{"id":15843,"date":"2024-12-10T01:20:54","date_gmt":"2024-12-10T00:20:54","guid":{"rendered":"https:\/\/countermelodypodcast.com\/?p=15843"},"modified":"2024-12-11T02:09:40","modified_gmt":"2024-12-11T01:09:40","slug":"episode-314-yi-kwei-sze-revisited","status":"publish","type":"post","link":"https:\/\/countermelodypodcast.com\/index.php\/2024\/12\/10\/episode-314-yi-kwei-sze-revisited\/","title":{"rendered":"Episode 314. Yi-Kwei Sze Revisited"},"content":{"rendered":"<div id=\"mega-menu-wrap-primary\" class=\"mega-menu-wrap\"><div class=\"mega-menu-toggle\"><div class=\"mega-toggle-blocks-left\"><\/div><div class=\"mega-toggle-blocks-center\"><\/div><div class=\"mega-toggle-blocks-right\"><div class='mega-toggle-block mega-menu-toggle-animated-block mega-toggle-block-1' id='mega-toggle-block-1'><button aria-label=\"Menu\" class=\"mega-toggle-animated mega-toggle-animated-slider\" type=\"button\" aria-haspopup=\"true\" aria-expanded=\"false\" aria-controls=\"mega-menu-primary\">\n                  <span class=\"mega-toggle-animated-box\">\n                    <span class=\"mega-toggle-animated-inner\"><\/span>\n                  <\/span>\n                <\/button><\/div><\/div><\/div><ul id=\"mega-menu-primary\" class=\"mega-menu max-mega-menu mega-menu-horizontal mega-no-js\" data-event=\"hover_intent\" data-effect=\"slide\" data-effect-speed=\"200\" data-effect-mobile=\"slide\" data-effect-speed-mobile=\"200\" data-mobile-force-width=\"body\" data-second-click=\"go\" data-document-click=\"collapse\" data-vertical-behaviour=\"standard\" data-breakpoint=\"600\" data-unbind=\"true\" data-mobile-state=\"collapse_all\" data-mobile-direction=\"vertical\" data-hover-intent-timeout=\"300\" data-hover-intent-interval=\"100\"><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-home mega-align-bottom-left mega-menu-flyout mega-menu-item-19160\" id=\"mega-menu-item-19160\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/\">Home<\/a><\/li><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-align-bottom-left mega-menu-flyout mega-menu-item-19161\" id=\"mega-menu-item-19161\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/index.php\/about-daniel\/\">About Daniel<\/a><\/li><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-current_page_parent mega-align-bottom-left mega-menu-flyout mega-menu-item-19171\" id=\"mega-menu-item-19171\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/index.php\/all-episodes\/\">All Episodes<\/a><\/li><\/ul><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Episode 314.  Yi-Kwei Sze Revisited<\/h2>\n\n\n\n<iframe loading=\"lazy\" width=\"340\" height=\"50\" src=\"https:\/\/countermelody.blubrry.net\/?powerpress_embed=1351-podcast&amp;powerpress_player=mediaelement-audio\" title=\"Blubrry Podcast Player\" frameborder=\"0\" scrolling=\"no\"><\/iframe>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><strong>SOCIAL SHARE<\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-text-align-right\"><strong>SUBSCRIPTION PLATFORM<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<div class=\"wp-block-buttons is-horizontal is-content-justification-left is-layout-flex wp-container-core-buttons-is-layout-7e5fce0a wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link no-border-radius wp-element-button\" href=\"https:\/\/countermelody.blubrry.net\/\">SUBSCRIBE VIA YOUR FAVORITE PODCAST PLATFORM<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"312\" height=\"380\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Head-On-Headshot.jpg\" alt=\"\" class=\"wp-image-16076\" style=\"width:558px;height:auto\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Head-On-Headshot.jpg 312w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Head-On-Headshot-246x300.jpg 246w\" sizes=\"auto, (max-width: 312px) 100vw, 312px\" \/><\/figure>\n<\/div>\n\n\n<div style=\"height:38px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>One of the great personal revelations for me in the early years of producing <em>Countermelody <\/em>was discovering the great Chinese American bass Yi-Kwei Sze (\u65af\u7fa9\u6842). As the first Chinese singer to pursue a career in Western classical music, his historical significance is undisputed. What I hope to demonstrate in this episode is that his importance extends to artistic, vocal, and musical matters as well. When Sze first came to the United States, he studied under the great Ukrainian bass Alexander Kipnis, and over the course of his long career, he bore that mantle proudly. Today\u2019s episode once again explores the hidden corners of Sze\u2019s recorded legacy, which yields enormous treasures, and includes recordings of operatic (and quasi-operatic) excerpts by Verdi, Gounod, Mozart, Berlioz, and Mussorgsky as well as an excerpt of a legendary live performance of Shostakovich\u2019s \u201cBabi Yar\u201d Symphony, one of the first in the West. Also heard are live and studio recordings of Russian songs by Mussorgsky, Dargomizhsky, Tchaikovsky, Rachmaninov, and Balakirev; and song recordings by Poulenc, Schumann, Schubert, Tcherepnin, Xuean Liu, Dvo\u0159\u00e1k, and Brahms.