Music Competition in Lisbon, and the Fourth International Tchaikovsky Competition in Moscow.

Her repertoire is extremely broad, covering works by composers such as Bach, Handel, Scarlatti, Haydn, Mozart, Liszt, Chopin, Mendelssohn, Schumann, Brahms and Rachmaninoff and from more contemporary periods music by Busoni, Ives, Britten, Shostakovich and Schnittke. One of her greatest accomplishments is her recording of Tchaikovsky's complete piano works.

She takes part in concerts, recordings and recitals at home and abroad with her conductor husband Gennady Rozhdestvensky, whom she married in 1969. Their son, Sasha Rozhdestvensky, is a violinist.

Postnikova is also an accomplished chamber musician, having given recitals in the CIS and France with Yehudi Menuhin featuring the complete Brahms violin and piano sonatas along with sonatas by Mozart, Beethoven and Bartók.

Gennady Rozhdestvensky was considered a versatile conductor and a highly cultured musician with a supple stick technique. In moulding his interpretations, he gave a clear idea of the structural outlines and emotional content of a piece, combined with a performing style which melded logic, intuition and spontaneity. In the Soviet Union, he recorded extensively with the big three major contemporary soloists David Oistrakh (violin, Sviatoslav Richter (piano) and Mstislav Rostropovich (cello).

Rozhdestvensky is featured in the documentary Notes interdites: scènes de la vie musicale en Russie Soviétique (English title: "The Red Baton"), which examines the hardships faced by musicians in the Soviet Union under Stalinism. In it, he describes the political situation and its impact on his life, as well as those of Shostakovich, Prokofiev, Stravinsky, Richter and other colleagues. The role of Tikhon Khrennikov, Secretary of the Union of Soviet Composers, is discussed extensively.

On a lighter note, the documentary features Rozhdestvensky discussing the art of conducting, and includes footage of masterclasses, rehearsals with students from the Moscow Conservatory and Zürich's Tonhalle orchestra, as well as snippets of Rozhdestvensky conducting Shostakovich's 7th Symphony, Tchaikovsky's Romeo and Juliet, and Alfred Schnittke's Dead Souls.

In 2016, Rozhdestvensky was awarded the 7th International Shostakovich Prize for his contribution to the interpretation of the work of Dmitri Shostakovich. At Edinburgh in 1964, he conducted the first performance outside the Soviet Union of the 4th symphony. His 1983 recording of the 8th symphony is considered a classic. He edited the second volume of the collected works of Shostakovich published in 1984, including the Symphony No. 3 and Symphony No. 4.

In 1969, Rozhdestvensky married the pianist Viktoria Postnikova. Together they recorded Tchaikovsky's piano concertos. Their son, Sasha Rozhdestvensky, is a violinist, with whom Rozhdestvensky senior recorded the Glazunov and Shostakovich violin concertos in 2007.

Gennady Rozhdestvensky died on 16 June 2018.

Definitely constitutes an Anti-Road Rage Wednesday concert. Turn it up and enjoy.
Henryk Szeryng With Andrew Davis And The New York Philharmonic Play Music Of Kodaly, Sibelius And Prokofiev - 1978 - Past Daily Mid-Week Concert Henryk Szeryng - "a musician's musician by combining a virtuoso technique with a probing discernment of the highest order."

The New York Philharmonic - Andrew Davis, guest Conductor - Henryk Szeryng, violin - March 15, 1978 - Gordon Skene Sound Collection -

Another historic concert this week - legendary violinist Henryk Szeryng returning to the New York Philharmonic after a six year absence to perform with Toronto Symphony Music Director Andrew Davis, guest conducting in this March 15, 1978 broadcast.

The program starts with Dances of Galanta by Zoltan Kodaly - Szeryng joins the Orchestra in a performance of the Sibelius Violin Concerto and the concert concludes with the Symphony Number 6 by Prokofiev.

Polish born and naturalized Mexican citizen Henryk Szeryng made his solo debut on 6 January 1933 playing the Brahms Violin Concerto with the Warsaw Philharmonic Orchestra under Romanian conductor George Georgescu. From 1933 to 1939 he studied composition in Paris with Nadia Boulanger.

When World War II broke out, General Wladyslaw Sikorski - the Premier of the Polish government in exile - asked Szeryng, who was fluent in seven languages, to serve as his liaison officer and interpreter. Szeryng took these positions and discontinued his studies, although he continued to perform on the violin, giving over 300 concerts for Allied troops all over the world. When he accompanied Sikorski on a mission to Mexico in 1941 seeking a home for 4,000 Polish refugees, the positive reception moved Szeryng so deeply that he decided to become a Mexican naturalized citizen, and did so in 1946. In 1945 he accepted the request (made in 1943) that he head the string department of National University of Mexico.

In 1954, the pianist Arthur Rubinstein - also a Jewish refugee from Poland - gave a concert in Mexico City; Szeryng visited him backstage afterwards, and accepted Rubinstein's invitation to come to his hotel to play music. Szeryng's playing of solo violin music of Johann Sebastian Bach that night, said Rubinstein, "reduced me to tears....Real music lovers want emotion--great moments--which Szeryng's playing gives them." Rubinstein encouraged Szeryng to begin concertizing again, and introduced him to impresario Sol Hurok to help achieve this end. Rubinstein and Szeryng made music together regularly for the rest of their careers, and recorded much of the classic chamber music literature either as a duo or in a trio with cellist Pierre Fournier. Szeryng went on to win such major awards as six Grand prix du Disque awards, the Médaille d'Argent of the city of Paris, two Edison Awards, and was also made an Officer of the Order des Arts et Lettres in Paris in 1963, among many other honors received.

In 1960, Szeryng was named Mexican Cultural Ambassador. In 1966, by which time he had moved to Paris, he was designated Honorary Director of the Conservatory of Music in Mexico City, and a Henryk Szeryng Music Festival was held in his honor in Mexico City. He returned to Mexico twice a year and traveled on a diplomatic passport as Mexico's official cultural ambassador, but lived in Paris for two decades, then spent his last five years in Monaco.

Szeryng died of a cerebral hemorrhage in Kassel, Germany, on 3 March 1988. He was buried at Cimetière de Monaco, the headstone bearing the concluding bars of the Ciaconna from Bach's Partita No.2 for Solo Violin (with his own published annotation).

Enjoy the concert.
Seiji Ozawa With Birgit Finnilae And The Boston Symphony - Mahler: Symphony No. 3 - 1977 - Past Daily Mid-Week Concert Seiji Ozawa - Ending out BSO's 96th Winter Season with Mahler.(photo: Gabriela Brandenstein)

Seiji Ozawa and The Boston Symphony with Birgit Finnilae, Contralto - Mahler: Symphony No. 3 - April 30, 1977 - Gordon Skene Sound Collection -

Another historic concert this week (a little late for Anti-Road Rage Wednesday, but Mahler works just about every day) - The Boston Symphony conducted by music Director Seiji Ozawa and featuring Birgit Finnilae, Contralto in a single work; Mahler's epic 3rd Symphony - joining in are The NEC Women's Chorus and The Boston Boy Choir. It was all recorded on the last day of the 96th Winter Season of the BSO, on April 30, 1977.

A little Mahler 3rd background, in case you were curious, or just getting your feet wet:
The Symphony No. 3 by Gustav Mahler was written in 1896, or possibly only completed in that year, but composed between 1893 and 1896. It is his longest piece and is the longest symphony in the standard repertoire, with a typical performance lasting around 90 to 105 minutes. It was voted one of the ten greatest symphonies of all time in a survey of conductors carried out by the BBC Music Magazine.

The piece is performed in concert less frequently than Mahler's other symphonies, due in part to its great length and the huge forces required. Despite this, it is a popular work and has been recorded by most major orchestras and conductors.

When it is performed, a short interval is sometimes taken between the first movement (which alone lasts around half an hour) and the rest of the piece. This is in agreement with the manuscript copy of the full score (held in the Pierpont Morgan Library, New York), where the end of the first movement carries the inscription Folgt eine lange Pause! ("there follows a long pause"). The inscription is not found in the score as published.

The Adagio movement was arranged by Yoon Jae Lee in 2011 for a smaller orchestra. This version was premiered by Ensemble 212 with Lee as conductor in New York on the eve of the tenth anniversary of the September 11 attacks. Subsequently, Lee arranged the five remaining movements for smaller orchestra as part of his Mahler Chamber Project. The orchestral reduction of the entire symphony was premiered in October 2015 by Ensemble 212, mezzo-soprano Hyona Kim, and the Young New Yorkers' Chorus Women's Ensemble.

The second movement was arranged by Benjamin Britten in 1941 for a smaller orchestra. This version was published by Boosey Hawkes as What the Wild Flowers Tell Me in 1950.
Now all you have to do is hit the Play button and relax.
Erich Leinsdorf With Radu Lupu And The New York Philharmonic Play Music Of Schuller, Beethoven And Richard Strauss - 1982 - Past Daily Mid-Week Concert Erich Leinsdorf - known as a Conductor of intelligence and utility.

Erich Leinsdorf With Radu Lupu and The New York Philharmonic In Concert - March 27,1982 - Gordon Skene Sound Collection -

Another historic concert this week - The New York Philharmonic with the legendary Erich Leinsdorf guest conducting and Radu Lupu, piano in a broadcast from 1982 featuring music of Gunther Schuller, Beethoven and Richard Strauss.

The concert begins with Gunther Schuller's Seven Studies On Themes of Paul Klee - Lupu joins and they continue with a performance of Beethoven's First Piano Concerto - the Concert ends with music of Richard Strauss.

