Podcasts about albinoni

This Day in Legal History:  Miranda v. ArizonaOn June 13, 1966, the U.S. Supreme Court issued its landmark decision in Miranda v. Arizona, fundamentally reshaping American criminal procedure. The case centered on Ernesto Miranda, who had confessed to kidnapping and rape during a police interrogation without being informed of his constitutional rights. In a narrow 5–4 ruling, the Court held that the Fifth Amendment's protection against self-incrimination and the Sixth Amendment's right to counsel require law enforcement officers to inform suspects of their rights before custodial interrogation begins.The decision mandated that suspects be told they have the right to remain silent, that anything they say can be used against them in court, and that they have the right to an attorney—either retained or appointed. These now-standard warnings, known as "Miranda rights," became a required part of police procedure across the United States.Chief Justice Earl Warren, writing for the majority, emphasized that custodial interrogation is inherently coercive and that procedural safeguards were necessary to preserve the individual's privilege against self-incrimination. The dissenters, led by Justice Harlan, argued the decision imposed an impractical burden on law enforcement and that traditional voluntariness tests were sufficient.Miranda sparked immediate controversy, with critics warning it would hamper police efforts and allow guilty individuals to go free. Nonetheless, it has endured as a cornerstone of American constitutional law, embodying the principle that the government must respect individual rights even in the pursuit of justice. Over the years, the ruling has been refined but not overturned, and Miranda warnings are now deeply embedded in both law enforcement training and popular culture.Tesla has filed a trade secret lawsuit in California federal court against former engineer Jay Li and his startup, Proception, alleging that Li stole confidential information to accelerate the development of robotic hands. According to the complaint, Li worked on Tesla's Optimus humanoid robot project from 2022 to 2024 and allegedly downloaded sensitive files related to robotic hand movements before departing the company. Tesla claims Li used this proprietary data to give Proception an unfair edge, enabling the startup to make rapid technological gains that had taken Tesla years and significant investment to achieve.The suit points out that Proception was founded just six days after Li left Tesla and began showcasing its robotic hands five months later—devices Tesla says bear a “striking similarity” to its own designs. Tesla is seeking monetary damages and a court order to prevent further use of its alleged trade secrets. Legal representation for Tesla includes attorneys from Gibson Dunn & Crutcher, while counsel for Proception and Li has not yet been disclosed.Tesla lawsuit says former engineer stole secrets for robotics startup | ReutersA federal district court and a federal appeals court issued conflicting rulings over President Donald Trump's deployment of National Guard troops in Los Angeles amid protests over aggressive immigration enforcement.U.S. District Judge Charles Breyer ruled earlier in the day that Trump's order to deploy the Guard was unlawful. He found that the protests did not meet the legal threshold of a “rebellion,” which would be necessary for the president to override state control of the Guard under the Insurrection Act or related powers. Breyer concluded the deployment inflamed tensions and stripped California of the ability to use its own Guard for other state needs. His 36-page opinion ordered that control of the National Guard be returned to California Governor Gavin Newsom.However, about two and a half hours later, the 9th U.S. Circuit Court of Appeals granted an administrative stay, temporarily pausing Breyer's ruling and allowing Trump to retain command of the Guard for now. The three-judge panel—two appointed by Trump and one by President Biden—stressed that their order was not a final decision and set a hearing for the following Tuesday to evaluate the full merits of the lower court's decision.Meanwhile, a battalion of 700 U.S. Marines was scheduled to arrive to support the Guard, further escalating the federal presence. Critics, including L.A. Mayor Karen Bass and Senator Alex Padilla—who was forcibly removed from a press event—argued that the military response was excessive and politically motivated. Supporters of the deployment, including Trump and DHS Secretary Kristi Noem, defended it as necessary to restore order. A Reuters/Ipsos poll showed public opinion split, with 48% supporting military use to quell violent protests and 41% opposed.Appeals court allows Trump to keep National Guard in L.A. with Marines on the way | ReutersIn a pattern that surprises few, the conservative-dominated U.S. Supreme Court has granted President Donald Trump a series of victories through its emergency—or "shadow"—docket, continuing a trend of fast-tracking his policy goals without full hearings. Since returning to office in January, Trump's administration has filed 19 emergency applications to the Court, with decisions in 13 cases so far. Of those, nine rulings went fully in Trump's favor, one partially, and only two against him. These rapid interventions have enabled Trump to enforce controversial policies—including ending humanitarian legal status for migrants, banning transgender military service, and initiating sweeping federal layoffs—despite lower court injunctions.District court challenges to these actions often cite constitutional overreach or procedural shortcuts, but the Supreme Court has repeatedly overruled or paused these lower court decisions with minimal explanation. The emergency docket, once used sparingly, has become a regular tool for the Trump administration, matching the total number of applications filed during Biden's entire presidency in under five months. Critics argue that the Court's increasing reliance on this docket lacks transparency, with rulings frequently unsigned and unexplained. Liberal justices have voiced strong objections, warning that rushed decisions with limited briefing risk significant legal error.The Court's 6-3 conservative majority, including three Trump appointees, has given the president a judicial green light to implement divisive policies while litigation plays out. Some legal scholars argue these outcomes reflect strategic case selection rather than simple ideological bias. Still, in light of the Court's current composition and its repeated willingness to empower executive action, the results are hardly shocking.Trump finds victories at the Supreme Court in rush of emergency cases | ReutersThis week's closing theme is by Tomaso Albinoni.This week's closing theme is Sinfonia in G minor, T.Si 7 by Tomaso Albinoni, a composer whose elegant, expressive works have often been overshadowed by his more famous contemporaries. Born on June 14, 1671, in Venice, Albinoni was one of the early Baroque era's leading figures in instrumental music and opera. Though he trained for a career in commerce, he chose instead to live independently as a composer, unusual for his time. He wrote extensively for the violin and oboe, and was among the first to treat the oboe as a serious solo instrument in concert music.Albinoni's style is marked by a graceful clarity and balanced formal structure, qualities well represented in this week's featured piece. The Sinfonia in G minor, T.Si 7 is a compact, three-movement work likely composed for a theatrical performance or ceremonial function. It opens with a dramatic Grave, setting a solemn tone that gives way to a lively Allegro and a brief yet expressive final movement.The G minor tonality gives the piece an emotional intensity, without tipping into melodrama—typical of Albinoni's refined dramatic sensibility. While his best-known composition today may be the Adagio in G minor—ironically, a piece reconstructed long after his death—Albinoni's authentic works, like this sinfonia, display a deft hand at combining lyricism with architectural clarity.His music enjoyed wide dissemination in his lifetime and was admired by J.S. Bach, who used Albinoni's bass lines as models for his own compositions. As we close out this week, Albinoni's Sinfonia in G minor offers a reminder of the beauty in restraint and the enduring resonance of Baroque form.Without further ado, Tomaso Albinoni's Sinfonia in G minor, T.Si 7. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

