Podcast appearances and mentions of Arnold Schoenberg

durée : 00:28:56 - Claire Désert, pianiste - Découvreuse de futurs talents, Claire Désert ne manque pas d'intuition. C'est d'ailleurs le thème qu'elle explore dans son nouvel album "Pressentiment", où la pianiste rassemble des œuvres nébuleuses de Leoš Janáček, Robert Schumann, Arnold Schoenberg et Johannes Brahms.

durée : 02:05:11 - Musique matin du lundi 21 avril 2025 - par : Jean-Baptiste Urbain - Découvreuse de futurs talents, Claire Désert ne manque pas d'intuition. C'est d'ailleurs le thème qu'elle explore dans son nouvel album "Pressentiment", où la pianiste rassemble des œuvres nébuleuses de Leoš Janáček, Robert Schumann, Arnold Schoenberg et Johannes Brahms. - réalisé par : Delphine Keravec

Some of you may not know this about me, but I'm a musician and an artist.I always loved art as a kid—from finger painting in my blue smock at my Little Tikes easel to coloring and tracing to the pastel class I took one summer. For a while, my answer to the question, “What do you want to be when you grow up?” was “An artist or illustrator.”Music was always there, too—singing and playing the piano, learning letter names as I learned the alphabet, and later, accompanying, teaching, performing, and arranging.At some point, I set art aside to focus on music. I still did craft projects from time to time, but I didn't consider myself an artist.Then, during the pandemic, I found myself drawn to it again. In between online lessons, baking Jim Lahey's No-Knead Bread, and reading through Mendelssohn's Songs Without Words, I watched online painting tutorials. I practiced mixing colors in an art app on my iPad. I ordered supplies and started painting tiny acrylic landscapes.Now, five years later, I have a dedicated art table in my home office. I have a somewhat regular artistic practice alongside my music work. I've found that painting is a different facet of my creativity, a new form of artistic expression. And I have to say, it makes me come alive—to embrace my creativity as a whole, to invest in multiple aspects of my creative self at once.And I'm not the only one. From Felix Mendelssohn to Arnold Schoenberg, Joni Mitchell to Miles Davis, many musicians have found painting to be another form of artistic expression that complements and informs their musical side.In this episode, I'm exploring what art is teaching me about music. Whether you consider yourself an artist or not, I hope this inspires you to think about all the different facets of your creative self—and how to embrace them in your work.For show notes + a full transcript, click here.Resources Mentioned*Disclosure: I get commissions for purchases made through some of these links.Songs Without Words (Mendelssohn)On the Spiritual in Art (1910) (Kandinsky)Pictures At an Exhibition (Mussorgsky)Clair de Lune (Debussy)“October,” Lyric Preludes (Gillock)Piano Mastery (1915) (Brower)“Waltz for Miles,” Portraits in Jazz (Capers)“Rainbow Colors,” Piano Safari Repertoire 2 (Hague)Prelude in C, Op. 11, No. 1 (Scriabin)My artistic processDaily Rituals: How Artists Work (Mason Currey)Join the Musician & Co. Book Club (it's free!)On Developing a Daily Ritual: Insights From Mason Currey's BookIf you enjoyed this episode, please leave a review in Apple Podcasts >>Find me on Instagram: @ashleydanyewWhenever you're ready, here are three ways we can work together:1️⃣ Need fresh teaching ideas? Schedule a quick 25-min. call and we'll brainstorm on a topic of your choice. Build an idea bank that you can pull from in the months to come.2️⃣ Have questions about teaching or managing your music career? Book a 60-min call and get personalized advice, creative ideas & step-by-step strategies on up to 3-4 teaching/business topics.3️⃣ Develop the skills and strategies you need to plan the year, refine your teaching methods, and manage your time more effectively with a suite of online courses and professional development trainings

