English Aya Pod: Recent Episodes
Wigmore Hall
The string quartet, a combination of two upper voices, one middle and one lower, gives the composer the minimum requirement for fourpart harmony. This idea of a bare minimum has entranced composers from Haydn – who started it all – right through to the present day, and the attention that so many great composers have given the genre has created an almost unrivalled succession of masterful works; Beethoven’s seventeen quartets acting almost as benchmarks, with Schubert, Brahms, Bartók and Shostakovich pitching in too.
In this four-part podcast, Roy Stratford to explores how the string quartet has adapted to changing musical styles and become arguably the most significant and fertile chamber music combination.
The string quartet, a combination of two upper voices, one middle and one lower, gives the composer the minimum requirement for fourpart harmony. This idea of a bare minimum has entranced composers from Haydn – who started it all – right through to the present day, and the attention that so many great composers have given the genre has created an almost unrivalled succession of masterful works; Beethoven’s seventeen quartets acting almost as benchmarks, with Schubert, Brahms, Bartók and Shostakovich pitching in too.
In this four-part podcast, Roy Stratford to explores how the string quartet has adapted to changing musical styles and become arguably the most significant and fertile chamber music combination.
The string quartet, a combination of two upper voices, one middle and one lower, gives the composer the minimum requirement for fourpart harmony. This idea of a bare minimum has entranced composers from Haydn – who started it all – right through to the present day, and the attention that so many great composers have given the genre has created an almost unrivalled succession of masterful works; Beethoven’s seventeen quartets acting almost as benchmarks, with Schubert, Brahms, Bartók and Shostakovich pitching in too.
In this four-part podcast, Roy Stratford to explores how the string quartet has adapted to changing musical styles and become arguably the most significant and fertile chamber music combination.
The string quartet, a combination of two upper voices, one middle and one lower, gives the composer the minimum requirement for fourpart harmony. This idea of a bare minimum has entranced composers from Haydn – who started it all – right through to the present day, and the attention that so many great composers have given the genre has created an almost unrivalled succession of masterful works; Beethoven’s seventeen quartets acting almost as benchmarks, with Schubert, Brahms, Bartók and Shostakovich pitching in too.
In this four-part podcast, Roy Stratford to explores how the string quartet has adapted to changing musical styles and become arguably the most significant and fertile chamber music combination.
Ahead of her 70th Birthday Concert at Wigmore Hall, Dame Emma discusses chamber music and her career with Jessica Duchen.
She will perform at the Hall on Thursday 28 February alongside long-term musical associates as well as a younger generation of artists she believes will play an important role in the future of early music.
Appointed Dame Commander of the British Empire in 2017, Dame Sarah Connolly has maintained a standard of excellence in the opera house as in concert and recital halls. With a repertoire ranging from the Baroque masters through bel canto, Wagner and Elgar to new works, she continues to explore a wide variety of music with dedication and unique interpretative skills.
Founded in 2004 by singer, musician and conductor Lionel Meunier, the Belgian vocal ensemble has acquired a wide reputation for its specialist programming realised to a standard of creative imagination that places it at the forefront of such groups today, drawing on rigorous historical research to achieve music-making of prodigious vitality.
As he embarks this December on Brahms Plus, a series of six Wigmore Hall recitals running to July 2020, Jonathan Plowright is ready to challenge any received wisdom about ‘heaviness’ or even ‘stodginess’ in Brahms’ piano music. He discusses his series with Yehuda Shapiro.
Robin Tritschler is a questioning artist who deeply explores whatever he sings, and conveys his discoveries with eloquence, the Irish tenor has selected The Seasons as the overall theme of his series at Wigmore Hall, exploring winter, spring and summer through the creative minds of some of the greatest Lieder poets and composers. John Gilhooly, Director of Wigmore Hall, speaks with Robin about his current Residency, and his career so far.