SynopsisFor some composers, what made them popular in their own day is not always what makes them popular today. Take, for example, Italian Baroque composer Tomaso Albinoni, who was born in Venice on today's date in 1671.Albinoni was the son of a wealthy paper merchant, so he was sufficiently well-off, not to have to land a job with the church or some noble patron. He was most famous as an opera composer and travelled outside Italy to lead productions. Unfortunately, his opera scores were never published and so were lost to posterity. He did, however, publish several collections of instrumental works, and it is on these that his fame rests today.By a quirk of fate, nowadays Albinoni's best known work, his famous Adagio in g minor, was not one those works published in the 18th century. Rather, it was a 20th century recreation by musicologist Remo Giazotto based on a rather skimpy surviving sketch. No matter that there are scads of other Albinoni Adagios equally ravishing and straight from his own quill pen. In 1996 the Erato label even issued an album consisting of nothing but 22 original and legitimate Albinoni Adagios and slow movements — plus the famous Adagio that was cooked up by Remo Giazotto tossed in for good measure!Music Played in Today's ProgramTomaso Albinoni (1671-1751): Adagio, from Concerto No. 12; I Solisti Veneti; Claudio Scimone, conductor; Erato 0630-15681-2

Mattinata concitata a Vicenza nella sede dell'Ulss 8  Berica dove ha sede, in via Albinoni, il dipartimento di Prevenzione. Un corto circuito, che per fortuna ha provocato fumo ma non fiamme, ha portato all'evacuazione, per un'ora, di utenti e personale.

Avui hem sentit: "Stelle ingrate",

Avui hem sentit: Concert per a dos obo

Avui hem sentit: "Sonata a cinque" op. 2/5; Concert per a obo

Avui hem sentit: Sonata a trio op. 1/2; "Trattenimenti armonici" op. 6/1; "Sonata a cinque" op. 2/2; "Cantata da camera" op. 4/6; Concert per a obo

Avui hem sentit: Adagio per a cordes en sol menor; Concert per a obo

Carlos Iribarren | Las sinfonías que podemos encontrar en ese período repleto de música maravillosa llamado Barroco son obras sencillas, que servían casi siempre como introducción a óperas. Algunas sí tenían entidad propia, algo que se desarrolló con mucha más importancia a partir del Clasicismo y podremos comprobarlo a lo largo de diferentes programas que iremos escuchando en las próximas temporadas. Hoy comenzamos con 10 ejemplos ilustrativos y muy interesantes de sinfonías creadas durante el Barroco en Italia, por lo que podremos disfrutar de joyas breves creadas por maestros como Albinoni, los hermanos Sammartini, Pergolesi o Alessandro y Domenico Scarlatti. Son piezas de gran brillantez que nos sirven para viajar a los siglos XVII y XVIII y disfrutar de la mejor música del mundo: la que suena siempre en Hoy Toca, el programa de Clásica FM que te quiere sorprender.

durée : 00:15:58 - Le Disque classique du jour du jeudi 13 mars 2025 - Un nouvel album de la soprano Sophie Junker avec les forces de l'ensemble {oh!} Orkiestra dirigé par Martyna Pastuszka autour de l'opéra vénitien avec Vivaldi, Lotti, Caldara, Porta ou Albinoni

durée : 00:15:58 - Le Disque classique du jour du jeudi 13 mars 2025 - Un nouvel album de la soprano Sophie Junker avec les forces de l'ensemble {oh!} Orkiestra dirigé par Martyna Pastuszka autour de l'opéra vénitien avec Vivaldi, Lotti, Caldara, Porta ou Albinoni

Hello to you listening in Jasper, Indiana!Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Thoughts on Thursday and your host, Diane Wyzga. In the early 1990s a cellist in Sarejevo, Vedran Smajlovic, went out into the square when the bombs were dropping and started playing his cello. A journalist asked him, "Why are you out here playing your cello while the bombs are dropping?" The cellist replied, “Why are they dropping bombs while I'm playing the cello?”In the face of tragedy art and beauty might be all some of us have to offer. Art and beauty give us hope, remind us of our humanity even when someone else denies it, as well as help shape the stories of the society they reflect.Walking life's path can be made a bit more hopeful when we have art, music and brave souls to walk along with us.Whether the voice of a child singing a tune from the movie, Frozen; Vera Lytovchenko, violinist and teacher playing in a bomb shelter dressed in an evening gown; a piano player outside a train station; or men singing their country's anthem.Click HERE to listen a 2 minute broadcast from 2 years ago. It's the voices and music of a determined nation fighting for its unbowed Ukranian soul and winning albeit at great cost. But music alone won't do it. Hear us, world leaders: if Ukraine maintains its determination and gets necessary external military support, it can win this war of attrition!  NOTE: During the nearly four-year siege of Sarajevo that ended in 1996, Vedran Smajlovic played Albinoni's Adagio in G Minor on his cello in ruined buildings, including the Vijecnica, the Bosnian capital's destroyed city hall. He also played at funerals despite the threat of sniper fire. His powerful music became a sign of resilience and of the triumph of humanity over brutality. You're invited: “Come for the stories - stay for the magic!” Speaking of magic, I hope you'll subscribe, share a nice shout out on your social media or podcast channel of choice, (including Android, Amazon Music, Audible & Pandora Radio) and join us next time! Remember to stop by the Quarter Moon Story Arts website, check out the Services I offer, arrange a Discovery Call, and Opt In to stay current with Diane and Quarter Moon Story Arts as well as on LinkedIn and Substack as Wyzga on Words Stories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 to Present: for credit & attribution Quarter Moon Story Arts