La chronique musique de Frédéric Hutman

Viaxamos ao Berlín de fins do s. XIX, para descubrir algo máis sobre a Historia da Arte Contemporánea, seguindo a guia das obras seleccionadas polo grupo de Historia de Arte da CIUG para as probas PAU.  Obra: O grito, de Edvard Munch.  Serie: Historia da Arte Contemporánea, Historia da Arte, 2º de Bacharelato.  Músicas da sintonía (Creative Commons Attribution 3.0):District Four, de Kevin MacLeod (https://incompetech.com)Temptation March, de Jason Shaw (http://audionatix.com).  Música incluída neste episodio: (Creative Commons Attribution 3.0)Noite Transfigurada, de Arnold Schoenberg, na canle de Misha RachlevskyMáis recursos en: facemoshistoria.galEste pódcast está baixo a licencia CC BY-NC 4.0.

This week's episode of then & now is part of a series examining the effects of one of the most powerful and destructive natural disasters in U.S. history: the Los Angeles Wildfires. Co-sponsored by the L.A. History Collaborative— a new consortium of cultural institutions and historians committed to using the tools of history to assist in the reconstruction of the lives and stories of those deeply affected by the L.A. Wildfires—we sit down with E. Randol Schoenberg, an LA-based lawyer and genealogist, to discuss the lives and cultural property lost during this devastating event. As the grandson of Austrian-American composers Arnold Schoenberg and Erich Zeisl, both of whom emigrated to the U.S. to escape the terror of Nazism in Europe and subsequently settled in West L.A, Randy serves as a custodian of his family's historical legacy. Tragically, Randy's family not only lost several homes in the fires but also the entire inventory of sales and rental materials from Belmont Music Publishers, which included manuscripts, original scores, and printed works. The German-Jewish immigrant community has experienced significant cultural loss due to the wildfires, as the Pacific Palisades has historically served as a social hub for German-speaking cultural figures in the mid-twentieth century. In order to memorialize what has been lost, Randy underscores the necessity of recounting and documenting this critical history.E. Randol Schoenberg is an American lawyer and genealogist, based in Los Angeles, California, specializing in legal cases related to the recovery of looted or stolen artworks, particularly those by the Nazi regime during the Holocaust. Schoenberg is widely known as one of the central figures of the 2015 film Woman in Gold, which depicted the case of Maria Altmann against the government of Austria. He is also the subject of the 2023 genealogical documentary Fioretta.Further ReadingBelmont Music PublishersA treasure house of composer Arnold Schoenberg's music destroyed in Palisades fireAfter Nazi Plunder, A Quest To Bring Home The 'Woman In Gold'Villa Aurora

The queens talk with gay literary icon Edmund White about his new book, The Loves of My Life: A Sex Memoir. (Miguel Murphy joins in the fun, too!)Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series.James's ROMANTIC COMEDY is available from Four Way Books.                            Miguel's SHORE DITCH is available from Barrow Street.You can purchase Edmund White's new book, The Loves of My Life: A Sex Memoir, at BookWoman here. Bookwoman was founded to increase access to queer and feminist literature in Texas nearly fifty years ago. Read Colm Tóibín's essay, "On the Casual Brilliance of Edmund White"Read a tribute to Gary Indiana  in The Guardian here. Need a quick definition refresher of auto fiction? Here you go! Miguel mentions that composer Arnold Schoenberg's archive destroyed in LA fires, and you can read more about that here. Here's a dishy roundup of Nabokov's insults of DostoevskyFor a bit more about Larry Kramer's objections to The Farewell Symphony, read on.Learn more about Richard Howard and his poetry here. Edmund White and Michael Carroll talk about their relationship, and their experiences writing gay fiction here.And here's the Interview Magazine article we mention in the episode, in which gay writers ask Edmund White a question: “Tall Blonde With a Big Dick”: 18 Men Ask Edmund White Some Sexy Questions" Finally, check out the fabulous Garth Greenwell's website: https://www.garthgreenwell.com  