<\/p>\n\n\n\n<div style=\"height:47px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-custom-size\" style=\"font-size:30px\"><strong> RECORDINGS HEARD IN THIS EPISODE<\/strong><\/p>\n\n\n\n<div style=\"height:55px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"709\" height=\"604\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Souzay-at-Piano.jpg\" alt=\"\" class=\"wp-image-16081\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Souzay-at-Piano.jpg 709w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Souzay-at-Piano-300x256.jpg 300w\" sizes=\"auto, (max-width: 709px) 100vw, 709px\" \/><\/figure>\n<\/div>\n\n\n<p>Traditional French [from Bourgogne], arr. Maurice Emmanuel: No\u00ebl Auxois. G\u00e9rard Souzay, Jacqueline Bonneau [1952]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"451\" height=\"541\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/As-King-in-Aida.jpg\" alt=\"\" class=\"wp-image-16082\" style=\"width:606px;height:auto\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/As-King-in-Aida.jpg 451w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/As-King-in-Aida-250x300.jpg 250w\" sizes=\"auto, (max-width: 451px) 100vw, 451px\" \/><\/figure>\n<\/div>\n\n\n<p>Giuseppe Verdi, Arrigo Boito: Il lacerato spirito (<em>Simon Boccanegra<\/em>). Yi-Kwei Sze, Karl Kritz, \u201cArmy of Stars\u201d Orchestra [1950 studio recording to benefit The Salvation Army]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"437\" height=\"532\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/as-Dumas-in-Chenier.jpg\" alt=\"\" class=\"wp-image-16083\" style=\"width:610px;height:auto\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/as-Dumas-in-Chenier.jpg 437w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/as-Dumas-in-Chenier-246x300.jpg 246w\" sizes=\"auto, (max-width: 437px) 100vw, 437px\" \/><\/figure>\n<\/div>\n\n\n<p>Wolfgang Amadeus Mozart, Emanuel Schikaneder [English language version by W.H. Auden, Chester Kallman]: O Isis and Osiris (<em>The Magic Flute<\/em>) [sung in English]. Yi-Kwei Sze, Peter Herman Adler, Symphony of the Air [NBC Opera, first broadcast live15 January 1956]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"654\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-on-Tour-closeup-654x1024.png\" alt=\"\" class=\"wp-image-16084\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-on-Tour-closeup-654x1024.png 654w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-on-Tour-closeup-192x300.png 192w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-on-Tour-closeup.png 676w\" sizes=\"auto, (max-width: 654px) 100vw, 654px\" \/><\/figure>\n<\/div>\n\n\n<p>Charles Gounod, Jules Barbier, Michel Carr\u00e9 [after Carr\u00e9&#8217;s play based on Johann Wolfgang von Goethe]: Vous qui faites l\u2019endormie (<em>Faust<\/em>). Yi-Kwei Sze, Warwick Braithwaite, National Orchestra of the New Zealand Broadcasting Service [live 05.1953]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"279\" height=\"358\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Hedshut.jpg\" alt=\"\" class=\"wp-image-16085\" style=\"width:534px;height:auto\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Hedshut.jpg 279w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Hedshut-234x300.jpg 234w\" sizes=\"auto, (max-width: 279px) 100vw, 279px\" \/><\/figure>\n<\/div>\n\n\n<p>Hector Berlioz [after William Shakespeare]: Pauvres enfants que je pleure (<em>Rom\u00e9o et Juliette<\/em>). Yi-Kwei Sze, Charles Munch, Boston Symphony Orchestra [1953]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1012\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-in-Bowler-1012x1024.png\" alt=\"\" class=\"wp-image-16086\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-in-Bowler-1012x1024.png 1012w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-in-Bowler-297x300.png 297w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-in-Bowler-768x777.png 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-in-Bowler.png 1036w\" sizes=\"auto, (max-width: 1012px) 100vw, 1012px\" \/><\/figure>\n<\/div>\n\n\n<p>Modest Mussorgsky [after Alexander Pushkin]: Clock Scene (<em>Boris Godunov<\/em>). Yi-Kwei Sze, Bernard Haitink, Concertgebouw Orchestra [live Amsterdam 1964]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1020\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Smith-at-keyboard-1024x1020.jpg\" alt=\"\" class=\"wp-image-16087\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Smith-at-keyboard-1024x1020.