Music Speaks

In this episode Hunter interviews Tyler Kilgallen. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode Hunter interviews Tyler Kilgallen. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode Hunter begins a four-part solo series with various guests. His first guest, local musician and teacher Irene Kim. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode Hunter begins a four-part solo series with various guests. His first guest, local musician and teacher Irene Kim. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

This episode is about the Musical Artist, MoonDog. (Part 3) --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

This episode is about the Musical Artist, MoonDog. (Part 2) --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

This episode is about the Musical Artist, MoonDog. (Part 1) --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Alyssa Comeau's Theater Quiz! --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode, we interview Alyssa Comeau about her favorite musical numbers. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode, Hunter and Shaun talk about their favorite TV themes. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode, Hunter and Shaun talk about their favorite TV themes. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode, Hunter and Shaun talk about their favorite TV themes. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode, Jenna Brown and Eileen O'Dea take over as hosts to interview Shaun and Hunter about their year's musical Must-Listens! --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode, Jenna Brown and Eileen O'Dea take over as hosts to interview Shaun and Hunter about their year's musical Must-Listens! --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode, Jenna Brown and Eileen O'Dea take over as hosts to interview Shaun and Hunter about their year's musical Must-Listens! --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode, Jenna Brown and Eileen O'Dea take over as hosts to interview Shaun and Hunter about their year's musical Must-Listens! --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Encylopedia Brittanica: Percy Grainger (born July 8, 1882, Melbourne, Victoria, Australia—died Feb. 20, 1961, White Plains, N.Y., U.S.) was an Australian-born American composer, pianist, and conductor who was also known for his work in collecting folk music. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Encylopedia Brittanica: Percy Grainger (born July 8, 1882, Melbourne, Victoria, Australia—died Feb. 20, 1961, White Plains, N.Y., U.S.) was an Australian-born American composer, pianist, and conductor who was also known for his work in collecting folk music. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Encylopedia Brittanica: Percy Grainger (born July 8, 1882, Melbourne, Victoria, Australia—died Feb. 20, 1961, White Plains, N.Y., U.S.) was an Australian-born American composer, pianist, and conductor who was also known for his work in collecting folk music. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Encylopedia Brittanica: Percy Grainger (born July 8, 1882, Melbourne, Victoria, Australia—died Feb. 20, 1961, White Plains, N.Y., U.S.) was an Australian-born American composer, pianist, and conductor who was also known for his work in collecting folk music. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode Shaun and Hunter discuss Johann DeMeij's fifth symphony, titled, "Return to Middle Earth." Part 2 of 2 --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode Shaun and Hunter discuss Johann DeMeij's fifth symphony, titled, "Return to Middle Earth." Part 1 of 2 --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Today we will discuss Johann De Meij's Symphony No. 4 : Sinfonia Der Leider Via Wind Repertory Project: A selection of 19th-century German poetry inspired this symphony: three poems from Friedrich Rückerts' Kindertotenlieder (Songs on the Death of Children) and three poems by Heinrich Heine and Hugo von Hofmannsthal, which, in the second movement of this impressive work, introduce themes of death, rebirth, and hope. (Johann De Meijj's) 4th Symphony for solo voice, children's choir, and wind orchestra is inspired by various 19th-century German poems. The first three movements use lyrics from the same source as Gustav Mahler: Kindertotenlieder by Friedrich Rückert. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Today we will discuss Johann De Meij's Symphony No. 4 : Sinfonia Der Leider Via Wind Repertory Project: A selection of 19th-century German poetry inspired this symphony: three poems from Friedrich Rückerts' Kindertotenlieder (Songs on the Death of Children) and three poems by Heinrich Heine and Hugo von Hofmannsthal, which, in the second movement of this impressive work, introduce themes of death, rebirth, and hope. (Johann De Meijj's) 4th Symphony for solo voice, children's choir, and wind orchestra is inspired by various 19th-century German poems. The first three movements use lyrics from the same source as Gustav Mahler: Kindertotenlieder by Friedrich Rückert. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia: Symphony No. 9 in D minor, Op. 125 is a choral symphony, the final complete symphony by Ludwig van Beethoven composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. Many critics and musicologists regard the symphony as a masterpiece of Western classical music and one of the supreme achievements in music history.[1][2] One of the best-known works in common practice music,[1] stands as one of the most frequently performed symphonies in the world.[3][4] --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia: Symphony No. 9 in D minor, Op. 125 is a choral symphony, the final complete symphony by Ludwig van Beethoven composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. Many critics and musicologists regard the symphony as a masterpiece of Western classical music and one of the supreme achievements in music history.[1][2] One of the best-known works in common practice music,[1] stands as one of the most frequently performed symphonies in the world.[3][4] --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

