Wigmore Hall Podcasts: Recent Episodes
Wigmore Hall
On International Women's Day, our Archivist Emily Woolf explores the trailblazing, influential, unpredictable, and occasionally outrageous women in Wigmore Hall's history.
From Ethel Smyth to Ellen Terry, Yvette Guilbert to Yvonne Arnaud - not to mention dancers, lecturers and the occasional psychic - hear their stories, their words and music, and discover their place in the story of the Hall.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available below as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004–6 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available as eight audio lecture-recitals.
‘Haydn was an astounding composer … The world needs to appreciate him much more: of all the really great composers, he is still the most underrated.’
András Schiff in The GuardianAndrás Schiff explores Haydn’s solo piano works in an exclusive series of lecture-recitals at London's Wigmore Hall. The lectures focus on three works by Haydn, and are available to download as separate MP3s
‘Haydn was an astounding composer … The world needs to appreciate him much more: of all the really great composers, he is still the most underrated.’
András Schiff in The GuardianAndrás Schiff explores Haydn’s solo piano works in an exclusive series of lecture-recitals at London's Wigmore Hall. The lectures focus on three works by Haydn.
‘Haydn was an astounding composer … The world needs to appreciate him much more: of all the really great composers, he is still the most underrated.’
András Schiff in The GuardianAndrás Schiff explores Haydn’s solo piano works in an exclusive series of lecture-recitals at London's Wigmore Hall. The lectures focus on three works by Haydn.
In My Own Time: Sir Humphrey Burton in conversation with Tasmin Little
Sir Humphrey Burton is one of Britain's most influential post-war music and arts broadcasters, having worked closely with Leonard Bernstein and Yehudi Menuhin, as well as establishing BBC Young Musician of the Year in 1978. Following the recent publication of his autobiography In My Own Time, Sir Humphrey spoke to the acclaimed violinist Tasmin Little about his extraordinary life in music.
If listeners to this podcast would like to purchase a copy of Sir Humphrey’s autobiography, signed and dedicated as instructed, they should contact Mrs Mary James at the Aldeburgh Bookshop.
The Aldeburgh Bookshop
42 High Street, Aldeburgh, Suffolk, IP15 5AB
01728 452389
johnandmary@aldeburghbookshop.co.uk
www.aldeburghbookshop.co.uk
Jonathan Biss is joined by composer Sally Beamish who wrote a piano concerto, City Stanzas for him. Together they discuss how this works responds to Beethoven's music.
Jonathan Biss is joined by composer and performer Brett Dean to talk about the latest in Biss' Beethoven Piano Sonata cycle series. They discuss the strength of the different characters presented by Beethoven in each of the evening's sonatas, the way he can somehow unite the tension many composers find between expression and technique, and the audience grills the pair about the consequences of Beethoven's deafness and comparisons between him and his predecessors like Haydn. Biss is also close to the première of a new piano concerto composed by Dean for him, and they talk about the commission and its origins in the Austrian town of Gneixendorf.
Jonathan Biss, following the December concert in his Beethoven Piano Sonata Cycle, is joined by Antoine Lederlin and Krzysztof Chorzelski of the Belcea Quartet (who are currently performing the complete Beethoven String Quartets) for a discussion on their programmes. The conversation includes comparisons between the string quartets and piano sonatas, the co-existence of contrasting elements - human & superhuman, complex & banal - in the works, and what it's like performing a complete cycle by one composer ("living with" Beethoven).
Georgina Born, Professor of Music and Anthropology at Oxford University and Professorial Fellow of Mansfield College, joins Vijay Iyer for an exchange of ideas traversing the arts, the humanities, and the social and natural sciences. The two musician-scholars each give a brief mini-lecture, Iyer on ‘Musicality’ and Born on ‘Musical Experience’, followed by a dialogue considering the intersections of these two concepts.
Bringing together two intertwined stories – a performer’s lifelong passion for the mélodie, and its history at Wigmore Hall.
