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Articles by Bachtrack webmaster
Bachtracks Registration Wall: Warum registrieren?
Das Internet verändert sich Seit der Gründung von Bachtrack 2008 ist die Nutzung der Website kostenlos und wird durch Werbung und gesponserte Inhalte finanziert. Wir tun unser Bestes, um dies auch weiterhin so zu halten. Es wird Ihnen jedoch nicht entgangen sein, dass sich das Internet im letzten Jahr stark verändert hat. Die bedeutendste – und unwillkommene – Veränderung hat sich bei der Google-Suche vollzogen.
Bachtrack bajo registro: ¿Por qué es necesario?
Internet está cambiando Desde que comenzó su andadura en 2008, Bachtrack ha sido de uso gratuito y se ha financiado gracias a la publicidad y el contenido patrocinado. Hacemos todo lo posible para continuar del mismo modo. En cualquier caso, se habrán dado cuenta de que internet ha cambiado enormemente desde el año pasado. El cambio más significativo (y desfavorable) ha tenido lugar en el buscador Google.
Un mur d'inscription sur Bachtrack : pourquoi s'inscrire ?
Internet est en pleine mutation Depuis son lancement en 2008, le site Bachtrack est gratuit et financé par la publicité et les contenus sponsorisés. Nous faisons tout notre possible pour que cela reste ainsi. Cependant, il ne vous a probablement pas échappé qu'Internet a beaucoup changé au cours de l'année passée. Le changement le plus significatif – et le moins bienvenu – concerne la recherche sur Google.
Bachtrack’s Registration Wall: Why Register?
The Internet is changing Since Bachtrack was launched in 2008, the site has been free to use and funded by advertising and sponsored content. We are doing our very best to keep it that way. However, it won’t have escaped you that the Internet has changed a great deal in the last year. The most significant – and unwelcome – change has been in Google Search.
Simon Höfele: Top Ten Trompete
Simon Höfele ist Weltenbummler, Fotograf, Barista – und als Trompeter einer der besten jungen Musiker aus Deutschland. So stellt er sich bei seinem Podcast Klassik Crush vor, bei dem er ganz offen mit Musiker*innen seiner Generation spricht. Über Vorurteile und Karriereplanung, Achtsamkeit und vor allem über die Musik, die das Leben lebenswert macht.
Simon Höfele: Top Ten Trompete
Simon Höfele ist Weltenbummler, Fotograf, Barista – und als Trompeter einer der besten jungen Musiker aus Deutschland. So stellt er sich bei seinem Podcast Klassik Crush vor, bei dem er ganz offen mit Musiker*innen seiner Generation spricht. Über Vorurteile und Karriereplanung, Achtsamkeit und vor allem über die Musik, die das Leben lebenswert macht.
Anneleen Lenaerts: Top Ten Harfe
Anneleen Lenaerts ist seit 2010 Soloharfenistin der Wiener Philharmoniker, ist regelmäßig solistisch mit den wichtigsten Orchester der Welt unterwegs, unterrichtet und hat 2019 den Opus Klassik Award für ihr Nino Rota-Album mit Emmanuel Pahud und den Brüsseler Philharmonikern gewonnen – kurz, wir hätten uns keine bessere Gastkuratorin für unsere Harfen-Playlist wünschen können.
Anneleen Lenaerts: Top Ten Harfe
Anneleen Lenaerts ist seit 2010 Soloharfenistin der Wiener Philharmoniker, ist regelmäßig solistisch mit den wichtigsten Orchester der Welt unterwegs, unterrichtet und hat 2019 den Opus Klassik Award für ihr Nino Rota-Album mit Emmanuel Pahud und den Brüsseler Philharmonikern gewonnen – kurz, wir hätten uns keine bessere Gastkuratorin für unsere Harfen-Playlist wünschen können.
We've improved our video search
It's now nearly a year since the Coronavirus spurred us to massively expand our video listings: a search for all videos now shows nearly 1,000 results. We've become only too aware that this can be a bit daunting: faced with that much choice, how can you possibly decide what to watch? So we've made some improvements in the last couple of weeks to try to make things easier for you.
