Podcasts about american baroque

We discuss the delicious art of Teresa Oaxaca, Théa turns 1 with the controversial carrot cake as her birthday cake and Jennifer launches 3 prints from her American Baroque series.  Teresa Oaxaca's website https://www.teresaoaxaca.com, instagram https://www.instagram.com/teresaoaxaca/ Jennifer's Print Shop https://jennifermariekeller.com/prints Is carrot cake dad cake? Let us know on instagram! https://www.instagram.com/mymotherisanartist/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Synopsis On this date in 1787, an obituary in London's Morning Post noted the passing two days earlier of Carl Friedrich Abel – composer, concert impresario and viola da gamba virtuoso – aged 63. The viola da gamba was the forerunner of the modern cello. Its heyday was in the 17th century be soon after the softer-voiced gamba lost out to the more powerful cello. Abel's obituary remarked that:  “his favorite instrument was not in general use and would probably die with him.” Well, as usual, the press got it partly right – the gamba did pass out of general use for almost 150 years, but the early music revival in the 20th century has renewed interest in the viola da gamba, and today there's even NEW music being composed for this old instrument:  for example Roy Whelden's “Prelude and Divisions on ‘She's So Heavy'” – based on the Beatles tune by Lennon and McCartney. Roy Whelden was born in 1950 in New Hampshire.  Until age 23, his instruments were the trumpet, and secondarily, the cello, but he fell in love with the viola da gamba and ended up playing with and composing for period instrument groups like Ensemble Alcatraz and American Baroque. Music Played in Today's Program Roy Whelden (b. 1950) Prelude and Divisions on She's So Heavy (Roy Whelden, viola da gamba) New Albion 59

Synopsis On this date in 1787, an obituary in London's Morning Post noted the passing two days earlier of Carl Friedrich Abel – composer, concert impresario and viola da gamba virtuoso – aged 63. The viola da gamba was the forerunner of the modern cello. Its heyday was in the 17th century be soon after the softer-voiced gamba lost out to the more powerful cello. Abel's obituary remarked that:  “his favorite instrument was not in general use and would probably die with him.” Well, as usual, the press got it partly right – the gamba did pass out of general use for almost 150 years, but the early music revival in the 20th century has renewed interest in the viola da gamba, and today there's even NEW music being composed for this old instrument:  for example Roy Whelden's “Prelude and Divisions on ‘She's So Heavy'” – based on the Beatles tune by Lennon and McCartney. Roy Whelden was born in 1950 in New Hampshire.  Until age 23, his instruments were the trumpet, and secondarily, the cello, but he fell in love with the viola da gamba and ended up playing with and composing for period instrument groups like Ensemble Alcatraz and American Baroque. Music Played in Today's Program Roy Whelden (b. 1950) Prelude and Divisions on She's So Heavy (Roy Whelden, viola da gamba) New Albion 59

Socrates said it best, “Hey, ho, Western Civ. has got to go!” Well, maybe that was the Saucy boys of HAG, but either way, tune in to Episode 26 to find out why it's time to put that hot mess of Eurocentric nonsense called the Western Civilization course out to pasture. And that's only the appetizer, as you'll be hungry for our main course interview with the brilliant Molly Warsh, the University of Pittsburgh scholar and author of American Baroque: Pearls and the Nature of Empire. Sail along with us on a high seas global adventure as Molly recounts her unexpected discoveries in research, from the archives of Portugal to the river banks of Scotland, and a VERY special back room tour of the London city museum. Hint: Molly learned that if the 400 year old diamond ring fits, you gotta wear it. There are jewels galore in Episode 26, so be sure to tune in, but remember, if it's American baroque, don't fix it!

Spain became the first European power to use the peoples, resources, and lands of the Americas and Caribbean as the basis for its Atlantic Empire. How did this empire function and what wealth was Spain able to extract from these peoples and lands? Molly Warsh, an Associate Professor of History at the University of Pittsburgh and author of American Baroque: Pearls and the Nature of Empire, 1492-1700, helps us investigate answers to these questions by showing us how Spain attempted to increase its wealth and govern its empire through its American and Caribbean pearl operations. Show Notes: https://www.benfranklinsworld.com/241   Meet Ups Pittsburgh Meet Up, June 15, 2:30pm Sponsor Links Omohundro Institute The Ben Franklin's World Shop Save 40 percent on American Baroque (Use Promo Code 01BFW) Complementary Episodes Episode 015: Joyce Chaplin, Round About the Earth Episode 082: Alejandra Dubcovsky, Information & Communication in the Early American South Episode 139: Andrés Reséndez, The Other Slavery: Indian Enslavement in the Americas Episode 167: Eberhard Faber, The Early History of New Orleans Episode 178: Karoline Cook, Muslims & Moriscos in Colonial Spanish America Episode 224: Kevin Dawson, Aquatic Culture in Early America   Listen! Apple Podcasts Spotify Google Podcasts Ben Franklin's World iOS App Ben Franklin's World Android App Helpful Links Join the Ben Franklin's World Facebook Group Ben Franklin’s World Twitter: @BFWorldPodcast Ben Franklin's World Facebook Page Sign-up for the Franklin Gazette Newsletter *Books purchased through the links on this post will help support the production of Ben Franklin's World.