Dame Felicity Lott shares stories and highlights from her life as a performer and devotee of French song, in conversation with Wigmore Hall’s Archivist Emily Woolf. This unique interview interweaves these recollections with material from our Archive illustrating some of the Hall’s most significant moments as a venue for the mélodie, in a rich history spanning nearly 120 years.
Over the course of four years (excluding 2021) British pianist Christian Blackshaw will be performing the complete cycle of Mozart’s piano sonatas on the composer’s birthday, 27 January. In conversation with music critic and author Jessica Duchen, join Christian to explore the sonatas in this Wigmore Hall podcast.
The pair talk about what makes the cycle of piano sonatas special, how Christian has developed his programmes, and how much he feels the importance of being able to communicate Mozart’s spirit in the music (period instrument or not). We fantasise about how Mozart’s life and musical relationships might have been had the composer lived to 70 years old or more, and the musical reflections of tragedy following his mother’s death in Paris.
The frequently tragic life of the Polish-Jewish-Russian composer Mieczysław Weinberg (1919-1996) did not prevent him from composing prolifically in many forms; important to both his personal life and career was his friendship with Shostakovich, which began during the Second World War and continued until the latter’s death.
Ahead of Quatuor Danel’s two-season survey of Weinberg’s string quartets, Marc Danel and Daniel Elphick, musicologist and researcher, talk about the life of Weinberg and the Weinberg/Shostakovich Cycle at Wigmore Hall.
The frequently tragic life of the Polish-Jewish-Russian composer Mieczysław Weinberg (1919-1996) did not prevent him from composing prolifically in many forms; important to both his personal life and career was his friendship with Shostakovich, which began during the Second World War and continued until the latter’s death.
Ahead of Quatuor Danel’s two-season survey of Weinberg’s string quartets, Marc Danel and Daniel Elphick, musicologist and researcher, talk about the life of Weinberg and the Weinberg/Shostakovich Cycle at Wigmore Hall.
Following each concert in his Beethoven Piano Sonata series, Jonathan Biss will host a post-concert talk in the Hall. On Sunday 29 September, this took the form of a Question & Answer session with the audience.
Led by questions from the auditorium, Jonathan explores the evening concert programme and the development of Beethoven over the decade the performed works span. He discusses how teaching and preparing his Coursera lectures has affected his approach to playing the piano sonatas, and how an audience in Beethoven’s day might have reacted to the works.
Vijay Iyer in conversation with Simon Rentner
Ahead of his 2019/20 Residency, Wigmore Hall’s 2019/20 Composer in Residence Vijay Iyer invites Simon Rentner into his New York home to talk about the different aspects of his residency. Together, the two discuss each of Iyer’s 2019/20 collaborations and how he answers the question of his musical “origin” and heritage. Iyer addresses the concept of improvised vs composed music, and the overarching term of his residency, ‘musicality’.
Ahead of his Schubert series in 2019/20, pianist Francesco Piemontesi talks to music critic Michael White at Wigmore Hall.
The pair talk about whether Piemontesi, a pianist with a background of multiple nationalities and cultures, considers himself a 'citizen of the world', how he couldn't ever confine himself to any one area of piano music, and the excitement of programming the Ascona Music Festival. With the first concert of his series in November, Piemontesi discusses his programme choices and the parallels he feels between Schubert's life and final three piano sonatas.
Baroque violinist and orchestral director, Rachel Podger introduces her ensemble Brecon Baroque and discusses her passion for Baroque music with BBC Radio 3 presenter, Sara Mohr-Pietsch.
Since their first concert in 2006, following the Brecon festival, Brecon Baroque has grown from strength to strength. Rachel Podger has drawn upon her past experiences of working with other ensembles including Florilegium and The English Concert to develop her own performance practice. In this podcast she discusses one of her first performances of Bach, her practice technique and her ideas behind communicating with an audience through music. A humbling delve into Rachel’s passion for the violin and her love of the Wigmore Stage and audience.
Katy Hamilton and Emily Woolf explore the history of women composers at Wigmore Hall.
From the very beginning, works by women have been an integral part of concert programming at Wigmore Hall, and though trends and styles have shifted and changed through the years, there has never been a time when the creative voice of women was not given room on our stage.
