Podcast appearances and mentions of Antonio Stradivari

Dans cette comédie intitulée Les Musiciens de Grégory Magne, tout se joue au cœur d'un quatuor réuni pour un concert unique, attendu par les mélomanes du monde entier. Un évènement qui va s'avérer difficile à monter, avec quatre virtuoses aux egos surdimensionnés. Stradivarius est le nom qui fait rêver tous les musiciens. Ceux qui, en tout cas, pratiquent un instrument à cordes. Des violons, des altos ou des violoncelles, fabriqués par Antonio Stradivari dans son atelier de Crémone au XVIIIe siècle. Est-ce le bois dont ils sont faits, ou le souci de la perfection du luthier ? Ce sont en tout cas des instruments exceptionnels et évidemment devenus très rares.Dans le film dont on parle aujourd'hui, Astrid Thompson, la fille d'un multimillionnaire, a réussi à en réunir quatre. Deux violons, un alto et un violoncelle pour les faire jouer ensemble pour un concert unique. C'était le rêve de son père disparu. Et elle veut le réaliser. Mais c'est sans compter sur le caractère des quatre virtuoses choisis pour ce moment exceptionnel, à l'ego bien développé et incapables de travailler ensemble.Le film s'intitule Les Musiciens et il sort aujourd'hui dans les salles en France. C'est une comédie, mais aussi une réflexion sensible sur le pouvoir de la musique et le pouvoir des mots.Grégory Magne, le réalisateur, et Frédéric Pierrot, l'acteur principal, sont les invités de Sur le pont des arts. Au programme de l'émission :► Chronique Hit de la semaineSadio Doucouré nous partage son dernier coup de cœur musical avec un artiste mauritanien, BMRX, qui a déjà conquis le public de Nouadhibou et de Nouakchott.► Playlist du jourGyslain.N – Tout à l'amour

Dans cette comédie intitulée Les Musiciens de Grégory Magne, tout se joue au cœur d'un quatuor réuni pour un concert unique attendu par les mélomanes du monde entier. Un évènement qui va s'avérer difficile à monter, avec quatre virtuoses aux egos sur-dimensionnés. Stradivarius est le nom qui fait rêver tous les musiciens. Ceux qui en tout cas pratiquent un instrument à cordes. Des violons, des altos ou des violoncelles, fabriqués par Antonio Stradivari dans son atelier de Crémone au XVIIIe siècle. Est-ce le bois dont ils sont faits, ou le souci de la perfection du luthier? Ce sont en tout cas des instruments exceptionnels et évidemment devenus très rares.Dans le film dont on parle aujourd'hui, Astrid Thompson, la fille d'un multimillionnaire, a réussi à en réunir quatre. Deux violons, un alto et un violoncelle pour les faire jouer ensemble pour un concert unique. C'était le rêve de son père disparu. Et elle veut le réaliser. Mais c'est sans compter sur le caractère des quatre virtuoses choisis pour ce moment exceptionnel à l'ego bien développé et incapables de travailler ensemble.Le film s'intitule Les Musiciens et il sort aujourd'hui dans les salles en France. C'est une comédie mais aussi une réflexion sensible sur le pouvoir de la Musique et le pouvoir des mots.Grégory Magne, le réalisateur et Frédéric Pierrot, l'acteur principal, sont les invités de Sur le pont des arts.  Au programme de l'émission :► Chronique Hit de la semaineSadio Doucouré nous partage son dernier coup de cœur musical, avec un artiste mauritanien, BMRX, qui a déjà conquis le public de Nouadhibou et de Nouakchott. ► Playlist du jour-Gyslain.N - Tout à l'amour

Wielu ludzi, takich jak Tom Monaghan, założyciel sieci pizzerii Domino's, odnajduje swoją Górę Tabor w niespodziewanych momentach życia. Jego historia udowadnia, że „nie to, kim byłeś, ale to, kim możesz się stać, liczy się najbardziej”. Monaghan, mimo trudnego dzieciństwa, stał się miliarderem i wykorzystał swoje bogactwo, by wspierać wartości chrześcijańskie. Jego decyzja o sprzedaży sieci pizzerii i założeniu uczelni opartych na tych wartościach była wynikiem głębokiego duchowego doświadczenia po przeczytaniu książki "Chrześcijaństwo po prostu".Wreszcie dowiesz się, dlaczego modlitwa jest jak paliwo dla duszy – nie luksusem, a koniecznością. Nawet w najciemniejszych chwilach naszego życia, zawsze „istnieje wyjście w górę”, które prowadzi do przemienienia naszego serca i odkrycia prawdziwej chwały Boga w naszej codzienności.Podobnie jak lutnik Antonio Stradivari, który tworzył najpiękniejsze skrzypce świata, Bóg może przemienić nasze życie niezależnie od tego, jakie było wcześniej. Ważne jest, byśmy pozwolili Mu działać w naszym życiu, byśmy spotkali się z Nim na naszej własnej Górze Tabor i doświadczyli przemiany. Niech czas Wielkiego Postu będzie dla każdego z nas okazją do takiego spotkania i przemiany serca, byśmy mogli ujrzeć świat i siebie w nowym świetle.

Eine wunderschöne Geige verzaubert seit dem frühen 18. Jahrhundert die Musikwelt: Bach soll einst auf ihr gespielt haben, ganz Versailles war verliebt in ihren Klang und Paganini persönlich berauschte mit ihr sein Publikum: Mit der "Milanollo"-Violine.// Von Antonia Bruns/ BR 2015/ www.radiofeature.wdr.de Von Antonia Bruns.

Eine wunderschöne Geige verzaubert seit dem frühen 18. Jahrhundert die Musikwelt: Bach soll einst auf ihr gespielt haben, ganz Versailles war verliebt in ihren Klang und Paganini persönlich berauschte mit ihr sein Publikum: Mit der "Milanollo"-Violine.// Von Antonia Bruns/ BR 2015/ www.radiofeature.wdr.de Von Antonia Bruns.

Tällä historiallisella päivämäärällä italilalainen viulujen ja muiden jousisoittimien rakentaja Antonio Stradivari menehtyi, Pähkinänsärkijä-baletti sai ensiesityksensä, laulujoutsen valittiin Suomen kansallislinnuksi ja Keke Rosberg valittiin Suomen parhaaksi urheilijaksi.

In dieser Episode widmen wir uns der Rezension des fesselnden Krimis "Tödliche Sonate" von Natasha Korsakova. Der Klappentext eröffnet einen spannenden Fall in der Welt der klassischen Musik, in dem die gefürchtete Musikagentin Cornelia Giordano brutal ermordet wurde. Commissario di Bernado, frisch von Kalabrien nach Rom versetzt, taucht in die intrigante Welt der Musikagenten, Opernhäuser und aufstrebenden musikalischen Talente ein. Die Frage nach dem Mörder wird mit jedem Kapitel brisanter, während di Bernado die unliebsame Vergangenheit der Giordano beleuchtet. Die persönliche Rezension beginnt mit der Reflexion über das Verlangen, ein Buch voller Begeisterung zu lesen, und dem ständigen Kampf gegen äußere Ablenkungen. Es wird deutlich, dass die Auseinandersetzung mit dem Geigenbau und klassischer Musik für den Rezensenten von großer Bedeutung ist, wobei die Handlung des Buches in den Hintergrund gedrängt wird durch die Hektik des Alltags. Der Rezensent teilt die Herausforderungen beim Lesen angesichts der zahlreichen italienischen Namen, ähnlich seiner Erfahrungen mit der Autorin Donna Leon, doch schnell wird die Faszination für die Thematik erweckt. Besonders faszinierend sind die historischen Einblicke in die Welt von Antonio Stradivari und die Handwerkskunst der Geigenbauer. Die Kreation der "Messias"-Violine und die Art, wie Korsakova die Violine in die Handlung integriert, wird als erfrischend und einzigartig hervorgehoben. Die Charaktere, insbesondere di Bernado und sein Team, werden als vielschichtig und ansprechend beschrieben, mit persönlichen Konflikten und einem besonderen Charme, der sie lebendig macht. Eine charmante Kulisse wird durch die Erwähnung von Roms Schönheit geschaffen, während die kulinarischen Elemente des Buches dem Rezensenten das Wasser im Mund zusammenlaufen lassen. Die schmackhaften Gerichte schaffen eine Atmosphäre der Vertrautheit und ziehen den Rezensenten tiefer in die Welt des Kommissars. Diese Verbindung zur Stadt Rom und ihre kulturellen Schätze verleiht der Rezension eine zusätzliche Dimension. Das Buch zeichnet sich durch seine spannenden Wendungen und die Fähigkeit aus, den Leser bis zur letzten Seite im Unklaren über die Identität des Mörders zu lassen. Trotz des Krimi-Genres wird die Geschichte nicht als blutrünstig oder überwältigend empfunden; vielmehr erinnert sie an die Komplexität und Schönheit klassischer Musik. Es entsteht eine Sehnsucht nach mehr, sowohl nach den Abenteuern von Commissario di Bernado als auch nach der herzlichen und musikalischen Erzählweise der Autorin. Die Schlussfolgerungen der Episode regt zum Nachdenken an über die zukünftigen Werke der Autorin und die Möglichkeiten, die über die Grenzen der Musik hinausgehen. Der blendende Stil und das Talent von Natascha Korsakova lassen darauf hoffen, dass sie ihr Können nicht nur innerhalb der Musikszene, sondern auch in anderen Genres beweisen kann. Der Rezensent ist überzeugt davon, dass Korsakova mit ihrem feinen Gespür für Sprache und Charaktere auch in anderen Bereichen spannendere Geschichten erzählen könnte. "Tödliche Sonate", erschienen 2018 im Heyne Verlag und nun als E-Book im Penguin Verlag erhältlich, lädt zu einer aufregenden Lesereise ein, die sowohl Musikliebhaber als auch Krimifans begeistert.

Celem wędrówki, w którą wyruszyliśmy w audycji z cyklu "Pasmo górskie" (25.08) był las Paneveggio w Dolomitach, nazywany "lasem skrzypiec".

When poet Tess Taylor's son, Bennett, was three years old, he heard the violin for the first time. For weeks afterward, every day he asked her for a violin, so finally she took him into a local violin shop and asked for help. The shop owner put a tiny violin and bow in his hands and Bennett asked, “But how do I make it sound beautiful?”  Fast-forward nearly a decade and Bennett was still playing the violin—expanding into bluegrass and classical music, finding his footing as a musician. Tess had read about a place in Italy called Cremona, where some of the world's most famous violins are made. This is where Antonio Stradivari was born and worked, as well as other world-renowned luthiers. So Tess decided to take Bennett—and her husband and her young daughter, who also plays the violin—to Cremona to learn more about the instrument that had taken over their lives.  In this week's episode of Travel Tales, she shares that journey. They listened to outdoor concerts, explored music museums, and most importantly, met with one of the city's luthiers, who still makes extraordinary stringed instruments by hand—some out of trees he himself cut down. And, as you'll soon hear, they came home with much more than memories.  Resources Read the transcript of the episode. Watch the companion interview with Tess on YouTube. Explore Tess's work on her website.  Read Tess's most recent book of poetry (an anthology she edited), Leaning toward Light: Poems for Gardens & the Hands That Tend Them. Be sure to subscribe to the show and to sign up for our podcast newsletter, Behind the Mic, where we share upcoming news and behind-the-scenes details of each episode. And explore our second podcast, Unpacked, which unpacks one tricky topic in travel each week. 