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Smith-at-keyboard-300x300.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Smith-at-keyboard-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Smith-at-keyboard-768x765.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Smith-at-keyboard-1536x1530.jpg 1536w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Smith-at-keyboard-1600x1593.jpg 1600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Smith-at-keyboard.jpg 1696w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Brooks Smith<\/figcaption><\/figure>\n<\/div>\n\n\n<p>Modest Mussorgsky, Arseny Golenishchev-Kutuzov: \u042d\u043b\u0435\u0433\u0438\u044f [Elegy] (<em>\u0411\u0435\u0437 \u0441\u043e\u043b\u043d\u0446\u0430<\/em> [<em>Sunless<\/em>], No. 5). Yi-Kwei Sze, Brooks Smith [1965]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"691\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-older-in-Concert-691x1024.png\" alt=\"\" class=\"wp-image-16088\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-older-in-Concert-691x1024.png 691w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-older-in-Concert-202x300.png 202w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-older-in-Concert.png 702w\" sizes=\"auto, (max-width: 691px) 100vw, 691px\" \/><\/figure>\n<\/div>\n\n\n<p>Alexander Dargomizhsky, Mikhail Lermontov: \u041c\u043d\u0435 \u0433\u0440\u0443\u0441\u0442\u043d\u043e, \u043f\u043e\u0442\u043e\u043c\u0443 \u0447\u0442\u043e \u044f \u0442\u0435\u0431\u044f \u043b\u044e\u0431\u043b\u044e [I am sad because I love you]. Yi-Kwei Sze, Robert Freeman [live Rochester 31 October 1978]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"410\" height=\"450\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Musical-America-ad-1.jpg\" alt=\"\" class=\"wp-image-16089\" style=\"width:584px;height:auto\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Musical-America-ad-1.jpg 410w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Musical-America-ad-1-273x300.jpg 273w\" sizes=\"auto, (max-width: 410px) 100vw, 410px\" \/><\/figure>\n<\/div>\n\n\n<p>Pyotr Il\u2019yich Tchaikovsky, Afanasy Afanasyevich Fet: \u041d\u0435 \u043e\u0442\u0445\u043e\u0434\u0438 \u043e\u0442 \u043c\u0435\u043d\u044f [Do Not Leave Me], Op. 27\/3. Yi-Kwei Sze, G\u00e9rard van Blerk [live Appeldoorn 1971]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"727\" height=\"471\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Carnegie-Hall-1968.jpg\" alt=\"\" class=\"wp-image-16090\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Carnegie-Hall-1968.jpg 727w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Carnegie-Hall-1968-300x194.jpg 300w\" sizes=\"auto, (max-width: 727px) 100vw, 727px\" \/><\/figure>\n<\/div>\n\n\n<p>Serge Rachmaninov, Nikolai Maksimovich Vilenkin [as Nikolai Minsky]: \u0412 \u043c\u043e\u0435\u0439 \u0434\u0443\u0448\u0435 [Within My Soul], Op. 14\/10. Yi-Kwei Sze, G\u00e9rard van Blerk [live Appeldoorn 1971]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"462\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/shostakovich-and-yevtushenko.jpg\" alt=\"\" class=\"wp-image-16091\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/shostakovich-and-yevtushenko.jpg 640w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/shostakovich-and-yevtushenko-300x217.jpg 300w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption class=\"wp-element-caption\">Shostakovich and Yevtushenko<\/figcaption><\/figure>\n<\/div>\n\n\n<p>Dmitri Shostakovich, Yevgeny Yevtushenko: Babi Yar [excerpt] (Symphony No. 13 in b-flat minor, Op. 113), Yi-Kwei Sze, Louis Lane, Cleveland Orchestra, Men of the Cleveland Orchestra Chorus [live Cleveland 1971]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"594\" height=\"608\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/George-van-Renesse-1.png\" alt=\"\" class=\"wp-image-16093\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/George-van-Renesse-1.png 