Schedule

Mexican conductor Carlos Miguel Prieto leads the Orquesta Sinfónica de Minería in a performance of Aaron Copland’s Appalachian Spring Suite. Originally commissioned as a ballet for the legendary dancer Martha Graham, Aaron Copland's Appalachian Spring (1944) has since become an American classic. While first scored for a thirteen-piece ensemble, Copland later arranged the work for a full orchestra. This performance was recorded at Auditorio Nacional in Mexico City, in 2021.

At St. Bartholomew Church in Dornheim, Germany, where composer Johann Sebastian Bach married his first wife Maria Barbara, renowned Dutch cellist Anner Bijlsma performs the composer's Cello Suite No. 1 in G major, BWV 1007. It is likely Bach wrote his collection of six Suites for unaccompanied cello during the years 1717-1723. His cello suites are an essential part of the cello repertoire, highlighting the instrument's manifold polyphonic possibilities. As customary in a Baroque suite, each movement is based on a dance type. Bach's Suite No. 1 opens with a prelude, and is followed by six dance movements, divided over five sections: an allemande, a courante, a sarabande, two minuets, and a final gigue.

English-French pianist David Levy performs Dmitri Shostakovich’s 24 Preludes and Fugues, Op. 87. The work is a set of twenty-four pieces for piano, one in each of the major and minor keys of the chromatic scale. Each piece is in two parts: a prelude followed by a fugue. The composer was doubtlessly inspired by J. S. Bach’s famous The Well-Tempered Clavier (BWV 846-893), a collection of forty-eight preludes and fugues published in two books. A panel member at Leipzig’s Bach competition, Shostakovich was deeply inspired by Russian pianist Tatiana Nikolayeva’s performance of Bach’s 48 Preludes and Fugues. Shostakovich wrote these pieces between the autumn of 1950 and February 1951, dedicating them to Nikolayeva, who agreed to perform the Leningrad premiere in December 1952. David Levy’s performance was recorded at the Budapest Music Center, Hungary, in September 2023.

Baritone Matthias Goerne teams up with violinist Vilde Frang, cellist Nicolas Altstaedt, flutist Stathis Karapanos, and harpsichordist Michaela Hasselt in this program dedicated to the music of J. S. Bach. They perform baritone arias from Bach’s most beautiful cantatas, as well as solo pieces and duets. On the program are Sonata No. 3 in C major for violin solo, BWV 1005; arias ‘Hier, in meines Vaters Stätte’, BWV 32 and ‘Die Welt mit allen Königreichen’, BWV 59; Suite No. 5 in C minor for cello solo, BWV 1011; ‘Wenn Trost und Hülf ermangeln muß’, BWV 117; ‘Ja, ja, ich halte Jesum fest’, BWV 157; Invention No. 7 in E minor, BWV 778; Invention in A major, BWV 783; and ‘Welt ade, ich bin dein müde’, BWV 158. This performance was recorded at St. Mary’s Church in Wittenberg, Germany.

Pianist Xiaoxuan Li (China, 2001) performs Wolfgang Amadeus Mozart’s Allegro in D major, K. 626b/16; Johannes Brahms’s Variations and Fugue on a Theme by Handel, Op. 24; and Sarabande of George Frideric Handel’s Suite No. 7 in B-flat major, HWV 440, during the first round of the Piano Edition of the Concours musical international de Montréal 2024 (CMIM). This performance was recorded at the Bourgie Hall of the Montreal Museum of Fine Arts.

Indian conductor Zubin Mehta (1936) became Music Director of the Israel Philharmonic Orchestra (IPO) in 1977 and was appointed Music Director for Life in 1981. On July 18, 1996, Mehta led the IPO in its first-ever performance of Richard Strauss’s tone poem Till Eulenspiegels lustige Streiche, Op. 28. Renowned as one of the world’s foremost interpreters of the great symphonic repertoire—especially the Romantic works of Anton Bruckner, Gustav Mahler, and Richard Strauss—Mehta had conducted this popular masterpiece many times before. However, this was the first occasion he rehearsed it from the very beginning with the orchestra. This episode of ‘In Rehearsal’ offers an intimate look at the dialogue between Mehta and the musicians as they explore Strauss’s tone poem together.