Una melodía melancólica, profunda e inmortal. El Adagio en Sol Menor, atribuido a Tomaso Albinoni, ha conmovido a generaciones con su belleza etérea y su capacidad para evocar emociones intensas. Pero, ¿realmente fue Albinoni su creador? ¿O nos encontramos ante una de las mayores controversias de la música clásica? En este vídeo exploramos la historia oculta detrás de esta obra icónica, cuya partitura fue supuestamente reconstruida en medio de los escombros de la Segunda Guerra Mundial. Su origen está envuelto en el misterio, y las pistas nos llevan hasta un hombre en la sombra: Remo Giazotto, el musicólogo que afirmó haber encontrado fragmentos de una composición perdida de Albinoni y que, a partir de ellos, habría dado forma al célebre Adagio. ¿Hasta qué punto es cierto este relato? ¿Existieron realmente esos manuscritos originales? ¿O fue todo un ingenioso artificio que terminó convirtiéndose en una de las piezas más interpretadas de la música barroca? Acompáñanos en este fascinante recorrido por el enigma del Adagio en Sol Menor, donde la historia, el arte y la música se entrelazan en una intriga que sigue sin resolverse del todo. La verdad puede ser más sorprendente de lo que imaginas. https://www.edenex.es

Just a few days ago, I knew next to nothing about this huge country that is the size of Western Europe, but whilst preparing to lead the prayer meeting I had been asked to lead for it, I soon ‘discovered' the country (the last of the former Soviet republics to declare independence in 1991) and took it to heart. Kazakhstan, has the reputation of being the political and economic powerhouse of the central Asian nations, but there is a great deal happening in unseen spiritual ways too. From there being just thirteen known evangelicals in the nation at that time, to there being around 200,000 today, it will be good for us to take this nation into our hearts in prayer – especially because the Open Doors World Watch List of the 50 most persecuted countries warns that the country has shot up nine places in the last year to number 38. I think you will be blessed by join us in this impromptu prayer that I recorded after the prayer meeting I referred to, on behalf of the Kazak church and nation. We subsequently set the prayer to the music of Albinoni, Vivaldi, and an inspired improvisation for two recorders. The main sources that informed my understanding of the situation in Kazakhstan for this prayer are: Open Doors, Open Doors World Watch, Eurasia Mission, and Go Serve.

María López Carballo, la joven instrumentista Naronesa que hace un par de años destacaba como promesa de la música tradicional, ha dado un paso monumental en su carrera con el lanzamiento de su primer disco como multiinstrumentista titulado DayDreaming. Este álbum marca una nueva etapa en su trayectoria, en la que la mezcla de la música tradicional con su incursión en la zanfona ha dado lugar a un trabajo de gran profundidad emocional y musical. Hace un par de años, María compartía en RadioVoz Ferrol su pasión por la música, hablando de su formación desde temprana edad, cuando comenzó en la Escuela de Música BellónMaceiras y se adentró en el mundo de la zanfona a los siete años. Ya en ese entonces, se perfilaba como una artista multidisciplinar, con una sólida formación como gaiteira y pianista, y una prometedora carrera que la había llevado a ser la ganadora del trofeo Mac Crimmon en el Festival Intercéltico de Lorient, un galardón que la convirtió en la mujer más joven en recibirlo. En DayDreaming, la joven artista de Narón fusiona la tradición y la experimentación, llevando su virtuosismo como zanfonista a nuevos horizontes. El disco refleja su madurez como intérprete, mostrando una propuesta musical única en la que la zanfona juega un papel central. Este trabajo no solo hace honor a su rica formación en la música tradicional, sino que también refleja sus constantes búsquedas creativas y su capacidad para adaptarse y renovar los géneros en los que se mueve. A lo largo de su carrera, María ha sido invitada a compartir escenario con grandes nombres como Carlos Núñez y ha sido reconocida por su capacidad de interpretación y su talento. Tras haber dejado su huella en el ámbito de la gaita, con DayDreaming, da un giro hacia un terreno más introspectivo y experimental, mostrando su versatilidad como artista. Hoy, mientras sigue perfeccionando su técnica se posiciona como una de las figuras más innovadoras de la música tradicional contemporánea.

Irrumpe una joven artista gallega que hace llamarse María López que canta, y toca, entre otros instrumentos, gaita, panderetas, piano y zanfona. Con este último se atreve a versionar a los mismísimos Bach o Albinoni. También descubrimos al dulzainero segoviano Juanan Sanz, que lleva la dulzaina un poco más lejos al juntarla con otros instrumentos. Hay nuevo disco, y lo estrenamos, del portugués Omiri, al que tuvimos la suerte de ver cómo desarrolla toda su concepción de la folktrónica en directo en el último CUCA Festival celebrado el pasado julio en la localidad salmantina de Herguijuela de la Sierra. Recordamos actuaciones recientes de Karmento y Mayalde y estrenamos al final una nueva canción de Tresboliyu Folk.Y así queda el sábado en La Tarataña:  1.- María López, “Prelude (Bach)” 2:26, “Alalá das mariñas” 3:24, “Lonxe da terriña” 3:06 y “Tico tico no fubá” 2:522.- Juanan Sanz, “De la huerta al arenal” 3:00, “No me sueltes” 4:46 y “Desgárrame tu voz” 4:483.- Omiri, “A saia de Carolina” 2:47, “Pé com pé” 2:50 y “Murinheira do andarilho Eito fora” (con Grupo de Cantares) 3:084.- Karmento, “Fangos” 3:535.- Mayalde, “La mujer de chirrimingurri” 3:576.- Tresboliyu Folk, “Del herrero la fragua” 4:59Escuchar audio

Eins og venjulega þegar um fyrsta þátt ársins er að ræða lýkur honum á því að lokalag þáttarins er leikið í fullri lengd, Adagio í g-moll eftir Remo Giazotto, þó oft sé það kennt tónskáldinu Albinoni. Fram að því les umsjónarmaður úr sannkallaðri tröllasögu, Illugasögu Tagldarbana, en hún var skrifuð í stíl Íslendingasagna en sennilega nokkrum öldum á eftir þeim. Ekki skortir viðburði því tröll, forynjur og skrímsli leggja hvert af öðru snörur sínar fyrir hinn hugprúða Illuga.