Since making his London debut in 2009, Mahan Esfahani has made giant strides to bring the harpsichord to the forefront of concert life. His Series explores Bach’s works for harpsichord, which opened with the Goldberg Variations, a masterpiece of great virtuosity, beauty and vast inventive range written for a two-manual harpsichord in 1741.The second volume of Bach’s Keyboard Exercises consist of a solo concerto modelled on Italian examples and an overture emulating suites by his French contemporaries. Preceding these is the first of the four solo keyboard ‘duets’ from volume II.Ahead of his concert at Wigmore Hall on 1 October, Mahan Esfahani discusses his Bach Series with us.
Since making his London debut in 2009, Mahan Esfahani has made giant strides to bring the harpsichord to the forefront of concert life. His Series explores Bach’s works for harpsichord, which opened with the Goldberg Variations, a masterpiece of great virtuosity, beauty and vast inventive range written for a two-manual harpsichord in 1741.The second volume of Bach’s Keyboard Exercises consist of a solo concerto modelled on Italian examples and an overture emulating suites by his French contemporaries. Preceding these is the first of the four solo keyboard ‘duets’ from volume II.Ahead of his concert at Wigmore Hall on 1 October, Mahan Esfahani discusses his Bach Series with us.
Ahead of his concert at Wigmore Hall on 9 June, Django Bates spoke to Mike Flynn, Editor of Jazzwise Magazine. Django discusses his creative process for the Belovèd Trio, his collaborations with vocalist Claire Huguenin and saxophonist Marius Neset, and plans for the future.
Wigmore Hall Composer in Residence Helen Grime and writer Fiona Benson are joined by flautist Daniel Parkin to discuss the topic of parenthood, how it has inspired the world première of Bright Travellers, and how that in turn sparked an innovative new Wigmore Hall Learning project for 0-5 year-olds and their parents and carers.
Recorded live before his performances of Bach solo violin works at Wigmore Hall in November 2017, James Ehnes spoke to Clemency Burton-Hill about life on the road, his approach to performing different composers and his plans for the future.
In the 2017/18 season, Wigmore Hall’s Haydn String Quartet Series showcases the full range of the composer’s invention, from the early Op. 20s to his late masterworks of the 1790s.
In this two-part podcast, David Owen Norris explores the great craft of Haydn’s compositions and finds out from special guest Oliver Heath (first violinist of the Heath Quartet) what it’s like to play them.
Challenged by John Gilhooly, Director of Wigmore Hall to perform Schubert’s three great song cycles for the first time in his career, Roderick Williams embarks on a journey through vast emotional landscapes and diverse spiritual states together with his long-standing duo partner, Iain Burnside.
But what challenges do they face? How can they escape the ghosts of the past?
Ahead of their performance of Die schöne Müllerin, Roderick Williams and Iain Burnside discuss their journey so far.
Marking 300 years since the birth of Maria Theresia, H.E. Dr Martin Eichtinger, Austrian Ambassador to the United Kingdom, explores the unique history and revolutionary vision of the only female ruler in Habsburg history.
Highlighting the achievements and extraordinary legacy of this self-styled ‘mother of her nation’, Ambassador Eichtinger uncovers the cultural context of Maria Theresia’s reign and the myths which have developed around her.
Part 2 of 2
The Castalian String Quartet is fast emerging as one of the most exciting new voices in chamber music, having won prizes at major international competitions such as the 2016 Banff International Quartet Competition, 2015 Lyon International Competition, and 2013 Kammermusik Hannover Next Generation Competition. But what is it like to be part of a string quartet? To what extent is it, as Goethe said, ‘a stimulating conversation between four intelligent people’ and what are the challenges of life as a chamber musician? Ahead of their performance in the opening Coffee Concert of the 2017/18 season, Director of Wigmore Hall John Gilhooly spoke to the Castalian Quartet to find out more.
Part 1 of 2
The Castalian String Quartet is fast emerging as one of the most exciting new voices in chamber music, having won prizes at major international competitions such as the 2016 Banff International Quartet Competition, 2015 Lyon International Competition, and 2013 Kammermusik Hannover Next Generation Competition. But what is it like to be part of a string quartet? To what extent is it, as Goethe said, ‘a stimulating conversation between four intelligent people’ and what are the challenges of life as a chamber musician? Ahead of their performance in the opening Coffee Concert of the 2017/18 season, Director of Wigmore Hall John Gilhooly spoke to the Castalian Quartet to find out more.