Italian composer Claudio Monteverdi (1567-1643) composed nine books of madrigals in half a century, which helped transform the genre from the polyphonic, a cappella madrigals of the late Renaissance to the ‘concertato’ madrigals of the early Baroque, shifting the style’s focus to the ability of music to express emotions contained in a text. In 2011, British tenor Paul Agnew and renowned Baroque ensemble Les Arts Florissants started recording eight books of Monteverdi’s madrigals. In this program, Agnew leads Les Arts Florissants in the madrigals of Book I. Published on New Year’s day of 1587, Book I consist of seventeen madrigals for five voices. This performance was recorded at the Cité de la musique in Paris, France, in 2011.

Les Dissonances is a collective of artists founded by violinist David Grimal in 2004. The conductorless ensemble consists of musicians from the most prestigious European orchestras, international soloists, and young talents. In this performance, Les Dissonances present Ludwig van Beethoven’s Symphony No. 3 in E-flat major, Op. 55, ‘Eroica’. Admiring the ideals of the French Revolution, Beethoven initially dedicated the symphony to Napoleon Bonaparte. However, upon hearing that Napoleon had crowned himself Emperor, Beethoven violently erased Napoleon’s name from the manuscript. Composed in 1803-04 in a style that breaks with tradition, the symphony is regarded as a turning point in Beethoven’s oeuvre as well as Western music history. Symphony No. 3 is longer in duration than any previous symphony. The work opens with two powerful chords that replace the more customary long introduction. The lower strings then introduce the main theme. The slow second movement is a Funeral March, followed by a quick Scherzo. The fourth and final movement is dominated by a theme from Beethoven’s ballet music for ‘The Creatures of Prometheus’. This performance was recorded at Opéra de Dijon, France, in 2012.

Daniel Harding leads the Orchestra and Choir of the Maggio Musicale Fiorentino and four vocal soloists in a magnificent performance of Wolfgang Amadeus Mozart’s Requiem in D minor, K. 626. The soloists are soprano Christiane Karg, mezzosoprano Sara Mingardo, tenor Matthew Swensen, and bass Gianluca Buratto. The Austrian Count Walsegg commissioned Mozart to compose a Requiem in July 1791 to commemorate his late wife, Anna. At the time, Mozart was busy working on his operas La clemenza di Tito and The Magic Flute. By the time he started on the Requiem, in the fall of that same year, his health was seriously declining. Mozart passed away in December 1791, leaving the Requiem uncompleted. His pupil Franz Xaver Süssmayr completed Mozart’s swan song in the form known today, based on Mozart’s sketches and possibly verbal instructions. This performance was recorded at Teatro del Maggio Musicale Fiorentino in Florence, Italy, in 2021.

Conductor Marien van Staalen leads Amadeus Ensemble Rotterdam in a performance of Wolfgang Amadeus Mozart's Clarinet Concerto in A major, K. 622. Henk de Graaf is the featured soloist. This performance was recorded at St. Nicholas Church in Vollenhove, the Netherlands.

At the age of 24, following his successes in Rome, Alessandro Scarlatti was appointed royal Kapellmeister in Naples, in 1684. There he had to deal with jealousy and contempt from those involved in the local music scene. Scarlatti came up with the best possible answer to this harassment by enjoying a brilliant career lasting nearly thirty years and producing a phenomenal oeuvre in the process. Bart Naessens chooses his favourite keyboard works from Scarlatti’s oeuvre.

