In this week's edition of the Gramophone Podcast, harpsichordist Mahan Esfahani talks about his new recording of Bach's Complete Keyboard Concertos, newly released on the Hyperion label. Why were these pivotal works in the instrument's development written, and how might they have been performed? Esfahani explores these questions, along with many other fascinating topics surrounding the instrument, its repertoire and his own career, in the company of Editor Martin Cullingford.

In this week's edition of the Gramophone Podcast, harpsichordist Mahan Esfahani talks about his new recording of Bach's Complete Keyboard Concertos, newly released on the Hyperion label. Why were these pivotal works in the instrument's development written, and how might they have been performed? Esfahani explores these questions, along with many other fascinating topics surrounding the instrument, its repertoire and his own career, in the company of Editor Martin Cullingford.

Mahan Esfahani on Bach's Keyboard Concertos  

The conductor Klaus Tennstedt was born on June 6, 1926. After his arrival from East Germany to the West, he held chief conductor posts with the NDR Symphony Orchestra in Hamburg (1979-81), and with the London Philharmonic Orchestra (1983-87), with whom he recorded extensively, including a Mahler symphony cycle (of which No 8 won a Gramophone Award back in 1987).

To mark the anniversary Warner Classics has issued a 41-CD set of all of the conductor's EMI recordings. Additionally, there is a substantial Tennstedt catalogue on the LPO's own label as well as numerous off-air performances on YouTube and various other record labels.

 A century on, we celebrate Tennstedt's artistry with a special Gramophone podcast in which the critic and broadcaster Edward Seckerson – who interviewed the conductor, attended recording sessions and heard him live many time – talks to James Jolly about what made him such an admired musician.

The conductor Klaus Tennstedt was born on June 6, 1926. After his arrival from East Germany to the West, he held chief conductor posts with the NDR Symphony Orchestra in Hamburg (1979-81), and with the London Philharmonic Orchestra (1983-87), with whom he recorded extensively, including a Mahler symphony cycle (of which No 8 won a Gramophone Award back in 1987). To mark the anniversary Warner Classics has issued a 41-CD set of all of the conductor's EMI recordings. Additionally, there is a substantial Tennstedt catalogue on the LPO's own label as well as numerous off-air performances on YouTube and various other record labels. A century on, we celebrate Tennstedt's artistry with a special Gramophone podcast in which the critic and broadcaster Edward Seckerson – who interviewed the conductor, attended recording sessions and heard him live many time – talks to James Jolly about what made him such an admired musician.

Klaus Tennstedt at 100: Edward Seckerson recalls a great conductor

In this week's episode of the Gramophone podcast, the composer Colin Matthews joins Editor Martin Cullingford to talk about his new album of works for voice and ensemble, Sea Scapes, release on the Onyx label. They discuss the challenge of setting poetry, as well as the joy of working with such collaborators as soprano Claire Booth and conductor Jessica Cottis.

This podcast is in association with Wigmore Hall.

In this week's episode of the Gramophone podcast, the composer Colin Matthews joins Editor Martin Cullingford to talk about his new album of works for voice and ensemble, Sea Scapes, release on the Onyx label. They discuss the challenge of setting poetry, as well as the joy of working with such collaborators as soprano Claire Booth and conductor Jessica Cottis. This podcast is in association with Wigmore Hall.

Colin Matthews on his new album, 'Sea Scapes'

In this week's Gramophone Podcast, Hugo Ticciati talks to Editor Martin Cullingford about the fascinating new album from his ensemble O/Modernt, released on the Signum label. Called Milestones, it marks 500 years since the death of Josquin, 50 since the death of Stravinsky, and 30 since that of Miles Davis, by exploring music from all three towering musical figures. Hugo Ticciati talks about the project, and about the unique Gramophone Award-winning group that has recorded it.

This podcast is in association with Wigmore Hall.

In this week's Gramophone Podcast, Hugo Ticciati talks to Editor Martin Cullingford about the fascinating new album from his ensemble O/Modernt, released on the Signum label. Called Milestones, it marks 500 years since the death of Josquin, 50 since the death of Stravinsky, and 30 since that of Miles Davis, by exploring music from all three towering musical figures. Hugo Ticciati talks about the project, and about the unique Gramophone Award-winning group that has recorded it. This podcast is in association with Wigmore Hall.

Violinist Hugo Ticciati on O/Modernt's 'Milestones'

On May 31, 1901 London's Wigmore Hall (originally Bechstein Hall) opened its doors, and hosted its first concert. Among the performers were the great Belgian violinist and composer Eugène Ysaÿe and the Italian pianist and composer Ferruccio Busoni. Mrs Helen Trust, a much-admired English soprano, performed as did the baritone Raimund von Zur-Mühlen. Supporting the singers were Hamilton Harty and Victor Biegel.

To mark this auspicious anniversary, Wigmore Hall is holding a two-week festival from May 25 and, over 24 concerts, welcoming some of today's greatest musicians to perform, including Gramophone Award winners, singers Lise Davidsen, Asmik Grigorian, Carolyn Sampson, Ian Bostridge, Christian Gerhaher, pianists Thomas Adès, Yunchan Lim, Igor Levit, Alexandre Kantorow and Angela Hewitt, violinists Alina Ibragimova and Christian Tetzlaff, as well as numerous quartets and ensembles.