Gunther Schuller (November 22, 1925 – June 21, 2015) was an American composer, conductor, horn player, author, historian and jazz musician. In 1955, Schuller and jazz pianist John Lewis founded the Modern Jazz Society, which gave its first concert at Town Hall, New York, the same year and later became known as the Jazz and Classical Music Society. While lecturing at Brandeis University in 1957, he coined the term "Third Stream" to describe music that combines classical and jazz techniques. He became an enthusiastic advocate of this style and wrote many works according to its principles, among them Transformation (1957, for jazz ensemble), Concertino (1959, for jazz quartet and orchestra), Abstraction (1959, for nine instruments), and Variants on a Theme of Thelonious Monk (1960, for 13 instruments) utilizing Eric Dolphy and Ornette Coleman. In 1966, he composed the opera The Visitation. He also orchestrated Scott Joplin's only known surviving opera Treemonisha for the Houston Grand Opera's premiere production of this work in 1975.

In 1959, Schuller gave up performance to devote himself to composition, teaching and writing. He conducted internationally and studied and recorded jazz with such greats as Dizzy Gillespie and John Lewis among many others. Schuller wrote over 190 original compositions in many musical genres.

In the 1960s and 1970s, Schuller was president of New England Conservatory, where he founded The New England Ragtime Ensemble. During this period, he also held a variety of positions at the Boston Symphony Orchestra's summer home in Tanglewood, serving as director of new music activities from 1965 to 1969 and as artistic director of the Tanglewood Music Center from 1970 to 1984 and creating the Tanglewood Festival of Contemporary Music.

Schuller was editor-in-chief of Jazz Masterworks Editions, and co-director of the Smithsonian Jazz Masterworks Orchestra in Washington, D.C. Another effort of preservation was his editing and posthumous premiering at Lincoln Center in 1989 of Charles Mingus's immense final work, Epitaph, subsequently released on Columbia/Sony Records. He was the author of two major books on the history of jazz, Early Jazz (1968) and The Swing Era (1991).

His students included Irwin Swack, Ralph Patt, John Ferritto, Eric Alexander Hewitt, Mohammed Fairouz, Oliver Knussen, Nancy Zeltzman, Riccardo Dalli Cardillo and hundreds of others.

Nothing needs to be added about Leinsdorf or Lupu - but the bottom line; this certainly qualifies for Wednesday Anti-Road Rage music.

Time to relax - turn it up and sit back. You can resume in 90 minutes.
Lorin Maazel With Jeffrey Siegel Play Music Of Shostakovich And Stravinsky - 1978 - Past Daily Mid-Week Concert Lorin Maazel leads the Cleveland Orchestra in music by Shostakovich and Stravinsky during a blizzard.

Cleveland Orchestra In Concert - Lorin Maazel, Cond. - Jeffrey Siegel, Piano - 1977-1978 season - Gordon Skene Sound Collection -

Back to Cleveland this week for another historic concert, featuring Music Director Lorin Maazel at the podium and joined by Jeffrey Siegel at the piano for a performance of the Concerto in C minor for Piano, Trumpet, and String Orchestra, Op. 35 by Shostakovich. The concert begins with Shostakovich's Symphony Number 1 and ends with a performance of Stravinsky's Rite Of Spring.

According to the announcer Robert Conrad, the matinee concert was sparsely attended, due in no small part to the blizzard that was sweeping through Cleveland at the time. Considering this concert was delay-broadcast in July, it was no doubt greeted fondly by listeners.

Hailed by The New York Times as “an artist who means every note he plays,” Jeffrey Siegel has been soloist with the world's great orchestras. Abroad, these have included the Berlin Philharmonic, London Symphony, Philharmonic and Philharmonia, Moscow State Symphony, Munich's Bayerischer Rundfunk, the Amsterdam, Oslo and Stockholm Philharmonic Orchestras, Orchestra of La Scala and NHK Symphony of Japan.

In the United States, engagements have included the New York Philharmonic, Los Angeles Philharmonic, The Philadelphia Orchestra, The Cleveland Orchestra, Boston Symphony Orchestra and Chicago Symphony Orchestra.

Born into a musical family, Jeffrey Siegel studied with Rudolf Ganz in his native Chicago, with the legendary Rosina Lhévinne at The Juilliard School and, as a Fulbright Scholar, with Ilona Kabos in London. Mr. Siegel has collaborated with many of the pre-eminent conductors of our time: Claudio Abbado, Pierre Boulez, Charles Dutoit, Neeme Järvi, James Levine, Lorin Maazel, Zubin Mehta, Leonard Slatkin, Michael Tilson Thomas, and David Zinman, as well as legendary maestros of the past, including Eugene Ormandy, Sir George Solti, William Steinberg, Klaus Tennstedt and Yevgeny Svetlanov.

Maazel, you already know about from last week.

Assume the position and enjoy the concert.
Christoph Eschenbach With Lorin Maazel And The Cleveland Orchestra Play Music Of Beethoven, Harris And Ravel - 1976 - Past Daily Mid-Week Concert Lorin Maazel - started his career at the podium when he was 8. How many 8 year olds do you know who can say that?

Christoph Eschenbach, piano - Lorin Maazel, Cond. - Cleveland Orchestra Concert Broadcast - March 4, 1976 - Gordon Skene Sound Collection -

Back to historic concerts this week - this time it's Lorin Maazel leading the Cleveland Orchestra with Christoph Eschenbach at the piano in concert of music by Beethoven, Roy Harris and Maurice Ravel (the concert actually started out with a Concerto Grosso by Geminiani, but it was partially destroyed . . . sorry - it's also in Mono as there was a problem with the radio station transmitter at the time . . sorry too). It was recorded most likely late in 1975, but was broadcast on March 4, 1976.

The program starts with the Beethoven Piano Concerto Number 1, with Eschenbach as piano soloist. It continues with a performance of the 3rd Symphony of Roy Harris and concludes with Ravel's Bolero.

Lorin Maazel was a child prodigy, taking his first conducting lesson at age seven with Vladimir Bakaleinikov and making his debut at age eight, conducting the University of Idaho Orchestra in Schubert's "Unfinished" Symphony in Los Angeles on July 13, 1938. In the same year, he conducted the National High School Orchestra at the National Music Camp in Interlochen, Michigan; the following year he conducted 11 concerts by the same orchestra at the New York World’s Fair. At the age of eleven, he guest-conducted the NBC Symphony Orchestra on the radio. At twelve he toured the United States of America to conduct major orchestras. He made his violin debut at the age of fifteen. He attended the Fanny Edel Falk Laboratory School at the University of Pittsburgh as a child, followed by Peabody High School and the University of Pittsburgh. Maazel studied briefly with Pierre Monteux in 1945.

In the early 1950s, Maazel toured as the conductor with the Gershwin Concert Orchestra. The orchestra consisted of 25 members and a noted array of soloists. The orchestra was organized in cooperation with Ira Gershwin, to give the public a comprehensive Gershwin program. The list of soloists included George Gershwin's friend, Jesús María Sanromá, Carolyn Long and Theodor Uppman.

In 1960, Maazel became the first American to conduct at the Bayreuth Festspielhaus. He was chief conductor of the Deutsche Oper Berlin from 1965 to 1971 and the Radio-Symphonie-Orchester (RSO) Berlin from 1964 to 1975.

In 1972, Maazel began his tenure as music director at the Cleveland Orchestra, succeeding George Szell. Maazel's emotional, rich interpretation of music greatly differed from Szell's characteristic crisp, defined precision in performance. A notable achievement during this time was the first complete recording of George Gershwin's Porgy and Bess, using an all-African American cast (except for the chorus). Maazel held the post until 1982. He never returned to the Cleveland Orchestra after his departure, although a scheduled engagement in 2006 did not occur because of illness. In 1977, he became music director of the Orchestre National de France in Paris, a position he held until 1991.

As a pianist, Christoph Eschenbach has won numerous first-place piano competition prizes, including first prize in the Clara Haskil Competition in Vevey, Switzerland in 1965. In 1964, he made his first recording (of Mozart) for Deutsche Grammophon and signed a contract with the label. Eschenbach continued to study conducting with George Szell, with whom he worked for more than three years. In addition, he counted Herbert von Karajan as a mentor.

In 1981, Eschenbach became principal guest conductor of the Tonhalle Orchestra Zurich, and was chief conductor from 1982 to 1986. He was co-artistic director of the Pacific Music Festival from 1992 to 1998. He was chief conductor of the NDR Symphony Orchestra, Hamburg from 1998 to 2004. He was artistic director of the Schleswig-Holstein Musik Festival from 1999 until 2003. From 2000 to 2010, Eschenbach was Music Director of the Orchestre de Paris.

Definitely Wednesday Anti-Road Rage music - a couple rough spots in the Beethoven via transmitter noise, but ultimately, an enjoyable concert to kick your feet up and relax to.
Charles Munch And The Boston Symphony - In Rehearsal - 1951 - Past Daily Weekend Gramophone Charles Munch - his long association with The Boston Symphony was one of the most profound in 20th Century music history.

Charles Munch and The Boston Symphony - In Rehearsal - January 6, 1951 - Gordon Skene Sound Collection -

Continuing our dig through the second batch of Boston Symphony rehearsal broadasts; this one from January 6, 1951 featuring Munch at the helm, rehearsing Ravel's Rapsodie Espagnole.

Munch made his début with the Boston Symphony Orchestra on 27 December 1946. He was its Music Director from 1949 to 1962. Munch was also Director of the Berkshire Music Festival and Berkshire Music Center (Tanglewood) from 1951 through 1962. He led relaxed rehearsals which orchestra members appreciated after the authoritarian Serge Koussevitzky. Munch also received honorary degrees from Boston College, Boston University, Brandeis University, Harvard University, and the New England Conservatory of Music.