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1=======================================================================ASÍ ES DIOSDevoción Matutina Para Adultos 2024Narrado por: Roberto NavarroDesde: Montreal, Canada===================|| www.drministries.org ||===================27 DE DICIEMBRE EL DIOS QUE NOS ORDENA SER FUERTES Y VALIENTES  “¿No te lo he ordenado yo? ¡Sé fuerte y valiente! No temas ni te acobardes, porque el Señor tu Dios estará contigo dondequiera que vayas” (Josué 1:9, LBLA).  Vedran Smailović, el chelista de Sarajevo, es un músico bosnioherzegovino a quien le tocó atravesar la dura experiencia de vivir una guerra. Como tantos otros, Vedran vivía en Sarajevo cuando la ciudad fue sitiada. El que una vez había tocado en la Ópera de Sarajevo, en las Orquestas Filarmónica y Sinfónica de Sarajevo y en el Teatro Nacional, pasó a tocar ahora en la calle durante el conflicto bélico.  En 1992, Smailović tocó 22 veces en un mismo día el “Adagio de Albinoni” en las ruinas de varios edificios que habían sido destruidos. Lo hizo para rendir homenaje a 22 personas que habían sido asesinadas mientras hacían fila para recibir pan el día 26 de mayo de ese mismo año. A pesar de saber que se estaba convirtiendo así en un blanco fácil para los francotiradores, el chelista de Sarajevo fue firme y valiente, y llevó a cabo su sentido homenaje hasta el final. No solo eso, sino además tocó gratuitamente en funerales durante el asedio; aun cuando los funerales fueron con frecuencia objetivo del fuego enemigo. Dos palabras vienen a mi mente al pensar en la actitud de Vedran Smailović: fortaleza y valentía. Y, por supuesto, eso me remite a Josué 1:9.  En Josué 1:9 vemos un maravilloso retrato de Dios: él es quien nos ordena ser fuertes y valientes; él es quien nos dice “no te acobardes”; y él es también quien nos provee lo único que nos puede hacer enfrentar sin temor a enemigos gigantes: “Porque el Señor tu Dios estará contigo dondequiera que vayas”; y “si Dios es por nosotros, ¿quién contra nosotros?” (Rom. 8:31). La valentía que se espera de ti no es un rasgo que tú puedas desarrollar por ti mismo, sino el resultado de la obra de Dios en ti.  “Tengan mucho valor y firmeza”, leemos en la segunda parte de 1 Corintios 16:13; y en la primera parte de ese versículo leemos cómo se logra: “Manténganse firmes en la fe” (DHH). He ahí la clave.  Querido lector, no sé qué guerra enfrentas hoy, pero estoy aquí para decirte: “Cobra ánimo y ármate de valor, tú que en el Señor esperas” (Sal. 31:24), pues “el Espíritu que es don de Dios, no quiere que temamos a la gente, sino que tengamos fortaleza” (2 Tim. 1:7, NBV). 

Bad Mouth is joined by special guests to read a new play by Ross Howard, about lady podcasters catching accusations and more. Featuring Angela Dixon, Amanda Forstrom, Violet Patton-Ryder, and Mari Sitner. rhplaywright.com facebook.com/badmouthtc instagram.com/badmouthtc twitter.com/badmouthtc Music credit: MusicbyAden - Mythology by MusicbyAden is licensed under CC BY-SA 4.0CC Download: Musicbyaden – Mythology @musicbyaden & Albinoni [...]

Interpreten: Alison Balsom, Pinnock's Players, Trevor Pinnock Label: Warner Classics EAN: 5021732273291 Es muss nicht immer zwingend Originalklang sein – das dachte sich Trevor Pinnock, als er gemeinsam mit Alison Balsom das Konzept für die aktuelle CD Baroque Concertos entwickelt hat. Herausgekommen ist ein hervorragender Klangkompromiss, von dem sich Michael Gmasz begeistert zeigt. Der Originalklangspezialist Trevor Pinnock und Trompeterin Alison Balsom arbeiten schon seit vielen Jahren gemeinsam und haben auch schon die eine oder andere CD aufgenommen. Bisher hat die Trompetenvirtuosin Balsom dafür ebenso zu historischen Instrumenten gegriffen, um dem Original so nahe wie möglich zu kommen. Für die neue CD allerdings wollte Balsom auf einer modernen Piccolo Trompete spielen, die weit mehr Möglichkeiten bietet, Trevor Pinnock ist sofort auf den Zug aufgesprungen und hat mit den Pinnock's Players auch gleich ein neues Ensemble gegründet. Mit dem Dirigenten und Organisten Simon Wright wurde ein ausgezeichneter Arrangeur gefunden, und so stand dem neuen Projekt nichts mehr im Wege. „Die Möglichkeit, chromatische und virtuosere Musik aufzuführen, wie sie ursprünglich für Solovioline oder Oboe geschrieben wurde, hat mich und meine Trompetenkollegen seit den Tagen des großen Maurice André in ihren Bann gezogen“, sagt Alison Balsom im Beiheft der neuen CD. So sind es hier also keine barocken Trompetenkonzerte sondern Bearbeitungen von Oboen- und Violinkonzerten von Telemann, Händel, Vivaldi, Albinoni und Marcello, denen Balsom neuen Glanz verleiht. Von gestochen scharf bis samtig weich ist dabei ihr Ton, scheinbar unendlich ihr Luftstrom in den langsamen Sätzen, hoch virtuos und rasant schnell im Tempo ihr Spiel in den flotten. Doppel- oder gar Tripelzunge? Ach wo … Manche der Werke klingen in diesen Bearbeitungen so, als ob sie nie für andere Instrumente geschrieben wurden. So denke ich, hätte Antonio Vivaldi sicher seine Freude gehabt, wenn er das 9. Violinkonzert aus der Sammlung L‘estro armonico einmal in dieser feierlichen Version gehört hätte. Da er das nicht mehr kann, bleibt die Freude ganz uns überlassen! (mg)

Dopo le sedi di Vicenza delle emittenti Tva e TeleChiara e della redazione del Giornale, i contestatori armati di bombolette spray e vernice sono tornati alla carica andando ad imbrattare, stavolta, la sede vaccinale di via Albinoni a San Lazzaro. Il blitz è avvenuto la notte scorsa. Unanime la condanna da Regione Veneto, Provincia e Comune.