A new book also marks the anniversary, There is Sweet Music Here, The World of Wigmore Hall (Elliott & Thompson; £25) by Julia Boyd. James Jolly sat down with Wigmore Hall's Director John Gilhooly and Julia Boyd to reflect on the hall's 125 years but also to look to the future. 

All the music in the podcast comes from the Wigmore Hall Live catalogue and includes performances by the Elias Quartet, Iestyn Davies with Richard Egarr and friends, Alina Ibragimova and Cédric Tiberghien, Lorraine Hunt Lieberson with Julius Drake, and Sir Thomas Allen with Malcolm Martineau.

On May 31, 1901 London's Wigmore Hall (originally Bechstein Hall) opened its doors, and hosted its first concert. Among the performers were the great Belgian violinist and composer Eugène Ysaÿe and the Italian pianist and composer Ferruccio Busoni. Mrs Helen Trust, a much-admired English soprano, performed as did the baritone Raimund von Zur-Mühlen. Supporting the singers were Hamilton Harty and Victor Biegel. To mark this auspicious anniversary, Wigmore Hall is holding a two-week festival from May 25 and, over 24 concerts, welcoming some of today's greatest musicians to perform, including Gramophone Award winners, singers Lise Davidsen, Asmik Grigorian, Carolyn Sampson, Ian Bostridge, Christian Gerhaher, pianists Thomas Adès, Yunchan Lim, Igor Levit, Alexandre Kantorow and Angela Hewitt, violinists Alina Ibragimova and Christian Tetzlaff, as well as numerous quartets and ensembles. A new book also marks the anniversary, <a href="https://www.prestomusic.com/books/products/9784365--there-is-sweet-music-here-the-world-of-wigmore-hall" target="_blank" rel="noopener">There is Sweet Music Here, The World of Wigmore Hall</a> (Elliott & Thompson; £25) by Julia Boyd. James Jolly sat down with Wigmore Hall's Director John Gilhooly and Julia Boyd to reflect on the hall's 125 years but also to look to the future. All the music in the podcast comes from the Wigmore Hall Live catalogue and includes performances by the Elias Quartet, Iestyn Davies with Richard Egarr and friends, Alina Ibragimova and Cédric Tiberghien, Lorraine Hunt Lieberson with Julius Drake, and Sir Thomas Allen with Malcolm Martineau.

Celebrating Wigmore Hall at 125 with Director John Gilhooly and author Julia Boyd

In this episode of the Gramophone Podcast, mezzo-soprano Helen Charlston speaks to Hattie Butterworht in Amsterdam during the run of Michel van der Aa's new opera Theory of Flames to discuss her latest album, A Poet's Love. Centred on Schumann's Dichterliebe, the recording places the celebrated song cycle alongside other works. Charlston reflects on recording such an iconic work, the shifting nature of interpretation, and the powerful interplay between poetry and musical storytelling. 

In this episode of the Gramophone Podcast, mezzo-soprano Helen Charlston speaks to Hattie Butterworht in Amsterdam during the run of Michel van der Aa's new opera Theory of Flames to discuss her latest album, A Poet's Love. Centred on Schumann's Dichterliebe, the recording places the celebrated song cycle alongside other works. Charlston reflects on recording such an iconic work, the shifting nature of interpretation, and the powerful interplay between poetry and musical storytelling.

Helen Charlston on 'A Poet's Love'

Today we launch a new edition to the Gramophone Podcasts, The Gramophone Listening Room, in which Charlotte Gardner invites two of today's finest young artists into the studio to explore some of the treasures of the recording archive, both recent and historic. Each chooses two recordings to share and discuss, after which Charlotte suggests a choice of her own for them to discover. Her inaugural guests are guitarist Plínio Fernandes and cellist Anastasia Kobekina, and after listening you can visit Gramophone's website to hear all the featured recordings for yourself. 

Today we launch a new edition to the Gramophone Podcasts, The Gramophone Listening Room, in which Charlotte Gardner invites two of today's finest young artists into the studio to explore some of the treasures of the recording archive, both recent and historic. Each chooses two recordings to share and discuss, after which Charlotte suggests a choice of her own for them to discover. Her inaugural guests are guitarist Plínio Fernandes and cellist Anastasia Kobekina, and after listening you can visit Gramophone's website to hear all the featured recordings for yourself.

The Gramophone Listening Room, with Plínio Fernandes and Anastasia Kobekina

Jack Pepper meets Festival Academy Budapest co-founder and Artistic Director Barnabás Kelemen to explore his upcoming concerto marathon, the gypsy violin tradition and a packed 2026 Summerfest

This podcast has been produced in association with the Festival Academy Budapest.