He excelled in the modern French repertoire, especially Claude Debussy and Maurice Ravel, and was considered to be an authoritative performer of Hector Berlioz. However, Munch's programs also regularly featured works by composers such as Bach, Haydn, Mozart, Beethoven, Schubert, Schumann, Brahms, and Wagner. His thirteen-year tenure in Boston included 39 world premieres and 58 American first performances, and offered audiences 168 contemporary works. Fourteen of these premieres were works commissioned by the Boston Symphony and the Koussevitzky Music Foundation to celebrate the Orchestra's 75th Anniversary in 1956. (A 15th commission was never completed.)

Munch invited former Boston Symphony music director Pierre Monteux to guest conduct, record, and tour with the orchestra after an absence of more than 25 years. Under Munch, guest conductors became an integral part of the Boston Symphony's programming, both in Boston and at Tanglewood.

Munch led the Boston Symphony on its first transcontinental tour of the United States in 1953. He became the first conductor to take them on tour overseas: Europe in 1952 and 1956, and East Asia and Australia in 1960. During the 1956 tour, the Boston Symphony was the first American orchestra to perform in the Soviet Union.

The Boston Symphony under Munch made a series of recordings for RCA Victor from 1949 to 1953 in monaural sound and from 1954 to 1962 in both monaural and stereophonic versions.

Selections from Boston Symphony rehearsals under Leonard Bernstein, Koussevitzky, and Munch were broadcast nationally on the NBC Radio Network from 1948-1951. NBC carried portions of the Orchestra's performances from 1954-1957. Beginning in 1951, the BSO was broadcast over local radio stations in the Boston area. Starting in 1957, Boston Symphony performances under Munch and guest conductors were disseminated regionally, nationally, and internationally through the Boston Symphony Transcription Trust. Under Munch, the Boston Symphony appeared on television. The first BSO television broadcast was under Bernstein in 1949 at Carnegie Hall.
Rudolf Firkusny With Guido Ajmone Marsan And The San Francisco Symphony In Concert - 1978 - Past Daily Mid-Week Concert Guido Ajmone Marsan - Bright light, brilliant career - cut short.

Rudolf Firkusny with Guido Ajmone Marsan and The San Francisco Symphony - 1978-1979 Season - Gordon Skene Sound Collection -

A rather short concert this week - short, in the sense that only two pieces survived and the third piece (the Mendelssohn "Scottish" Symphony) was sadly incomplete and badly damaged. So rather than not run this concert at all, to only run the first half because it features a work by one of America's important composers of the 20th Century - the work of a celebrated pianist, and a rare appearance by a conductor whose brilliant career was cut short.

The San Francisco Symphony, in this concert from the 1978-1979 season features guest Conductor Guido Ajmone Marsan and the legendary Rudolf Firkusny in Beethoven's 4th piano Concerto. The concert begins with Vincent Persichetti's Symphony For Strings (Symphony Number 5).

Here's what The Guardian wrote about Guido Ajmone Marsan on the occasion of his obituary, written by Michael Roll and published on January 20, 2015:

"My colleague and friend Guido Ajmone-Marsan, who has died aged 67 from cancer, was an Italian-American conductor who excelled in a wide range of repertoire. He had a particular affinity with the great operas of Verdi and Puccini.

He was born in Turin, Italy, to Cosimo, a neurologist, and Rosetta (nee Pesatori). From the age of four or five he wanted to be a conductor. His grandparents were close friends of Arturo Toscanini and instead of playing with his friends he would spend his time listening to the famous conductor’s recordings. The story goes that once when his parents visited Toscanini, Guido, still a little boy and totally mesmerised, would follow the maestro around to the point of irritation.

The family moved first to Montreal, Quebec, then to Washington DC, where Guido grew up. He went to school in Bethesda, Maryland, and from there to the Eastman School of Music, Rochester, from where he graduated in conducting in 1968. His talent brought him to the attention of Franco Ferrara, who considered Guido to be one of his most outstanding students.

From the age of 22 he won several conducting competitions. His big international break came in 1973, when he won both the Rupert Foundation competition in London and the International Conductors’ Competition Sir Georg Solti in Chicago one month later. Following Guido’s success, Solti took a keen interest in the development of his career.

He was soon in demand worldwide, appearing with leading orchestras such as the Orchestre de Paris, Chicago, Cleveland, Philadelphia and San Francisco Symphony Orchestras, and in London with the Philharmonia, Royal Philharmonic, BBC Symphony and London Symphony Orchestras. In 1982 he shared the conducting of a concert to mark the centenary of the birth of Stravinsky with Leonard Bernstein; it was given in Venice by the orchestra of La Scala, Milan. His Covent Garden debut came the following year, and in 1990 he made a triumphant debut at the Met with Rigoletto.

He was also music director of the Essen Opera in Germany (1986-90) and was responsible for a great revival of that company’s fortunes. For many years, he was a regular conductor at the New York City Opera, where, in 1996, he conducted a memorable performance of Falstaff with Sherrill Milnes."

And a brief bio on Vincent Persichetti, in case you weren't already familiar:

Vincent Ludwig Persichetti (June 6, 1915 – August 14, 1987) was an American composer, teacher, and pianist. An important musical educator and writer, Persichetti was a native of Philadelphia. He was known for his integration of various new ideas in musical composition into his own work and teaching, as well as for training many noted composers in composition at the Juilliard School.

His students at Juilliard included Philip Glass, Bruce Adolphe, Michael Jeffrey Shapiro, Laurie Spiegel, Kenneth Fuchs, Richard Danielpour, Peter Schickele, Lowell Liebermann, Robert Witt, Elena Ruehr, William Schimmel, Leonardo Balada, and Leo Brouwer. He also taught composition to Joseph Willcox Jenkins and conductor James DePreist at the Philadelphia Conservatory.

Now sit back and enjoy.
Angela Hewitt With Hannu Lintu And The Finnish Radio Symphony Play Music Of Fagerlund, de Falla, Debussy And Ravel - 2018 - Past Daily Mid-Week Concert Angela Hewitt - blazing a trail of landmark concerts.

Finnish Radio Symphony - In Concert - Hannu Lintu, Cond. - Angela Hewitt, Piano - May 17, 2018 - Finnish Radio

Diving into more contemporary concerts this week. From a concert given in Helsinki this past May and recoded by Finnish Radio, a concert featuring the Radio Symphony of Finland, conducted by Hannu Lintu and featuring the Canadian pianist Angela Hewitt in a program of music by Sebastian Fagerlund, Manuel de Fall, Claude Debussy and Maurice Ravel.

Beginning the concert is the Finnish premier of Water Atlas by Sebastian Fagerlund. Sebastian Fagerlund composed this work as composer-in-residence for the Royal Concertgebouw in Amsterdam. Water Atlas can be heard during the NTR ZaterdagMatinee and was given its premier by the Radio Philharmonic Orchestra conducted by Osmo Vänskä.

Following that is a performance of Manuel de Falla's Nights In The Gardens Of Spain with Angela Hewitt as piano soloist. After intermission, the orchestra dives into Jeux by Debussy and ends with Ravel's Bolero - a pleasant evening of music making, you must admit.

One of the world’s leading pianists, Angela Hewitt appears in recital and as soloist with major orchestras throughout Europe, the Americas, Australia, and Asia. Her interpretations of the music of J.S. Bach have established her as one of the composer’s foremost interpreters of our time.

Born in 1958 into a musical family (the daughter of the Cathedral organist and choirmaster in Ottawa, Canada), Angela began her piano studies age three, performed in public at four and a year later won her first scholarship. In her formative years, she also studied classical ballet, violin, and recorder. From 1963-73 she studied at Toronto’s Royal Conservatory of Music with Earle Moss and Myrtle Guerrero, after which she completed her Bachelor of Music in Performance at the University of Ottawa in the class of French pianist Jean-Paul Sévilla, graduating at the age of 18. She was a prizewinner in numerous piano competitions in Europe, Canada, and the USA, but it was her triumph in the 1985 Toronto International Bach Piano Competition, held in memory of Glenn Gould, that truly launched her international career.

Angela’s award-winning cycle for Hyperion Records of all the major keyboard works of Bach has been described as “one of the record glories of our age” (The Sunday Times). Begun in 1994, it culminated with her much-awaited recording of Bach’s Art of Fugue in 2014 which immediately hit the charts in the UK and USA. Her extensive discography also includes solo recordings of Scarlatti, Handel, Couperin, Rameau, Haydn, Mozart, Beethoven, Chopin, Schumann, Liszt, Fauré, Debussy, Chabrier, Ravel, Granados and Messiaen. She has won four Juno Awards, including one for her album of Mozart Concertos with Canada’s National Arts Centre Orchestra. Other concerto recordings include the complete Bach Concertos with the Australian Chamber Orchestra; the works for piano and orchestra of Schumann with the Deutsches Symphonie-Orchester Berlin; and Messiaen’s mammoth Turangalila Symphony with the Finnish Radio Symphony Orchestra. In 2015, Angela was inducted into Gramophone Magazine’s “Hall of Fame”, reflecting her popularity with music lovers around the world. Recent releases include her second recording of Bach’s Goldberg Variations, made 15 years after her first.

During the 2007-2008 season, Angela embarked on her Bach World Tour, performing the Well-Tempered Clavier in 21 countries on six continents. At the same time, she released a DVD entitled Bach Performance on the Piano, sharing her experience of learning and performing Bach with amateurs and professionals alike.

One of her current projects, The Bach Odyssey, sees her performing all the keyboard works of J.S. Bach in a series of twelve recitals between 2016 and 2020, presenting the complete cycle in London, New York, Ottawa, Tokyo, and Florence.

Hannu Petteri Lintu (born 13 October 1967, Rauma, Finland. Lintu studied piano and cello at the Turku Conservatory and at the Sibelius Academy. He also studied conducting with Atso Almila, and later with Jorma Panula and Eri Klas. He took part in conducting master classes with Ilya Musin. Lintu won the Nordic Conducting Competition in 1994 in Bergen. He graduated from the Sibelius Academy in 1996 with honors. Lintu took up a part-time appointment of professor of conducting at the Sibelius Academy in September 2014.