Grandes incógnitas de la historiaJuan Jesús Vallejo nos habla que entre los siglos XVII y XVIII, Antonio Stradivari hizo los violines más perfectos que se han podido hacer en el mundo. Nadie entiende por qué su sonido es tan perfecto. Hoy en día se han subastado algunos de ellos por más de diez millones de dolares.  En este capítulo aborda temas como la antigüa Alemania nazi en donde se creó la Ahnenerbe, un grupo de intelectuales que hacían investigaciones de historias ocultas.  Conoce más detalles sobre estas investigaciones.¡Descubre más sobre estas historias en este episodio fascinante!

Estamos acostumbrados a amanecer con algunas de las mejores voces de la ópera. Sin embargo, en esta ocasión José Manuel Zapata convierte en protagonista a un instrumento que no supera (o no debería) los 280 gramos y en cuya construcción se emplean madera de arce, de pino y de palisandro. ¡En efecto!, se trata del violín. Y nuestro colaborador hoy nos habla de los mejores, los Stradivarius, y de la historia de su creador: Antonio Stradivari. Escuchar audio

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio.  Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin.  Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country.  But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself.  To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s  and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors.  So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown,  you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed.  In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could  keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur.  Why not? Because, you know, that's sort of what they could afford.  It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed.  Indeed.  Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time.  Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related.  No, it was time to move on, and he knew the place he was headed. Emily Brayshaw.  So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri.  Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò  Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini.  And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard  Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit,  so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea,  into town and then adopted  features of  Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching  because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block.  And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion.  When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style.  The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants.  And then you'd just stand around. I did find some discussions of fashion in the time as well.  Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars  You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera.  In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state.  This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business.  Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk.  Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato.  Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing  and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show.  Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera.  Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together.  And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players,  who just had a limited vocal range, but  could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life.  And That's how  opera  started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth.  Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage.  And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment.  Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme.  Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed.  And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred.  And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like  lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments.  But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed  one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya.  And what you've got is less than chords, you've got a baseline. Just a simple bass line,  a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know,  look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open.  And this brings us to an end of this first episode on Giovanni Battista Rogeri.  We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.   ​ 

Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   TRANSCRIPT   Kathleen Parlow Part 1  Welcome to this very first episode of the Historical Strings Recording Podcast.  A show that gives you a chance to hear rare and early recordings of great masters and their stories.  Hello, my name is Linda Lespets. I'm a violin maker and restorer in Sydney, Australia, and I'm also the host of another podcast called ‘The Violin Chronicles',  a show about the lives of historically important violin makers and their instruments. But today we have a different podcast and telling this incredible story with me is my co-host Eric Wen. Hello, my name is Eric Wen, and I'm the producer at Biddulph Recordings, which is a label that focuses upon reissuing historic recordings, particularly those by famous string players of the past.  I also teach at the Curtis Institute of Music in Philadelphia, where I've been for the past 24 years. In this first episode, we will be looking at an incredibly talented violinist called Kathleen Parlow, who, in her time, took Europe and the world by storm, giving even Fritz Kreisler a run for his money in the popularity department. She was described in the media as being ‘One of the phenomena of the musical world' on par with Mischa Elman, or the ‘greatest lady violinist in the world', and ‘the girl with the golden bow'.  She was treated with superstar status wherever she went, which begs the question as to why she is so little known today? Well, join us to discover her incredible story, the events of her career and her violin. A violin which would eventually financially ruin one man and divide his family. We will take a closer look at high hat kicking breakdancers, militant fascists, scandalous theatre directors, impossible love, a score ripping composer, and all this revolving around one of the world's most expensive violins and the incredible means one man went to get it into his hot little hands and then give it away. This is the story of Kathleen Parlow.  And all of the pieces you will be hearing in this podcast are of Kathleen Parlow playing her violin. Kathleen Parlow was born into a modest family in Calgary on the Canadian prairies in 1890.  Her mother, Minnie, was a violinist. So, at a young age at four, she gave her daughter a violin and started teaching her. When she was six years old, the family, Kathleen, Minnie, and her father, Charlie, they moved to San Francisco where her talent was immediately recognized. And well, this is probably because of the, the mom. And she was having lessons with her cousin called Conrad Coward in San Francisco.  Very soon, still aged six, she gave her first recital in San Francisco.  So is six, is six a reasonable age for a child to give a recital? What do you think? It's extremely young. In fact, that is truly prodigious. I mean, people don't even begin the violin till six and that's an early beginning of an instrument. Most people start around seven or eight, but to begin much earlier and to even be playing a concert at the age of six. That's really quite phenomenal. So with her burgeoning talent, she now started having lessons with Henry Holmes, who was a pupil of Louis Spohr, the well-known German composer and violinist. And he's a conductor and who he's the man who apparently invented the chin rest.  So where would we be without the chin rest, really? He's attributed with inventing it.  Well, Spohr was a fine violinist, German violinist. He was also a quite prominent composer. He was quite a conservative composer. So, I believe he wasn't that fond of the music of Beethoven. In other words, there were people like Spohr, Von Weber, and they represented a much more conservative branch of the sort of German composition.  of the German composers. And basically, they looked upon Beethoven as such a wild revolutionary in his music, so daring that I think they were almost a little offended by it. So Spohr, if you could say, is primarily a kind of conservative, very well-schooled, excellent composer. He wrote many, many violin concertos, the most famous of which is No. 8 in A minor, which is written in the form of an operatic scene. Full of violin solo recitatives and arias for the violin. Oh, wow. Yeah, that's interesting. So they were, there was like very shocked by Beethoven. They were, apparently. Was he a contemporary of Beethoven? Because I, because sometimes you go back pretty quickly, don't you? Like the teacher of the teacher of and all of a sudden you're in like the Well, Spohr was born 14, he's 14 years younger than Beethoven. Oh, okay. So, he was born in 1784, but he lived a lot longer. He lived over 20 years longer than Beethoven. Oh, wow. And that's fascinating. So, Henry Holmes, Kathleen Parlow's teacher, was taught by this guy who would have known Beethoven? Yes, absolutely. And objected to Beethoven.  Was shocked by his music. Well, I mean, I think sort of the, you might say the more mature Beethoven or the more daring Beethoven. But I think, you know, I'm sure maybe some of Beethoven's early works were much more acceptable. They were more normative, so to speak. Oh, okay.  So Kathleen's in San Francisco and her parents' marriage is breaking down. Her father, Charlie, moves back to Calgary where he dies of tuberculosis the year after. But Kathleen, she rockets on and is becoming more and more well known. Her new teacher sees real talent in the girl, and this teacher, Henry Holmes, he has contacts to make things happen. And he helps arrange a tour for her and playing engagements in England. So for this to happen, Kathleen's mum, she's, she's I'm getting stage mum vibes. Yes.  Because she's still very, still very young. Oh, yeah. I mean, I can't believe she wasn't playing with dolls.  And this would have been a conversation between Minnie, Kathleen's mum, and the teacher. It probably wouldn't have been a conversation with her as a child. No, probably not.  You don't really choose much when you're six, seven. No, that's true. So the problem they have is that they have no money. So, so what do you do, Eric? You have no money, you have a prodigy. You exploit the prodigy by having them play and make an income for you, which is something that happens unfortunately to many, many talented musicians coming from, you might say, less well-off families. They end up becoming the breadwinner. All their focus gets put upon these, these kids. And so not only do they have the added burden of playing and making sure they keep up They're playing well, but they also have the burden of making sure that they play well enough to make an income so that their families can survive. I mean, that's a very familiar story, and it's a story that has more failures than winners, I'm afraid, because you do hear about the winners. You do hear about the Misha Elmans or the Yasha. Well, Heifetz is a little different because he had a more middle-class family, but you do hear of Oskar Shumsky, for example, who I know I knew personally, he says, don't believe that these violence that you hear about having normal childhood behind every great violence, there's always a mama or a papa. And I think he himself endured that kind of pressure, the pressure to somehow become. The breadwinner, or let's say the some, the pressure to become a great violinist, primarily because he would serve as the breadwinner for the family. Well, if you think about it, you could say that.  Violin playing in the early 20th century was very dominated by Russians, particularly Russian Jews. And one of the reasons for that was that in Russia, all the Jews were confined to an area known as the Pale of Settlement.  In other words, a designated area that they could live in, but they could not leave that particular area. And basically, some very gifted young students could get into university or could go into a conservatory, and one of the big examples was Misha Elman, and Misha Elman, you might say left the Pale of Settlement to go study with Leopold Auer in St Petersburg. And they had to get all sorts of permission to do that. Well, the success of Misha Elman, the global success, the international success, I think resonated so well. with the people in the ghetto that they sort of saw, wow, this is one of our boys and look what he's done. He's now playing for the crowned heads of Europe. So I think for them, they felt this was a way out. And if you think about it, the film, Fiddler on the Roof,  which is a famous musical and it was adapted as a famous film. And basically, that film, just the very title, talks about the Fiddler on the Roof. And the setting is in the Pale of Settlement, the Jewish ghetto in Russia. They're often subjected to random attacks by the Cossacks and all sorts of difficulties. But here, despite all that, you know they manage to survive. And of course the image of the Fiddler on the Roof. The violinist is exemplified, you might say, by Misha Elman, who literally grew up in the Russian ghetto. Yeah, and Misha Elman, he'll, he'll become, he He'll become important in our story, yeah. The money. This is not a problem. There is a wealthy admirer called Harriet Pullman, Carolan, in San Francisco. And she pays for Kathleen and her mother to take the trip to England. And in 1904, at the age of 14, Kathleen plays for King Edward VII at Buckingham Palace. And then in the next year in 1905, she and her mother, they come back to England. This tour marks the beginning of a life that she would lead for years to come of performing and playing. And so by the time she was 15, she was touring and playing with the London Symphony. And it was in a concert at the Wigmore Hall in London that she really shoots to fame.  So is the Wigmore Hall, is that, is that still today an important place to play? Oh, extremely so. It's funny because the Wigmore Hall was originally called the Bechstein Hall, and obviously during the wars, it became a much more the name was more neutralized to become less dramatic, and it became named after the street it's on, which is Wigmore Street. It was always a very important venue, but around the sort of 60s In the 70s it had declined a bit in its status because the South Bank had been built and so the Wigmore Hall was a little bit relegated to a sort of a little second class status. But in the past 20 years or so the Wigmore Hall has catapulted to  fame again and it's today one of the most distinguished halls. In London. All right. Okay. And this is, this is pre war. So it's, it would have been called? Bechstein. Okay. So it would have been called the Bechstein Hall when she played? Probably. Oh yeah, definitely. So the Bechstein Hall was, I think first opened in 1901 and it was built by the piano manufacturers, the German manufacturers Bechstein, hence the name. And after the First World War, I believe it was changed to a more neutral sounding, less Germanic name, and it adopted the name of the street that it's currently on, which is Wigmore Street. Incidentally, the first concert at Wigmore Hall was actually performed, was a violin and piano recital, performed by Eugene Ysaye and Federico Busoni.  And then one night in London, Kathleen and her mother went to another concert of another child prodigy called Mischa Elman. And he was, so he's the fiddler on the roof guy, and he was almost exactly the same age as Kathleen. He was just a few months there's just a few months difference between them. And she, she hears him playing this concert and she's, she's just blown away. Blown away, and after the concert, she and her mother decide that Kathleen, she just has to go and have lessons from the same teacher as this, as this, as Mischa. So the only thing, only little thing about Mischa Elman's teacher is that he is in Russia. And as far as anyone knows, no foreigners study in the St. Petersburg Conservatorium, but that is about to change. Definitely no ladies. So, Kathleen and her mother had arrived in England with 300 raised by their church in San Francisco and this was, it just wasn't enough to get them to Russia and to the conservatorium where the famed Leopold Auer was a professor, but get there they would because Kathleen's mum, Minnie, still had a few tricks up her sleeve. She went and petitioned the Canadian High Commissioner.  So she must have been, I feel like Minnie, she must have been very persuasive. Like there was nothing was getting in between, you know, her daughter and this career. Forceful, a task to be reckoned with, certainly. Yeah. She's like we'll get to England, we have no money. Not a problem. We're gonna, we're gonna get this teacher. He's in Russia. Not a problem. No foreigners. It, you know, it doesn't, it doesn't seem to be a problem for her, no girls. Not a problem. No foreigner has ever studied in this St. Petersburg conservatorium. Not daunted. They're off. They go. So to pay the cost travel, Minnie managed to get a loan from Lord Strathconia, the Canadian high commissioner.  And from there, mother and daughter travelled to Russia. And in October of 1906, Kathleen becomes the first foreigner to attend the St. Petersburg Conservatorium. And in her class are 45 Students and she's the only girl. And we have to remember this is pre-revolutionary Russia. So there's still the Tsar Nicholas the second at this point. Yeah. She's mixing in, in that set. So it's an interesting place to be as a musician. Cause you're frequenting the sort of the upper classes but you can come from, from nothing and arrive there. Her professor was the famed teacher, Leopold Auer, who had a knack of discovering talent. Leopold Auer was actually a Hungarian violinist, and he was trained in Vienna, and he also studied with Joachim.  And what happened was Russia has always had a sort of love for the violin, and they employed many people to teach at the conservatory, because they really embraced Western culture. They had A number of important French violinists come, but their big, you might say, catch was to get Vieuxtemps, Henri Vieuxtemps,  to teach for a number of years at, in St. Petersburg. And after Henry Vieuxtemps, they actually got Henry Wieniawski to teach at the conservatory. And when Wieniawski decided to go back to Europe, they employed Leopold Auer to take his place at St Petersburg. Right. So he's up there with the big names. Well, they were a little bit let down. I mean, that's what they were, I think, a little bit disappointed to replace Wieniawski with Leopold Auer because Wieniawski was such a major violinist. So he had initially a little rough time, but he was adored by Tchaikovsky and Tchaikovsky loved Auer's playing, dedicated a number of works for him, including the famous serenade melancholic, and wrote a lot number of ballet scores, which Leopold Auer played the solos for. But of course, they had a big rift when Tchaikovsky wrote his violin concerto for Auer, because Auer said it was unplayable.  And that really hurt Tchaikovsky's feelings. And it laid dormant for several years before another Russian violinist. Brodsky took it up, learned it, and. Premiered it in Europe first, and only after its success in Europe did he bring it back to Russia, where it became a big success, and Auer felt very bad about that, and in fact, just before Tchaikovsky died, a few months before Tchaikovsky died, story has it that Auer went to Tchaikovsky and apologized to Tchaikovsky for his initial mistrust of the concerto. In fact, by that time, Auer himself had actually performed the concerto, championed it, and taught it to many of his students.  Yeah, and we'll see in this story how sensitive composers are, and how easy it is to hurt their feelings and really create. Like a lot of emotional turmoil. That's coming up. So Auer, like he might not have been their first choice for replacing, but he did have a knack of finding star pupils. That is something that we see, that I see in the conservatorium. Every now and then you have a teacher who's very talented at finding talent. Absolutely. And I know in Australia you have one very distinguished teacher who I think now has been poached by the Menuhin School in, in England. Yes. And we're not going to talk about that. Yes, we won't.  Because it's Must be a sore point.  But we do see, we do see him every now and then when he comes back. So along with Elman and Efren Zimbalist, Parlow becomes one of Auer's star pupils and Auer was so taken with her playing that he often called her Elman in a skirt, which I think is supposed to be a compliment. And in Auer's biography, he writes, he says, “It was during this year that my first London pupil came to me, Kathleen Parlow, who has since become one of the first, if not the first, of women violinists”.  And that, he says that in his biography, My Long Life in Music.  So, Every year, Auer had a summer school in Kristiana, which is Oslo today. And Parlow spent her summers there and became a great favourite in Norway, which leads us to the next and perhaps one of the most marking events in her career and life. At 17, having spent a year at the conservatory in Russia, Kathleen begins to put on public performances she gives solo performances in both St. Petersburg and Helsinki. So these are two places she knows quite well by now. And these concerts were, they were very important as Kathleen's mother really had no money to support them. And so, with but you know, Minnie doesn't bother her, she just ploughs on. And so with the money from these concerts this would have to tide her over.  From letters that I've read, they were living in like this small apartment and then another friend writes, you know this other person, they've been saying you live in a tiny little place, but I'm not going to spread that rumor. And, and so it was a, it was a thing on the radar that they didn't have much money and they were scraping by and they were like frequenting people of much more wealthier than they were, so they were sort of on the fringes of society, but with her talent that was sort of pushing, people wanted to know her. So she makes her professional debut in Berlin and then began, she begins a tour of Germany and the Netherlands and Norway. And in Norway, she performs for the King Hakon and Queen Maud. Of whom she'll become a favorite. And, and her touring schedule was phenomenal. It was just like nonstop. So, yeah. For a 17-year-old that's, you know, she's going all over the world. And you were saying that Auer knew . Do Tchaikovsky do you think Auer, was he was giving her these pieces that did, that influenced him? Yes.  I mean, Tchaikovsky  wrote a number of violin, solo violin works before the concerto, the most famous of which is, of course, the Waltz Scherzo and the Serenade  Melancholique. One is a fast, virtuoso piece, the other is a slow, soulful piece. And I know that Auer was the dedicatee of certainly the Serenade Melancholique, which she did play. So, so Auer's giving her stuff from, you know, his friend Tchaikovsky to play. Now she's 17 and she's touring to support herself and her mother and she has an amazing teacher who probably understands her circumstances all too well because Auer growing up also found himself in her position, supporting his father in his youth with his playing. So she's studying in St. Petersburg, which is an incredible feat in itself. So she must have had quite a strong character and her mother, Minnie, also appears to be very ambitious for her daughter. We're talking about her mother being ambitious, but for Kathleen to, you know, she's her daughter, she, she must've had quite a strong wheel as well. Yes. Well, she certainly did.  I wish we knew more about her because maybe she was very subservient, you know, we have no idea. Maybe she didn't have, I mean, it's a speculation, of course. Yeah. We do have like hundreds of letters from Kathleen and there's a lot between her and Auer, and there's a real sort of paternal, he really sort of  cared for her like a daughter almost and she looked up to him like a father and he was always very correct about it, you know, he would always write the letter to her. To Minnie, her mother the correspondents, it was, and it was always very, everything was very above board, but a very, they were very close. Kathleen later says that after expenses, her Berlin debut netted her exactly 10 pounds.  She didn't know it at the time, but this was an indication of what her future would be like, and she would be sort of financially in a precarious state most of her life, and she would so her routine was she studies with Auer every summer in order to prepare, like they were preparing her repertoire for the next season of touring. So now she has a tour  in 1908, so she's still 17, almost 18. It's in Norway, and to understand just a little bit of the political climate in the country, We can see that Norway, only three years earlier, had become independent of Sweden and had basically become its own country. So there's this this great sense of nationalism and pride in being Norwegian. And they have a newly minted king, King Hakon, who she's played for, and his queen, who was, He was in fact a Danish prince. And then when Norway, the Norwegian parliament asked him if he would like to become the king of Norway when they had their independence. And he said, why not? As part of this great sense of nationalism Norwegian musicians, composers, writers, and poets, they were celebrated and became superstars. And, oh gosh, yes, We can sort of understand. Poets have sort of dropped off the list, but back then poets, they were a big deal.  So you add to this a young, fresh faced, talented Canadian girl who knows and understands their country. She arrives in Oslo to play in the National Theatre, where Norway's very own Johan Halvorsen who's conductor and composer and violinist, he's conducting the country's largest professional orchestra. And that night for Kathleen's concert, she plays Brahms and some of  Halvorsen's compositions and the two, Kathleen Parloe and Halvorsen, they would go on to become quite good friends and Halvorsen regarded her very highly in saying, he said that her playing was superior almost to all the other famous soloists who made guest appearances in the city. So, I mean, a lot of people went through Oslo, so that was, you know, high praise.  And Kathleen quickly Becomes a admirer of his and she would become a driving factor in him finishing his violin concerto that he'd been dithering over for a very long time.  And this is Kathleen playing one of Halvorsen's compositions. It's not his concerto, it's Mosaic No. 4. So back to the theatre. And it was a magical night with the romantic music of Brahms to make you fall in love. And everyone did, just some more than others. And to finish off, there's music from their very own Johan Halvorsen to celebrate you know, a Norwegian talent. So Kathleen plays her heart out and when the concert ended, the crowd goes wild and the 17 year old soaks up the thunderous applause. She's holding on tight to her violin as she bows to adoring fans. Tonight she is the darling of Oslo.  In the uproarious crowd stands a man unable to take his eyes off this young woman. Her playing has moved him and her talent is unbelievable.  This man makes a decision that will change both their lives forever. So, Einar Bjornsson had fallen head over heels for the 17 year old Canadian there and then. She would turn 18 in a few months. And in that moment, he decided to give her the most beautiful gift she would ever receive.  So, who is Einar Bjornsson?  So what we were saying, poets, poets are less of a, you know, a hot shot today, but Einar was the son of a very, very famous poet. A Norwegian businessman and son of one of the most prominent public figures of the day, Bjørnstan Bjørnsson. He was a poet, a dramatist, a novelist, a journalist, an editor, a public speaker, and a theatre director. Five years earlier, in 1903, he was awarded the Nobel Prize for Literature, and one of his poems, called ‘Yes, We Love This Land', was put to music and is the Norwegian national anthem up to this day. So, you could say he was kind of famous in these parts, and his personality alone would have easily filled. A concert hall, that one in Oslo.  Einar's father here, we're talking about Einar's father, he's the poet. Einar himself doesn't appear to have written any poetry. And this, so this situation could have been just fine the whole infatuation, love at first sight thing, except for a few things that put a spanner in the works. To begin with, Einar Björnsson is somewhat older than the youthful Kathleen he's 26 years older.  Then her, in fact, and for a 17 year old, that is a big age gap. So he's 45, but that aside, there is a problem that he's also married and has two children. His daughter is actually almost the same age as Kathleen she's 16, but he doesn't really seem to  see that. All he can see is this violinist and her talent. And he's been just, he's besotted and he's going to make a grand gesture. So obviously, one way to support the arts is to, what patrons do is they will buy, a lovely instrument and lend it to someone. So that's your normal affair. Obviously, one way to show his devotion to her is to find her a better violin. Hers is absolutely not good enough for someone of her talent. And he has to find her something amazing because she is amazing. He's determined to give her the most wonderful gift she has ever received.  So he goes out and he's a businessman. And so he goes to his businessman contacts. And Kathleen would have spoken to her entourage. I imagine, and I now finally finds a violin worthy of Kathleen's virtuosity, and it happens to be one of the most expensive violins on the market in 1908, and it's a 1735 Giuseppe Guarneri Del Gesu violin. It had previously belonged to great violinists  such as Giovanni Battista Viotti and Pierre Baillot. So just to clarify in the violin making world Antonio Stradivari and Guarneri del Gesù are the two top makers. If you're comparing two instruments, if one was owned by no one not anyone that you know. And then another one was owned by Viotti and Pierre Baillot . The one that's owned by Viotti and Pierre Baillot is probably going to be worth more. Yeah. So Viotti, he was just huge. He had a lot of instruments. I think he did a little bit of teaching and dealing on the side, Viotti. Like with the number of instruments named after him, or he just went through a lot of instruments. So she buys this violin, and it's not all smooth sailing to get the violin. Because she, there's this, there's a big correspondence between her and Auer, and we see that actually there's this letter where it says from Auer saying, I saw Hamming very cross.  He says that the violin is compromised if he takes it back. So at one point, I think she may have changed her mind about this violin, but Hamming the dealer was not okay with this. All the I'm just trying to read his writing, it's not that easy. All the papers brought the news That Kathleen bought it so the newspapers have already, so the, you've got Hamming, that's annoyed, the papers have already said they've bought this violin and he could not, it says he could not sell it soon and repeat the sale, waiting till he finds something equal to the Guarneri. He showed me a Strad, indeed wonderful, asking 60, 000 livres, which must be pounds, right?  A nice fellow, isn't he?  And now, goodbye, write to me.  Love, Auer.  They do end up getting the violin. They, they don't get the 60, 000 Strad that Hamming Gets all upset about and offers, which I think he might have been exaggerating the price just to make him calm down about and to keep the del Gesu. Then Einar gives this to Kathleen. So this is a very kind of strange situation because normally you don't, you don't actually give, the patrons don't actually give their instrument to the No, absolutely. That's a remarkable gift. Just in terms of, I mean, the gesture is very magnanimous, but in terms of financial, there's just a financial cost or value of the gift is quite enormous. And  so really after only knowing her for a month, Einar transfers this money into her account and she travels, Kathleen travels to Germany to the Hamming workshop and purchases her del Gesu violin for two thousand pounds  and in today's money  according to an inflation calculator, that is three hundred thousand pounds. Almost four hundred thousand US dollars. More than half a million Australian dollars, which at the time was a lot for a violin as well. So we're not I mean, I, today you'd be kind of happy to buy a Del Gesu for half a million, but then it was, it'd be a bargain. So, it's interesting this, like, he buys this, this young violinist this very expensive present and it's a, and it's a grey area and it's fraught with debate ethically, really. And I feel like today musicians find themselves sometimes in this position where they're sort of indebted to the, to a benefactor. It's almost feudal. I I feel cause at the same time you're very happy that they're lending it to you, but got to keep an eye on if it's a healthy relationship to. To get the money he had to get, you know, half a million pounds pretty quickly. If you remember, Ina's father was a very famous poet who'd won a Nobel Prize in literature and part of the prize is that you win a large sum of money. And so, what does Einar do? He goes and asks Dad. So he asks, he borrows, he borrows most of the money actually. Goodness knows how he convinced him, but you know, he's a businessman. And also for the remaining, he's married, remember, and he's married to, actually, to an heiress, and he takes a bunch of her, her dowry money and transfers this to essentially a teenager he met a month ago. The purchase of this incredibly expensive violin attracted, it attracted the attention of the press internationally, but journalists It's never really questioned the fact that this, this gift was given to a young woman by a, by an established family man. So everyone was just like, Oh, isn't it amazing? Because normally in this circumstance, people don't often give the instrument. You buy it as an investment and you'll lend it to someone. I think I've heard of like very few, very few cases of things being gifted, but actually normally your standard practice is to, to lend it to people. And most people playing on strads, that's, that's what it is, someone's lent it to them. How would you feel about someone giving a 300, 000 instrument to your daughter, who's a teenager? Well, I'd be, I mean, I'd just hate the sort of obligation that would involve, because On one hand, it is a very wonderful gift if it is a gift, but you almost expect that  there is some expectation in return, don't you? Yeah. It's like he's bought her almost.  Kind of.  So, Einar, as, as I mentioned, he's, he's from a well known Norwegian family. They're very patriotic. His father's writings really established a sense of pride and meaning to what it was to be Norwegian. And he was. Like his father was this beloved figure in the country and he was quite frankly a hard act to follow. But his children gave it a good shot.  You have Einar was one of five children. His father Bjornstein Bjornsson was the poet and public figure. He worked in a theatre. His mother was an actress when he'd met her. Which is a little bit risque also for the time. So they're a bit more of sort of an acting bohemian theatre family. His older brother Bjorn Bjornsson, just to be complicated here, his brother's called Bjorn Bjornsson.  And not to be confused with Bjornstein Bjornsson, his father. So he was a stage actor and a theatre director.  Like his dad. He was a playwright and he was the first theatre director of the National Theatre. And that was the big theatre in Oslo where Kathleen played. He was also quite busy in his personal life, because his first wife was Jenny Bjornsson. I mean, another Bjornsson. Boarding house owner. So he married her for four years. So this is Einars older brother. He married her for four years, then he divorced her, then he married an opera singer. Called Gina Oselio for 16 years, but then he, they, they got divorced, and then he married in 1909 Aileen Bendix, who was actually Jewish, and that's an important point, that she was Jewish, because at this time, things are kind of soon things will start heating up in Europe. And then he was, then there was Einar's younger brother called Erling Bjørnson, and he was a farmer and a politician for the Norwegian Far Right Party. So he was extreme right. Bit of a fascist. The other brother. So he was elected to the parliament of Norway and he was very active during World War II. So his two brothers have very, like, polarized opinions. Einar himself, he was a passive member of the far right party, but during the war years at that time that was the only party that people were allowed to be part of, so you can't, it's hard to tell his political leanings from that. Then he has a younger sister.  Bergliot Bjornson, and she was a singer and a mezzo soprano, and she was married to a left wing politician Sigurd Ibsen, who was, he was the son of a playwright, and he becomes the Norwegian Prime Minister, so he plays a central role in Norway getting its independence. He met Einar's sister because he's a big patriot. Einar's father is a big patriot and that's how they were kind of family friends. It's not bad, you know, having your husband as the prime minister. Then he has another little sister called Dagny Bjornson and she was 19 when she marries a German publisher called Albert Langdon and so they're sort of like leftish as well. So Einar, he marries the sister of Albert Langdon. So they have this joint brother sister wedding. On the same day, the Bjornson brothers sisters marry the Langdon brothers sisters. But, the important thing to know is that the Langdons are very, very wealthy. They're orphans and they, they've inherited a lot of money. And so, but then Dagny, she ends up leaving her husband. Goes to Paris and works at another newspaper. And this is all in the, you know, the early 1900s.  So she had this amazing life and then and then she marries another man, a French literate called Georges Sartreau well he comes also from a very wealthy family. Then you have Einar, who's a businessman, and he marries Elizabeth and they have two children, and his life is like not that remarkable. I think the most exciting thing he does is fall in love with Kathleen, I suppose, and sort of runs after her and her violin. From Kathleen's diaries, we can see the day after this concert in Oslo on the 10th of January, it's written 10th January, Mr Bjornson, 11;30am She meets with him the day after skiing and tobogganing with the Bjornsons. She has a concert the next day, but the day after that it's dinner with the Bjornsons, then another concert. And then she plays for the King. Then she goes to dinner with the Bjornsons. So this is just an excerpt from her diary for those weeks. And the next day, it's just Mr. Bjornson. That's just her meeting him not with the family. And maybe this is where he says, you know, I'll get you a violin. Maybe that was that meeting. And then on the 28th of February, she's in Germany and, and he's there. Einar is there. He goes to see her. Then on the 6th of March, she's in Amsterdam and in her diaries, you know, Mr Bjornson, he's there. He's kind of like, I don't know if this is creepy. He's following her around and then, and it's around about this time that he buys the violin for her. So she finishes her tour and she goes back to England and a month later in her diary, who rocks up?  I know, he's there.  In England, and she's still only 17 there. It's like he's kind of shadowing her a bit. Yes, it's that next level patronage.  And then there's the, the aesthetic at the time, the, the pre-Raphaelite willowy type woman, which she fits perfectly into. And Kathleen, if you, if you see Kathleen, it's kind of like. John William Waterhouse, his paintings. There's women in these long flowy robes with flowers in their hair and long willowy postures and, they're often like, you know, they're flopping about on something like a chair or there's this one holding this pot of basil. And there's that famous painting, The Lady of Shalott, where you've got this woman float, is she, is she dead? She's floating in the water with her hair and, and all this fabric and flowers and.  In a promotional article, there was this quote from a review in the Evening Sun. “Kathleen Parlow, tall, straight, slim, and swaying as the white birch sapling of her native Canada, but a spring vision, but a spring vision all in pink from her French heels to her fiddle chin rest and crowned with parted chestnut hair of a deeper auburn than any Stradivarius violin made an astonishing impression of masterful ease”. I don't know if men were described like this, but they loved her. She's like a white birch.  Well she's very slender, she had beautiful long hair she was very thin, very fragile, and I think she sort of exemplified this pre Raphaelite beauty basically and that was so enchanting to have someone who  was almost from another world playing the violin divinely. I think she must have cut an incredibly attractive image  for the day. Absolutely. Yeah. And then she would have been like playing these like incredible romantic pieces. It would be juxtaposed with her playing. Yeah. And yeah. Yes. So she was this real William Waterhouse figure with her violin.  So she's lithe and willowy, and she has her touring schedule, which was phenomenal. She, so she tours England, Finland, Belgium, Germany, Poland, Denmark, Sweden, Norway. Just to name a few. It just kind of stopped after that. It was just never ending. And you have to remember it's the beginning of the 20th century,  and traveling, it's not like it is today. It was much more. Uncomfortable. I mean, it's incredible. You see one day she's in one country, the next day in another country. So this must have been quite fatiguing. And she's just playing night after night. Her mother, Minnie, she's her, she's, they're quite close. She's, and often like with these, with prodigies, often their parents. They're best friends, like they're the only constant in their life. So in the summers, she returns to Oslo every year for the summer school hour that's helping her for the next concerts. She spends quite a lot of time with Halverson, going to lunches and teas and rehearsals with him. You can see this in her diaries.  But is this, is this kind of the life of a musician as well? Like you have to, you have to go to a lot of teas and lunches with people to please patrons and so on. Yes, I think you do because musicians don't normally have much money and so to ingratiate themselves to patrons and sponsors they really had to coax them into help Yeah, because she's living this life sort of beyond her means, going to the theater, going to concerts and things, and sort of a balancing act. Back in Norway, and a week after she turns 18, there's an entry in her diary, play for Mr. Bjornson, and the next month her entries, they change slightly, and she'll now just call him E. B. For Einar Bjornson and the entries will say things like E. B. arriving and then often like a week later It's E. B. leaving and in her diaries, it's intermittently always though he'll be there for a week wherever she is often in England or and every few months He'll just pop up, you know in London in Germany in the Netherlands And he just always happens to be happens to be there and what's interesting is she has these hundreds of letters archived Of her writing to friends, to family, to her pianist. And it's really interesting that there's zero letters to Einar. There's no correspondence between them, which I think is maybe on purpose, they may be, they have to have been removed because she just writes letters to everyone, but we don't have these, any letters from them, so it just leaves things up to speculation. This brings us to the end of part one in the story of Kathleen Parlow. I would encourage you to keep listening to the music of Kathleen. To do this, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify, or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version. I hope you have enjoyed her story so far, but stick around for part two to find out what will happen with her career, the violin, the man who gave it to her, and the mystery behind a missing concerto that Kathleen would, in part, help solve after her death.  Goodbye for now.   ​ 