For this episode, we have FIVE hosts! Hunter Sigona, Shaun Rimkunas, Mary Haddix, Joel Kayser, and Hanif Lawrence. Via Wikipedia: Symphony No. 9 in D minor, Op. 125 is a choral symphony, the final complete symphony by Ludwig van Beethoven composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. Many critics and musicologists regard the symphony as a masterpiece of Western classical music and one of the supreme achievements in music history.[1][2] One of the best-known works in common practice music,[1] stands as one of the most frequently performed symphonies in the world.[3][4] --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Still, Planet Earth shows clear similarities to The Big Apple -- for example, the use of electronic sounds. “The recorded city sounds in The Big Apple were a sort of heralds of the electronics that I use in the third, continuing the attainments of the second symphony rather than those of the first symphony. I use the extra-musical framework not so much programmatically but rather as a guideline, as a metaphor. When I think of motifs and fragments, I immediately know if they fit the framework or not. If they don't, I save them for another piece.” --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Still, Planet Earth shows clear similarities to The Big Apple -- for example, the use of electronic sounds. “The recorded city sounds in The Big Apple were a sort of heralds of the electronics that I use in the third, continuing the attainments of the second symphony rather than those of the first symphony. I use the extra-musical framework not so much programmatically but rather as a guideline, as a metaphor. When I think of motifs and fragments, I immediately know if they fit the framework or not. If they don't, I save them for another piece.” --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

By 1984, John Williams' film music was familiar to audiences the world over and it was only natural that the Los Angeles Olympic Organizing Committee would turn to the city's most famous composer of popular instrumental music when they decided to commission a fanfare to be used during the Games. While it was an honor to be asked to compose such a piece of music, the prospect was not without its challenges. Leo Arnaud's “Bugler's Dream” fanfare (from his Charge Suite) had become synonymous with the Olympics since ABC began using it for its televised coverage of the Games in 1968. Any new composition would necessarily compete with the attachment listeners had developed to Arnaud's music. At the same time, the opening fanfare was to be played by herald trumpets at all of the medal ceremonies and official Olympic events, so it had to be based on the harmonic overtones these instruments were able to produce. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Bryan Tyler and Michael Giacchino has scored MCU films, the most for any composer in the franchise, and composed the fanfare that has been used for the Marvel Studios production logo since 2010-2016. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Short Ride in a Fast Machine is a 1986 orchestral work by John Adams. Adams applies the description "fanfare for orchestra" to this work and to the earlier Tromba Lontana. The former is also known as Fanfare for Great Woods because it was commissioned for the Great Woods Festival of the Pittsburgh Symphony Orchestra --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Fanfare for the Common Man is a musical work by the American composer Aaron Copland. It was written in 1942 for the Cincinnati Symphony Orchestra under conductor Eugene Goossens and was inspired in part by a speech made earlier that year by then American Vice President Henry A. Wallace, in which Wallace proclaimed the dawning of the "Century of the Common Man". --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Johann De Meij's Second Symphony is an ode to New York: not strictly programmatic music but rather a musical interpretation of the spirit, glamour, and indifference of one of the most fascinating cities in the world. The first movement, Skyline, depicts the massive facade, the “global” contours of New York; in the second movement, Gotham, the brutal, chaotic aspects of the metropolis are introduced. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Johann De Meij's Second Symphony is an ode to New York: not strictly programmatic music but rather a musical interpretation of the spirit, glamour, and indifference of one of the most fascinating cities in the world. The first movement, Skyline, depicts the massive facade, the “global” contours of New York; in the second movement, Gotham, the brutal, chaotic aspects of the metropolis are introduced. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia: The Carnival of the Animals (French: Le Carnaval des animaux) is a humorous musical suite of fourteen movements, including "The Swan", by the French composer Camille Saint-Saëns. The work, about 25 minutes in duration, was written for private performance by two pianos and chamber ensemble; Saint-Saëns prohibited public performance of the work during his lifetime, feeling that its frivolity would damage his standing as a serious composer.  --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia: The Carnival of the Animals (French: Le Carnaval des animaux) is a humorous musical suite of fourteen movements, including "The Swan", by the French composer Camille Saint-Saëns. The work, about 25 minutes in duration, was written for private performance by two pianos and chamber ensemble; Saint-Saëns prohibited public performance of the work during his lifetime, feeling that its frivolity would damage his standing as a serious composer.  --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia: The Carnival of the Animals (French: Le Carnaval des animaux) is a humorous musical suite of fourteen movements, including "The Swan", by the French composer Camille Saint-Saëns. The work, about 25 minutes in duration, was written for private performance by two pianos and chamber ensemble; Saint-Saëns prohibited public performance of the work during his lifetime, feeling that its frivolity would damage his standing as a serious composer.  --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