Un saludo queridos amigos y oyentes. Hoy completamos el pensamiento de Max con una interesante segunda parte. Resalto su convicción de que el cristianismo desacralizó, mortificó la naturaleza y la preparó a la investigación científica, por lo que no puede haber oposición entre fe y ciencia. 📗ÍNDICE 0. Resúmenes. 1. VIDA Y OBRA. 2. CRÍTICA DE KANT. 3. JERARQUÍA DE LOS VALORES MATERIALES. audio anterior >>> https://go.ivoox.com/rf/137905027 4. LA PERSONA. 5. LA SIMPATÍA, EL AMOR Y LA FE. 6. SOCIOLOGÍA DEL SABER. AQUÍ https://go.ivoox.com/rf/136448677 puedes escuchar una introducción a la Fenomenología. 🎼Música de la época: 📀 Variaciones para orquesta Op. 31 de Arnold Schoenberg, estrenada en diciembre de 1928, el mismo año en que falleció Scheler. 🎨Imagen: Max Scheler (Múnich -Reino de Baviera- 22 de agosto de 1874-Fráncfort del Meno -república de Weimar- 19 de mayo de 1928) fue un filósofo alemán conocido por sus trabajos sobre fenomenología, ética y antropología filosófica. 👍Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa ¡Muchas gracias a todos!

This week Dalanie and Katie discuss being bad at things. IN THIS EPISODE Video episodes are now available on YouTube! Subscribe here: https://www.youtube.com/@classicallyblackpodcast PURCHASE OUR MERCH!: https://www.classicallyblackpodcast.com/store JOIN US ON PATREON! https://patreon.com/ClassicallyBlackPodcast FOLLOW US ON SOCIAL MEDIA! https://linktr.ee/classicallyblack Donate to ISBM! https://fundraising.fracturedatlas.org/international-society-of-black-musicians Check out our website: https://www.isblackmusicians.com FROM LAST WEEK: Register for Notes Noire https://docs.google.com/forms/d/e/1FAIpQLSeN56JaI89cmwv5xDcLq889kE5eRvoBFsh_GRoBfAdkwbYM-A/viewform Vast Trove of Arnold Schoenberg's Music Is Destroyed in Fire (gift link) https://www.nytimes.com/2025/01/13/arts/music/arnold-schoenberg-scores-fire.html?unlocked_article_code=1.qk4.5MZ-.YX16flPAu8d1&smid=url-share New Study Reveals Young People Listen to More Orchestral Music Than Their Parents https://theviolinchannel.com/new-study-reveals-young-people-listen-to-more-orchestral-music-than-their-parents/ Black Excellence: Abel Selaocoe https://www.abelselaocoe.com/ Piece of the Week: Montgomery Variations? - Margaret Bonds https://www.youtube.com/watch?v=ereaXUDie-A

DescriptionArnold Schoenberg: The Maverick Composer with a Fear of 13 in 60 Seconds. Take a minute to get the scoop!Fun FactArnold Schoenberg's most famous piece, Pierrot Lunaire (1912), is a groundbreaking work blending atonal music with Sprechstimme—a vocal style between speaking and singing. Featuring a haunting mix of chamber instruments and surreal poetry, it redefined modern music, capturing the eerie, fragmented emotions of early 20th-century expressionism.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, 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 music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Un saludo queridos amigos y oyentes. Hoy comparto con vosotros la primera parte del pensamiento de Max Scheler, un filósofo nacido en Baviera en el siglo XIX y que hizo interesantes contribuciones en el campo de la ética, criticando con especial tesón a Kant. 📗ÍNDICE 0. Resúmenes. 1. VIDA Y OBRA. 2. CRÍTICA DE KANT. 3. JERARQUÍA DE LOS VALORES MATERIALES. AQUÍ https://go.ivoox.com/rf/136448677 puedes escuchar una introducción a la Fenomenología. 🎼Música de la época: 📀 Variaciones para orquesta Op. 31 de Arnold Schoenberg, estrenada en diciembre de 1928, el mismo año en que falleció Scheler. 🎨Imagen: Max Scheler (Múnich -Reino de Baviera- 22 de agosto de 1874-Fráncfort del Meno -república de Weimar- 19 de mayo de 1928) fue un filósofo alemán conocido por sus trabajos sobre fenomenología, ética y antropología filosófica. 👍Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa ¡Muchas gracias a todos!