594w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/George-van-Renesse-1-293x300.png 293w\" sizes=\"auto, (max-width: 594px) 100vw, 594px\" \/><figcaption class=\"wp-element-caption\">George van Renesse<\/figcaption><\/figure>\n<\/div>\n\n\n<p>Francis Poulenc: Invocation aux Parques (<em>Chansons gaillardes<\/em>). Yi-Kwei Sze, George van Renesse [live Den Haag 23 October 1961]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"599\" height=\"870\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Little-Smith-Big-Sze.png\" alt=\"\" class=\"wp-image-16096\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Little-Smith-Big-Sze.png 599w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Little-Smith-Big-Sze-207x300.png 207w\" sizes=\"auto, (max-width: 599px) 100vw, 599px\" \/><\/figure>\n<\/div>\n\n\n<p>Robert Schumann, Heinrich Heine: <em>Dichterliebe<\/em>, Op. 48, 1-4: Im wundersch\u00f6nen Monat Mai; Aus meinen Tr\u00e4nen sprie\u00dfen; Die Rose, die Lilie, die Taube, die Sonne; Wenn ich in deine Augen seh\u2019. Yi-Kwei-Sze, Brooks Smith [1965]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"668\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-Hat-Brick-Wall-1024x668.png\" alt=\"\" class=\"wp-image-16098\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-Hat-Brick-Wall-1024x668.png 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-Hat-Brick-Wall-300x196.png 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-Hat-Brick-Wall-768x501.png 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-Hat-Brick-Wall.png 1336w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p>Franz Schubert, Jacob Nicolaus Craigher de Jachelutta: Totengr\u00e4bers Heimweh, D. 842.&nbsp; Yi-Kwei Sze, George van Renesse [live Den Haag 23 October 1961]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"624\" height=\"531\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Airport-Arrival.jpg\" alt=\"\" class=\"wp-image-16099\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Airport-Arrival.jpg 624w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Airport-Arrival-300x255.jpg 300w\" sizes=\"auto, (max-width: 624px) 100vw, 624px\" \/><\/figure>\n<\/div>\n\n\n<p>Xuean Liu, Xueqin Cao: Song of the Red Bean. Yi-Kwei Sze, Nancy Lee Sze [1950]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"405\" height=\"499\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Before-Standard-Hour-Mic.jpg\" alt=\"\" class=\"wp-image-16100\" style=\"width:600px;height:auto\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Before-Standard-Hour-Mic.jpg 405w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Before-Standard-Hour-Mic-243x300.jpg 243w\" sizes=\"auto, (max-width: 405px) 100vw, 405px\" \/><\/figure>\n<\/div>\n\n\n<p>Traditional Chinese: Flower Drum Sung (introduced by Yi-Kwei Sze). Yi-Kwei Sze, George van Renesse [live Den Haag 23 October 1961]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"480\" height=\"360\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Yi-Kwei-Sze-and-Alexander-Tcherepnin.jpg\" alt=\"\" class=\"wp-image-16101\" style=\"width:610px;height:auto\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Yi-Kwei-Sze-and-Alexander-Tcherepnin.jpg 480w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Yi-Kwei-Sze-and-Alexander-Tcherepnin-300x225.jpg 300w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><figcaption class=\"wp-element-caption\">Yi-Kwei Sze and Alexander Tcherepnin<\/figcaption><\/figure>\n<\/div>\n\n\n<p>Alexander Tcherepnin: From <em>Chinese Songs<\/em>, Op. 95. Yi-Kwei Sze, Brooks Smith [1965]<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>No. 5. So far away<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>No. 2. Love Song of the Wagon Driver<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>No. 1. West River Moon<\/li>\n<\/ul>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"204\" height=\"248\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Yi-Kwei-Sze-seated.jpg\" alt=\"\" class=\"wp-image-16102\" style=\"width:538px;height:auto\"\/><\/figure>\n<\/div>\n\n\n<p>Anton\u00edn Dvo\u0159\u00e1k: Gott ist mein Hirte (<em>Biblische Lieder<\/em>, Op. 99\/4). Yi-Kwei Sze, Christoph von Dohn\u00e1nyi, WDR Sinfonieorchester K\u00f6ln [live K\u00f6ln 1966]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"552\" height=\"590\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-Handsome-Headshot.png\" alt=\"\" class=\"wp-image-16103\" style=\"width:618px;height:auto\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-Handsome-Headshot.png 