Violinist Kristof Barati and Pianist Lucas Debargue pair for the first time in a duo concert at the 25th anniversary edition of the Swiss Verbier Festival in 2018. Although this was their inaugural collaboration, the two young artists found a perfect understanding around this romantic programme. The two featured works were written very few years apart from one another (Brahms’ first sonata for violin and piano in 1879 and Franck’s sonata in A in 1886). The Brahms sonata was recorded by Kristof Barati a few years ago, while Franck’s is known to be a favourite of Lucas Debargue. The virtuoso piano part suits his gigantic hands and the fantasy of the third movement his love for improvisation. The cyclic form and the many echoes between the piano and violin parts unite the two artists, like accomplices in possession of the best assets to bring in all the emotion these romantic works have to offer. The listener is suddenly in a position to re-discover the scores and cannot but join the admiration marks that escape from the audience in between the movements. A very moving performance which deserves its benchmark status.

Johannes Brahms’ ‘Ein deutsches Requiem’ is known for its secular focus; it is not aimed at God or the afterlife, but at comforting the bereaved in the here and now. Therefore Brahms steered clear of the common Latin texts, rather, he selected passages from the Old and New Testaments in Martin Luther’s German translation. In combination with the wonderful music, the piece resulted in one of the most touching Requiems ever written. This broadcast was recorded by the Flemish Radio Choir accompanied by two pianos.

The Veerhavenconcert is a classical open-air concert held every year in the attractive harbor of Rotterdam. Little boats and ships float on the water next to a transparent stage flanked by antique sailboats. In this edition from 2018, the Veerhavenconcert offers an accessible program with operatic works by Verdi, Ponchielli, and Puccini. Maxim Emelyanchec leads the Dutch Philharmonic Orchestra and the Toonkunst Amsterdam choir. Soloists are Soojin Moon- Sebastian (soprano), Maria Riccarda Wesseling (mezzo-soprano), Paulo Ferreira (tenor) and Hawijch Elders (violin).

“Shusha, the Renaissance” is a musical journey featuring pianist Murad Huseynov. The city of Shusha is often considered the cradle of Azerbaijan's music and poetry and one of the leading centres of the Azerbaijani culture, having been declared the cultural capital of Azerbaijan in January 2021. On the program are the following works: Fikret Amirov’s (1922-1984) Twelve Miniatures for Piano Solo: I. Ballade - II. Ashigsayagi – III. Nocturne – IV. Humoresque – V. Lyrical Dance – VI. Hunting - VII. Lullaby – VIII. Waltz – IX. Barcarolle – X. Toccata – XI. Elegy – XII. March; Adil Babirov’s (1934-2021) ‘s Prelude & Scherzo; Gara Garayev’s (1918-1982) Sonatine: I. Allegro – II. Moderato assai – III. Vivo ; Tofik Kouliyev’s (1917-2000) ‘Gaytagi’ and F. Amirov’s Romantic Sonata: I. Allegro energico - II. Andante espressivo - III. Allegro non troppo). This performance is filmed in Shusha in October 2023 and in the Heydar Aliyev Center, Baku, in December 2023. Written and directed by Michel Swierczewski.

Luca Vignali (oboe), Angelo De Angelis (clarinet), Carmine Pinto (horn), Eliseo Smordoni (bassoon), and Linda Di Carlo (piano) perform Ludwig van Beethoven’s Quintet for piano and winds in E-flat major, Op. 16. The piece, completed in 1796, is assumed to have been modelled on Mozart’s Quintet for piano and winds, K. 452. Both quintets are scored for the same unusual instrument combination, are in the same key, and feature the same three-movement structure. A marked difference is that Beethoven, as a piano virtuoso, wrote the piano parts to highlight the strengths of his playing. Besides, the composer regularly places this instrument in the center of attention. Beethoven published the work in 1801 in two versions: as a quintet for piano and winds, and as a quartet for piano and strings (also designated Op. 16). This performance was recorded at Perugia’s Auditorium Santa Cecilia, Italy, on June 23, 2022.