In the late 1600s and early 1700s a half-literate Italian craftsman named Antonio Stradivari designed and made a series of beautiful musical instruments. Today, those violins, named after the Latinized form of his name, Stradivarius, are considered priceless. In 2010, a Stradivarius was purchased for $3.6 million. It is believed there are only around five hundred of them still in existence, some of which have been submitted to the most intense scientific examination in an attempt to reproduce their extraordinary sound quality. But no one has been able to replicate Stradivari's craftsmanship. Today we do know that Stradivari used spruce for the top, willow for the internal blocks and linings, and maple for the back, ribs, and neck. He also treated the wood with several types of minerals, including potassium borate, sodium and potassium silicate, as well as a handmade varnish that appears to have been composed of gum arabic, honey, and egg white. But the genius craftsman never once recorded his technique for posterity. Instead, he passed on his knowledge to a number of his apprentices through what one scholar called "elbow learning." The apprentices of the great Stradivari didn't learn their craft from books or manuals but by sitting at his elbow and feeling the wood as he felt it to assess its length, its balance, and its timbre right there in their fingertips. All the learning happened at his elbow, and all the knowledge was contained in his fingers. As Jesus begins his ministry of announcing the good news about the Kingdom of God, the very first thing that he does is find some apprentices, you would know them as disciples. Here is how he invites one third of his disciples into their apprenticeship. "Follow me, and I will make you become fishers of men." ~ Mark 1:17 We learn a lot from Jesus' strategy for growing the Kingdom; it's more then just announcing good news. The Kingdom strategy for expansion is about finding apprentices/disciples and inviting them to engage in some "elbow learning". Who showed you how to be a Christian? Was it a parent or family member? A friend? Or was it a book you read, a class you took or a video you watched? What is clearly missing when it comes to living as a follower of Jesus is good, old fashioned, Stradivarian, "elbow learning". To discover more about Jesus' strategy for making "elbow learning" disciples, check out the lastest sermon from, Come, Follow, Me.