Phil Hebblethwaite examines five classical musical hoaxes and controversies, from the early twentieth century to the modern day. These are origin stories that have fooled and perplexed some of the greatest experts. In an age of misinformation, when faking it has never been more prevalent, the series unravels the stories of some of the most brazen and confounding composer controversies. What is the appeal of engineering a hoax? And why do we fall for them so easily? It's a journey that raises questions about scholarship, authenticity and our faith in expert opinion.The second essay explores the story of one of the most widely recognised pieces in classical music - Albinoni's Adagio in G minor. But was Albinoni even involved with the composition of the work? Phil gets to the bottom of a story that has perplexed classical scholars for years and asks how much authenticity actually matters.Written and presented by Phil Hebblethwaite Producer: Jo Glanville Editor: Joanne Rowntree Researcher: Heather Dempsey Studio Engineer: Dan KingWith thanks to Michael Talbot, Donald Greig and Frederick ReeceA Loftus Media Production for BBC Radio 4

Polifonia teatral i cor orgànic. Crítica teatral de l'obra «Paradise», de Kae Tempest. Dramatúrgia: Moreno Bernardi. Traducció: Sadurní Vergés. Composició musical: Moreno Bernardi. Música original: Moreno Bernardi feat. David Flores. Cançons: Moreno Ensemble project. Extractes musicals: T. Albinoni i G. Mahler. Intèrprets: Zúbel Arana, Maria Estela, Núria Dalmau, Uri Guillem, Sara Palomo, Roger Sahuquillo, Aina Serena i Albert Muntané. Violí: David Flores. Multimèdia: Martín Elena. Disseny d’il·luminació: Lluís Serra. Disseny de so: Rocco.fx. Disseny de vestuari: Josep Abril. Caracterització: Alexis Ferrer. Joies: Valentina Falchi. Ajudant de direcció: Rubén Homar. Ajudant de direcció de laboratori: Núria Dalmau. Contingut fotogràfic multimèdia: Luca Catalano. Fotografies d'escena: Felipe Mena. Fotografies promocionals: Edo García. Direcció de producció: Meri Notario i Gemma Sala. Ajudant de producció: Nil Mas. Assistent de vestuari: Alessia Zoppis. Assistent de vestuari en pràctiques: Allegra Abril. Projecte: Lo Spazio + Moreno Ensemble project. Equip Teatre Akadèmia: Direcció artística: Guido Torlonia. Gerència i Cap de producció: Meri Notario. Cap de comunicació i màrqueting: Míriam Font. Cap de premsa i assistència a la direcció artística: Fernando Solla. Comunicació: Vinyet Vila. Cap tècnic: Lluís Serra. Tècnic auxiliar: Víctor Castro. Cap de sala: Núria Farrús. Gestió de públics: Rubén Salinas. Community Manager: Eladi Bonastre. Una coproducció del Teatre Akadèmia i Lo Spazio. Direcció de l'espectacle: Moreno Bernardi. Teatre Akadèmia, Barcelona, 19 juny 2024. Veu: Andreu Sotorra. Música: Adagio. Interpretació: Angèle Dubeau i Rachèle Laurin. Composició: Tomaso Albinoni. Àlbum: Immortalis, 2006.

O clássico Hamlet, Ato III, Cena I sequenciado por Macbeth e juntos fazendo um só ato inebriado pela vida, uma realidade muito sagaz e sensível ou mesmo tempo. Percepção de um grande pensador William Shakespeare. Acompanha a obra prima outra obra prima a Ave Verum de Albinoni. Obrigado. --- Send in a voice message: https://podcasters.spotify.com/pod/show/edmundonesi/message

The spirit of a woman tethered to a disassembled car is in need of a little help, and Leo is desperate to prove they can be selfless.Content Warnings: Discussion of death and bereavement, mention of homophobiaTranscript: https://tellnotalespod.com/transcripts/transcript-s2-e8-pristine-leather/Written and produced by Leanne Egan. In this episode you heard the voices of Leanne Egan as Leo Quinn, Stephanie Tobin as Frankie Carter, Cameron Gergett as the police officer, and Asher Amor-Train as Frank Williamson.Twin Strangers Productions is partly sponsored by World Anvil, the leading tool for creatives of all varieties. To support TSP and get 51% OFF of a yearly World Anvil subscription, click here (link: https://worldanvil.com/?c=tnt) or use the promo code tnt at checkout.Twin Strangers Productions is partly sponsored by BroadlyEpi, a rapidly growing repository of information and education about public health and epidemiology. To find more information and support Tell No Tales, go to https://www.broadlyepi.com/tsp/Intro and outro music by LumehillThe conveniently public domain music that Leo and Frank chose to listen to today was Chopin's Preludes, Op. 28 - No. 13 'Loss', Albinoni's Adagio for Organ & Strings in G minor, and Draeseke's Requiem, Op.22 - III. Dies irae. Performances sourced from Musopen.org Atmospheric music: We are a Family Now by Christian Andersen. Music and sound effects sourced from Epidemic Sound and Soundsnap.Art by Ana BalaciFind more info on our website tellnotalespod.com or at @tellnotalespod on Tumblr or TwitterDistributed by Twin Strangers Productions Hosted on Acast. See acast.com/privacy for more information.

Vandaag gaan wij op pad met Vivaldi in religieuze vocale muziek. Farkas biedt u Roemeense Volksdansen aan en Dufay bezingt Vergine Bella. Albinoni voorziet in een 3-delig Hoboconcerto en na een Ave Maria van Fux, hoort u zijn Sinfonia a tre. Tsjaikovski walst de uitzending uit met ‘La Belle au Bois Dormant’.