The Symphony No. 8 in F major, Op. 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. Beethoven fondly referred to it as "my little Symphony in F", distinguishing it from his Sixth Symphony, a longer work also in F.[1] The Eighth Symphony is generally light-hearted, though not lightweight, and in many places loud, with many accented notes. Various passages in the symphony are heard by some listeners to be musical jokes.[2] As with various other Beethoven works such as the Opus 27 piano sonatas and the later Ninth Symphony, the symphony deviates from Classical tradition in making the last movement the weightiest of the four. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

According to Wikipedia: The Symphony No. 7 in A major, Op. 92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa town of Teplitz. The work is dedicated to Count Moritz von Fries. At its premiere at the university in Vienna on 8 December 1813, Beethoven remarked that it was one of his best works. The second movement, "Allegretto", was so popular that audiences demanded an encore.[1] The "Allegretto" is frequently performed separately to this day. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Sweeney Todd with Hanif Lawrence. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

This episode explores one of Sondheim's darkest musicals, Sweeney Todd; we are with Professor Lawrence for this episode. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

This episode explores one of Sondheim's darkest musicals, Sweeney Todd; we are with Professor Lawrence for this episode. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia: Beethoven was a nature lover who spent much of his time on walks in the country. He frequently left Vienna to work in rural locations. The composer said the Sixth Symphony is "more the expression of feeling than painting." --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

In this episode, Hunter takes on the annual Proust Questionaire. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Shaun takes the annual Proust questionnaire. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia: In a Nutshell is a musical composition by Percy Aldridge Grainger for orchestra, piano, and Deagan percussion instruments. The suite, published in 1916, is made up of four movements: "Arrival Platform Humlet", "Gay But Wistful", "Pastoral", and "The Gum-Suckers March". Grainger later made versions for both solo piano and piano duo. It is described as one of the early modernist works of Grainger. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia: In a Nutshell is a musical composition by Percy Aldridge Grainger for orchestra, piano, and Deagan percussion instruments. The suite, published in 1916, is made up of four movements: "Arrival Platform Humlet", "Gay But Wistful", "Pastoral", and "The Gum-Suckers March". Grainger later made versions for both solo piano and piano duo. It is described as one of the early modernist works of Grainger. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia The Symphony No. 5 in C minor, Op. 67, also known as the Fate Symphony (German: Schicksalssinfonie) is a symphony composed by Ludwig van Beethoven between 1804 and 1808. It is one of the best-known compositions in classical music and one of the most frequently played symphonies,[1] and it is widely considered one of the cornerstones of western music. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as "one of the most important works of the time". As is typical of symphonies during the Classical period, Beethoven's Fifth Symphony has four movements. It begins with a distinctive four-note "short-short-short-long" motif, often characterized as "fate knocking at the doorWestern.", the Schicksals-Motiv (fate motif): The symphony, and the four-note opening motif in particular, are known worldwide, with the motif appearing frequently in popular culture, from disco versions to rock and roll covers, to uses in film and television. Like Beethoven's Eroica (heroic) and Pastorale (rural), Symphony No. 5 was given an explicit name besides the numbering, though not by Beethoven himself. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia and IMDB A Christmas Carol: The Musical is a 2004 American musical⁠ television film⁠ based on the 1843⁠ novella of the same name⁠ by⁠ Charles Dickens⁠, which also inspired a⁠ 1994 stage musical⁠ by⁠ Alan Menken⁠ and⁠ Lynn Ahrens⁠. The story features an old bitter miser who is given a chance for redemption when ghosts haunt him on Christmas Eve. The movie was directed by⁠ Arthur Allan Seidelman⁠ and written by Ahrens; the film stars⁠ Kelsey Grammer⁠,⁠ Jesse L. Martin⁠,⁠ Jane Krakowski⁠,⁠ Jennifer Love Hewitt⁠,⁠ Geraldine Chaplin⁠, and⁠ Jason Alexander⁠. The film first premiered on November 28, 2004, on the⁠ NBC⁠ television network. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Via Wikipedia and IMDB A Christmas Carol: The Musical is a 2004 American musical television film based on the 1843 novella of the same name by Charles Dickens, which also inspired a 1994 stage musical by Alan Menken and Lynn Ahrens. The story features an old bitter miser who is given a chance for redemption when ghosts haunt him on Christmas Eve. The movie was directed by Arthur Allan Seidelman and written by Ahrens; the film stars Kelsey Grammer, Jesse L. Martin, Jane Krakowski, Jennifer Love Hewitt, Geraldine Chaplin, and Jason Alexander. The film first premiered on November 28, 2004, on the NBC television network. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support