From 1998 to 2001, Lintu was chief conductor of the Turku Philharmonic Orchestra. In 2005, he served as the artistic director for the Summer Sounds Festival of the Finnish contemporary music ensemble Avanti!. Lintu was chief conductor of the Tampere Philharmonic Orchestra from 2009 to 2013. In December 2010, the Finnish Radio Symphony Orchestra announced the appointment of Lintu as its eighth chief conductor, effective 1 August 2013, with an initial contract of 3 seasons. He held the title of principal guest conductor with the orchestra for the 2012-2013 season. In April 2016, the FRSO announced the extension of Lintu's contract as chief conductor through 2021.

Outside of Finland, Lintu was chief conductor and artistic director of the Helsingborg Symphony Orchestra from 2002 to 2005. Lintu first conducted Ireland's RTÉ National Symphony Orchestra in January 2009. On the basis of that appearance, he was named principal guest conductor of the RTÉ National Symphony Orchestra, effective with the 2010-2011 season.

Lintu resides in Helsinki. He has conducted commercial recordings for such labels as Claves, Dacapo, Danacord, Hyperion, Naxos, and Ondine.

Now you know the particulars - have a seat and enjoy the show.
Klaus Tennstedt With Alexander Toradze And The New York Phil. In Music Of Blacher, Schumann And Prokofiev - 1985 - Past Daily Mid-Week Concert Klaus Tennstedt - a podium reliable.

Klaus Tennstedt, guest Conductor - Alexander Toradze, Piano - New York Philharmonic Concert - Oct. 23, 1985 - Gordon Skene Sound Collection -

Another historic concert this week - the legendary Klaus Tennstedt leads the New York Philharmonic in this 1985 broadcast that also features pianist Alexander Toradze in a performance of the 3rd Piano Concert of Serge Prokofiev. Also on the bill is Boris Blacher's Paganini Variations and ending the concert is Schumann's Symphony Number 3 (Rhenish). Recorded for broadcast on October 23, 1985.

Klaus Tennstedt (June 6, 1926 – January 11, 1998) was a German conductor from Merseburg; he conducted the Swedish Radio Symphony Orchestra, the Kiel Opera in northern Germany, the North German Radio Orchestra in Hamburg, the Minnesota Orchestra in Minneapolis and the Toronto Symphony Orchestra.

n 1974, Tennstedt made his North American debut with the Toronto Symphony Orchestra. His first U.S. appearance was shortly after that, with the Boston Symphony Orchestra, on December 13, 1974, conducting an all-Brahms program. The following week, his BSO Bruckner Symphony No. 8 earned laudatory reviews. In Norman Lebrecht's The Maestro Myth, the story was told that when the Boston management asked Tennstedt what he wanted to conduct, he replied: "You mean I get to choose?" His appearances were so highly acclaimed that as a result, Tennstedt was invited to guest-conduct at the Tanglewood Music Festival and Blossom Music Festival in 1975.

His only American opera engagement was a series of seven performances of Beethoven's Fidelio at the Metropolitan Opera, the last of which, on Jan. 7, 1984, was broadcast.

Tennstedt then guest-conducted the Philadelphia Orchestra, the Chicago Symphony, the Cincinnati Symphony, the Cleveland Orchestra, the Detroit Symphony, the Los Angeles Philharmonic and the New York Philharmonic. In Europe, he guest- conducted the Bavarian Radio Symphony of Munich, the Berlin Philharmonic and the SDR Symphony (now the Stuttgart Radio Symphony Orchestra).

His London debut was with the London Symphony (LSO) in 1976. In 1977 came his first engagement with the London Philharmonic (LPO), which led to his appointment as its principal guest conductor in 1980, and eventually as principal conductor in 1983. Due to ill-health he resigned in 1987, but was later named the its conductor laureate, returning to the LPO in 1986 to record Mahler's Symphony No. 8 ("Symphony of a Thousand", EMI DSB-47625) and for Mahler concerts in November 1991 (Symphony No. 6) and May 1993 (Symphony No. 7). His last guest appearance in the U.S. was with the New York Philharmonic in 1992, but on the advice of his physicians he retired from conducting altogether in October 1994. The last time he conducted was in June 1994, at a rehearsal of a student orchestra at Oxford University where he received an honorary doctorate a few days later.

In 1978 Tennstedt became the first German conductor of his generation to conduct the Israel Philharmonic, which until then had boycotted German conductors because of their connections with the Nazi regime.

His recordings include a complete cycle of the symphonies of Gustav Mahler, and several of Tennstedt's concert performances have been reissued on CD.

Alexander Toradze is best known for his Russian repertoire, with a career spanning over three decades. He is a professor of piano at Indiana University South Bend.

Born in Tbilisi, Georgian SSR, to parents David, a famous Georgian composer, and Liana, a movie actress and ophthalmologist, Alexander Toradze entered Tbilisi’s central music school at six and first played with orchestra at nine.He continued his studies at the Tchaikovsky Conservatory in Moscow at nineteen under Yakov Zak, Boris Zemliansky, and Lev Naumov. In 1977, he finished second in the Fifth Van Cliburn International Piano Competition in Fort Worth, Texas. Toradze graduated from the Moscow conservatory in 1978. In 1983, while on tour with the Bolshoi Symphony Orchestra of Moscow, he requested asylum at the American Embassy in Madrid and has since made his home in the United States.

So there you have it - a mid-week extravaganza of music making of the tried-and-true variety. Maybe not earth-shattering, but will certainly round off a few jagged edges and put you in a better mood than when you got started today.

Radu Lupu With Sir Neville Marriner And The Stuttgart Radio Symphony Play Music Of Schoenberg, Mozart And Bruckner - 1983 - Past Daily Mid-Week Concert Admit it - even if you DON'T like Classical Music, you have at least 10 Neville Marriner albums in your collection.

Sir Neville Marriner, Cond. - Radu Lupu, Piano - Stuttgart Radio Symphony - Nov. 11, 1983 - Gordon Skene Sound Collection -

Another historic concert this week (a lot of them lately), This one featuring the famed Stuttgart Radio Symphony, guest conducted by the legendary Sir Neville Marriner and featuring the equally legendary pianist Radu Lupu in a program of music by Arnold Schoenberg, Wolfgang Amadeus Mozart and Anton Bruckner.

Starting the concert with the seldom performed Accompaniment to a Cinematographic Scene, composed between 1929 and 1930 by Arnold Schoenberg. Followed by Mozart's Piano Concerto Number 23, with Rumanian Pianist Radu Lupu. The concert concludes with the Symphony Number 1 by Anton Bruckner.

Sir Neville Marriner, CH, CBE (15 April 1924 – 2 October 2016) was an English violinist who became "one of the world's greatest conductors". He founded the Academy of St Martin in the Fields, and his partnership with them is the most recorded of any orchestra and conductor.

In 1958, he founded the Academy of St Martin in the Fields; initially a twelve-member chamber ensemble, it soon expanded to a chamber orchestra, and attracted musicians of a high calibre including Dart, Iona Brown, Christopher Hogwood and Alan Loveday. Marriner recorded prolifically with the Academy. The first recordings in the early 1960s, with Marriner both conducting and playing lead violin, were successful, leading Pierre Monteux, then the LSO's conductor, to encourage Marriner to shift his focus to conducting. Marriner had studied the subject with Monteux at his school in Hancock, Maine, in the United States, from around 1950.

Marriner was the founder and first music director of the Los Angeles Chamber Orchestra, from 1969 to 1978. From 1979 to 1986, he was music director of the Minnesota Orchestra. He was principal conductor of the Stuttgart Radio Symphony Orchestra from 1986 to 1989.Except for 1974 to 1980 during which Iona Brown was the director, he remained the musical director of the Academy of St Martin in the Fields until 2011, when he was succeeded by Joshua Bell, continuing to hold the title of Life President until his death. He also conducted many other orchestras, including the New York Chamber Orchestra, Gulbenkian Orchestra, Israel Chamber Orchestra, Australian Chamber Orchestra and Vienna Philharmonic. He continued to conduct into his nineties, becoming the oldest conductor of a Proms concert in 2014, aged 90.

His obituary in The Telegraph praises the Academy of St Martin in the Fields' interpretations of baroque and classical music as "fresh, technically brilliant", and describes them as a "revelation". Marriner preferred modern instruments and effects, and his work came under criticism by Hogwood, among others, for not striving for an authentic sound.He later expanded the Academy's repertoire to include Romantic and early-modern music.

Marriner made over 600 recordings covering 2,000 different works – more than any conductor except Herbert von Karajan. He recorded for various labels, including Argo, L'Oiseau Lyre, Philips and EMI Classics. His recorded repertoire ranges from the baroque era to 20th-century British music, as well as opera. He supervised the Mozart selections for the soundtrack of the Oscar-winning 1984 film Amadeus; it became one of the most popular classical music recordings of all time, selling over 6.5 million copies.

Sit back and enjoy. It's Wednesday after all.
George Szell With Pierre Fournier And The Cleveland Orchestra Play Music Of Mozart, Martin And Strauss - 1967 - Past Daily Mid-Week Concert George Szell - Terrifying authoritarian of the old school, but also an artist of terrific ability.

Cleveland Orchestra In Concert - George Szell, Cond. - Pierre Fournier, Cello - Oct. 25, 1967 - Gordon Skene Sound Collection -

Another historic concert this week. The Cleveland Orchestra in this 1967 broadcast featuring Music Director and legend George Szell at the Podium with Pierre Fournier, cello in music of Mozart, Martin and Richard Strauss.

The concert begins with two Marches by Mozart - and then the first American performance of the Cello Concerto by Frank Martin and closes with Strauss' Don Quixote. It was recorded on October 25, 1967.