Antonio Stradivari, dit Stradivarius, est un célèbre luthier italien. Avec lui, le génie, ce n'est pas le violoniste mais l'artisan. Sur le millier de violons qu'il a fabriqués, 696 sont encore conservés, dont certains dans un état exceptionnel. Ses violons, synonymes d'excellence et de prestige, ont une valeur inestimable... Mais qu'ont-ils de si exceptionnels ? Du lundi au vendredi, Lorànt Deutsch vous donne rendez-vous dans la matinale de RTL. Chaque jour, l'animateur de "Entrez dans l'histoire" revient sur ces grands moments qui ont façonné notre pays.

O fabricante de violinos morreu há 286 anos.

El 18 de diciembre del año 1737 murió el famoso lutier italiano, Antonio Stradivari, en Cremona, Italia. Probablemente reconocido como el más celebre constructor de instrumentos de cuerda de la historia de la música.

Day 240 Today's Reading: Revelation 2 Famed classical cellist Yo-Yo Ma was in a rush to get from one side of Manhattan to the other for a quick appearance. So rushed that when he arrived at his destination, he paid his driver, exited the cab, and forgot to take his cello with him. He'd placed the cello in the trunk of the taxi. And the cello was priceless: handcrafted by Antonio Stradivari in 1733 in Vienna, Austria, valued at $2.5 million. Frantic, Ma began a desperate search, eventually finding the cab later that day parked in a garage in Queens—with the cello still in the trunk. Wow, talk about leaving something priceless inadvertently. In today's chapter, though, a church is accused of something more devastating—leaving their first love. Revelation 2 and 3 are messages from Jesus to seven churches. Not every message is encouraging. In fact, they are convicting even two thousand years later. The first church God speaks to is the church of Ephesus: “To the angel of the church in Ephesus write: The One who holds the seven stars in His right hand, the One who walks among the seven golden lampstands, says this: “I know your deeds and your toil and perseverance, and that you cannot tolerate evil men, and you put to the test those who call themselves apostles, and they are not, and you found them to be false; and you have perseverance and have endured for My name's sake, and have not grown weary. But I have this against you, that you have left your first love.” (Revelation 2:1-4) You have left your first love. A few years ago, I left my Kindle on a plane. I'd leaned it against the wall in the exit row by my seat. I was packing up my bag as we were landing and something said to me, Put that in your backpack. I didn't. I left a thousand books leaning against the wall of the plane. Let me be clear. I didn't lose it. I knew exactly where it was—seat 15C, flight #629 out of Atlanta. Lost has no idea where it is. Lost means it fell out of a pocket, a car, or a jacket. The church of Ephesus left something bigger and more massive than a thousand books. For all my life, I have heard the wrong word used in this verse, which makes all the difference about the church of Ephesus. It's a verse that if anyone has been in the church for any amount of time, they have probably said it, heard it, or even quoted it. I have always said, “You have lost your first love.” Not one version of the Bible puts “lost” in this verse. It is, “You have left.” Lost has the connotation of removing blame from the person, as in my “love for God” just got accidentally lost in the hustle and bustle of life. Let's be clear: Ephesus left it. Ephesus did not lose its first love. There is blame here. That's why they are not being challenged “to find it” but to repent for it. Repentance deals with responsibility. Ephesus is the only church to have two different apostles write letters to it. In the book of Ephesians, Paul offers two prayers for the church, that they might have more light and more love. This was one of the few places Paul stayed for a length of time (three years). The church of Ephesus was first pastored by Apollos. Timothy then became the pastor (the first epistle to Timothy was while he was pastoring the Ephesus church; see 1 Timothy 1:3). Later on, John pastored the church. It was while he was in Ephesus that John was exiled to Patmos. How do you lose your first love when your pastors were Apollos, Timothy, and John? How do you lose your first love when you had the apostle Paul hang with your church for three years? How do you lose your first love when you get two New Testament letters written to you? Two thoughts: First, Jesus says “you” left your first love. You means you have to take responsibility. It seems they fell in love with their successes and accomplishments—that's verses 2 and 3—but fell out of love with Jesus. This danger is subtle. What's interesting is that the apostle Paul warned the Ephesian people in Acts 20:28, “Be on guard for yourselves.” You, not demons, can be your worst enemy. Second, the word to leave is a process word. It means to let expire. We have to renew certain things—our driver's license, our insurance, subscriptions, etc. So too, our love for God will expire if we are not renewing it on a daily basis. On October 11, 1775, the whaling ship Herald was fishing just off Greenland when it spotted another ship. When it got closer, it saw that even though the ship was sailing, its sails were tattered and hanging limply on the masts. The captain ordered a few of his men to board the other ship. What they discovered shocked them. Everyone onboard the other ship, which they determined was the Octavius, a boat that had disappeared in 1761, was frozen to death. The ship had been sailing for fourteen years. Still moving, but no one alive. That's what happens when we keep doing things and let our love for Jesus expire. It wasn't renewed. It starts when our conversations with God reduce to being on a need-to-talk basis or a once-a-week basis. Time spent in prayer becomes based more on convenience. We will see God on Sunday but not any other day. My prayer is what Amy Carmichael prayed: “God hold us to that which drew us first, when the Cross was the attraction, and we wanted nothing else.”

For musician and radio producer, David Schulman, the violin can swing and sing like nothing else. Schulman recently travelled to the north of Italy to try and discover the original trees from which Antonio Stradivari made his masterpieces. It's a journey of surprise and delight.

Day 233 Today's Reading: 1 John 3 One of the greatest thrills for any violinist is to play a Stradivarius. Named for their creator, Antonio Stradivari, who meticulously handcrafted these rare violins, which produce an amazing sound. So you can imagine the excitement of acclaimed British violinist Peter Cropper when, in 1981, London's Royal Academy of Music offered him a 258-year-old Stradivarius to play during a series of concerts. But then the unimaginable happened. As Cropper walked onto the stage during a concert, he tripped and fell on the violin, breaking off the neck. Forget being embarrassed—he'd just destroyed a priceless masterpiece! Cropper was inconsolable about what he'd done and vowed to do whatever he could to make it right. He took the violin to a master craftsman in the vain hope that he might be able to fix it. A miracle happened, and the craftsman was able to repair it. In fact, he repaired it so perfectly that the break was undetectable—and the sound was exquisite. The Academy was gracious enough to allow him to continue using the rare instrument. And for the remainder of the concert series, as Cropper played, he was reminded of the fact that what he once thought irreparably damaged had been fully restored by the hand of a Master craftsman. Our lives are in continual repair by the Master. That repair work has a name: sanctification. And one day, these broken lives will be a Stradivarius to God. Sanctification is what happens between now and know, between being born again and Jesus' coming again. Here's what 1 John 3 says about now and know: “Beloved, now we are children of God, and it has not appeared as yet what we will be. We know that when He appears, we will be like Him, because we will see Him just as He is”(verse 2). Now is the condition we are in presently. The broken violin. Broken by sin. The Know—that's the end when all the repairs are done, and we will be like Jesus. In between? That's the repair process called sanctification. We can compare the process of sanctification to an iceberg, which is almost 90 percent underwater. As the sun shines on the iceberg, the exposed part melts, moving the lower part upward. In the same way, we are usually aware of only a small part of our sinfulness and need, which is all we can deal with at any one time. However, as the light of God's work in our lives changes us in the areas we know about, we become aware of new areas needing His work. So put simply, sanctification is God's continual working on me, getting me closer to looking like Jesus. It's a good work, but it isn't an easy work. As D. L. Moody once said, “I've had more trouble with D. L. Moody than any other man I know.” Devotional writer of the classic My Utmost for His Highest, Oswald Chambers, said this about sanctification: “[sanctification] will cause an intense narrowing of all our interests on earth, and an immense broadening of all our interests in God. Sanctification means intense concentration on God's point of view. It means every power of body, soul, and spirit chained and kept for God's purpose only.” And F. F. Bruce speaks about the work of sanctification between now and know as imperative: “Those who have been justified are now being sanctified; those who have no experience of present sanctification have no reason to suppose they have been justified.” Nineteenth-century writer J. C. Ryle even takes it to a new level when he says: “The faith which has not a sanctifying influence on the character is no better than the faith of devils. It is a ‘dead faith, because it is alone.'” My favorite book of C. S. Lewis's Chronicles of Narnia series has always been The Voyage of the Dawn Treader. At one point in the book, the irritating antagonis

Girolamo II Amati was the last of the Amati family of violin makers in Cremona. He worked along side Antonio Stradivari and the Guarneri family in an intense moment of violin making and musical discovery at the time. Listen to how he fits into the story of the violin and turns out to be more that what he is (or not) remembered for.

The Strad violin is noted for its tonal qualities and superior craftsmanship. And for its price tag. There are many theories why the Strad sounds so great, from the wood to the lacquer, to the simple fact that Antonio Stradivari was really good at what he did. Rosin up your bow and take a listen to this classic episode.See omnystudio.com/listener for privacy information.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Antonio Stradivari.

Historiquement Vôtre réunit 3 personnages qui ont sorti les violons : Antonio Stradivari, le luthier le plus célèbre du monde, qui a sorti des violons par centaines de son petit atelier de Crémone en Italie. De célèbres instruments qui portent son nom depuis, le Stradivarius. Puis, lui aussi a associé son nom au violon, qu'il pratiquait par passion : le peintre Jean-Auguste-Dominique Ingres et son violon… d'Ingres ! Et le violoniste français qui a choisi, lui, de jouer avec un Guarneri de 1737, sur les scènes du monde entier : Renaud Capuçon.