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Hello to you listening in Jasper, Indiana!Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Thoughts on Thursday and your host, Diane Wyzga. In the early 1990s a cellist in Sarejevo, Vedran Smajlovic, went out into the square when the bombs were dropping and started playing his cello. A journalist asked him, "Why are you out here playing your cello while the bombs are dropping?" The cellist replied, “Why are they dropping bombs while I'm playing the cello?”In the face of tragedy art and beauty might be all some of us have to offer. Art and beauty give us hope, remind us of our humanity even when someone else denies it, as well as help shape the stories of the society they reflect.Walking life's path can be made a bit more hopeful when we have art, music and brave souls to walk along with us.Whether the voice of a child singing a tune from the movie, Frozen; Vera Lytovchenko, violinist and teacher playing in a bomb shelter dressed in an evening gown; a piano player outside a train station; or men singing their country's anthem.Click HERE to listen a 2 minute broadcast from 2 years ago. It's the voices and music of a determined nation fighting for its unbowed Ukranian soul and winning albeit at great cost. But music alone won't do it. Hear us, world leaders: if Ukraine maintains its determination and gets necessary external military support, it can win this war of attrition!  NOTE: During the nearly four-year siege of Sarajevo that ended in 1996, Vedran Smajlovic played Albinoni's Adagio in G Minor on his cello in ruined buildings, including the Vijecnica, the Bosnian capital's destroyed city hall. He also played at funerals despite the threat of sniper fire. His powerful music became a sign of resilience and of the triumph of humanity over brutality. You're always invited: “Come for the stories - stay for the magic!” Speaking of magic, would you subscribe, share a 5-star rating + nice review on your social media or podcast channel of choice, and join us next time!Meanwhile, stop by my Quarter Moon Story Arts website to:✓ Check out Services I Offer,✓ Arrange your free no-obligation Discovery Call to learn more,✓ Opt In to my NewsAudioLetter for bonus gift, valuable tips & techniques to enhance your story work, and✓ Stay current with Diane on LinkedIn.Stories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 to Present Quarter Moon Story Arts. All rights reserved.

This week we examine the news/culture through the eyes of the Super Bowl and Taylor Swift - including John Cleese; French farmers; Sensationalist weather reporting; Rotterdam's coal imports; genocide in the Congo;  500 Christians murdered in Nigeria; The Rohingya; Country of the week - Indonesia; Biden's memory;   Boris Johnson, Tucker Carlson and Ukraine;  Rafah, hostages and billionaire Hamas leaders;  Parental Rights in Canada; Clare Rewcastle Brown and Malaysia; Messi upsets China; Comedian expels Jew from theatre; the Aromantic flag; trans male sures for return of genitals from fridge; British countryside is racist; Peta and carousel horses; Doctor who calls for Hammersmith to be 'Jew free' is not racist; trans Anglo Saxons; Crossroads church kicks bible into touch; Regis banqueting; and SEEK - the Iphone Bible; with music from Taylor Swift, Bryan Ferry, Pink Floyd; Mahler; Albinoni and Sons of Korah

بریم سراغ قسمت دوم عاشقانه برن انسان و لوتین الفمیبینیم که برن بیخیال قولش به تینگول پدر لوتین نمیشه و لوتین هم بیخیال برن نمیشه و تنهاش نمیذاره.این دو میرن که سیلماریل رو از تاج مورگوث بدزدن و ببنیم باهاش چکاراین وسط خطرهای عجیب و غریب زیادی در انتظارشونه.در آخر هم عاقبت عشق این دو رو واستون میگیماین قسمت عشق، اکشن، طنز، درام، وحشت، معما و هر چی که فک کنین داره.پس کمربنداتونو ببیندین که آخر عاقبت قصه محبوب تالکین بزرگ مشخص شه.اطلاعات بیشتر درباره این اپیزود و واژه نامه:arda.fan/episode22این اپیزود بخشی از فصل ۱۹ از کتاب سیلماریلیون (حدیث برن و لوتین) و قسمتهایی از کتاب اطلس سرزمین میانه رو براتون می‌گیم.این اپیزود رو توی یوتیوب هم میتونید ببینید. همراه با نقشه، سوتی‌های خودمون وسط ضبط و کلی عکس و نوشته باحال دیگه:https://youtu.be/K-M-VnScOq0به همراه این اپیزود و هر اپیزود دیگه، کلی مطالب باحال براتون تدارک دیدیم که میتونید توی صفحات ما در سایت و شبکه‌های اجتماعی اینستاگرام، توییتر، یوتیوب و تلگرام ببینید.اگر دوست داشتید برای حمایت از آرداپادکست، ما رو به یک قهوه مهمون کنید.خرید قهوه برای ما از ایران:https://www.coffeete.ir/ardapodcastخرید قهوه برای ما از خارج از ایران: https://www.buymeacoffee.com/ardapodcastیا به لینک زیر سر بزنید: www.arda.fan/supportما رو در شبکه‌های اجتماعی دنبال کنید و نظراتتون رو هم از ما دریغ نکنید.وبسایت ما: www.arda.fanاینستاگرام: @ArdaPodcastتوییتر: @ArdaPodcastتلگرام: t.me/ArdaPodcastFanیوتیوب: ArdaPodcast ChannelThis is Episode 22 of ArdaPodcast, a Persian/Farsi Podcast, telling J. R. R. Tolkien's stories, Silmarillion, Lord of the Rings, Hobbits, Rings of Power and...Music Credits:"Sound of passion" by "Hina", "Stream Countdown 10s" by "Alexander Nakarada", "Spook4" by "PeriTune", "The Visitor" by "Shane Ivers", "Decoherence" by "Scott Buckley, Musics"Adagio for Organ & Strings in g minor" by "Albinoni" promoted by https://www.chosic.com/free-music/all/ Creative Commons CC BY 4.0, "FREE Ethnic Vocals" by "Soulpacifica", "SingWithMe-Remastered" by "Mahyar Gudarzi", "When Snow Become Ashes" by "Alexandr Zhelanov", "Angels and deamons" by "Nirmal Walunzkar".

Il Giustino RV 717 is a 1724 opera by Vivaldi set to a libretto by Nicolò Beregan, also set by Albinoni and Handel. The opera was composed for the 1724 carnival season in Rome and premiered at the Teatro Capranica.The aria of Anastasio, Vedrò con mio diletto, has become a famous piece sung at concerts and on recordings by countertenors such as Philippe Jaroussky and Jakub Józef Orliński and by contraltos as Sonia Prina. Sinfonia of Act I, Scene V, is also used by Vivaldi as the main motif of the first movement of La Primavera ("Spring") from his concerti The Four Seasons.The opera was revived in modern times in 1985 in a production directed by Alan Curtis and performed at the Teatro Olimpico in Vicenza, at the Opéra Royal of the Palace of Versailles, and at the Teatro La Fenice in Venice. According to data reported by Le magazine de l'opéra baroque, a subsequent performance in concert form was held at the Mégaron Musikis in Athens in 2007, while a further revival on stage, for a total of twelve performances, took place, between 2008 and 2009, at the Oldenburgisches Staatstheater.In July 2018, a concert performance was given at the Festival International d'Opéra Baroque de Beaune — with the Accademia Bizantina conducted by Ottavio Dantone. In August 2018, a full costume version of Il Giustino, directed by Deda Cristina Colonna and conducted by Peter Spissky and the Camerata Øresund, figured as one of the central pieces in the Næstved Early Music Festival.