552w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Sze-Handsome-Headshot-281x300.png 281w\" sizes=\"auto, (max-width: 552px) 100vw, 552px\" \/><\/figure>\n<\/div>\n\n\n<p>Johannes Brahms: Wenn ich mit Menschen- und mit Engelszunge redete (<em>Vier ernste Ges\u00e4nge<\/em>, Op. 121\/4). Yi-Kwei Sze, G\u00e9rard van Blerk [live Appeldoorn 1971]; Yi-Kwei Sze, Brooks Smith [1965 studio recording]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Episode 314. Yi-Kwei Sze Revisited SOCIAL SHARE SUBSCRIPTION PLATFORM One of the great personal revelations for me in the early&hellip;<\/p>\n","protected":false},"author":1,"featured_media":16077,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":""},"categories":[1075,3132,3273,2398,2399,1072,1659,5806,6486,2260,808,4722,4801,3272,2806],"tags":[7050,7045,3518,3120,2188,3119,2150,2604,3114,296,4006,2731,3150,7053,3121,2955,4328,319,544,101,3561,3230,207,310,1197,1137,863,4020,7049,7055,4021,7048,2601,3111,7051,7052,1913,3113,7044,1642,1014,2783,2733,5561,2600,34,7046,7047,7054,3112],"class_list":["post-15843","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-song","category-franz-schubert","category-french-opera","category-giuseppe-verdi","category-great-baritones","category-in-memoriam","category-interview","category-listeners-favorites","category-melodie","category-music-for-a-world-in-crisis","category-needle-drop","category-orchestral-songs","category-singers-in-old-age","category-singers-of-color","category-twentieth-century-music","tag-afanasy-afanasyevich-fet","tag-alexander-dargomizhsky","tag-alexander-pushkin","tag-alexander-tcherepnin","tag-antonin-dvorak","tag-arseny-golenishchev-kutuzov","tag-bernard-haitink","tag-boris-godunov","tag-brooks-smith","tag-charles-gounod","tag-charles-munch","tag-chester-kallman","tag-christoph-von-dohnanyi","tag-david-zinman","tag-dichterliebe","tag-dmitri-shostakovich","tag-emanuel-schikaneder","tag-faust","tag-francis-poulenc","tag-franz-schubert","tag-george-van-renesse","tag-gerard-van-blerk","tag-giuseppe-verdi","tag-hector-berlioz","tag-heinrich-heine","tag-johann-wolfgang-von-goethe","tag-johannes-brahms","tag-jules-barbier","tag-karl-kritz","tag-louis-lane","tag-michel-carre","tag-mikhail-lermontov","tag-modest-mussorgsky","tag-nancy-lee-sze","tag-nikolai-maksimovich-vilenkin","tag-nikolai-minsky","tag-pyotr-ilyich-tchaikovsky-2","tag-robert-freeman","tag-robert-schumannn","tag-serge-rachmaninov","tag-the-magic-flute","tag-vier-ernste-gesange","tag-w-h-auden","tag-warwick-braithwaite","tag-william-shakespeare","tag-wolfgang-amadeus-mozart","tag-xuean-liu","tag-xueqin-cao","tag-yevgeny-yevtushenko","tag-yi-kwei-sze"],"author_meta":{"display_name":"admin","author_link":"https:\/\/countermelodypodcast.com\/index.php\/author\/admin\/"},"featured_img":"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2024\/12\/Yi-Kwei-Sze-TRIMMED-300x138.jpg","coauthors":[],"tax_additional":{"categories":{"linked":["<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/art-song\/\" class=\"advgb-post-tax-term\">Art Song<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/franz-schubert\/\" class=\"advgb-post-tax-term\">Franz Schubert<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/french-opera\/\" class=\"advgb-post-tax-term\">French Opera<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/giuseppe-verdi\/\" class=\"advgb-post-tax-term\">Giuseppe Verdi<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/great-baritones\/\" class=\"advgb-post-tax-term\">Great Baritones<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/in-memoriam\/\" class=\"advgb-post-tax-term\">In Memoriam<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/interview\/\" class=\"advgb-post-tax-term\">Interview<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/listeners-favorites\/\" class=\"advgb-post-tax-term\">Listeners&#039; Favorites<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/melodie\/\" class=\"advgb-post-tax-term\">M\u00e9lodie<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/music-for-a-world-in-crisis\/\" class=\"advgb-post-tax-term\">Music for a World in Crisis<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/needle-drop\/\" class=\"advgb-post-tax-term\">Needle Drop<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/orchestral-songs\/\" class=\"advgb-post-tax-term\">Orchestral Songs<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/singers-in-old-age\/\" class=\"advgb-post-tax-term\">Singers in Old