Historiquement Vôtre réunit 3 personnages qui ont sorti les violons : Antonio Stradivari, le luthier le plus célèbre du monde, qui a sorti des violons par centaines de son petit atelier de Crémone en Italie. De célèbres instruments qui portent son nom depuis, le Stradivarius. Puis, lui aussi a associé son nom au violon, qu'il pratiquait par passion : le peintre Jean-Auguste-Dominique Ingres et son violon… d'Ingres ! Et le violoniste français qui a choisi, lui, de jouer avec un Guarneri de 1737, sur les scènes du monde entier : Renaud Capuçon.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Antonio Stradivari.

Die Maus zum Hören - Lach- und Sachgeschichten. Heute: mit besonderen Geigen, Ole im Plattenladen, Jimmy Böndchen, mit Marie und natürlich mit der Maus und dem Elefanten. Von Marie Güttge.

Welcome to December 13, 2022 on the National Day Calendar. Today we celebrate fancy fiddles and the convenience of cocoa.  Antonio Stradivari crafted about 1,100 stringed instruments during his lifetime. Today, they are amongst the most rare and valuable but none more so than The Messiah. This violin built in 1716 has the quality of being nearly new, though perhaps it's because no one is allowed to play it. Valued at over 20 million dollars, The Messiah was reportedly played in a London shop by Nathan Milstein in the 19th century. He described it as an unforgettable experience. Today the instrument resides in the Ashmolean Museum in Oxford as a shining example for repairing other Strads. Though the jury is out on which instruments produce the sweetest sound, celebrate National Violin Day, with your own appreciation of the classics.  Thousands of years ago the process of making hot chocolate was long and tedious. Aztecs roasted the fruit of the cacao tree and ground it with water, chilies and sometimes corn. The drink was prized for its effects and soldiers even drank several cups before battle. Though the recipe changed over the years, the tradition carried on and hot cocoa was even given to troops during the Revolutionary War as medicine and wages. Thanks to a Dutch chemist who separated out the cocoa butter, the powder could be mixed for a handy, packable drink. On National Hot Cocoa Day, celebrate this cold weather fix with some whipped cream or marshmallows.  I'm Anna Devere and I'm Marlo Anderson. Thanks for joining us as we Celebrate Every Day. Learn more about your ad choices. Visit megaphone.fm/adchoices

Il y en a seulement 26 dans le monde. 26 violons d'exceptions parmi les centaines d'instruments fabriqués par le luthier Antonio Stradivari entre le XVIIème et le XVIIIème siècle, dans son atelier de Crémone en Italie. Leur particularité ? Ils sont entrés dans la légende pour avoir été joués par de grands instrumentistes et possèdent chacun leur surnom.L'un d'entre eux, appelé “Lauterbach” et que l'on croyait disparu, vient peut-être de réapparaître. L'instrument, fabriqué en 1719, était introuvable depuis l'été 1944, date à laquelle il avait été subtilisé par les nazis à Varsovie. Un collection, qui soupçonne l'un de ses violons d'être le fameux Lauterbach, a missionné cette année l'association française Musique et Spoliations pour l'authentifier. Pour Code source, Yves Jaeglé, journaliste au service Culture du Parisien, raconte son voyage en Pologne avec l'association Musique et Spoliations, sur les traces de ce stradivarius extrêmement rare.Ecoutez Code source sur toutes les plateformes audio : Apple Podcast (iPhone, iPad), Google Podcast (Android), Podcast Addict ou Castbox, Deezer, Spotify.Crédits. Direction de la rédaction : Pierre Chausse - Rédacteur en chef : Jules Lavie - Reporter : Ambre Rosala - Production : Raphaël Pueyo, Clara Garnier-Amouroux et Thibault Lambert - Réalisation et mixage : Julien Montcouquiol - Musiques : François Clos, Audio Network, Epidemic Sound - Identité graphique : Upian. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

E, ricordate sempre, a can che lecca CENERE, non gli fidar farina! | Libro:Me -> C'è chimica in casa. La scienza quotidiana che ti migliora la vita - Ruggero Rollini |Pi -> Fahrenheit 451 - Ray Bradbury || Canzone:Me -> This Will Be (An Everlasting Love) - Natalie Cole -> https://spoti.fi/3ehOTCW |Pi -> Fumo e cenere - Finley -> https://sptfy.com/LPoK || Film:Me -> Cenere - diretto da Febo Mari |Pi -> Mulan - diretto da Tony Bancroft e Barry Cook |Siamo su• Facebook: https://www.facebook.com/parlandompodcast• Instagram: https://www.instagram.com/parlandom_podcast/• Telegram: https://t.me/parlandom• Playlist Spotify: Parole d'Autore - Canzoni random del Parlandom Podcast -> https://spoti.fi/3zoBO2p Puoi recensirci da telefono su Spotify, oppure su: https://podcasts.apple.com/it/podcast/parlandom-parole-random/id1508896821| Fonti: https://it.wikipedia.org/wiki/Antonio_Stradivari, https://youtu.be/2-bLP7VT368, https://www.fattoincasadabenedetta.it/consigli-furbi/pulire-con-la-cenere/#:~:text=Bisogna%20organizzarsi%20cos%C3%AC%3A%20prendere%20due,tanto%20in%20tanto%20la%20spugna, https://www.treccani.it/vocabolario/cenere/, https://it.wikipedia.org/wiki/Cenere_(romanzo), https://blog.lasaponaria.it/sapone-con-la-cenere, https://blog.rubinetteria.com/sapone-con-la-cenere-benefici-e-come-fare/, https://www.mondadori.it/libri/ce-chimica-in-casa-ruggero-rollini/, https://www.imdb.com/title/tt0356470/soundtrack || Sigla: Whiskey Blues - Ilya Truhanov - https://icons8.com/music/author/ilya-truhanov-1

Welcome to Cremona - city of the violin. These Italian streets are brimming with horse hairs, varnish and chiselled wood. The central square is lined with storefronts displaying beautifully handcrafted wooden instruments. Braimah Kanneh-Mason, concert violinist and member of the musically gifted Kanneh-Mason family, travels to where the Stradivarius was born. Braimah learns about the techniques used to replicate the world's most famous stringed instruments in the workshop of world-class violin maker Daniele Tonarelli. It was in Cremona, 500 years ago, that Andrea Amati was credited with inventing the “modern” violin. In his footsteps came the likes of Nicola Amati, Guarneri “del Gesù” and, most famously, Antonio Stradivari, who all perfected their craft in this northern Italian city. Daniele is the latest in a long line of Cremonese luthiers. Braimah gets a taste of the age old recipe that created these musical masterpieces hundreds of years ago. It is still used today. Daniele shows Braimah his newest violin – just 20 days old. How does this youthful instrument feel in the young violinist's hands, and – more importantly – how does it sound? Are today's Cremonese luthiers living up to the legacy the great violin makers left behind?

La última venta de un violín fabricado por  Antonio Stradivari ha ascendido a 14,5 millones de euros. Son míticos por su sonido, pero hasta los musicólogos reconocen que ese precio tiene poco que ver con la música y mucho con la especulación generada en torno a un instrumento que el mercado trata como una obra de arte.

The Australian Chamber Orchestra has been granted one of the world's most precious instruments, a 'Golden Age' violin, made in 1732 by the master craftsman Antonio Stradivari. ACO Principal Violin Helena Rathbone is touring with this incredible piece of history for the orchestra's Bach concerts and joined us, Strad in hand.

Oggi parliamo di Antonio Stradivari, un leggendario liutaio e artigiano italiano. Tra la fine del 1600 e l'inizio del 1700 Stradivari ha costruito molti strumenti a corda come violini, viole e arpe. Oggi viene considerato come uno dei migliori liutati di sempre.Contenuti⏱️ 01:10 Prima parola: liutaio (nome)⏱️ 02:02 Seconda parola: legno (nome)⏱️ 02:38 Terza parola: allievo (nome/agg)⏱️ 04:00 Andrea Amati a Cremona⏱️ 05:39 Antonio Stradivari⏱️ 06:52 I violini Stradivari sono veramente eccezionali?⏱️ 08:50 Perché questi violini sono eccezionali?⏱️ 10:15 Le parole in contestoVideo

There have been many famous violinists . . . far fewer famous luthiers – the master craftsmen who made the great violins. Among the few was Antonio Stradivari – and there's not a violinist alive who's never heard of a Stradivarius. Today on A NEW BEGINNING, Pastor Greg Laurie points out, whether we play an instrument, whether we make an instrument, or just listen to instruments, we can all BE an instrument in the hand of God. And we'll learn to serve God with the passion of a Stradivari. Listen on harvest.org --- Learn more and subscribe to Harvest updates at harvest.org. A New Beginning is the daily half-hour program hosted by Greg Laurie, pastor of Harvest Christian Fellowship in Southern California. For over 30 years, Pastor Greg and Harvest Ministries have endeavored to know God and make Him known through media and large-scale evangelism. This podcast is supported by the generosity of our Harvest Partners. Support the show: https://harvest.org/support See omnystudio.com/listener for privacy information.

There have been many famous violinists . . . far fewer famous luthiers – the master craftsmen who made the great violins. Among the few was Antonio Stradivari – and there's not a violinist alive who's never heard of a Stradivarius. Today on A NEW BEGINNING, Pastor Greg Laurie points out, whether we play an instrument, whether we make an instrument, or just listen to instruments, we can all BE an instrument in the hand of God. And we'll learn to serve God with the passion of a Stradivari. Listen on harvest.org --- Learn more and subscribe to Harvest updates at harvest.org. A New Beginning is the daily half-hour program hosted by Greg Laurie, pastor of Harvest Christian Fellowship in Southern California. For over 30 years, Pastor Greg and Harvest Ministries have endeavored to know God and make Him known through media and large-scale evangelism. This podcast is supported by the generosity of our Harvest Partners. Support the show: https://harvest.org/support See omnystudio.com/listener for privacy information.

Et quel violon ! C'est un stradivarius, fabriqué en 1714 par le légendaire luthier italien Antonio Stradivari. Acheté par Le virtuose russe Toscha Seidel en 1924, il est d'une valeur estimée aujourd'hui entre 16 et 20 millions de dollars. Pourquoi un tel prix ? Pour son formidable état de conservation d'une part, mais surtout pour le mystère qui plane autour. Après sa fabrication par Stradivari, il disparait pendant près d'un siècle et demi pour ne réapparaitre qu'en 1861. Personne ne sait où il a trainé durant tout ce temps-là. Un violon qui cache beaucoup de secrets mais dont le son ne vous est pas inconnu pour autant puisque Toscha Seidel en a joué dans les BO de plusieurs grandes productions Hollywoodiennes de l'époque. Le Magicien d'Oz (version 1939) par exemple. Un violon aux multiples vies qui en commence bientôt une nouvelle, peut-être chez vous. Bref, connaître l'histoire de ce violon immortel, ça nous a donné envie de nous lever ce matin.Une chronique d'Armel Hemme et Sarah-Lou Bakouche pour Ce qui m'a donné envie de me lever ce matin. Notre politique de confidentialité GDPR a été mise à jour le 8 août 2022. Visitez acast.com/privacy pour plus d'informations.

Stradivarius is the Latinized last name of Antonio Stradivari, often regarded as history's greatest violin maker.