Greg and Dan welcome Maestro George Stelluto for a preview of the Peoria Symphony Orchestra's Joy at Grace Concert on Saturday, November 4th at 3 pm at Grace Presbyterian Church. The PSO's second concert of the season features guest artists Adriana Ransom (Cello), Andrew Port (Oboe), Sarah Carrillo (Trumpet), and David Nakazono (Trumpet). Featured pieces include Corelli's Concerto Grosso, Albinoni's Adagio in G Minor plus, works from Bach, Vivaldi, and Handel. Visit peoriasymphony.org for tickets. See omnystudio.com/listener for privacy information.

This podcast is brought to you by Bob Reeves Brass. Join us at Dillon Music, November 9-11 for valve alignments and mouthpiece consultations. Email sales@dillonmusic to schedule an appointment! David Washburn is a Yamaha Performing Artist and serves as Principal Trumpet of the Los Angeles Chamber Orchestra. A much sought-after musician in Los Angeles, he also holds the position of Associate Principal Trumpet of the LA Opera Orchestra. He has served as principal trumpet and soloist with the Hong Kong Philharmonic Orchestra. Active in the recording studio, David has numerous motion picture soundtracks to his credit. He has played principal trumpet for Incredibles 2, Coco, A Quiet Place, Spider-Man Homecoming, War for the Planet of the Apes, xXx: Return of Xander Cage, 10 Cloverfield Lane, Independence Day – Resurgence, Godzilla, The Amazing Spider-Man, The Karate Kid, Avatar, The Legend of Zorro, Troy, A Beautiful Mind, Windtalkers, The Perfect Storm, Titanic and Deep Impact. He has also been part of the John Williams trumpet section for over 20 years and has performed on the soundtracks of Star Wars: The Force Awakens and Star Wars: The Last Jedi. David is a member of the faculty at Biola University and Azusa Pacific University. He has held teaching positions at the University of California Irvine, Chapman University, California State University Northridge, California State University Long Beach, University of Redlands, Idyllwild Arts Academy and the Hong Kong Academy for Performing Arts. David received his Master of Music, with distinction, from the New England Conservatory of Music in Boston and his Bachelor of Music from the Thornton Music School at the University of Southern California. His trumpet instructors have included Rob Roy McGregor, Robert Nagel, John Clyman and Joan LaRue. David has been a featured soloist with many different orchestras, including the Los Angeles, St. Louis, Knox-Galesburg, Hong Kong and California Philharmonics; the Los Angeles, San Diego and South Bay Chamber Orchestras; the Berkeley, Burbank and Glendale Symphonies; and the New York String, University of California Irvine and Pasadena Pops Orchestras. He has also been featured with the New York Chamber Music Society at Lincoln Center, as well as at the Santa Fe, La Jolla and Music@Menlo Chamber Music Festivals. In 2018, David performed the Bach Brandenburg Concerto No. 2 as well as the Telemann, Albinoni and Haydn Trumpet Concertos with the Lincoln Center Chamber Music Society, the Los Angeles Chamber Orchestra and the Knox-Galesburg Symphony. In the summer, David performs at the Orcas Island Chamber Music Festival in Orcas Island, WA; Mainly Mozart Festival in San Diego, CA; Music@Menlo Chamber Music Festival in Menlo Park, CA; and the SummerFest Chamber Music Festival in San Diego. David was also part of the inaugural Chamber Music Festival at the Green Music Center in Sonoma, CA performing Bach's Brandenburg Concerto No. 2 in 2015. Listen to this episode online: https://bobreeves.com/blog/david-washburn-trumpet-interview/

Edición y Master por @audiocaster Ilustración por Guillermo Meza. Grabado en Radio en Casa. Comedia es un podcast sobre humor. Una charla con humoristas, guionistas y artistas vinculadxs con el humor. Luisa Albinoni es actriz, cantante y vedette. Si querés colaborar con COMEDIA podés entrar en www.adrianlakerman.com

Hoy te traemos el último episodio de los seis que forman el podcast ‘Anguita y Julio', en el que se cuenta la última etapa de la vida del político cordobés.  En 2015 Julio Anguita vuelve al escenario de un mitin en Málaga junto a Antonio Maíllo y Alberto Garzón. Pocos días después acompaña y abraza a Pablo Iglesias en un acto en Córdoba. Anguita apuesta, como ha hecho siempre, por ensanchar la base de la izquierda intentando ir más allá de los partidos políticos. Ese es el legado del final de su vida junto a sus discursos, entrevistas e ideales que a día de hoy siguen trepando por el universo digital. Julio murió el 16 de mayo de 2020, en plena pandemia, y muchos se saltaron las restricciones para darle un último adiós bajo la banda sonora del adagio de Albinoni. En este episodio has escuchado la voz de Julio Anguita gracias a fragmentos de las conversaciones que mantuvo con el historiador Juan Andrade para el libro Atraco a la memoria, editado por Akal. También en cortes de Eldiario.es,  Frente Cívico, el archivo del Congreso de los Diputados, la Fundación Cajasol, el Archivo Municipal de Córdoba, el programa La Tuerka, el Archivo del Partido Comunista, el archivo de la asociación de Estudiantes Economía Crítica de Málaga y el programa Todo es mentira, de Cuatro TV. Gracias también a Canal Sur por ceder material de su archivo para este episodio. Guión: José María Martín y Marta Jiménez. Narración: José María Martín y Marta Jiménez. Montaje y diseño de sonido: Idea Sonora. Sonidista de grabaciones y Ambientes: Amandine CasadAmont. Producción: Tacet. Premontaje: Marina Trigueros.See omnystudio.com/listener for privacy information.