The early-modern Atlantic World was a chaotic place over which European empires frequently had little control. In her new book American Baroque: Pearls and the Nature of Empire, 1492-1700 (University of North Carolina Press, 2018), Molly Warsh uses the pearl trade to explain the complications around imperial economies and imaginations.  She looks at human fascination with the jewel, the challenges of fishing for the oysters that contained it, and the near impossibility of regulating it for an early-modern state.  Caribbean fisheries took center stage in Iberian attempts to grow rich off of pearls, but indigenous and African labor, alongside colonial subterfuge made the trade a problematic one for imperial regimes.  American Baroque tells a global story about the pearl’s influence across multiple locations, and the ways that early empires struggled to hold their grip. Learn more about your ad choices. Visit megaphone.fm/adchoices

The early-modern Atlantic World was a chaotic place over which European empires frequently had little control. In her new book American Baroque: Pearls and the Nature of Empire, 1492-1700 (University of North Carolina Press, 2018), Molly Warsh uses the pearl trade to explain the complications around imperial economies and imaginations.  She looks at human fascination with the jewel, the challenges of fishing for the oysters that contained it, and the near impossibility of regulating it for an early-modern state.  Caribbean fisheries took center stage in Iberian attempts to grow rich off of pearls, but indigenous and African labor, alongside colonial subterfuge made the trade a problematic one for imperial regimes.  American Baroque tells a global story about the pearl’s influence across multiple locations, and the ways that early empires struggled to hold their grip. Learn more about your ad choices. Visit megaphone.fm/adchoices

The early-modern Atlantic World was a chaotic place over which European empires frequently had little control. In her new book American Baroque: Pearls and the Nature of Empire, 1492-1700 (University of North Carolina Press, 2018), Molly Warsh uses the pearl trade to explain the complications around imperial economies and imaginations.  She looks at human fascination with the jewel, the challenges of fishing for the oysters that contained it, and the near impossibility of regulating it for an early-modern state.  Caribbean fisheries took center stage in Iberian attempts to grow rich off of pearls, but indigenous and African labor, alongside colonial subterfuge made the trade a problematic one for imperial regimes.  American Baroque tells a global story about the pearl’s influence across multiple locations, and the ways that early empires struggled to hold their grip. Learn more about your ad choices. Visit megaphone.fm/adchoices

The early-modern Atlantic World was a chaotic place over which European empires frequently had little control. In her new book American Baroque: Pearls and the Nature of Empire, 1492-1700 (University of North Carolina Press, 2018), Molly Warsh uses the pearl trade to explain the complications around imperial economies and imaginations.  She looks at human fascination with the jewel, the challenges of fishing for the oysters that contained it, and the near impossibility of regulating it for an early-modern state.  Caribbean fisheries took center stage in Iberian attempts to grow rich off of pearls, but indigenous and African labor, alongside colonial subterfuge made the trade a problematic one for imperial regimes.  American Baroque tells a global story about the pearl’s influence across multiple locations, and the ways that early empires struggled to hold their grip. Learn more about your ad choices. Visit megaphone.fm/adchoices

The early-modern Atlantic World was a chaotic place over which European empires frequently had little control. In her new book American Baroque: Pearls and the Nature of Empire, 1492-1700 (University of North Carolina Press, 2018), Molly Warsh uses the pearl trade to explain the complications around imperial economies and imaginations.  She looks at human fascination with the jewel, the challenges of fishing for the oysters that contained it, and the near impossibility of regulating it for an early-modern state.  Caribbean fisheries took center stage in Iberian attempts to grow rich off of pearls, but indigenous and African labor, alongside colonial subterfuge made the trade a problematic one for imperial regimes.  American Baroque tells a global story about the pearl’s influence across multiple locations, and the ways that early empires struggled to hold their grip. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this podcast: 1. Brotha D, 2. Healing Muses, 3. SJ Pettersson, 4. American Baroque, 5. Viviana Guzman, 6. Andy Findon, 7. Chris Britton, 8. Andy Findon, 9. Chris Britton, 10. Takashi Matsuishi Spark, 11. Andy Findon, 12. Lisa Lynne and George Tortorelli, 13. Takashi Matsuishi Spark, 14. Andy Findon, 15. Andy Findon, 16. American Baroque, 17. Francois Couture, 18. Andy Findon

In this podcast: 1. Andy Findon, 2. Andy Findon, 3. Francois Couture, 4. Tilopa, 5. Andy Findon, 6. Gerard Satamian, 7. Kim Ribeiro, 8. Sambodhi Prem, 9. American Baroque, 10. Andy Findon, 11. Andy Findon, 12. Takashi Matsuishi Spark, 13. American Baroque, 14. Andy Findon, 15. Healing Muses, 16. Dufay Collective, 17. Takashi Matsuishi Spark, 18. Takashi Matsuishi Spark