The World Should Know', The Festival Academy's Marathon Concert Series, takes place from May 1-3 at the Grand Hall of the Liszt Ferenc Academy of Music in Budapest: https://fesztivalakademia.hu/en/let-the-world-know/

The Ilona Fehér International Violin Competition will be held from June 24 to July 5, while the Festival Academy Budapest's XI Summerfest runs from July 3-13: https://fesztivalakademia.hu/en/

Jack Pepper meets Festival Academy Budapest co-founder and Artistic Director Barnabás Kelemen to explore his upcoming concerto marathon, the gypsy violin tradition and a packed 2026 Summerfest This podcast has been produced in association with the Festival Academy Budapest. The World Should Know', The Festival Academy's Marathon Concert Series, takes place from May 1-3 at the Grand Hall of the Liszt Ferenc Academy of Music in Budapest: <a href="https://url.uk.m.mimecastprotect.com/s/bjddCWn2nTvp09rI6fQTo3Y0x?domain=fesztivalakademia.hu/" data-outlook-id="c49266ec-09e7-4072-aa1e-7fa5ffbdfe89">https://fesztivalakademia.hu/en/let-the-world-know/</a> The Ilona Fehér International Violin Competition will be held from June 24 to July 5, while the Festival Academy Budapest's XI Summerfest runs from July 3-13: <a href="https://url.uk.m.mimecastprotect.com/s/62ZECX636F36m5EUVhMTW4wgo?domain=fesztivalakademia.hu/" data-outlook-id="9b36259d-eff6-42a2-a25f-98dffd59af61">https://fesztivalakademia.hu/en/</a>

Barnabás Kelemen on celebrating the legacy of the Hungarian Violin School

Kirill Karabits and the orchestra whose Principal Conductor he was for 15 years, the Bournemouth Symphony, have recorded the opera Esther by Thomas de Hartmann (1885-1956). Written in Paris during the last years of the Second World War, and completed in 1946, Esther is based on the play by Racine which in turn draws on the biblical Book of Esther and tells of Esther's intercession to her husband King Ahasuerus on behalf her fellow Jews living in Persia. The episode is celebrated in the Jewish holiday of Purim every spring.

Released by Pentatone, the opera features Corinne Winters in the title role, Yuriy Yurchuk sings Assuérus, Andrew Foster-Williams sings Mardochée and Bernard Richter is Aman. The Grange Festival Chorus join the Bournemouth Symphony Orchestra. James Jolly spoke to Kirill Karabits about the project recently when he was in the UK conducting the LPO.

Today's podcast is sponsored by Kirker Holidays, creators of short breaks and tailor-made holidays for curious, discerning travellers to cultural destinations throughout Europe and beyond. For more information or to speak to one of Kirker's expert human beings, call 020 7593 2283 or visit kirkerholidays.com. And Gramophone readers who book a Kirker holiday will receive a bottle of Pol Roger champagne with which to celebrate – make sure to mention Gramophone at the time of booking.

Kirill Karabits and the orchestra whose Principal Conductor he was for 15 years, the Bournemouth Symphony, have recorded the opera Esther by Thomas de Hartmann (1885-1956). Written in Paris during the last years of the Second World War, and completed in 1946, Esther is based on the play by Racine which in turn draws on the biblical Book of Esther and tells of Esther's intercession to her husband King Ahasuerus on behalf her fellow Jews living in Persia. The episode is celebrated in the Jewish holiday of Purim every spring. Released by Pentatone, the opera features Corinne Winters in the title role, Yuriy Yurchuk sings Assuérus, Andrew Foster-Williams sings Mardochée and Bernard Richter is Aman. The Grange Festival Chorus join the Bournemouth Symphony Orchestra. James Jolly spoke to Kirill Karabits about the project recently when he was in the UK conducting the LPO. Today's podcast is sponsored by Kirker Holidays, creators of short breaks and tailor-made holidays for curious, discerning travellers to cultural destinations throughout Europe and beyond. For more information or to speak to one of Kirker's expert human beings, call 020 7593 2283 or visit <a href="https://www.kirkerholidays.com/" target="_blank" rel="noopener">kirkerholidays.com</a>. And Gramophone readers who book a Kirker holiday will receive a bottle of Pol Roger champagne with which to celebrate – make sure to mention Gramophone at the time of booking.

Conductor Kirill Karabits on Thomas de Hartmann's opera Esther

In this week's episode of the Gramophone podcast, Georgia Keeley speaks with composer Rachel Portman, marking 30 years since her Oscar-winning soundtrack for Emma (1996), and discussing her approach to writing music for film.

Today's podcast is sponsored by Kirker Holidays, creators of short breaks and tailor-made holidays for curious, discerning travellers to cultural destinations throughout Europe and beyond. For more information or to speak to one of Kirker's expert human beings, call 020 7593 2283 or visit.

In this week's episode of the Gramophone podcast, Georgia Keeley speaks with composer Rachel Portman, marking 30 years since her Oscar-winning soundtrack for Emma (1996), and discussing her approach to writing music for film. Today's podcast is sponsored by Kirker Holidays, creators of short breaks and tailor-made holidays for curious, discerning travellers to cultural destinations throughout Europe and beyond. For more information or to speak to one of Kirker's expert human beings, call 020 7593 2283 or visit.

Composer Rachel Portman on 30 years of 'Emma'

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