El 6 de agosto de 1937 nacían en Shenandoah, Iowa, Charlie Haden y en Varre-e-Sai, Río de Janeiro, Baden Powell. Recordamos al contrabajista estadounidense en grabaciones a dúo con el pianista Keith Jarrett ('One day I´ll fly away', 'Don´t ever leave me', 'Every time we say good bye') y con el guitarrista Pat Metheny ('Our Spanish love song', 'Two for the road', 'Cinema Paradiso') y al frente de su Quartet West ('My love and I', 'The long goodbye'9 y al guitarrista brasileño en 'Deve ser amor', 'Adagio' de Albinoni, 'Prelude' de Bach, 'Samba triste' y 'Canto de Ossanha'. Escuchar audio

HÄNDEL: Concierto para órgano y orquesta en Sol menor, Op. 4 nº 1 (15.30). M.-C. Alain (órg.), Orq. Barroca de Friburgo. Dir.: G. von der Goltz. BACH: Tocata y fuga en Re menor BWV 565 (9.09). M.-C. Alain (órg.). ALBINONI: Concierto en Re menor (arr. para tp. y órg.) (12.56). M. André (tp.), M.-C. Alain (órg.). BACH: Pequeño preludio y fuga nº 4 en Fa mayor BWV 556 (2.27). M.-C. Alain (órg.).Escuchar audio

Feeling tired? Need to unwind? Then how about some gentle, soothing piano music? Welcome to the Episode 3 of  Series 4 in the Relaxing Piano Playlist! In this episode, I perform for you music by Scarlatti, Albinoni, Granados, Bortkiewicz, Rachmaninoff and Debussy.

The Complete Concertos, Op. 9 and Adagio for Organ and StringsHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com      

I was recently asked to explain chromaticism, so I thought I'd give it a try here. Bach's fugue based on a theme by Tomaso Albinoni in B minor, BWVs 951, and 951a: the subject itself contains a chromatic descent (B, A#, A, G#, G, F#) and though Albinoni himself wrote it, it was Bach who brought the ideas behind such chromaticism to the next level.  HERE is the recording which I was not able to credit. If you know whose recording this is, please write me, I'll fix it! and HERE is the version (BWV 951, not BWV951a) which I played on the MIDI harpsichord, highlighting the chromatic lines on one of my favorite youtube channels.  As always, thank you for your support, your feedback, your passion! -es Support us: https://www.patreon.com/wtfbach https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach   Ideas? Kvetches? Write us: bach (at) wtfbach (dot) com

Karen Flint is a harpsichordist, organist, and director of Brandywine Baroque. She is also an important collector of antique harpsichords. We read a Largo by T. Albinoni. Recorded in Wilmington, DE, USA. My arrangements and latest CD are available at www.bachfor2.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/martin-davids/support

Præludium: William Sterndale Bennett: Adagio Es-dur. Fra det G.T.: Esajas 29,17-20 + 24. Salme: 6 "Dig være, mildeste Gud Fader". Fra det N.T.: Matthæus 20, 17-28. Korvers: Felix Mendelssohn: Gid Jesu glæde i os bo (Tekst: Thomas Kingo). Salme: 609, vers 1+4-5 "Dybt fornedres skal enhver". Postludium: Johann Gottfried Walther: Allegro, 3. satz fra Concerto del Sigr. Albinoni i F-dur. www.dr.dk/P2/Morgenandagten

Hello to you listening in Edmonton, Alberta, Canada!Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Thoughts on Thursday and your host, Diane Wyzga. In the early 1990s a cellist in Sarejevo, Vedran Smajlovic, went out into the square when the bombs were dropping and started playing his cello. A journalist asked him, "Why are you out here playing your cello while the bombs are dropping?" The cellist replied, “Why are they dropping bombs while I'm playing the cello?”In the face of tragedy sometimes art and beauty might be all some of us have to offer. Art and beauty give us hope,  remind us of our humanity even when someone else denies it, as well as help shape the stories of the society they reflect.As bombs fall on Ukraine the sound of music offers hope. Whether the voice of a child singing a tune from the movie, Frozen; Vera Lytovchenko, violinist and teacher playing in a bomb shelter dressed in an evening gown; a piano player outside a train station; or men singing their country's anthem.Click here to listen to the music of a determined nation fighting for its soul and winning albeit at great cost.  NOTE: During the nearly four-year siege of Sarajevo that ended in 1996, Vedran Smajlovic played Albinoni's Adagio in G Minor on his cello in ruined buildings, including the Vijecnica, the Bosnian capital's destroyed city hall. He also played at funerals despite the threat of sniper fire. His powerful music became a sign of resilience and of the triumph of humanity over brutality. You're invited: “Come for the stories - stay for the magic!” Speaking of magic, I hope you'll subscribe, share a nice shout out on your social media or podcast channel of choice, and join us next time! Remember to stop by the website, check out the Services, arrange a Discovery Call, and Opt In to stay current with Diane and Quarter Moon Story Arts and on Linked In: linkedin.com/in/diane-f-wyzga-78403919a  Stories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 to Present: for credit & attribution Quarter Moon Story Arts 

Carlos Iribarren | Esta nueva entrega de Hoy Toca viaja a la primera mitad del siglo XVIII para escuchar y comentar 7 piezas barrocas en las que el oboe tiene un protagonismo brillante y merecido. Comenzamos con un adagio de Albinoni (¡no el habitual, éste sí es suyo!) y acabamos con música llena de elegancia de Johann Sebastian Bach. En medio, obras de grandes y renombrados compositores: Vivaldi, Haendel y Telemann. Más 2 “delicatessen” de un par de autores menos habituales pero que eran auténticos maestros de aquella fabulosa época: Blavet y Zelenka. Para acompañar a Carlos y Mario Mora en este apasionante recorrido, nos visita el oboísta Luis Blanco, oboe solista de la Sinfónica de Malmö, con el que jugaremos a adivinar si el sonido de cada pieza emana de un oboe barroco o de uno moderno. Seguro que disfrutas escuchando tanto como nosotros haciendo esta nueva edición de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

El oboe ocupa un lugar privilegiado en la orquesta: antes de empezar cualquier ensayo o concierto el primer oboísta toca un la perfecto que sirve para que los demás músicos afinen sus instrumentos. Los oboes descienden de las zampoñas y caramillos que los pastores utilizaron durante siglos y su sonido característico puede evocar nostalgia y emociones. El instrumento como lo conocemos actualmente es de principios del siglo XVIII, y compositores como el italiano Tomás Albinoni comprendieron tempranamente su potencial como instrumento solista. De hecho, Albinoni tras escribir el primer concierto para oboe que ha llegado hasta nosotros, escribió al menos otros siete. Hoy escucharemos de este compositor, el primer movimiento de su Concierto para oboe en Re menor, op. 9 N.2, dirigido e interpretado en el oboe por Paul Dombrecht acompañado de la Orquesta barroca Il Fundamento.