George Szell was born in Budapest on June 7, 1897. His father, a Hungarian business man and a lawyer, discovered when the boy was 7 years old that he could write down tunes after hearing them only once, and pushed him into musical training.

Even before that, at 4, George had shown aptitude for his life's work, supervising his mother's piano playing and cor recting wrong notes by tapping her wrist. The pedagogic urge, often pressed to the point of pedanticism, stayed with him and became part of the Szell legend.

One of Mr. Szell's oldest friends, Joseph Wechsberg, wrote in The New Yorker in 1965 about this pedagogic impulse: “He teaches expert golfers how to play golf (he plays badly himself), racing drivers how to drive, Parisian couturiers how to make dresses, Mrs. Szell how to cook, and writers how to write.”

When he first took the Cleveland Orchestra post in 1946 (he became a United States citizen the same year), it was believed that Mr. Szell's hope was to follow the path of Artur Rodzinski, who had come from the Cleveland podium to take charge of the New York Philharmonic.

But Cleveland turned out to be made for Mr. Szell, and he for Cleveland. In 1955 he bought a luxurious suburban home in Shaker Heights, not far from Severance Hall, a neoclassic structure on Cleveland's East Side that the conductor liked so much that he encouraged the orchestra's trustees to remodel it acoustically, at the cost of $1‐million in 1960. He dropped his title of permanent guest conductor of Amsterdam's Concertgebouw in 1959, and settled down to remaking the Cleveland Orchestra into a musical ensemble closer to his heart's desire.

“Cleveland is my home,” he announced. Part of his plan included building esteem for orchestra musicians in their community by extending the orchestra's season, increasing pay and taking the Cleveland Orchestra on European tours. From these tours, which earned extraordinary applause in European cities, and from the orchestra's continued visits to Carnegie Hall, the Cleveland Orchestra emerged with a reputation for technical skill and musicianship that almost satisfied even, the hard‐to‐please Mr. Szell.

Enjoy the show.
Mstislav Rostropovich With Gennadi Rozhdestvensky And The Leningrad Symphony - 14th Edinburgh Festival 1960 - Past Daily Mid-Week Concert Shostakovich - Rostropovich-Rozhdestvensky - Million Dollar Trio.

14th Edinburgh Festival - Leningrad Symphony - September 16, 1960 - BBC Transcription Service -

A rare concert this week. And since we're sliding into Festival season, a historic recording from a legendary festival. The Leningrad Symphony, conducted by Gennadi Rozhdestvensky and featuring the iconic cellist Mstislav Rostropovich. Beginning with Benjamin Britten's Variations And Fugue on a Theme of Purcell (better known as "A Young Person's Guide To The Orchestra), Followed by what may be the first Western performance of the Shostakovich First Cello Concerto with Rostropovich, the dedicatee, as soloist. The concert continues with Miaskovsky's Symphony Number 21. And then continues with Tchaikovsky's Fantasia: Francesa da Rimini, and ends with an encore; the Dance of Tybalt from Prokofiev's Romeo and Juliet. A memorable concert all around.

Mstislav "Slava" Rostropovich; (27 March 1927 – 27 April 2007) was a Soviet and Russian cellist and conductor. He is considered to be one of the greatest cellists of the 20th century. In addition to his interpretations and technique, he was well known for both inspiring and commissioning new works, which enlarged the cello repertoire more than any cellist before or since. He inspired and premiered over 100 pieces, forming long-standing friendships and artistic partnerships with composers including Dmitri Shostakovich, Sergei Prokofiev, Henri Dutilleux, Witold Lutosławski, Olivier Messiaen, Luciano Berio, Krzysztof Penderecki, Alfred Schnittke, Norbert Moret, Andreas Makris, Leonard Bernstein and Benjamin Britten.

Rostropovich was internationally recognized as a staunch advocate of human rights, and was awarded the 1974 Award of the International League of Human Rights. He was married to the soprano Galina Vishnevskaya and had two daughters, Olga and Elena Rostropovich.

Gennady Rozhdestvensky was born in Moscow. His parents were the noted conductor and pedagogue Nikolai Anosov and soprano Natalya Rozhdestvenskaya. His given name was Gennady Nikolayevich Anosov, but he adopted his mother’s maiden name in its masculine form for his professional career so as to avoid the appearance of nepotism. His younger brother, the painter P.N. Anosov, retained their father's name.

He studied conducting with his father at the Moscow Conservatory and piano with Lev Oborin. Already known for having conducted Tchaikovsky's The Nutcracker ballet at the Bolshoi Theatre at the age of 20, he quickly established his reputation. He premiered many works of Soviet composers, including Edison Denisov's Le soleil des Incas (Sun of the Incas) (1964), as well as giving the Russian premiere of Benjamin Britten's A Midsummer Night's Dream and the Western premiere of Dmitri Shostakovich's Fourth Symphony at the 1962 Edinburgh Festival.

He became general artistic director of the Bolshoi Theatre in 2000, and in 2001 conducted the world premiere of the original version of Sergei Prokofiev's opera The Gambler.

Not long afterwards he resigned, citing desertion by singers, production problems and hostile coverage by the Moscow press.

Rozhdestvensky is considered a versatile conductor and a highly cultured musician with a supple stick technique. In moulding his interpretations, he gives a clear idea of the structural outlines and emotional content of a piece, combined with a performing style which melds logic, intuition and spontaneity.

I am pretty certain this concert (at least the Shostakovich) has been reissued, at least several times. The rest of the concert, I'm not so sure about. In any event, it's the complete concert from September 16, 1960 as broadcast by the BBC and issued to overseas radio outlets with the BBC Transcription Service.

Reine Gianoli And The ORTF Philharmonic With Pierre-Michel LeConte Play Music Of Lalo - 1967 - Past Daily Weekend Gramophone Reine Gianoli - A major cult figure among French piano enthusiasts.

Lalo: Piano Concerto - Reine Gianoli, Piano - ORTF Phil. Pierre-Michel LeConte - ORTF Broadcast 1967 - Gordon Skene Sound Collection -

Another slice of history this weekend - a legendary pianist playing a seldom-performed work. The celebrated and enthusiastically embraced cult figure Reine Gianoli performs in this broadcast Studio performance of the almost completely forgotten and seldom (if ever) played Piano concerto of Eduard Lalo. Accompanying Reine Gianoli is Pierre-Michel LeConte conducted the ORTF Philharmonic in this circa 1967 recording. No exact date of recording - if anyone has, please let me know.

Throughout her career Reine Gianoli appeared with leading orchestras and such conductors as Paul Paray, Felix Weingartner, George Enescu, Hermann Scherchen, Louis Auriacombe, Milan Horvat, and Georges Sebastian, and in recitals with Pablo Casals, Pierre Fournier, George Enescu, and Edwin Fischer. She was featured several times in performances at the Strasbourg and Lucerne Festivals.

In 1947 Reine Gianoli was appointed professor of piano at the École Normale de Musique in Paris.

Reine Gianoli made numerous recordings for the Westminster, BAM and Ades labels. Although Reine Gianoli is not a "household name" among pianists like Vladimir Horowitz and Arthur Rubinstein, she has a very active and ever-growing cult following who look forward to any new releases of her hard-to-find recordings. Between 1947 and 1955 she recorded Mozart's 17 piano sonatas live. These works are cornerstones of the keyboard literature. Often deceptively simple to play (the sonata in C, K.545 is affectionately known to students as "the beginner's sonata"), they are full of poetry, humor, and drama. She thankfully avoids the trap of treating these works like fragile china, as was once the tradition; she plays them for their full red-blooded qualities. Gianoli died in 1979 and her reputation has been growing ever since.

And a nice description of the Lalo Piano Concerto via Hector Bellman at AllMuisc:
Lalo's only piano concerto was written in 1888. One of the most beautiful works in its genre in the nineteenth century, it has fallen into almost complete neglect probably because the piano part, albeit difficult, was not written with the purpose of letting the pianist show off--there is not even a cadenza for the soloist. The concerto comprises three movements. In the slow introduction, Lento, the orchestra opens very quietly and then gives way to the pensive entrance of the piano. A somber atmosphere precedes a theme that becomes a recurring motto for the work. The subdued dialogue of orchestra and piano continues to introduce the main themes, blooming into a wonderful passage. A succession of piano arpeggios leads to the Allegro, which remains in major mode throughout. This is in regular sonata form with a noble chorale-like first subject and a second subject of similar character. The piano has several bravura passages, particularly before the very conclusive coda. The second movement, Lento, is also in major mode. A slow and enchanting berceuse of happy atmosphere, it is based on a simple, obstinate rhythm formed from two alternating notes. The second theme is based on material from the first movement. The finale, Allegro, opens in minor, resembling a playful toccata. After the reappearance of the theme already heard in the first two movements, the piano brings a new and lyrical theme. After a reprise of opening theme, another relaxed passage presages the conclusion. Perhaps what has been needed to interest keyboard virtuosi was a fiery bravura passage near the ending, but Lalo did not see fit to provide one. The work closes with a last repetition of the opening theme, followed by a sunny coda in major mode.
Now all you have to do is hit the Play button, relax and enjoy
Reine Gianoli And The ORTF Philharmonic With Pierre-Michel LeConte Play Music Of Lalo - 1967 - Past Daily Weekend Gramophone Reine Gianoli - A major cult figure among French piano enthusiasts.

Lalo: Piano Concerto - Reine Gianoli, Piano - ORTF Phil. Pierre-Michel LeConte - ORTF Broadcast 1967 - Gordon Skene Sound Collection -

Another slice of history this weekend - a legendary pianist playing a seldom-performed work. The celebrated and enthusiastically embraced cult figure Reine Gianoli performs in this broadcast Studio performance of the almost completely forgotten and seldom (if ever) played Piano concerto of Eduard Lalo. Accompanying Reine Gianoli is Pierre-Michel LeConte conducted the ORTF Philharmonic in this circa 1967 recording. No exact date of recording - if anyone has, please let me know.