Today I present to you the extraordinarily versatile, even chameleon-like singer and actor Marni Nixon (22 February 1930 – 24 July 2016), who is no doubt best-known today as the so-called “Ghostess with the Mostest.” Born into a musical family in California, she became involved from an early age with the movies, and by a marvelous set of circumstances became The Voice for a number of Hollywood actresses not known for their singing voices. Her skill in matching the vocal and speech characteristics of each of these performers is exceptional, but she was so much more than that. She pioneered the work of many 20th century giants, including Igor Stravinsky, Arnold Schoenberg, Charles Ives, and Anton Webern. She hosted a local Seattle children's television program called Boomerang that netted her four Emmy Awards. She performed on opera stages and concert platforms around the world. She recorded widely, everything from Mary Poppins to Pierrot Lunaire, and in the mid-1970s was the first singer to perform and record Schoenberg's cabaret songs, his so-called Brettl-Lieder, works that are now standard repertoire. Reminiscences of Marni are provided by my good friend Thomas Bagwell, currently a coach and conductor at The Royal Danish Opera in Copenhagen, who was a colleague and good friend of Marni Nixon's for the last 25 years of her life. This episode features a cross-section of this stunning artist's extensive recorded output, recorded over six decades, including repertoire from Webern to Rodgers and Hammerstein. In between we have examples of Nixon's performances of songs by Schoenberg, Stravinsky, Debussy, Ives, Fauré and her former husband Ernest Gold; concert and song repertoire by Villa-Lobos, Boulez, Castelnuovo-Tedesco, Copland, and Gershwin; plus a few outliers, from a live performance of Korngold's Mariettas Lied to the jazzed-up exotica of Buddy Collette's Polynesia to Mr. Magoo's Mother Goose Suite, not to mention a spoonful of Mary Poppins. Overall, “It's a Jolly ‘Oliday with Marni!” Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Chapter 1 What's Arnold Schoenberg by Charles Rosen"Arnold Schoenberg" by Charles Rosen is a comprehensive exploration of the life and works of the influential composer Arnold Schoenberg, a key figure in 20th-century music. Rosen elaborates on Schoenberg's innovative contributions, particularly his development of the twelve-tone technique, which revolutionized compositional approaches and aesthetics. The book delves into Schoenberg's artistic philosophy, examining his relationships with other composers and his impact on modern music. Additionally, Rosen discusses specific works, providing an analysis that highlights Schoenberg's unique style and his place in the historical narrative of classical music. Through this examination, readers gain insights into Schoenberg's complexities as both a person and an artist, illustrating how his experiences shaped his creative output.Chapter 2 Arnold Schoenberg by Charles Rosen Summary"Arnold Schoenberg" by Charles Rosen is a comprehensive exploration of the life, music, and impact of one of the 20th century's most influential composers. The book highlights Schoenberg's revolutionary contributions to music, particularly his development of the twelve-tone technique, which transformed compositional methods and aesthetics.Rosen delves into Schoenberg's early life in Vienna, where he was exposed to various musical influences, including late Romanticism and early modernism. He discusses Schoenberg's evolution as a composer, his move from traditional tonal music to atonality, and the philosophical underpinnings of his work. The author meticulously analyzes Schoenberg's major compositions, providing insights into their structure, emotional depth, and innovative use of harmony. He also addresses Schoenberg's role as a teacher and mentor, influencing a generation of composers who followed, including Alban Berg and Anton Webern.Rosen does not shy away from the controversies surrounding Schoenberg's music, including its reception by audiences and critics, and the challenges of promoting atonal music in a predominantly tonal landscape. The book presents a nuanced view of Schoenberg as both a radical innovator and a deeply introspective artist, exploring his struggles with identity, faith, and the role of the artist in society.In summary, Charles Rosen's work on Arnold Schoenberg is both a biographical account and a critical analysis, capturing the essence of a composer whose music remains a profound and challenging part of the canon of modern classical music.Chapter 3 Arnold Schoenberg AuthorCharles Rosen was a distinguished American pianist, musicologist, and author, widely recognized for his contributions to the understanding of classical music and its history. He was born on March 5, 1927, and passed away on December 9, 2019. In addition to his extensive performing career, Rosen's writings have had a significant impact on musicology. Book DetailsArnold Schoenberg: Charles Rosen's book on the composer Arnold Schoenberg was published in 1975. This work delves into the life, music, and innovations of Schoenberg, who was a pivotal figure in the evolution of 20th-century music. Other Notable WorksCharles Rosen authored several other important books, including:The Classical Style (1971) This book explores the music and style of major composers such as Haydn, Mozart, and Beethoven.Piano Notes: The Hidden World of the Pianist (2002) A collection of essays reflecting on the experience and art of being a pianist.The Romantic Generation (1995) This examines the music and cultural life of the nineteenth century, focusing on composers like Chopin, Wagner, and Liszt.Freedom and the Arts (2010) A collection of essays on various topics concerning art and culture. Best EditionsThe best edition of his works typically considers both critical reception and availability. The...

