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On Wednesday October 30 2024, UPtv broadcasts Euro Arts!

Järvi conducts the Orchestre de Paris Season 1 Episode 63 Episode Summary

The upcoming episode of “Euro Arts,” titled “Järvi conducts the Orchestre de Paris,” promises to be an exciting experience for classical music lovers. This episode features the renowned conductor Neeme Järvi leading the Orchestre de Paris in a captivating performance. The show will highlight the talents of two exceptional soloists, Magdalena Kožená and Simon O’Neill, who will bring their unique voices to the stage.

Viewers can expect a rich and dynamic musical journey as Järvi guides the orchestra through a carefully selected program. Known for his expressive conducting style, he has a way of bringing out the best in the musicians. The Orchestre de Paris is celebrated for its vibrant sound, and under Järvi’s direction, the performance is sure to be memorable.

Magdalena Kožená, a celebrated mezzo-soprano, is known for her powerful and emotive singing.

The upcoming episode of “Euro Arts,” titled “Järvi conducts the Orchestre de Paris,” promises to be a captivating musical experience. Set to air on Wednesday, October 30, 2024, at 6:00 Am on UPtv, this episode features the renowned conductor Neeme Järvi leading the esteemed Orchestre de Paris.

Viewers can look forward to a stunning performance that showcases the talents of celebrated soloists Simon Rattle, Magdalena Kozena, and Simon O’Neill. The combination of Järvi’s dynamic conducting style and the orchestra’s rich sound is sure to create an unforgettable atmosphere. This episode highlights the beauty of classical music, bringing together powerful voices and orchestral brilliance.

As the episode unfolds, audiences will be treated to a selection of exquisite pieces that highlight the strengths of the performers. With Järvi at the helm, the Orchestre de Paris is expected to deliver an extraordinary rendition that resonates with both seasoned classical music lovers and newcomers alike.

Dvořák (1841-1904), from Bohemia (at the time, part of the Austro-Hungarian empire, and later in Czechoslovakia) peppered his colorful, amiable music with folk rhythms. The Ninth, subtitled "From the New World" and inspired by and written during his time in the United States, is Dvořák’s most beloved symphony and contains both Bohemian and American influences. Prompted by the current exhibit of the work's original manuscript in New York City at the Bohemian National Hall, I have followed up my review of Jiří Bĕlohlávek's new Dvořák symphony cycle box set on Decca and his concert with the Czech Philharmonic at Carnegie Hall with a trawl through my collection of "New World" recordings, selectively augmented by streaming recordings available on Rdio.com.

There is much debate concerning the materials of the Ninth. The composer himself said that its middle movements were intended to depict scenes from Longfellow's narrative poem The Song of Hiawatha,...

Janice Watson/Dagmar Pecková/Peter Auty/Peter Rose/London Philharmonic Choir & Orchestra/Neeme Järvi Antonin Dvořák: Stabat Mater, Op. 58 (Lpo) Dvořák’s Stabat Mater was born out of personal tragedy; its inspiration, if that is really the right word in the circumstances, was the death of all three of the composer’s children. This beautiful, heartfelt masterpiece is not heard as frequently in concert as it should be, but has been very well served on recordings.

Before Järvi’s arrived, I had three: the classic 1976 Deutsche Grammophon recording by Rafael Kubelik, Giuseppe Sinopoli’s lush 2000 concert recording (also on Dg), and Telarc’s last recording of the choral conductor par excellence, Robert Shaw. All are superb, but Järvi offers such a different yet compelling take on the piece that this recording, from an October 9, 2010 concert at London’s Royal Festival Hall, can also be highly recommended.

One thing that sets it apart is that,...

Niklas Sivelöv/Malmö Symphony Orchestra/Mario Vengazo Stenhammar: Piano Concertos Nos. 1 & 2 (Naxos)

Wilhelm Stenhammar (1871-1927) has been called "the finest Swedish composer after Berwald" by none other than Robert Layton. The PR materials and booklet notes for this release freely admit the heavy influence of Brahms on Stenhammar's Piano Concerto No. 1 (1893), but of course that just makes me like it more. A pianist himself, Stenhammar made his debut in 1892 with Brahms's First, and Stenhammar's own First is definitely influenced, right down to its four-movement structure, but it's also more extroverted and showier, less profound and densely woven (though just as big and thick). And not as great, alas, but that would be surprising; it is an extremely good work for lovers of big, Romantic symphonic works, especially its lovely, soaring Andante.

We are told that Stenhammar "found his personal voice" in the Piano Concerto No. 2 (1908); that voice sounds to...

Was Monty Norman, who wrote the James Bond theme, a secret fan of the Finnish composer Jean Sibelius?

A continuation of an occasional series featuring my serendipitous discovery of musical connections, cross-fertilisations and unusual thematic ancestries that centuries of musical history have managed to suppress – until now. This week: Jean Sibelius and James Bond. Idling through part of the "J" box of Bis Record's brilliant complete Sibelius edition (each box gives you one initial of Sibelius's whole name) that – apart from including the best, most faithful and most terrifying Luonnotar on disc – also contains Sibelius's 1904 piece Cassazione, a little-known orchestral work written around the time of the first version of the Violin Concerto. It starts with a typical Sibelian shimmer of strings playing tremolo. And the music they perform is the riff from the James Bond theme.

Now unless you've got Spotify (in which case, see Gothenburg Symphony Orchestra – Cassazione,...