Throughout her career Reine Gianoli appeared with leading orchestras and such conductors as Paul Paray, Felix Weingartner, George Enescu, Hermann Scherchen, Louis Auriacombe, Milan Horvat, and Georges Sebastian, and in recitals with Pablo Casals, Pierre Fournier, George Enescu, and Edwin Fischer. She was featured several times in performances at the Strasbourg and Lucerne Festivals.

In 1947 Reine Gianoli was appointed professor of piano at the École Normale de Musique in Paris.

Reine Gianoli made numerous recordings for the Westminster, BAM and Ades labels. Although Reine Gianoli is not a "household name" among pianists like Vladimir Horowitz and Arthur Rubinstein, she has a very active and ever-growing cult following who look forward to any new releases of her hard-to-find recordings. Between 1947 and 1955 she recorded Mozart's 17 piano sonatas live. These works are cornerstones of the keyboard literature. Often deceptively simple to play (the sonata in C, K.545 is affectionately known to students as "the beginner's sonata"), they are full of poetry, humor, and drama. She thankfully avoids the trap of treating these works like fragile china, as was once the tradition; she plays them for their full red-blooded qualities. Gianoli died in 1979 and her reputation has been growing ever since.

And a nice description of the Lalo Piano Concerto via Hector Bellman at AllMuisc:
Lalo's only piano concerto was written in 1888. One of the most beautiful works in its genre in the nineteenth century, it has fallen into almost complete neglect probably because the piano part, albeit difficult, was not written with the purpose of letting the pianist show off--there is not even a cadenza for the soloist. The concerto comprises three movements. In the slow introduction, Lento, the orchestra opens very quietly and then gives way to the pensive entrance of the piano. A somber atmosphere precedes a theme that becomes a recurring motto for the work. The subdued dialogue of orchestra and piano continues to introduce the main themes, blooming into a wonderful passage. A succession of piano arpeggios leads to the Allegro, which remains in major mode throughout. This is in regular sonata form with a noble chorale-like first subject and a second subject of similar character. The piano has several bravura passages, particularly before the very conclusive coda. The second movement, Lento, is also in major mode. A slow and enchanting berceuse of happy atmosphere, it is based on a simple, obstinate rhythm formed from two alternating notes. The second theme is based on material from the first movement. The finale, Allegro, opens in minor, resembling a playful toccata. After the reappearance of the theme already heard in the first two movements, the piano brings a new and lyrical theme. After a reprise of opening theme, another relaxed passage presages the conclusion. Perhaps what has been needed to interest keyboard virtuosi was a fiery bravura passage near the ending, but Lalo did not see fit to provide one. The work closes with a last repetition of the opening theme, followed by a sunny coda in major mode.
Now all you have to do is hit the Play button, relax and enjoy
Clifford Curzon With Leopold Hager And The Bavarian Radio Symphony Play Music Of Mozart - 1979 - Past Daily Mid-Week Concert Clifford Curzon - Plagued with a lifelong case of stage fright - in nonetheless didn't prevent him from astonishing audiences and critics alike.

Clifford Curzon, Piano - Bavarian Radio Symphony - Leopold Hager, cond. 1979 Mozart Festival - DW - Gordon Skene Sound Collection -

Back to historic concerts. This week it's a performance from the 1979 Wurzburg Mozart Festival in 1979, featuring the Bavarian Radio Symphony, conducted by Leopold Hager with the legendary Sir Clifford Curzon, piano.

Two works in this rather short concert - beginning with the Divertimento in D Major K. 251 - followed by the appearance of Sir Clifford, who joins the orchestra in a performance of the Piano Concerto in C Minor K. 491.

A little information on Sir Clifford Curzon if you aren't already familiar, via his Wikipedia page:

Curzon built a successful career as a soloist, enabling him to resign from the RAM in 1932. In addition to frequent concerts in Britain, he toured Europe in 1936 and 1938 under the auspices of the British Council, and made his US debut in 1939, returning regularly for many years after the Second World War. In his early years as a star soloist Curzon played a more Romantic and virtuosic repertoire than that associated with him in his later career. Established pianists of the time generally ignored concertante works by such composers as Ignacy Jan Paderewski, Vincent d'Indy and Frederick Delius, with which Curzon made a mark. He was also known for his espousal of new music, giving premieres and early performances of works by Germaine Tailleferre, John Ireland, Alan Rawsthorne and Lennox Berkeley among others. During the war, shortage of time prevented him from undertaking the British premiere of Aram Khachaturian's Piano Concerto, but his friendship with Benjamin Britten led to many joint concerts by the two musicians.

Curzon was a highly self-critical performer, and although he signed for the Decca recording company in 1937 and remained with them throughout his career, he was rarely at ease in the studios, and frequently refused to allow the release of recordings in which he felt dissatisfied with his performance.

After the war Curzon began to limit his appearances in the concert hall and recording studios, devoting himself to extensive periods of private study. Throughout his career he maintained a rigorous regime of practice, playing for several hours every day.

Curzon increasingly concentrated on less virtuoso repertoire than hitherto. He became celebrated for his performances of Mozart, Beethoven, Schubert and Brahms. Max Loppert, his biographer in Grove Dictionary of Music and Musicians, wrote that in the works of these Austro-German classical masters "he was unequalled for sensitivity and directness of manner, beauty of tone and an inner stillness. In such works as Mozart's Concerto in B♭ K595, his unique combination of nervous energy and Olympian calm earned him a reputation as a supreme Mozartian." Another biographer of Curzon, William Mann, wrote:

"The virtues which he applied to Mozart's piano concertos—he regarded them as the most perfect music ever composed—included line-drawing that colours itself and a control of structure through harmony and feeling for ensemble, which was overwhelming when the conductor was sympathetic. He achieved them with Britten often, and also with Daniel Barenboim and Sir Colin Davis."

Curzon suffered throughout his career from stage fright and, unlike most star pianists, he played not from memory at concerts but with the score on his music stand.

Curzon died in September 1982, aged 75. He is buried next to his wife in the churchyard of St Patrick's, Patterdale, near their holiday home in the Lake District. On his gravestone are inscribed the opening words of Franz von Schober's poem "An die Musik": "Du holde Kunst" (O fairest art), familiar from Schubert's setting.

Enjoy - it's Wednesday after all.
Maria João Pires With Herbert Blomstedt And The NHK Symphony Play Music Of Beethoven - 2018 - Past Daily Mid-Week Concert Maria João Pires - With an announced retirement from the stage, could be one of the last concerts from her for a long time.

Maria João Pires, Piano - NHK Symphony - Herbert Blomstedt, guest Conductor - April 20, 2018 - Gordon Skene Sound Collection -

With the announcement by pianist Maria João Peres last year of her retirement from the stage in 2018, this concert, recorded live only a few days ago by NHK in Tokyo may be some of the last live offerings we'll be hearing from this outstanding pianist for quite some time, if ever again.

Recorded on April 20th at a subscription concert, the NHK Symphony, guest conducted by Herbert Blomstedt play an all-Beethoven concert. Beginning with the Piano Concerto Number 4, followed by a standing ovation and encore of Bagatelle Number 5 from Six Bagatelles op.126 and concluding the concert with the Symphony Number 4.

From her Wikipedia page:
International fame came in 1970, when she won the Beethoven Bicentennial Competition in Brussels. Subsequently she performed with major orchestras in Europe, America, Canada, Israel and Japan, interpreting works by Bach, Beethoven, Schumann, Schubert, Mozart, Brahms, Chopin and other classical and romantic composers.

Her professionalism achieved worldwide recognition when a film (from 1999) was drawn to the attention of the press and went viral in 2013. At the start of a lunchtime concert in Amsterdam, she realized that she had rehearsed for a different Mozart concerto from the one the orchestra had started playing; quickly recovering, she played the concerto from memory.

Pires performed at the BBC Proms in 2010. In an interview beforehand, she said that after 60 years of recitals and concerts she had cut back her performances but was non-committal about retirement.

From 2012 to 2016, she was a Master in Residence at the Queen Elisabeth Music Chapel in Waterloo, Belgium, where she gave piano lessons and master classes to young talented pianists from all over the world. To foster young musicians, she launched the Partitura Project.

In 2017, she announced her retirement from the stage and tours for 2018.
Definitely qualifies for Anti-Road Rage Wednesday music. Flip the player on and relax.
Pierre Boulez With Bertrand Chamayou And Orchestre De Paris Play Music Of Schoenberg And Bartok 2011 - Past Daily Mid-Week Concert Pierre Boulez - much loved, much respected, much missed.

Pierre Boulez, cond - Bertrand Chamayou, Piano - Orchestre de Paris - Dec. 21, 2011 - Radio France Musique

The legendary Pierre Boulez with Bertrand Chamayou and Orchestre de Paris in a concert of music by Bela Bartok and Arnold Schoenberg. Recorded on December 21, 2011 live from Salle Pleyel, in Paris.

The program starts with Arnold Schoenberg's groundbreaking Verklaerte Nacht and continues with Bela Bartok's Piano Concerto Number 2 with Bertrand Chamayou at the keyboard.

From the Boulez Wikipedia page:
Pierre Louis Joseph Boulez CBE; 26 March 1925 – 5 January 2016) was a French composer, conductor, writer and founder of institutions. He was one of the dominant figures of the post-war classical music world.