In this podcast: 1. Bill Robinson, 2. Claire Fitch, 3. The Sarasa Ensemble, 4. Vito Paternoster, 5. Vito Paternoster, 6. Vito Paternoster, 7. The Bach Players, 8. Music of the Spheres, 9. Jami Sieber, 10. Da Camera, 11. Vito Paternoster, 12. American Baroque, 13. Barry Phillips, 14. Vito Paternoster, 15. American Baroque

In this podcast: 1. Vito Paternoster, 2. Vito Paternoster, 3. Daniel Estrem, 4. Gonzalo X Ruiz, 5. Daniel Estrem, 6. Lara St John, 7. Vito Paternoster, 8. Vito Paternoster, 9. Gonzalo X Ruiz, 10. Daniel Estrem, 11. Vito Paternoster, 12. American Baroque, 13. Daniel Estrem, 14. Daniel Estrem, 15. Daniel Estrem, 16. Vito Paternoster, 17. American Baroque

In this podcast: 1. Romualdo Barone, 2. The Bach Players, 3. Daniel Estrem, 4. The Bach Players, 5. Romualdo Barone, 6. The Bach Players, 7. The Bach Players, 8. American Baroque, 9. Daniel Estrem, 10. American Baroque, 11. The Bach Players, 12. Vito Paternoster, 13. Seth Carlin, 14. Seth Carlin

In this podcast: 1. Vito Paternoster, 2. Voices of Music, 3. Gonzalo X Ruiz, 4. Daniel Estrem, 5. The Sarasa Ensemble, 6. Daniel Estrem, 7. Telemann Trio Berlin, 8. Gonzalo X Ruiz, 9. The Sarasa Ensemble, 10. Daniel Estrem, 11. American Baroque, 12. The Sarasa Ensemble, 13. Daniel Estrem, 14. Daniel Estrem, 15. Daniel Estrem, 16. Daniel Estrem, 17. Daniel Estrem, 18. Vito Paternoster, 19. Vito Paternoster, 20. American Baroque, 21. American Baroque, 22. Daniel Estrem

In this podcast: 1. The Kingsbury Ensemble, 2. Vito Paternoster, 3. Vito Paternoster, 4. Wildcat Viols, 5. Vito Paternoster, 6. Musica Franca, 7. Mauricio Buraglia, 8. American Baroque, 9. Trio Dafne, 10. Vito Paternoster, 11. Eduardo Figueroa and Oscar Ohlsen, 12. Daniel Estrem, 13. Colin Booth, 14. Daniel Estrem, 15. Janine Johnson, 16. JungHae Kim, 17. Vito Paternoster, 18. Hanneke van Proosdij, 19. Musica Franca, 20. Colin Booth, 21. Mauricio Buraglia

I'm posting three tracks from Roy Whelden's album LIKE A PASSING RIVER, which was in part inspired by my novel ALL THE VISIONS, which reappears in July, 2014. "Rucker Songs" is an operatic oratorio featuring the playing of Roy Whelden and the American Baroque quartet, with Karen Clark singing. The words are drawn from intense closing passages of ALL THE VISIONS. 7 min 45 secs.

This song is from Roy Whelden’s album LIKE A PASSING RIVER, which was in part inspired by my novel ALL THE VISIONS. “Rucker Songs” is an operatic oratorio featuring the playing of Roy Whelden and the American Baroque quartet, with Karen Clark singing. The words are drawn from intense closing passages of ALL THE VISIONS. […]

In this podcast: 1. Philharmonia Baroque, 2. Gonzalo X Ruiz, 3. Philharmonia Baroque, 4. Orinda, 5. Philharmonia Baroque, 6. Orinda, 7. Phoebe Carrai, 8. Gonzalo X Ruiz, 9. Phoebe Carrai, 10. American Baroque, 11. Philharmonia Baroque, 12. Philharmonia Baroque, 13. Philharmonia Baroque

In this podcast: 1. Philharmonia Baroque, 2. Philharmonia Baroque, 3. Phoebe Carrai, 4. Philharmonia Baroque, 5. Phoebe Carrai, 6. Gonzalo X Ruiz, 7. Philharmonia Baroque, 8. Phoebe Carrai, 9. Philharmonia Baroque, 10. American Baroque, 11. Philharmonia Baroque, 12. Hanneke van Proosdij, 13. Philharmonia Baroque, 14. American Baroque

This SaintCast sponsored by Todd from Houston, Texas, for his wife and girls. We profile the first American-born saint, Elizabeth Ann Seton, the foundress of Catholic education in the United States. Grab your stethoscope and learn about a couple of the first Doctors of the Church, in this week's Calendar of the Saints. Fr. Seraphim Beshoner of the Catholic Under the Hood podcast pays a visit to the SaintCast and we discuss Notre Dame football, the difference between religious and diocesan clerics, and the history of the Franciscans. Stay tuned for our interview with CNN and National Catholic Reporter Senior Vatican correspondent, John Allen, on the next SaintCast. Songs from this episode . . . Bree Noble with "Can You See the Stars," at music.podshow.com American Baroque with "Dances and Suites of Rameau and Couperin" at magnatune.com Podcasts mentioned on this episode . . . Catholic Under the Hood at www.catholicunderthehood.com St. Elizabeth Ann Seton Shrine at www.emmitsburg.net/setonshrine/index.htm