Age<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/singers-of-color\/\" class=\"advgb-post-tax-term\">Singers of Color<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Twentieth Century Music<\/a>"],"unlinked":["<span class=\"advgb-post-tax-term\">Art Song<\/span>","<span class=\"advgb-post-tax-term\">Franz Schubert<\/span>","<span class=\"advgb-post-tax-term\">French Opera<\/span>","<span class=\"advgb-post-tax-term\">Giuseppe Verdi<\/span>","<span class=\"advgb-post-tax-term\">Great Baritones<\/span>","<span class=\"advgb-post-tax-term\">In Memoriam<\/span>","<span class=\"advgb-post-tax-term\">Interview<\/span>","<span class=\"advgb-post-tax-term\">Listeners&#039; Favorites<\/span>","<span class=\"advgb-post-tax-term\">M\u00e9lodie<\/span>","<span class=\"advgb-post-tax-term\">Music for a World in Crisis<\/span>","<span class=\"advgb-post-tax-term\">Needle Drop<\/span>","<span class=\"advgb-post-tax-term\">Orchestral Songs<\/span>","<span class=\"advgb-post-tax-term\">Singers in Old Age<\/span>","<span class=\"advgb-post-tax-term\">Singers of Color<\/span>","<span class=\"advgb-post-tax-term\">Twentieth Century Music<\/span>"]},"tags":{"linked":["<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Afanasy Afanasyevich Fet<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Alexander Dargomizhsky<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Alexander Pushkin<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Alexander Tcherepnin<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Anton\u00edn Dvo\u0159\u00e1k<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Arseny Golenishchev-Kutuzov<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Bernard Haitink<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Boris Godunov<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Brooks Smith<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Charles Gounod<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Charles Munch<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Chester Kallman<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Christoph von Dohn\u00e1nyi<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">David Zinman<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Dichterliebe<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Dmitri Shostakovich<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Emanuel Schikaneder<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Faust<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Francis Poulenc<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Franz Schubert<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">George van Renesse<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Gerard van Blerk<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Giuseppe Verdi<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Hector Berlioz<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Heinrich Heine<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Johann Wolfgang von Goethe<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Johannes Brahms<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Jules Barbier<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Karl Kritz<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Louis Lane<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Michel Carr\u00e9<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Mikhail Lermontov<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Modest Mussorgsky<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Nancy Lee Sze<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Nikolai Maksimovich Vilenkin<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Nikolai Minsky<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Pyotr Il\u2019yich Tchaikovsky<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Robert Freeman<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Robert Schumannn<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Serge Rachmaninov<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">The Magic Flute<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Vier ernste Ges\u00e4nge<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">W.H. Auden<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Warwick Braithwaite<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">William Shakespeare<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Wolfgang Amadeus Mozart<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Xuean Liu<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Xueqin