Los conciertos se celebrarán en los auditorios Víctor Villegas de Murcia y El Batel de Cartagena mañana jueves 9 y el sábado 11 de enero, respectivamente. 'Noche transfigurada, Op. 4' de Arnold Schoenberg y 'Serenata para cuerdas en do mayor, Op. 48' de Piotr I. Chaikovski se entrelazarán en una nueva experiencia inmersiva bajo la dirección musical de Virginia Martínez y una puesta en escena única y novedosa del escenógrafo y director de escena yeclano Paco Azorín.

Jean Sibelius - Five Christmas songs (Viisi joululaulua), Op. 11.       Nu står jul vid snöig port, Op.1, No.1                     2.       Nu så kommer julen!, Op.1, No.2                           [1:49] 3.       Det mörknar ute, Op.1, No.3                                    [4:54]4.       Giv mig ej glans, Op.1, No.4                                      [6:46]5.       On hanget korkeat, nietokset, Op.1, No.5          [10:35] Tom Krause, baritonoIrwin Gage, pianoforte*******[13:08]Arnold Schoenberg (1874-1951): WeihnachtsmusikTaverner Players (string trio, piano, harmonium)Andrew Parrot, director*******[18:20]Béla Bartók (1881-1945) - Romanian Christmas Carols, Sz.57 SERIES 1:1. "Pă cel plai de munte" (from the region of Várhely, in Hunyad). Allegro2. "Intreabă si-ntreabă" (from the region of Malomvíz, in Hunyad). Allegro                                       3. "Doi roagă să, roagă" (from the region of Malomvíz, in Hunyad). Allegro                                        4. "Ciucur verde de mătasă" (from the region of Temesmonostor, in Temes). Andante                              5. "Coborâto, coborâto" (from the region of Alsóvisó, in Máramaros). Allegro moderato                            6. "În patru cornuți de lume" (from the region of Görgényorsova, in Maros-Torda). Andante   7. "La lină fântână" (from the region of Sárafalva, in Torontál). Andante                                                             8. "Noi umblăm da corindare" (from the region of Sárafalva, in Torontál). Allegretto                     9. "Noi acum ortacilor" (from the region of Bisztra, in Torda-Aranyos). Allegro                                 10. "Trei crai de la Răsărit" (from the region of Rogos, in Bihar). Più allegro                                   SERIES 2:1."Colo-n jos la munte-n josu" (from the region of Körtekapu, in Maros-Torda). Molto moderato 2. "Deasupra pă răsăritu" (from the region of Várhely, in Hunyad). Moderato                                  3. "Creștemi, Doamne, creștiu" (from the region of Cserbel, in Hunyad). Andante 4. "Sculați, sculați boieri mari" (from the region of Felsőoroszi, in Maros-Torda). Andante 5. "Ăi, colo-n josu mai din josu" (from the region of Cserbel, in Hunyad). Moderato6. "Șio luat, luată" (from the region of Libánfalva, in Maros-Torda). Andante 7. "Colo sus mai susu" (from the region of Temesmonostor, in Temes). Variante della precedente 6b. XVIIb. "Șio luat, luată" (reprise). Andante8. "Colo sus pă după lună" (from the region of Gyalán, in Bihar). Allegro 9. "De cei domnul bunu" (from the region of Várhely, in Hunyad). Allegretto 10. "Hai cu toții să suimu" (from the region of Gyalár, in Hunyad). Allegro Zoltan Kocsis, pianoforte 