Antonio Stradivari est né à Crémone, dans le nord de l'Italie, en 1644. A douze ans, il rejoint l'atelier du luthier Andréa Amati. Il fabriquera des instruments à cordes jusqu'à sa mort, le 18 décembre 1737. Cet homme aura donc travaillé à parfaire son art durant plus de huit décennies. Eugène Ysaye: Solo Cello Sonata, Op.28 : II. Intermezzo – Poco allegretto e grazioso Merci pour votre écoute Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Sur le millier d'instruments fabriqués par Antonio Stradivari, 696 sont arrivés jusqu'à nous. Parmi eux, 63 violoncelles. Dont le De-Munck-Feuermann, fabriqué en 1730, aujourd'hui en possession de Camille Thomas. Après être probablement passé entre les mains des marchands de l'époque (Alessandro Cozio di Salabue et Luigi Tarisio), le violoncelle arrive à Paris par l'intermédiaire d'un prestigieux luthier français : Jean-Baptiste Vuillaume. Et parvient enfin chez Auguste-Joseph Franchomme, violoncelliste et intime de Frédéric Chopin. Jean-Sebastien Bach: Suite No.1 in G Major BWV1007. :I. Prelude Frédéric Chopin: Sonate pour violoncelle et piano – III. Largo Auguste Joseph Franchomme: No. 7 In C Minor – Allegro Agitato Merci pour votre écoute Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Marco Ghizzoni"Violino"Luci e ombre su StradivariOligo Editorehttps://www.oligoeditore.it/Marco Ghizzoni, tra gli autori cremonesi più significativi della generazione anni '80, offre un profilo insolito e a tratti oscuro del più grande liutaio di tutti i tempi – Antonio Stradivari – attivo a Cremona nel corso del XVIII secolo. La figura di Stradivari mantiene ancora oggi contorni sfumati e avvolti dal mistero: ad esempio, non si conoscono né il luogo né la data esatta della sua nascita, né tantomeno le cause della sua morte. I segreti intorno al grande liutaio hanno alimentato il mito con elementi inventati e leggendari, come quello inerente al presunto furto del suo cranio. Il testamento, scoperto solo nel 1999, racconta di un uomo autoritario, assai lontano dall'immagine romantica dell'artista sensibile e disinteressato, onnipresente nella vita privata degli undici figli e abilissimo negli affari, tanto da lasciare una grande eredità che – ironia della sorte – sarà la causa principale della dispersione dei suoi capolavori.Marco Ghizzoni è nato a Cremona, dove vive, nel 1983. Ha pubblicato romanzi con Guanda e con Tea, questa è la sua prima raccolta di racconti. Quando non scrive, lavora nel settore commerciale di una multinazionale tedesca.Per Oligo Editore ha pubblicato "Il muro sottile. Dieci racconti".IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Many music aficionados will tell you that violins and violas made by legendary craftsman Antonio Stradivari represent the pinnacle of the instruments. But what if it's all just an example of really good branding? | Subscribe to our weekly newsletter here.

Die Sendung mit der Maus - Lach- und Sachgeschichten zum Hören. Heute: mit besonderen Geigen, Herrn Lauderbach, mit Nina und natürlich mit der Maus und dem Elefanten.

Contributing Correspondent Lizzie Wade joins host Sarah Crespi to discuss fossilized footprints left on a lake shore in North America sometime before the end of Last Glacial Maximum—possibly the earliest evidence for humans on the continent. Read the research. Next, Paolo Cherubini, a senior scientist in the dendrosciences research group at the Swiss Federal Institute for Forest, Snow and Landscape Research, discusses using tree rings to date and authenticate 17th and 18th century violins worth millions of dollars. Finally, in this month's installment of the series of book interviews on race and science, guest host Angela Saini interviews Alondra Nelson, professor in the School of Social Science at the Institute for Advanced Study, about her 2016 book The Social Life of DNA: Race, Reparations, and Reconciliation After the Genome. Note on the closing music: Violinist Nicholas Kitchen plays Johann Sebastian Bach's Chaconne on the violin “Castelbarco” made by Antonio Stradivari in Cremona, Italy, in 1697. Courtesy of the U.S. Library of Congress.  This week's episode was produced with help from Podigy. [Image: Bennet et al., Science; Music: Jeffrey Cook] [Alt text: human footprints preserved in rock] Authors: Sarah Crespi; Lizzie Wade; Angela Saini See omnystudio.com/listener for privacy information. See omnystudio.com/listener for privacy information.

Contributing Correspondent Lizzie Wade joins host Sarah Crespi to discuss fossilized footprints left on a lake shore in North America sometime before the end of Last Glacial Maximum—possibly the earliest evidence for humans on the continent. Read the research. Next, Paolo Cherubini, a senior scientist in the dendrosciences research group at the Swiss Federal Institute for Forest, Snow and Landscape Research, discusses using tree rings to date and authenticate 17th and 18th century violins worth millions of dollars. Finally, in this month's installment of the series of book interviews on race and science, guest host Angela Saini interviews Alondra Nelson, professor in the School of Social Science at the Institute for Advanced Study, about her 2016 book The Social Life of DNA: Race, Reparations, and Reconciliation After the Genome. Note on the closing music: Violinist Nicholas Kitchen plays Johann Sebastian Bach's Chaconne on the violin “Castelbarco” made by Antonio Stradivari in Cremona, Italy, in 1697. Courtesy of the U.S. Library of Congress.  This week's episode was produced with help from Podigy. [Image: Bennet et al., Science; Music: Jeffrey Cook] [Alt text: human footprints preserved in rock] Authors: Sarah Crespi; Lizzie Wade; Angela Saini See omnystudio.com/listener for privacy information. See omnystudio.com/listener for privacy information.

Contributing Correspondent Lizzie Wade joins host Sarah Crespi to discuss fossilized footprints left on a lake shore in North America sometime before the end of Last Glacial Maximum—possibly the earliest evidence for humans on the continent. Read the research. Next, Paolo Cherubini, a senior scientist in the dendrosciences research group at the Swiss Federal Institute for Forest, Snow and Landscape Research, discusses using tree rings to date and authenticate 17th and 18th century violins worth millions of dollars. Finally, in this month's installment of the series of book interviews on race and science, guest host Angela Saini interviews Alondra Nelson, professor in the School of Social Science at the Institute for Advanced Study, about her 2016 book The Social Life of DNA: Race, Reparations, and Reconciliation After the Genome. Note on the closing music: Violinist Nicholas Kitchen plays Johann Sebastian Bach's Chaconne on the violin “Castelbarco” made by Antonio Stradivari in Cremona, Italy, in 1697. Courtesy of the U.S. Library of Congress.  This week's episode was produced with help from Podigy.

For the first time in history, 12 of the most wonderful violins ever made by the finest violin maker of all time, Antonio Stradivari (1644-1737), have traveled across the world for a ground-breaking new project with violin superstar Janine Jansen. The resulting album, 12 Stradivari, captures the individual characters of each instrument in specially curated music accompanied by Sir Antonio Pappano at the piano. 12 Stradivari – Tracklist:  Manuel de Falla: arr. Kreisler: Danse Espagnole from “La Vida Breve” Kreisler: Liebesleid Kreisler: Syncopation Heuberger arr Kreisler: Midnight Bells (after Der Opernball) Suk arr Jaroslav Kocian: Píseň láska (Liebeslied/Song of Love) Clara Schumann: Romance nr 1 from 3 Romances for Violin and Piano, Op.22 Robert Schumann: Fantasiestücke for clarinet (viola/cello) and Piano, Op.73 Vieuxtemps: Romance nr. 2 Désespoir from 3 Romances sans paroles, Op.7 Tchaikovsky arr. Auer: Tchaikovsky arr Auer: Arie des Lensky (from Eugene Onegin) Szymanovski: La fontaine d'Aréthuse from Mythes (No 1) for violin and piano, Op.30 Ravel trasc. Georges Catherine: Piéce en forme de Habanera Elgar: Sospiri, Op.12 Rachmaninov: Movt III (Andante) from Sonata for piano and cello Op.19 Tchaikovsky arr Auer: Mélodie for Violin and Piano, Op.42, No.3 Kern/Harbach: Yesterdays from “Roberta” Purchase the music (without talk) at:http://www.classicalsavings.com/store/p1392/12_Stradivari.htmlYour purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Ian Rankin, author of the Inspector Rebus crime novels, has recently completed a book left unfinished by the father of the ‘tartan noir' genre William McIlvanney who died in 2015. Ian explains how he pieced together the fragments and notes left by McIlvanney and wrote his own sections of The Dark Remains, a prequel to McIlvanney's Laidlaw series. He also reveals that the experience of working on the novel may mean a new lease of life for Rebus. With summer music festivals linked to spikes in Covid cases and new pilot data released from the Government's Events Research Programme, social psychologist Professor John Drury from the University of Sussex explains the risks posed by large crowds and the policy and behaviour changes he believes are needed to ensure live events can continue safely. For the first time in history, 12 violins made by the finest violin maker of all time, Antonio Stradivari, have travelled across the world to feature in a ground-breaking new album with violin player Janine Jansen. She joins Samira Ahmed to discuss the end result, as well as the film she made to accompany it. Operatic tenor Neal Cooper talks about singing both the roles of Tristan and Melot at last night's Prom performance of Wagner's Tristan and Isolde at the Royal Albert Hall, when Simon O'Neill who was cast as Tristan lost his voice after the second act. Presenter: Samira Ahmed Producer: Oliver Jones Main image: a crowd at a music festival

DescriptionMaybe you've heard of the famed violins by Stradivarius. But why are these violins so coveted? Take a minute to get the scoop!Fun FactWhat about the best-preserved Stradivarius? Tellingly nicknamed “the Messiah,” it sits in a climate-controlled case in the Ashmolean Museum in Oxford, England, receiving the kind of curatorial attention and care reserved for precious works of art.About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com 

Die Sendung mit der Maus - Lach- und Sachgeschichten zum Hören. Heute: mit einem Besuch bei einer Choreographin, besonderen instrumenten, mit André und natürlich mit der Maus und dem Elefanten.

Allein sein Name treibt heutzutage Dollarzeichen vor manch inneres Auge: Stradivari. Der Mann, der die berühmten Geigen gebaut hat, dessen Name für eine besondere Aura von Klang steht. Doch wer war dieser Antonio Stradivari eigentlich? Was wissen wir über ihn? Die in Bonn lebende Kunsthistorikerin und Autorin Alessandra Barabaschi gilt seit vielen Jahren als Expertin auf diesem Gebiet – und so manche Odyssee von Stradivari-Geigen hat sie aufklären können. Jetzt legt sie eine Biographie des berühmten Geigenbauers vor. Christoph Vratz hat sie gelesen.

Un día como hoy, 18 de diciembre: 1768, nace Marie-Guillemine Benoist. 1847, nace Augusta Holmès. 1859, nace Gloria Melgar. 1870, nace Hector Hugh Munro, Saki. 1879, nace Paul Klee. 1946, nace Steven Spielberg. 1737, fallece Antonio Stradivari. 1877, fallece Philipp Veit. Una producción de Sala Prisma Podcast. 2020

There have been many famous violinists and far fewer famous luthiers, the master craftsmen who made the great violins. Among the few was Antonio Stradivari. There's not a violinist alive who's never heard of a Stradivarius. Pastor Greg points out, whether we play an instrument, whether we make an instrument, or just listen to instruments, we can all BE an instrument in the hand of God. Learn to serve God with the passion of Stradivari. Support the show: https://harvest.org/resources/ See omnystudio.com/listener for privacy information.