In this exquisite 2016 concert from Moscow's Tchaikovsky Concert Hall, the Russian National Orchestra and star-pianist Boris Berezovsky are led by conductor Mikhail Pletnev in a performance of magnificent works by Nikolai Rimsky-Korsakov. Winner of the 1990 International Tchaikovsky Competition in Moscow, Berezovsky interprets the works of Rimsky-Korsakov with a virtuosic power. The programme features The Tale of the Invisible City of Kitezh and the Maiden Fevroniya, suite for orchestra, as well as The Tale of Tsar Saltan, musical pictures for orchestra. It is produced by the Moscow Philharmonic Society, which Saint Petersburg-born composer Dmitri Shostakovich himself once described as playing a significant role "in the development of musical life [in Russia]. It is a kind of university which is attended by millions of music lovers and thousands of musicians.” The Moscow Philharmonic Society was founded in 1922 by then-Commissar for Culture, Anatoly Lunacharsky, and has over the years come to be Russia's leading concert organizing institution.

This visually stunning production of Nutcracker is a graceful and timeless adventure on a grand scale. From the lovely Waltz of the Flowers to the crystalline beauty of the stunning Snowflake Waltz, each scene is more breathtaking than the last, bringing to life all the well-known and beloved characters with fresh sparkle and compelling originality. It is Christmas Eve and we are brought to a party at which Drosselmeyer gives young Clara a nutcracker doll - beginning a night that includes a magically growing Christmas tree, a midnight battle of toy soldiers at which the Nutcracker defeats the villainous Mouse King and his army of mice, and a headlong pas de deux in which Clara and Hans-Peter meet and celebrate their triumph before being enveloped in a magical snowstorm. Act II whisks the young pair off to the Kingdom of the Sweets, where they are entertained by the Sugar Plum Fairy with her handsome Prince and her glittering court in a series of dazzling dances. Under the direction of Andreas Morell, Valery Gergiev conducts the Mariinsky Orchestra and Choir. Soloists are Mikhail Makarov, lldar Abdrazakov, Anna Markarova, Sergei Skorokhodov, Timur Abdikeyev, Vladislav Sulimasky. This production was recorded at the Mariinsky Theatre in 2012.

Sir Simon Rattle leads the Berlin Philharmonic in a performance of Sergei Rachmaninoff’s Symphony No. 2 in E minor, Op. 27. After the disastrous premiere of the composer’s Symphony No. 1 in 1897, Rachmaninoff seriously doubted his ability as a symphonist. Almost a decade later, in October 1906, he started composing his Symphony No. 2. Months of revisions followed. He finished this large orchestral work in the summer of 1907, followed by a highly successful 1908 premiere in St. Petersburg. This performance at the magnificent Teatro Real in Madrid, Spain is part of the Europakonzert 2011.

Azerbaijan-born artist Seljan Nasibli moved to England at an early age, where she was encouraged to take up music. Although Nasibli chose to sing jazz, her Oxford teachers heard an operatic tendency in her voice and advised to train classically. Nasibli completed her studies at The Royal College of Music, where she graduated with a master's degree in Vocal Performance. In this episode of Stingray Originals, Nasibli performs three of Giacomo Puccini's most beautiful arias: 'Signore, ascolta!' and 'Tu, che di gel sei cinta' from the opera Turandot, and 'Quando m'en vo' (Musetta's Waltz) from the opera La bohème.

Marin Alsop conducts the Britten-Pears Orchestra in a performance of Maurice Ravel’s ‘Ma mère l'Oye’ (Mother Goose). This performance took place at Snape Maltings Concert Hall, Snape Bridge in the UK in 2017. This five-part orchestral suite was originally as a piano duet in 1910, but the composer orchestrated the work the year after. Ravel originally composed the work as a piano duet for the two children of Polish sculptor Gobeski and dedicated the work for four hands to the children.