durée : 02:28:59 - France Musique est à vous du samedi 21 décembre 2024 - par : Gabrielle Oliveira-Guyon - Guillaume de Machaut, Pierre Certon, Claude Debussy, Arnold Schoenberg : autant de cadeaux musicaux que vous nous proposez pour les fêtes de fin d'année ! - réalisé par : Emmanuel Benito

La semana pasada tuvimos el placer de contar con Irene Sorozábal y Adrián Moncada, que compartieron con nosotros sus trabajos de experimentación sonora a partir del folklore, con la voz como protagonista. Hoy seguimos dando protagonismo a la voz, como canal de comunicación entre lo íntimo de nuestro cuerpo y el mundo que nos rodea, y como instrumento de experimentación musical, de sociabilidad, de expresión de sentimientos y emociones.Presentamos ejemplos de exploración de la voz que van allá que las palabras que articula. Escuchamos creaciones de Fátima Miranda, Arnold Schoenberg, Hugo Ball, Bartolomé Ferrando junto con fragmentos del Archivo de la Palabra (edición de la Residencia de Estudiantes) y músicas tradicionales de Centro AfricaEscuchar audio

What happens when a novelist wants “nonsense and joy” but his characters are destined for a Central European sanatorium? How does the abecedarian form (i.e. organized not chronologically or sequentially but alphabetically) insist on order, yet also embrace absurdity? Here to ponder such questions with host John Plotz are University of Wisconsin–Madison's Sunny Yudkoff (last heard on ND speaking with Sheila Heti) and Adam Ehrlich Sachs, author of Inherited Disorders, The Organs of Sense, and the recently published Gretel and the Great War. Sachs has fallen under the spell of late Habsburg Vienna, where the polymath Ludwig Wittgenstein struggled to make sense of Boltzmann's physics, Arnold Schoenberg read the acerbic journalist Karl Kraus, and everyone, Sachs suspects, was reading Grimms' Fairy Tales, searching for the feeling of inevitability only narrative closure can provide. Beneath his OULIPO-like attachment to arbitrary orders and word-games, though, Sachs admits to a desire for chaos. Thomas Bernhard, later 20th century Austrian experimental novelist Heinrich von Kleist, “Michael Kohlhass” Romantic-era German writer Italo Calvino,If on a Winter's Night a Traveler OULIPO Home of French literary experimentalists like Perec and Raymond Queneau Georges Perec's most famous experiment is Life: A User's Manual (although John is devoted to “W: or the Memory of Childhood”) Dr. Seuss, On Beyond Zebra! (ignore John calling the author Dr Scarry, which was a scary mistake.,..) Marcel Proust: was he a worldbuilder and fantasist, as Nabokov says or, as Doris Lessing claims, principally an anatomist of French social structures, a second Zola? Franz Kafka is unafraid of turning his character into a bug in a story's first sentence. Virginia Woolf in Mrs. Dalloway offers the reader a mad (Septimus) and a sane (Mrs Dalloway herself) version of stream of consciousness: how different are they? Cezanne, for example The Fisherman (Fantastic Scene) The Pointillism of painters like Georges Seurat Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What happens when a novelist wants “nonsense and joy” but his characters are destined for a Central European sanatorium? How does the abecedarian form (i.e. organized not chronologically or sequentially but alphabetically) insist on order, yet also embrace absurdity? Here to ponder such questions with host John Plotz are University of Wisconsin–Madison's Sunny Yudkoff (last heard on ND speaking with Sheila Heti) and Adam Ehrlich Sachs, author