Aquesta setmana ens aproximarem als instruments que va construir el lutier itali

In this special episode "Antonio Stradivari, and the Violin Makers of Cremona" we explore the lives of Cremona's greatest violin makers. Cremona's violin making tradition began with Andrea Amati in the mid-16th century, and lasted until the death of Giuseppe Guarneri "del Gesù" some two hundred years later. In between these two men came many remarkable makers from the Amati and Guarneri families, but the greatest of them all was Antonio Stradivari who rose far above his rivals to become the most celebrated violin maker of all time. --------------- Try nkoda! All the digital sheet music you could ever need right on one app. I use it for my own practice, in lessons, and when I just want something fun to play on the piano or guitar! https://www.nkoda.com ----------------- Subscribe on iTunes and give us a 5-star review! download our app! Visit and like our Facebook page! https://www.facebook.com/thegreatcomposerspodcast/?ref=bookmarks ----------------- All music heard in this episode is by Antonio Vivaldi: Concerto for 4 violins in B minor mvts. 1-4 (Modena Chamber Orchestra) Concerto in F minor “Winter” for violin, strings, and continuo mvts. 1-3(MCO) Concerto in D minor RV 565 (selections) (MCO) Concerto for Two Violins in A minor, RV 522 mvts. 1-3 ------------------------------ Suggested reading and a few resources: - "The Violin-Makers of the Guarneri Family" by W. Henry Hill, Arthur F. Hill, and Alfred Ebsworth Hill. Dover pub. - "Antonio Stradivari, His Life & Work" by W. Henry Hill, Arthur F. Hill, and Alfred E. Hill. Dover pub. - "Stradivari's Genius" by Toby Faber. Random House  - "The Violin, a Social History of the World's Most Versatile Instrument" by David Schoenbaum. W.W. Norton and Company - https://www.roger-hargrave.de/Seiten/english/Bibliothek/Bibliothek.htm - https://tarisio.com/cozio-archive/cozio-carteggio/the-young-stradivari/ - https://tarisio.com/cozio-archive/cozio-carteggio/guarneri-del-gesu-part-i-1698-1731/ - https://tarisio.com/cozio-archive/cozio-carteggio/andrea-amati-part-1/

Il 18 dicembre 1737 muore Antonio Stradivari, il liutaio più conosciuto al mondo. Stefano Pogelli lo racconta a WikiMusic

*WARNING: CONTENTS OF THIS EPISODE CONTAIN CHRISTMAS SPOILERS. NOT FOR CHILDREN* Join Albort as he explores the many incarnations of the most fantastical, generous, Coca-Cola loving character of the holiday season, Santa Claus; from Saint Nikolas of Myra to Sinterklaas of the Netherlands to Pere Noel of France to L. Frank Baum’s “Neclaus” and why the wife of the man in the “Ho-Ho-Tuxedo” doesn’t even have a first name! Learn how the Little Ice Age influenced the violins of Antonio Stradivari and the writing of Charles Dickens, which holiday song became the first to be broadcast from space, what Norwegian scientists suspect to be the cause of Rudolph’s shiny nose and how the “Father of the American Cartoon” changed American’s reception of Santa Claus, Abraham Lincoln, Ulysses S. Grant, Rutherford B. Hayes and Grover Cleveland.

En el programa de hoy de Anónimo IV hablaremos de Antonio Stradivari, el luthier más famoso de la historia, y también de sus violines, cuyo sonido es legendario. Analizaremos distintas teorías e hipótesis sobre porqué estos instrumentos son tan especiales. Además, en "Músicas Encadenadas" hoy nos visita Isidro Vidal, y hablaremos del Singspiel en "Estilos 101".

En el programa de hoy de Anónimo IV hablaremos de Antonio Stradivari, el luthier más famoso de la historia, y también de sus violines, cuyo sonido es legendario. Analizaremos distintas teorías e hipótesis sobre porqué estos instrumentos son tan especiales. Además, en "Músicas Encadenadas" hoy nos visita Isidro Vidal, y hablaremos del Singspiel en "Estilos 101".

This week, we're looking at perhaps the most famous instrument maker in history, Antonio Stradivari, maker of the legendary Stradivarius violins that are still sought after today! Music: https://imslp.org/wiki/Violin_Sonata_No.9%2C_Op.47_(Beethoven%2C_Ludwig_van) https://creativecommons.org/licenses/by-nc-nd/3.0/legalcode https://imslp.org/wiki/Violin_Sonata_in_D_minor%2C_Op.5_No.12_'La_Folia'_(Corelli%2C_Arcangelo) https://creativecommons.org/licenses/by-nc-sa/3.0/legalcode

Antonio Stradivari created instruments that have given the world their unique and rich sounds for hundreds of years. Author Tony Faber joined us to talk about Stradivari's enduring work. This episode was picked by KUER's newsroom managing editor Elaine Clark.

Stradivari built some of the finest and most famous instruments ever made, including the violins that bear his name.

What do you think of when you picture an artist?  Someone working away in their studio alone for hours on end?  Well, what about artisans throughout history – like Antonio Stradivari – who made his iconic Stradivarius violins in an Italian community?  Or the 29 scientists at the 5th Solvay Conference in 1927?  Community can […]

Join Chris & Rozie along with Ben Hebbert as we take listener questions. Do you want to go to violin making school? We discuss some great options. Do we think the violin will change over the next 100 years? What are some new technologies in the market? And we learned the difference between a fez and a thinking cap. Ben tells us where not to eat in Cremona. Special Guest: Benjamin Hebbert.

We talk to you! The community! Further discussion on one of Antonio Stradivari's other mysterious children, imposter syndrome, fake labels, and inappropriate jokes. Special shout out to: David Van Zandt, Rovert Weindl, Amanda N. Ewing, Sidney Wagner, Aleta Caraway Special Guest: Jerry Lynn.

David Fulton is one of the most important violin collectors in the world today. Here David shares his life story and the passion that drove him to seek out and preserve instruments made by such masters as Antonio Stradivari and Giuseppe Guarneri del Gesu.

Dr. Paolo Bodini is a physician. politician, and president of the Museo del Violino in Cremona, Italy, a city that is famous for having been the home of master violin makers Andrea Amati, Antonio Stradivari, and Guiseppe Guaneri. We visited Cremona in 2015 and sat down with Paolo to learn what inspired him to lead an effort to create a museum for the violin in Cremona and what we can learn about history, technology, and the love of these remarkable instruments and the people who make them.

A girl, play violin? Not too long ago, it just wasn’t done. These women did it. Then, they disappeared. In this episode, we set the stage for the violin in music, and meet four shining starlets of the early stage through the late Romantic Era – those wonderful women born in the late 1800s at the turn of the century –the pioneering pioneers in our evolving story… Ms. Maud Powell… Florence Austin, Florence Hardeman, and Vera Barstow. Podcast 1 Featured Violinists Maud Powell, Florence Austin, Florence Hardeman, and Vera Barstow. Other Mentions Andrea Amtai, Antonio Stradivari, Nicolo Armati, Henry Shradieck, Camille Urso, Ovdie Musin, Eugene Ysaye, Luigi Von Kunits, John Philip Sousa, William Lewis, Hanry Schradieck, Charles Dancla, and Joseph Joachim. Podcast 1 Music & Credits Maud Powell – Souvenir (Drdla), Polonaise Op. 38 (Vieuxtemps), Air-Have Pity, Sweet Eyes, Deep River (Coleridge-Taylor), Tambourin (LeClair), Bouquet American Op 33 St. Patricks Day (Vieuxtemps), Violin Concerto No 2 Op 22 Romance (Wieniawski), Violin Concerto No 7 in G (Arr) Allegro Maestro (Beriot), Zephyr (Blumenleben), La Boheme Potpouri/introduction, musetta’s waltz, Bright Eyes as Yours (Wieniawski) Devon Filo – Improvisation Smithsonian Institute Brass Band – Free and Easy Ralk Kirkpatrick – Sonata in G Major, K105 (Scarlatti) Billy Murray –  Over There (George M Cohan) Vera Barstow –  Ballet Music from Rosamunde (Schumbert-Kreisler), Viennese Popular Song-The Old Refrain (Transcribed by Fritz Kreisler) Bill Brown and his Brownies – Hot Lips (Brusse, Lange, Davis) ### About Ribbons & Bows  An exciting new podcast series from Elfenworks Productions, LLC “Ribbons & Bows ~ American Women in Violin History”  delves into the stories of dozens of pioneering American women who helped shape today’s robust violin scene.  These are fabulous tales of perseverance,  vision, and hope.   Why has so little been said about them, in history books, until today?  More importantly, won’t you please join us for an enchanting trip down memory lane as we call them back to us to tell their stories, ensuring they’ll never be lost in the mists of time?  You’ll love these brave and beautiful souls, as you share their experiences back in the days when little girls were not encouraged to play violin.  After all, who among us hasn’t felt like the odd one out, the person interested in trying something different, in going where they didn’t exactly fit in?  Ribbons & Bows… a Podcast Series with accompanying downloadable CD release from Elfenworks Productions, LLC,  expected in 2018.

La vita avventurosa e misteriosa di Antonio Stradivari a Cremona: è il contenuto di Stradivari-Genius Loci, che ci racconta qui il suo autore, Michele Ginevra.E poi: il consueto susseguirsi di notizie e fattarielli legati ai fumetti!Stay sviolinatamente tuned!

The Strad violin is noted for its tonal qualities and superior craftsmanship. And for its price tag. There are many theories why the Strad sounds so great, from the wood to the lacquer, to the simple fact that Antonio Stradivari was really good at what he did. Rosin up your bow and take a listen. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

The Strad violin is noted for its tonal qualities and superior craftsmanship. And for its price tag. There are many theories why the Strad sounds so great, from the wood to the lacquer, to the simple fact that Antonio Stradivari was really good at what he did. Rosin up your bow and take a listen. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

April 18, 2013. Top American instrument makers talk about the impressive results of a recent project to use modern technologies to copy the Library's superb Betts violin, from the Golden Period of master instrument maker Antonio Stradivari. Also, the debut performance of the Oberlin Betts violin, in comparison with the original Betts Stradivari violin, featuring violinists Claudia Chudacoff and Christopher Franke. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7236

Cremona in northern Italy is the home of the Stradivarius violin and 280 years after the death of the venerated violin maker, Antonio Stradivari , the long tradition continues today. In some 150 workshops around the city dedicated craftspeople make several thousand violins a year and they sell at high prices. Peter Day asks what the role is today of this kind of handwork in the age of mass production.

With Mark Lawson. Saving Mr. Banks dramatises the real-life story behind the creation of Disney film Mary Poppins, starring Emma Thompson as Poppins author P.L. Travers and Tom Hanks as Walt Disney. Sarah Crompton reviews. The Politician's Wife screenwriter Paula Milne talks about the inspiration behind her drama Legacy, a new Cold War thriller for BBC2, starring Romola Garai, Charlie Cox and Simon Russell Beale. Award-winning violinist Janine Jansen discusses her new album of Bach Concertos and her relationship with her instrument, the 'Barrere' by Antonio Stradivari (1727), which is on extended loan. Producer: Claire Bartleet.

Pulitzer Prize-winning composer George Walker discusses his music with his son, violinist Gregory Walker, and Nicholas A. Brown of the Music Division. Gregory Walker performs the the world concert premiere of George's Bleu, for unaccompanied violin (2012). Gregory's performance marks the debut of the Library of Congress' "Oberlin Betts," and exact copy of the Library's "Betts" violin by Antonio Stradivari, Cremona, 1704. This pre-concert presentation took place in conjunction with a performance of Walker's String Quartet no. 1 (1946) and Poem, for soprano and chamber ensemble (1986), based on T.S. Eliot's "The Hollow Men" by the Left Bank Concert Society. For captions, transcript, and more information visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=5967

Music of Robert de Visée performed on a guitar made by Antonio Stradivari in 1679, and on a lute made by Lorenz Greiff in 1610.

Italienischer Geigenbauer