Cao<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Yevgeny Yevtushenko<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Yi-Kwei Sze<\/a>"],"unlinked":["<span class=\"advgb-post-tax-term\">Afanasy Afanasyevich Fet<\/span>","<span class=\"advgb-post-tax-term\">Alexander Dargomizhsky<\/span>","<span class=\"advgb-post-tax-term\">Alexander Pushkin<\/span>","<span class=\"advgb-post-tax-term\">Alexander Tcherepnin<\/span>","<span class=\"advgb-post-tax-term\">Anton\u00edn Dvo\u0159\u00e1k<\/span>","<span class=\"advgb-post-tax-term\">Arseny Golenishchev-Kutuzov<\/span>","<span class=\"advgb-post-tax-term\">Bernard Haitink<\/span>","<span class=\"advgb-post-tax-term\">Boris Godunov<\/span>","<span class=\"advgb-post-tax-term\">Brooks Smith<\/span>","<span class=\"advgb-post-tax-term\">Charles Gounod<\/span>","<span class=\"advgb-post-tax-term\">Charles Munch<\/span>","<span class=\"advgb-post-tax-term\">Chester Kallman<\/span>","<span class=\"advgb-post-tax-term\">Christoph von Dohn\u00e1nyi<\/span>","<span class=\"advgb-post-tax-term\">David Zinman<\/span>","<span class=\"advgb-post-tax-term\">Dichterliebe<\/span>","<span class=\"advgb-post-tax-term\">Dmitri Shostakovich<\/span>","<span class=\"advgb-post-tax-term\">Emanuel Schikaneder<\/span>","<span class=\"advgb-post-tax-term\">Faust<\/span>","<span class=\"advgb-post-tax-term\">Francis Poulenc<\/span>","<span class=\"advgb-post-tax-term\">Franz Schubert<\/span>","<span class=\"advgb-post-tax-term\">George van Renesse<\/span>","<span class=\"advgb-post-tax-term\">Gerard van Blerk<\/span>","<span class=\"advgb-post-tax-term\">Giuseppe Verdi<\/span>","<span class=\"advgb-post-tax-term\">Hector Berlioz<\/span>","<span class=\"advgb-post-tax-term\">Heinrich Heine<\/span>","<span class=\"advgb-post-tax-term\">Johann Wolfgang von Goethe<\/span>","<span class=\"advgb-post-tax-term\">Johannes Brahms<\/span>","<span class=\"advgb-post-tax-term\">Jules Barbier<\/span>","<span class=\"advgb-post-tax-term\">Karl Kritz<\/span>","<span class=\"advgb-post-tax-term\">Louis Lane<\/span>","<span class=\"advgb-post-tax-term\">Michel Carr\u00e9<\/span>","<span class=\"advgb-post-tax-term\">Mikhail Lermontov<\/span>","<span class=\"advgb-post-tax-term\">Modest Mussorgsky<\/span>","<span class=\"advgb-post-tax-term\">Nancy Lee Sze<\/span>","<span class=\"advgb-post-tax-term\">Nikolai Maksimovich Vilenkin<\/span>","<span class=\"advgb-post-tax-term\">Nikolai Minsky<\/span>","<span class=\"advgb-post-tax-term\">Pyotr Il\u2019yich Tchaikovsky<\/span>","<span class=\"advgb-post-tax-term\">Robert Freeman<\/span>","<span class=\"advgb-post-tax-term\">Robert Schumannn<\/span>","<span class=\"advgb-post-tax-term\">Serge Rachmaninov<\/span>","<span class=\"advgb-post-tax-term\">The Magic Flute<\/span>","<span class=\"advgb-post-tax-term\">Vier ernste Ges\u00e4nge<\/span>","<span class=\"advgb-post-tax-term\">W.H. Auden<\/span>","<span class=\"advgb-post-tax-term\">Warwick Braithwaite<\/span>","<span class=\"advgb-post-tax-term\">William Shakespeare<\/span>","<span class=\"advgb-post-tax-term\">Wolfgang Amadeus Mozart<\/span>","<span class=\"advgb-post-tax-term\">Xuean Liu<\/span>","<span class=\"advgb-post-tax-term\">Xueqin Cao<\/span>","<span class=\"advgb-post-tax-term\">Yevgeny Yevtushenko<\/span>","<span class=\"advgb-post-tax-term\">Yi-Kwei Sze<\/span>"]}},"comment_count":"0","relative_dates":{"created":"Posted 1 year ago","modified":"Updated 1 year ago"},"absolute_dates":{"created":"Posted on 10\/12\/2024","modified":"Updated on 11\/12\/2024"},"absolute_dates_time":{"created":"Posted on 10\/12\/2024 01:20","modified":"Updated on 11\/12\/2024 02:09"},"featured_img_caption":"FEB 4 1958, 2-6-1958; Yi-Kwei Sze;  (Photo By Ira Gay Sealy\/The Denver Post via Getty Images)","series_order":"","_links":{"self":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/15843","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/comments?post=15843"}],"version-history":[{"count":3,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/15843\/revisions"}],"predecessor-version":[{"id":16104,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/15843\/revisions\/16104"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/media\/16077"}],"wp:attachment":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/media?parent=15843"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/categories?post=15843"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/tags?post=15843"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}