Musician, writer and presenter Katy Hamilton and the Hall’s Archivist Emily Woolf provide a fascinating overview of women composers at Wigmore Hall, tracing the story of their works in performance here throughout the 20th century and up to the present day.
This podcast is an original recording of an Archive Event held for Friends of Wigmore Hall earlier this year. As such, there are a series of images that are referred to throughout the talk, which are available for viewing in the slideshow below.
Katy Hamilton and Emily Woolf explore the history of women composers at Wigmore Hall.
From the very beginning, works by women have been an integral part of concert programming at Wigmore Hall, and though trends and styles have shifted and changed through the years, there has never been a time when the creative voice of women was not given room on our stage.
Musician, writer and presenter Katy Hamilton and the Hall’s Archivist Emily Woolf provide a fascinating overview of women composers at Wigmore Hall, tracing the story of their works in performance here throughout the 20th century and up to the present day.
This podcast is an original recording of an Archive Event held for Friends of Wigmore Hall earlier this year. As such, there are a series of images that are referred to throughout the talk, which are available for viewing in the slideshow below.
The Russian pianist has been an Artist in Residence at Wigmore Hall for the 2018/19 Season.
Novelist and classical music writer Jessica Duchen discusses with Alexander Melnikov the varied and demanding programming behind his residency and adapting his style between fortepiano and modern piano. They take a look back at Melnikov's education, his musical influences and collaborations, including that with fellow pianist Andreas Staier, and some more unusual interests in his life… did you know he has a pilot's licence?
Chief Executive of the Royal Philharmonic Society, James Murphy talks to Jane Glover about her latest book ‘Handel in London’
Aged 25, Handel arrived in London in 1710 and transformed the musical scene. Whilst London has changed drastically from then, much has remarkably stayed very similar, conductor Jane Glover discusses this in her acclaimed new book ‘Handel in London’. In this special event, co-presented by Wigmore Hall and the Royal Philharmonic Society, James Murphy talks to Jane about the iconic composer, his lasting impact in Britain, and how she draws upon the exploration of his extraordinary life to shape how she performs his music today.
Written in elegant prose that wears its author's scrupulous scholarship lightly ... Glover deftly weaves musical analysis into her biographical flow. Her greatest achievement, however, is to give life and music a political and social context. - Richard Morrison, The Times
‘A pianist of ideas’, as The New Yorker has called him, leading Schubert interpreter Christian Zacharias delves into the great composer’s unique melodic, harmonic and thematic flourishes. Through close examination of these musical hallmarks and idiosyncrasies, he takes us on a journey to the very essence of Schubert’s style.
Ahead of his concert with Julius Drake on 15 June, the Canadian baritone Gerald Finley talks about programming, Schubert and Wigmore Hall with music broadcaster Sara Mohr-Pietsch
Together the pair discuss the motivation and inspiration behind programming a song recital and Gerald's nearly decade-long relationship with pianist Julius Drake. Gerald explores his changing perceptions of the Schubert Lied, the difference between his approach to a song recital and an opera, and the "sweet spot" of the Wigmore Hall stage.
In April 2019, the JACK Quartet performed a two-concert cycle of the complete string quartets by Elliott Carter, in a lunchtime and evening recital they have been looking forward to with anticipation.
Journalist Tom Service breaks down the music particularly of Carter’s 2nd and 3rd quartets, which form part of the evening concert programme, and 1st quartet which the JACK played at lunchtime. The JACK Quartet joins Tom with instruments in hand, to give live musical examples and bring to life the exuberant and exciting characters under discussion.
French baritone Stéphane Degout discusses French song, oratorio, opera and gastronomy with Richard Stokes.
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.
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.
On Saturday 6 December 2014, Mark-Anthony Turnage’s work for string quartet, Contusion, was premièred by the Belcea Quartet.
Contusion was the compulsory piece for the 2015 Wigmore Hall International String Quartet Competition, and was played by each competing quartet during the Preliminary Round.
Mark-Anthony Turnage was interviewed before the première about his new work by Christopher Cook, leading music broadcaster, lecturer and critic.