Born in Montbrison in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as Music Director of the Renaud-Barrault theatre company in Paris. As a young composer in the 1950s he quickly became a leading figure in avant-garde music, playing an important role in the development of integral serialism and controlled chance music. From the 1970s onwards he pioneered the electronic transformation of instrumental music in real time. His tendency to revise earlier compositions meant that his body of completed works was relatively small, but it included pieces regarded by many as landmarks of twentieth-century music, such as Le Marteau sans maître, Pli selon pli and Répons. His uncompromising commitment to modernism and the trenchant, polemical tone in which he expressed his views on music led some to criticise him as a dogmatist, a reputation which softened in later years.

In parallel with his activities as a composer Boulez became one of the most prominent conductors of his generation. In a career lasting more than sixty years he held the positions of Chief Conductor of the New York Philharmonic and the BBC Symphony Orchestra, Music Director of the Ensemble Intercontemporain and Principal Guest Conductor of the Chicago Symphony Orchestra and the Cleveland Orchestra. He made frequent guest appearances with many of the world's other great orchestras, including the Vienna Philharmonic Orchestra, the Berlin Philharmonic Orchestra and the London Symphony Orchestra. He was particularly known for his performances of the music of the first half of the twentieth-century—including Debussy and Ravel, Stravinsky and Bartók, and the Second Viennese School—as well as that of his contemporaries, such as Ligeti, Berio and Carter. His work in the opera house included the Jahrhundertring—the production of Wagner's Ring cycle for the centenary of the Bayreuth Festival—and the world premiere of the three-act version of Alban Berg's Lulu. His recorded legacy is extensive and he received 26 Grammy Awards.
A historic concert with memorable performances - turn it up, relax and enjoy.
Montserrat Caballé Debuts With The New York Philharmonic - 1978 - Past Daily Mid-Week Concert Montserrat Caballé - legendary Spanish soprano who became a household name after teaming up with Freddie Mercury.

New York Philharmonic - Montserrat Caballé, soprano - Zubin Mehta, Cond. - October 5, 1978 - Gordon Skene Sound Collection -

Another historic concert this week. The New York Philharmonic debut of legendary Spanish Soprano Montserrat Cabellé, who joins Zubin Mehta in a performance of Richard Strauss - Four Last Songs and the final scene from Salome.

The concert, which was a celebration of the 150th birthday of Franz Schubert is missing the first two pieces; Overture and Incidental Music to "Rosamunde", but begins with Four Last Songs and is complete from that point on. It was recorded on October 5, 1978.

Montserrat Caballé has sung a wide variety of roles, but she is best known as an exponent of the works of Verdi and of the bel canto repertoire, notably the works of Rossini, Bellini, and Donizetti. She came to the attention of a much wider audience when she recorded at the request of the IOC in 1987 "Barcelona", a duet with Freddie Mercury, the lead singer of the British rock band Queen. The song was inspired by Caballé´s home city and later used as one of the two official theme songs for the 1992 Olympic Games.

In 1974, Caballé sang in a number of performances: Aida at Liceu in January, I vespri siciliani at the Metropolitan Opera in March, Parisina d'Este at Carnegie Hall in March, three Normas in one week at the Bolshoi Theatre in Moscow, with Adriana Lecouvreur at La Scala in April, Norma in Orange in July (her top single performance, filmed in video by Pierre Jourdain), the recording of Aida under Riccardo Muti in July, and the Duets recording with Giuseppe Di Stefano in August. In September 1974, she underwent major surgery to remove a large benign mass from her abdomen. She recovered and was performing again on stage by early 1975. In 1976 Caballé appeared at the Met once again as Norma, sang her first Aida in that house opposite Robert Nagy as Radamès and Marilyn Horne as Amneris, portrayed the title role in Strauss's Ariadne auf Naxos, and sang Mimì in Puccini's La bohème opposite Luciano Pavarotti as Rodolfo.

In 1977 Caballé made her debut with the San Francisco Opera in the title role of Puccini's Turandot. She returned to that house ten more times over the next decade in such roles as Elvira in Verdi's Ernani and the title parts in Ponchielli's La Gioconda, Rossini's Semiramide, and Puccini's Tosca among others.

A historic concert by a widely admired and popular Operatic Soprano. Certainly constitutes as qualifying for a Wednesday Anti-Road Rage concert.

Montserrat Caballé Debuts With The New York Philharmonic - 1978 - Past Daily Mid-Week Concert Montserrat Caballé - legendary Spanish soprano who became a household name after teaming up with Freddie Mercury.

New York Philharmonic - Montserrat Caballé, soprano - Zubin Mehta, Cond. - October 5, 1978 - Gordon Skene Sound Collection -

Another historic concert this week. The New York Philharmonic debut of legendary Spanish Soprano Montserrat Cabellé, who joins Zubin Mehta in a performance of Richard Strauss - Four Last Songs and the final scene from Salome.

The concert, which was a celebration of the 150th birthday of Franz Schubert is missing the first two pieces; Overture and Incidental Music to "Rosamunde", but begins with Four Last Songs and is complete from that point on. It was recorded on October 5, 1978.

Montserrat Caballé has sung a wide variety of roles, but she is best known as an exponent of the works of Verdi and of the bel canto repertoire, notably the works of Rossini, Bellini, and Donizetti. She came to the attention of a much wider audience when she recorded at the request of the IOC in 1987 "Barcelona", a duet with Freddie Mercury, the lead singer of the British rock band Queen. The song was inspired by Caballé´s home city and later used as one of the two official theme songs for the 1992 Olympic Games.

In 1974, Caballé sang in a number of performances: Aida at Liceu in January, I vespri siciliani at the Metropolitan Opera in March, Parisina d'Este at Carnegie Hall in March, three Normas in one week at the Bolshoi Theatre in Moscow, with Adriana Lecouvreur at La Scala in April, Norma in Orange in July (her top single performance, filmed in video by Pierre Jourdain), the recording of Aida under Riccardo Muti in July, and the Duets recording with Giuseppe Di Stefano in August. In September 1974, she underwent major surgery to remove a large benign mass from her abdomen. She recovered and was performing again on stage by early 1975. In 1976 Caballé appeared at the Met once again as Norma, sang her first Aida in that house opposite Robert Nagy as Radamès and Marilyn Horne as Amneris, portrayed the title role in Strauss's Ariadne auf Naxos, and sang Mimì in Puccini's La bohème opposite Luciano Pavarotti as Rodolfo.

In 1977 Caballé made her debut with the San Francisco Opera in the title role of Puccini's Turandot. She returned to that house ten more times over the next decade in such roles as Elvira in Verdi's Ernani and the title parts in Ponchielli's La Gioconda, Rossini's Semiramide, and Puccini's Tosca among others.

A historic concert by a widely admired and popular Operatic Soprano. Certainly constitutes as qualifying for a Wednesday Anti-Road Rage concert.

Ida Haendel With Zubin Mehta And The New York Philharmonic In Concert - 1985 - Past Daily Mid-Week Concert Ida Haendel - A big fan of Sibelius - Sibelius was a big fan of her.

Ida Haendel, Violin - New York Philharmonic cond. by Zubin Mehta - In Concert - April 25, 1985 - Gordon Skene Sound Collection -

July 1, 2020 - Editors note: With the sad news today of the passing of Ida Haendel, I am re-running this concert which was originally posted in 2018 as tribute to this remarkable and brilliant artist.

Another historic concert this week. The legendary violinist Ida Haendel joins Zubin Mehta and The New York Philharmonic in a program of music by Jan Sibelius, George Crumb and Antonin Dvorak.

Starting with the seldom played Scene With Cranes op. 44 Number 2 by Sibelius - followed by his violin Concerto , with Ida Haendel as soloist. After intermission the Orchestra jumps into George Crumb's "A Haunted Landscape For Orchestra" and the concert concludes with Carnival Overture by Dvorak.

From her Wikipedia Page:
Born in 1928 to a Polish Jewish family in Chełm, Ida Haendel's talents were evident when she picked up her sister’s violin at the age of three. Major competition wins paved the way for success. Performing the Beethoven Violin Concerto, she won the Warsaw Conservatory's Gold Medal and the first Huberman Prize in 1933. At the age of seven she competed against towering virtuosos – the likes of Oistrakh and Neveu – to become a laureate of the first Henryk Wieniawski Violin Competition in 1935.

These accolades enabled her to study with the esteemed pedagogues Carl Flesch in London and George Enescu in Paris. During World War II she played in factories and for British and American troops. In 1937 her London debut under the baton of Sir Henry Wood brought her worldwide critical acclaim, and began a lifelong association with the Proms, where she has appeared 68 times.

Haendel has made annual tours of Europe, and also appeared regularly in South America and Asia. Living in Montreal from 1952 to 1989, her collaborations with Canadian orchestras made her a key celebrity of Canadian musical life. Performing with the London Philharmonic in 1973, she was the first Western soloist invited to China following the Cultural Revolution. Although she worked particularly with Sergiu Celibidache, she was also associated with Sir Thomas Beecham, Sir Adrian Boult, Sir Eugene Goossens, Sir Malcolm Sargent, Charles Munch, Otto Klemperer, Sir Georg Solti, Vladimir Ashkenazy, Bernard Haitink, Rafael Kubelík and Simon Rattle, with whom she recorded the Elgar and Sibelius violin concertos, available on Testament SBT 1444.

In 1993, she made her concert début with the Berliner Philharmoniker. In 2006 she performed for Pope Benedict XVI at the former Nazi concentration camp Auschwitz-Birkenau. Later engagements include a tribute concert at London's National Gallery in honour of Dame Myra Hess's War Memorial Concerts, an appearance at the Sagra Musicale Malatestiana Festival in 2010, and a performance of Max Bruch's Violin Concerto No. 1 in Miami with the Royal Philharmonic Orchestra.

Her major label recordings have earned critical praise, particularly her performance of the Sibelius Concerto which elicited a fan letter from its composer: "I congratulate you on the great success, but most of all I congratulate myself, that my concerto has found an interpreter of your rare standard". The Sibelius Society awarded her the Sibelius Medal in 1982.

