New York Philharmonic Podcast
Summary: Experience the music and meet artists from Philharmonic concerts. The hosts are Peabody Award-winning broadcaster and New York's 96.3 FM WQXR host Elliott Forrest and radio producer, Mark Travis. Enhance your concert experience through these previews that include musical selections and interviews with musicians and music experts.
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- Artist: New York Philharmonic
- Copyright: Copyright © 2011
Podcasts:
James M. Keller, New York Philharmonic Program Annotator and Leonard Bernstein Scholar-in-Residence, discusses the particular challenges of Bach’s Brandenburg Concerto No. 2, while Mark Travis explores Mussorgsky’s masterpiece Pictures at an Exhibition as well as Szymanowski’s Symphonie concertante and Richard Strauss’s Burleske – both featuring piano virtuoso Emanuel Ax.
New York Philharmonic Program Annotator and Leonard Bernstein Scholar-in-Residence James M. Keller talks with Elliott Forrest about why Handel's 1741 masterpiece, Messiah, is an enduring favorite, and why audience members may leap to their feet during the work's glorious "Hallelujah" chorus.
New York Philharmonic Principal Horn Philip Myers discusses why Mozart’s Horn Concerto No. 2 is always a treat for concertgoers; Program Annotator and Leonard Bernstein Scholar-in-Residence James M. Keller talks about the mysterious second movement of Bach’s Brandenburg Concerto No. 3; Director of Education Theodore Wiprud reflects on Falla’s passionate El amor brujo; and Mark Travis explores how Prokofiev came to write his Piano Concerto No. 4 for left hand.
Gilbert Kaplan discusses leading the New York Philharmonic in Mahler's Symphony No. 2, Resurrection — featuring soprano Christiane Oelze, mezzo-soprano Janina Baechle, and the Westminster Symphonic Choir — on the one-hundredth anniversary of the work's U.S. premiere, while Elliott Forrest explores the individual movements of the monumental work.
Music Director Lorin Maazel talks about his incredible love for opera and how symphony orchestras love to wrestle with a great score like R. Strauss's Elektra, while Elliott Forrest explores the story behind the opera, based on the Greek tragedy by Sophocles.
New York Philharmonic Program Annotator and Leonard Bernstein Scholar-in-Residence James M. Keller discusses the distinct personality of Bach's Brandenburg Concerto No. 1; Music Director Lorin Maazel talks about how the Orchestra's season-long presentation of the Brandenburg Concertos spotlights the virtuosic talents of the Philharmonic's musicians; and Mark Travis explores Mozart's infectious Turkish Violin Concerto, featuring Julia Fischer, and how Schumann's Symphony No. 4 rebounded from a disastrous premiere in 1841.
Cellist Alisa Weilerstein reflects on the dark language in Penderecki's gripping but accessible Second Cello Concerto; New York Philharmonic Program Annotator and Leonard Bernstein Scholar-in-Residence James M. Keller talks about J.S. Bach's buoyant Sixth Brandenburg Concerto; and Mark Travis looks at Beethoven's immortal Symphony No. 5, which the Philharmonic performed in its first concert, in 1842.
Violinist Gil Shaham talks about the pleasure of performing Khachaturian's spectacular Violin Concerto, a piece he grew up listening to; Matías Tarnopolsky, the Philharmonic's Vice President of Artistic Planning, discusses Lyadov's tone poem Kikimora and Giya Kancheli's alluring Abii ne viderem; and Elliott Forrest explores Stravinsky's dramatic 1919 suite from his ballet score The Firebird.
Elliott Forrest explores Bruckner's powerful and dramatic Ninth Symphony, which the composer was working on up until his death, while music commentator Charles Zachary Bornstein discusses how Beethoven, emerging from Mozart's shadow, asserts his own originality in his Piano Concerto No. 1, performed in these concerts by pianist Lang Lang.
Conductor David Robertson returns to the New York Philharmonic to lead the Orchestra in works by four American composers: the ballet Appalachian Spring by Aaron Copland; Of Rewaking, featuring mezzo-soprano Michelle DeYoung, by Elliott Carter — who reflects on his composing habits as he approaches his 100th birthday; Symphony No. 1, Jeremiah, also featuring Ms. DeYoung, by Leonard Bernstein; and Rapture by Christopher Rouse — which, the composer explains, is the most blissful and ecstatic of his works.
New York Philharmonic Program Annotator and Leonard Bernstein Scholar-in-Residence James M. Keller discusses Mozart's dazzling Symphony No 34 – the last of the composer's Salzburg symphonies; music commentator Charles Zachary Bornstein explores the folk elements in Bartók's melodic Second Violin Concerto, featuring Leonidas Kavakos; and host Elliott Forrest talks about Brahms's magnificent and moody Symphony No. 3.
Rafael Frühbeck de Burgos leads the New York Philharmonic in two passionate and transporting Spanish masterworks: Albéniz's Suite española (featuring selections set to Frühbeck's own orchestrations), and Falla's opera La vida breve, presented here in a semi-staged version starring a dynamic international cast.
From nature to poetry, composer Bernard Rands finds inspiration all around him. Learn more about his muse and what to expect of his CHAINS LIKE THE SEA.
Bach's six Brandenburg Concertos are among the greatest works of the Baroque era. The Philharmonic performs the entire cycle throughout the 2008–09 season, with all 24 solos played by musicians from the Orchestra. Learn about what makes these concertos great.
Conductor Marin Alsop discusses Bartók's adult fairy tale, The Wooden Prince Suite, Chopin's glorious Piano Concerto No. 2, featuring Rafal Blechacz in his New York Philharmonic debut, and Dvorák's evocative and always popular Symphony No. 9, From the New World, which was given its World Premiere by the Orchestra in 1893.
