Guest conductor Christoph von Dohnanyi conducts The Philadelphia Orchestra this Sunday, April 7th from 2 to 4 pm in a program featuring Witold Lutoslawski's Funeral Music - one of the most accessible works by the 20th-century Polish composer. It will be followed by a performance of Mozart's darkly sublime Piano Concerto No. 20 with pianist Rudolph Buchbinder, who speaks with WRTI's Jim Cotter during intermission.
WRTI will broadcast a Philadelphia Orchestra performance of Mozart and Beethoven this Sunday, highlighting some musical connections between these two masters. As WRTI’s Susan Lewis reports, on the podium will be Christoph von Dohnanyi who has a longtime connection with the Philadelphians.
On this Sunday's Philadelphia Orchestra In Concert broadcast, a pianist - world renowned for his interpretations of the music of Beethoven - performs a Mozart piano concerto. Surprisingly, it contains music by both great composers, as WRTI's Jim Cotter reports.
You can hear Rudolf Buchbinder perform Mozart’s Piano Concerto No. 20 with The Philadelphia Orchestra on-air and online on WRTI.org at 2 pm on Sunday, April 7th.
Rudolf Buchbinder conducting Mozart's Piano Concerto No. 20 from the keyboard with the Vienna Philharmonic:
It was an unforgettable performance! Re-live it on Sunday, March 31st, 2 to 4 pm as then Music Director-Designate Yannick Nezet-Seguin took the podium in March, 2011 to conduct The Philadelphia Orchestra, Westminster Symphonic Choir, and soloists Dorothea Roeschmann and Matthias Goerne in a critically acclaimed performance of Johannes Brahms's humanistic and glorious Ein Deutsches Requiem, A German Requiem - a symphonic as well as a choral masterpiece.
(left to right) David Devan, general director/president of Opera Philadelphia; Richard Worley, Phila. Orch. chairman; Yannick Nézet-Séguin, Phila. Orch. music director; Allison Vulgamore, Phila. Orch. CEO & president; Opera Phila. Chairman Daniel Meyer
Even before The Philadelphia Orchestra's new music director took up his post, he'd begun reaching out to other arts organizations. As WRTI's Jim Cotter reports, the Orchestra is now set to present an ambitious co-production of a Richard Strauss masterpiece with Opera Philadelphia.
Music lives at Westminster Choir College at Rider University in Princeton, New Jersey. As WRTI's Jim Cotter reports, the college's Westminster Symphonic Choir has, for almost 90 years, been performing with the world's foremost orchestras under some legendary conductors, including Leopold Stokowski, Arturo Toscanini, Bruno Walter, Leonard Bernstein, Herbert von Karajan, Pierre Boulez, Robert Shaw, Kurt Masur and on and on.
Joe Miller is professor of conducting and chair of conducting for organ and sacred music at Westminster Choir College. This week, his Westminster Symphonic Choir performs Bach’s St Mathew Passion with The Philadelphia Orchestra under Yannick Nezet-Seguin, a Westminster Alum.
Born in Bologna in 1879, Italian violinist, violist, conductor and composer Ottorino Respighi moved to Rome in 1913. He became internationally recognized for his trilogy of symphonic poems celebrating the fountains, pines, and festivals of the city.
WRTI's Susan Lewis considers The Pines of Rome, performed by The Philadelphia Orchestra. She spoke with organist Michael Stairs and Associate Principal Clarinet Samuel Caviezel.
Listen to Michael Stairs' and Samuel Caviezel's interviews with Susan Lewis as part of the Intermission Features during The Philadelphia Orchestra concert broadcast on WRTI on Sunday, March 24th at 2 pm.
This Sunday on WRTI, Carl Orff's iconic Carmina burana headlines a program that also features The Philadelphia Orchestra's Principal Trumpet David Bilger in a performance of Hummel's beloved Trumpet Concerto, as well as Haydn's rarely performed Symphony No. 1. Sunday, March 17, 2 to 4 pm.
Guest Conductor Rafael Fruehbeck de Bourgos, who knew Carl Orff and gave the first performance of Carmina burana in Spain, will direct The Philadelphia Orchestra, the Philadelphia Singers, the American Boychoir, and soloists in this authoritative performance from February at the Kimmel Center's Verizon Hall.
Orff's raucous retelling of 24 medieval poems praises springtime, love, lust, and fortune. It requires a huge orchestra and a chorus singing a mix of old languages. The riveting choral refrains of "O Fortuna" open and close Carmina burana. While many sections of this iconic work have been re-used in movies and commercials, nothing equals the power when you hear this live, in its entirety.
PROGRAM: HAYDN: Symphony No. 1 in D major I. Presto II. Andante III. Finale: Presto
HUMMEL: Trumpet Concerto in E major I. Allegro con spirito II. Andante III. Rondo
Intermission, featuring a conversation with Maestro Fruehbeck
ORFF: Carmina burana Erin Morley: Soprano Nicholas Phan: Tenor Hugh Russell: Baritone The Philadelphia Singers Chorale David Hayes, Music Director The American Boychoir Fernando Malvar-Ruiz, Music Director
While there are many concertos for string instruments, fewer works exist for woodwinds, brass or percussion. Yet, as Susan Lewis reports, a previously under-performed work for trumpet from the early 19th century became part of the standard repertoire in the second half of the 20th.
A new biography reveals what it was like to be the first woman to enter the all-male sanctum of The Philadelphia Orchestra in 1930. WRTI’s Meridee Duddleston discovered the powerful combination of talent and fear.
On September 14, 1930, the headline of the Philadelphia Public Ledger read: "Solo Harpist to Be First Girl in Philadelphia Orchestra." A young Edna Phillips entered the single-sex fortress of The Philadelphia Orchestra in 1930 - a year after pianist Sergei Rachmaninoff called it "the finest orchestra the world has ever heard." She’d played the harp for only five years when she was hired as the first female member and principal harpist. Her "musicalité" may have been obvious to the pioneering Leopold Stokowski, but was she ready? What was it like to be the only woman among men at a time when gender equality and workplace mores were far different from what they are today?
Author Mary Sue Welsh worked with the observant, warm, and funny Phillips on her story during Phillips’ lifetime, completing it after the first harpist’s death in 2003. True to Phillips’ desire, it’s as much about the challenges and triumphs of her own life, as about how the Orchestra grew and responded to its conductors - particularly Leopold Stokowski.