From Kokoschka to Lear: Sir John Tomlinson in lockdown
Sir John Tomlinson © Robert Workman https://bachtrack.com/handler/file/view/175056/273/36799340425 The Covid-19 lockdown has thrown up many challenges for performing musicians, but there have been compensations too, as I discovered when talking via Zoom to the leading bass Sir John Tomlinson. A familiar figure at opera houses the world over for several decades, Tomlinson sang at the Bayreuth Festival every year from 1988 to 2006.
Not the time to be dark: what audiences are telling us
At the end of March whilst we were in all in the throes of cancelling performances and watching the world as we know it collapse around us, I decided to help some of the cultural organisations I work with start to understand the likely impact of COVID-19 on their audiences. We created a short survey and asked their audiences to complete it.
Don't let the music stop: from the Director of the Association of British Orchestras
There’s no easy way of saying this. The Covid-19 emergency has placed the UK’s orchestras in a critical position.
From the founders: Bachtrack in the time of Coronavirus
By Bachtrack webmaster, 08 April 2020 https://bachtrack.com/files/171112-alison-and-david.jpg510340 Dear reader Since virtually all Bachtrack’s income comes from clients who promote live performance and the Covid-19 pandemic has caused the cancellation of almost every concert or opera in the world, we have needed, with great reluctance, to take extreme measures to ensure Bachtrack’s survival.
“Chantez, chantez”: Jan Lisiecki on how Chopin made the piano sing
“Hats off, gentlemen! A genius!” declared Robert Schumann. It is indisputable that Chopin was a genius. He had his own voice, a recognizable way or style of writing which was a sign of his exceptionality. He wrote music that has remained current and interesting to audiences in the 21st century. I have yet to find a pianist who dislikes playing Chopin. His music has such an innate bond with the piano; it resonates with audiences worldwide. There is always something left to discover in the catalogue.
The modern harpsichord and its potential
Goska Isphording © Monika Rokicka https://bachtrack.com/imagecache/scaled/163061-280-goska-isphording-fot--monika-rokicka.jpg280322 Goska Isphording specialises in contemporary music played on the harpsichord. A chamber musician and solo performer, she teaches contemporary harpsichord techniques at the Conservatorium van Amsterdam.
Beethoven 250: Krzysztof Chorzelski on scaling the Himalayan heights of the string quartets
The long-awaited year has arrived. It is 2020 and we, the Belcea Quartet, are devoting it exclusively to the man whose music moves, challenges, provokes and inspires us more than anyone else’s. For us Beethoven is an all-consuming passion. He is the prime reason why we are a string quartet. Krzysztof Chorzelski © Marco Borggreve https://bachtrack.com/files/158128-krzysztof-chorzelski-c-marco-borggreve.jpg510560 For each one of us, hearing a Beethoven quartet for the first time was a turning point.
Madness in its prettiest form: Max Emanuel Cenčić on Handel’s Orlando
Max Emanuel Cenčić © Parnassus Arts Productions | Anna Hoffmann Since its creation in 2013, the Barokkfest Trondheim has proved to be a hotspot during the Arctic winter. From 28th January to 2nd February 2020 you can warm up your heart and mind with Baroque church and vocal music in the North of Norway. The highlight is a concert performance of Handel’s opera Orlando with Max Emanuel Cenčić in the title role.
Barrie Kosky on The Joy of Operetta
Few other opera director has a better feeling for the sparkling world of operetta than Barrie Kosky. His modern productions, his understanding of Offenbach's humour and magic and the necessity for virtuosic and brilliant performers excite not only the audience at Komische Oper Berlin. Naturally, he's the perfect choice for our Not Quite Opera Month to talk about today's importance of operetta.
Garth Knox: for the love of the Viola d’amore
Having spent a large part of my life playing only the viola (when I was born I had two sisters who played violin and a brother who played cello, so I was naturally cast as the missing link) it came as a shock and a delight to discover the viola d’amore. I had a fleeting relationship with one in Italy in the early 1980s, but it wasn’t until I left the Arditti String Quartet in 1998 that I began to play this instrument, if not “seriously” then at least often.