Ida Haendel has said that she has always had a passion for German music. Her recording career began on 10 September 1940 for Decca, initially of short solo pieces and chamber works. In April 1945, she recorded both the Tchaikovsky and Mendelssohn concertos followed in 1947 by the Dvořák concerto. Her recording career spans nearly 70 years for major labels including EMI and Harmonia Mundi. In 1948-49 she recorded Beethoven's Violin Concerto, with Rafael Kubelik conducting the Philharmonia Orchestra. Other acclaimed recordings are her renditions of the Brahms Violin Concerto (including one with the London Symphony Orchestra conducted by Sergiu Celibidache...Celibidache's last studio recording)...and Tchaikovsky's with the National Symphony Orchestra conducted Basil Cameron.

Among her later recordings were the Sonatas and Partitas for solo violin, BWV1001-1006 by J S Bach, recorded at Studio 1 Abbey Road, London in 1995 recorded in analogue and issued by Testament.

She is equally passionate about the music of the 20th century, including Béla Bartók, Benjamin Britten and William Walton. Among her premiere performances have been Luigi Dallapiccola's Tartiniana Seconda, and Allan Pettersson's Violin Concerto No. 2, which was dedicated to her. Paying special tribute to her teacher George Enescu, her Decca recording of his Violin Sonata with Vladimir Ashkenazy in 2000 earned her a Diapason d'Or.
Historic and certainly a worthy inclusion in the Anti-Road Rage Wednesday sweepstakes.

Crank it up and enjoy.
Ruggiero Ricci With Edo De Waart And The San Francisco Symphony Play Music Of Haydn, Schuller And Lalo - 1979 - Past Daily Mid-Week Concert Ruggiero Ricci - from Child Prodigy to Seasoned Virtuoso.

Ruggiero Ricci with Ed De Waart and The San Francisco Symphony - October 23, 1979 - Gordon Skene Sound Collection -

Another historic concert this week. Italian-America violinist and legend Ruggiero Ricci in performance in his native Bay Area with the San Francisco Symphony led by Edo DeWaart. The Concert includes works by Haydn and Eduard Lalo and the San Francisco premier of the Concerto Number 2 for Orchestra by Gunther Schuller. Ricci joins the orchestra a rousing rendition of the Lalo Symphonie Espagnol and the concert opens with Haydn's Symphony Number 6 (Le Matin).

From Wikipedia's Ruggiero Ricci Page:
Ricci, born in San Bruno, California, the son of Italian immigrants who first named him Woodrow Wilson Rich. His brother was cellist George Ricci (1923–2010), originally named George Washington Rich . His sister Emma played violin with the New York Metropolitan Opera. His father first taught him to play the violin. At age seven, Ricci studied with Louis Persinger and Elizabeth Lackey. Persinger would become his piano accompanist for many recitals and recordings.

Ricci gave his first public performance in 1928 at the age of 10 in San Francisco where he played works by Wieniawski and Vieuxtemps. He gained a reputation for being a child prodigy. At the age of 11, he gave his first orchestral performance, playing the Mendelssohn concerto, and soon after he had his highly successful debut at Carnegie Hall.

In the 1930s Ricci studied in Berlin with Georg Kulenkampff, where he learned a "German style" of playing in the tradition of Adolf Busch. He also studied with Michel Piastro and Paul Stassevich.

He served in the US Army from 1942 until 1945, where he was an "entertainment specialist".

In 1947, Ricci was the first violinist to record the complete 24 Caprices, Op. 1, by Paganini, in their original form. Ricci's first recording was on the Shellac recording label (he later made three other recordings of the Caprices). After his time in the military, he uncovered many pieces by 19th-century composers that he would perform solo. He also performed the world premieres of pieces by many contemporary composers, including the violin concertos by Gottfried von Einem, Carlos Veerhoff and Alberto Ginastera.

Aside from performing over 6,000 concerts in 65 countries during his 70-year solo career, Ricci also made over 500 recordings, on every major label. He taught violin at Indiana University, the Juilliard School and the University of Michigan. He also taught at the University Mozarteum in Salzburg, Austria. Ricci held master classes in the United States and Europe. He wrote Left Hand Technique, a pedagogical volume for violin published by G. Schirmer.
Joining Ricci and leading the SFSO is Edo de Waart. In 1964, at the age of 23, de Waart won the Dimitri Mitropoulos Conducting Competition in New York. As part of his prize, he served for one year as assistant conductor to Leonard Bernstein at the New York Philharmonic. On his return to the Netherlands, he was appointed assistant conductor of the Concertgebouw Orchestra under Bernard Haitink.

In 1967, he was appointed conductor of both the Netherlands Wind Ensemble and Rotterdam Philharmonic Orchestra, and was the latter's music director from 1973 to 1979.

De Waart made his début at the San Francisco Symphony in 1975. A year later, he became principal guest conductor, and from 1977 to 1985 he was music director. From 1986 to 1995, he was music director of the Minnesota Orchestra.

In 1989, de Waart returned to the Netherlands, where he was appointed music director of the Netherlands Radio Philharmonic. He resigned from the post in 2004 and now he is the orchestra's conductor laureate.

Dive in and crank up the stereo.
Rafael Kubelik And The Chicago Symphony - Live 1983 - Smetana: Ma Vlast (Complete) - Past Daily Mid-Week Concert Rafael Kubelik - as he looked in 1951, when he was Music Director of the CSO.

Rafael Kubelik with The Chicago Symphony - Smetana: Ma Vlast (Complete) - Broadcast of October 27, 1983 - Gordon Skene Sound Collection -

Another historic concert this week. Former Music Director of the Chicago Symphony in the early 1950s, now guest conducting the orchestra in the first of 5 concerts in 1983. This one, a live concert from October 27, 1983 features Kubelik and the Orchestra in the complete version of Smetana's Ma Vlast.

A Czech by birth, Mr. Kubelik left his homeland after the Communist takeover in 1948 and lived in London for several years before settling in Switzerland. He became a Swiss citizen in 1973.

Mr. Kubelik was a regular guest conductor of numerous orchestras, including Chicago until heart disease and severe arthritis forced him to retire from conducting in 1985. His performances were considered highlights of the concert season by those who prized a warm, probing, grandly scaled style of music making that was quickly being eclipsed by a more streamlined, modern approach.

He conducted a broad repertory, and championed many modern works during his nearly five decades on the podium. His performances of Czech works, like Smetana's patriotic ''Ma Vlast'' and the Dvorak symphonies were especially authoritative, and his 1971 recording of the Smetana with the Boston Symphony Orchestra (on Deutsche Grammophon) is considered by many to be the best version available.

But Mr. Kubelik avoided specialization, and near the end of his career, he devoted himself with increasing vigor to the Viennese classics. The accounts of the Mozart and Haydn symphonies that he recorded for CBS (now Sony) in the early 1980's, for example, defied the trend toward light-textured, chamber-scale readings. Using the full weight and coloristic resources of the modern symphony orchestra, he gave performances that have a freshness and energy that transcend interpretive fashion.

After 1985, Mr. Kubelik conducted only once. Having declared when he left Prague in 1948 that he would not return until the situation changed, he went back in 1990 to conduct ''Ma Vlast'' at the opening of the first Prague Spring Festival after Vaclav Havel's Velvet Revolution. Mr. Kubelik had conducted the work 45 years earlier to celebrate the liberation of Prague from Nazi occupation.

Needless to say, this performance with the Chicago Symphony was warmly received and considered a highlight of the 1983-1984 concert season. In case you missed it - here it is.

Relax and enjoy.
Vienna Festival 1959 - Philharmonia Hungarica - Paul Sacher - Yehudi Menuhin - Marilyn Horne - Past Daily Mid-Week Concert Paul Sacher - Undisputed champion of New Music in the 20th century - also helped he was the richest man in Europe. Money well spent.

Vienna Festival 1959 - Philharmonia Hungarica - Paul Sacher, Conductor - Yehudi Menuhin, violin - Marilyn Horne, soprano - June 21, 1959 - Gordon Skene Sound Collection -

Something historic this week - Music from the Vienna Festival in 1959, featuring Philharmonia Hungarica led by the legendary Paul Sacher and featuring Yehudi Menuhin, violin along with Marilyn Horne, Soprano as well we soloists and the Vienna Singakademie Choir in music by Stravinsky, Bartok and Bohuslav Martinu.

Starting off the with the Concerto for Strings in D Major by Stravinsky - followed by Yehudi Menuhin joining for the Bartok Violin Concerto No. 2 and ending the concert with a performance of Bohuslav Martinu's Gilgamesh-Epos for soloists, choir and orchestra, featuring Marilyn Horne as soprano soloist.

The great thing about Paul Sacher was, he never programmed a bad concert - adventurous concerts, yes - but bad concerts, no. As founder of the Basel Chamber orchestra from 1926-1987, he was responsible for commissioning a vast number of works by fledgling composers, introducing the world to the likes of Martinu, Bartok, Artur Honnegger, Paul Hindemith, Hans Werner Henze and countless others.

It also helped he was one of the most wealthy people in Europe. But the money enabled him to promote the cause of new and adventuresome music in the world - it also allowed him to acquire and preserve numerous archives, including the Stravinsky and Boulez estates. While he was still alive, Boulez willed his entire estate of manuscripts to the Sacher Foundation.

Aside from this work as benefactor and supporter, he was a widely admired and respected musician - his performances recorded on numerous commercial discs, which included music of Bach as well as contemporaries, have been considered benchmarks of interpretation.

A wonderful concert, a little strange sounding in places due to the age and that it was recorded off the air via KCBH-FM here in Los Angeles in 1959 doesn't detract from the performances themselves - a tape break during the Martinu leaves a millisecond gap, but it's all very enjoyable and works perfectly for an anti-Road Rage Wednesday.

Trust me.
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