Sophie Joyce Paterson on the search for New Voices
Sophie Joyce Paterson © PR | Private Neue Stimmen (New Voices), a singing competition funded by the Bertelsmann Foundation, looks back on thirty years of success. Every two years, a high-profile jury made up of directors of opera houses and festivals chooses the best young singers and names like René Pape, Marina Rebeka and Franco Fagioli are representative of the many international careers that Neue Stimmen has been involved with over the years.
Privacy notice
Introduction Thank you for reading our privacy notice. We respect your privacy and are committed to protecting your personal data. This privacy notice will inform you as to how we look after your personal data and tell you about your privacy rights and how the law protects you. This privacy notice is provided in a layered format so you can click through to the specific areas set out below. Please also use the Glossary to understand the meaning of some of the terms used in this privacy notice. 1.
On singing and communicating, from a choral director
Phil Wilcox is an experienced choral director, currently leading the Fleet Singers, a community choir based in Gospel Oak, and several choirs for Music in Offices. A Royal Academy of Music graduate, he has sung as a baritone soloist for Buxton Festival Opera, Royal Shakespeare Company, Retrospect Opera, Merry Opera Company, XOGA, Opera on Location and Young Opera Venture and appears regularly on the oratorio and concert platform.
Top ten tips for the amateur choral singer
1Warm up before you sing Do anything! Lip trills, syrens, ‘v’, ‘z’, ‘m’, ‘sh sh sh’, ‘s s s’. Literally anything to take the voice out of normal speech pitch and to wake up the muscles involving extended breath flow and expression. Stretch the body and the face! Exercise that tongue. Stick it out, roll it around, to the left, to the right. Our tongues are a huge muscle that go right down into the neck.
Berlioz 150: John Nelson on the Requiem
What makes Hector Berlioz such a great composer? In one word, originality. There is no one like him in the history of music. He broke all existing traditions of orchestration, structure, harmonic language and storytelling. Even today, 150 years after his death, his music is fresh, surprising us at every turn with inexpressible beauty.
Gained in Translation: In defence of ENO’s Opera in English policy
Mark Wigglesworth is a former Music Director of English National Opera and a passionate advocate of ENO's policy of staging opera only in the English language. That policy was called into question in a recent interview on Bachtrack: we think it's an important debate and are therefore delighted that Wigglesworth has contributed this opposing view.
“What language do you like singing in best?”: Roderick Williams on Schubert's Winterreise
I’ve just this afternoon come away from a Primary School in the centre of London where I sang to a couple of classes of eleven year olds and talked to them in general terms about classical singing and the world of opera. I always look forward to their questions as you never know what they are going to ask and what thoughts have been going through their heads while I’ve been singing at them. I try to reply as honestly as I can but there are times when I find myself stuck for an answer.
“What language do you like singing in best?”: Roderick Williams on Schubert's Winterreise
I’ve just this afternoon come away from a Primary School in the centre of London where I sang to a couple of classes of eleven year olds and talked to them in general terms about classical singing and the world of opera. I always look forward to their questions as you never know what they are going to ask and what thoughts have been going through their heads while I’ve been singing at them. I try to reply as honestly as I can but there are times when I find myself stuck for an answer.
Competition rules, terms and conditions
By entering any of our competitions, you agree to be bound by the terms and conditions included on this page. We will accept entries from the date the competition is published on the bachtrack.com website until the closing date specified in each competition. Entries received after the closing date will be rejected. Each person may only submit one entry, and each person must have a separate e-mail address.
Top ten Handel places to visit in London
Handel moved to London in 1711 at the age of 26 and lived there for the rest of his life, becoming a British citizen in 1727. He was the leading figure in musical London and through his various patrons and business ventures was eventually able to enjoy a comfortable life there. His operas and oratorios were the talk of the town, and became mainstream repertoire in his own time. His philanthropy stretched beyond his lifetime and his music is still among the most widely performed in Britain today.
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