of Inherited Disorders, The Organs of Sense, and the recently published Gretel and the Great War. Sachs has fallen under the spell of late Habsburg Vienna, where the polymath Ludwig Wittgenstein struggled to make sense of Boltzmann's physics, Arnold Schoenberg read the acerbic journalist Karl Kraus, and everyone, Sachs suspects, was reading Grimms' Fairy Tales, searching for the feeling of inevitability only narrative closure can provide. Beneath his OULIPO-like attachment to arbitrary orders and word-games, though, Sachs admits to a desire for chaos. Thomas Bernhard, later 20th century Austrian experimental novelist Heinrich von Kleist, “Michael Kohlhass” Romantic-era German writer Italo Calvino,If on a Winter's Night a Traveler OULIPO Home of French literary experimentalists like Perec and Raymond Queneau Georges Perec's most famous experiment is Life: A User's Manual (although John is devoted to “W: or the Memory of Childhood”) Dr. Seuss, On Beyond Zebra! (ignore John calling the author Dr Scarry, which was a scary mistake.,..) Marcel Proust: was he a worldbuilder and fantasist, as Nabokov says or, as Doris Lessing claims, principally an anatomist of French social structures, a second Zola? Franz Kafka is unafraid of turning his character into a bug in a story's first sentence. Virginia Woolf in Mrs. Dalloway offers the reader a mad (Septimus) and a sane (Mrs Dalloway herself) version of stream of consciousness: how different are they? Cezanne, for example The Fisherman (Fantastic Scene) The Pointillism of painters like Georges Seurat Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

What happens when a novelist wants “nonsense and joy” but his characters are destined for a Central European sanatorium? How does the abecedarian form (i.e. organized not chronologically or sequentially but alphabetically) insist on order, yet also embrace absurdity? Here to ponder such questions with host John Plotz are University of Wisconsin–Madison's Sunny Yudkoff (last heard on ND speaking with Sheila Heti) and Adam Ehrlich Sachs, author of Inherited Disorders, The Organs of Sense, and the recently published Gretel and the Great War. Sachs has fallen under the spell of late Habsburg Vienna, where the polymath Ludwig Wittgenstein struggled to make sense of Boltzmann's physics, Arnold Schoenberg read the acerbic journalist Karl Kraus, and everyone, Sachs suspects, was reading Grimms' Fairy Tales, searching for the feeling of inevitability only narrative closure can provide. Beneath his OULIPO-like attachment to arbitrary orders and word-games, though, Sachs admits to a desire for chaos. Thomas Bernhard, later 20th century Austrian experimental novelist Heinrich von Kleist, “Michael Kohlhass” Romantic-era German writer Italo Calvino,If on a Winter's Night a Traveler OULIPO Home of French literary experimentalists like Perec and Raymond Queneau Georges Perec's most famous experiment is Life: A User's Manual (although John is devoted to “W: or the Memory of Childhood”) Dr. Seuss, On Beyond Zebra! (ignore John calling the author Dr Scarry, which was a scary mistake.,..) Marcel Proust: was he a worldbuilder and fantasist, as Nabokov says or, as Doris Lessing claims, principally an anatomist of French social structures, a second Zola? Franz Kafka is unafraid of turning his character into a bug in a story's first sentence. Virginia Woolf in Mrs. Dalloway offers the reader a mad (Septimus) and a sane (Mrs Dalloway herself) version of stream of consciousness: how different are they? Cezanne, for example The Fisherman (Fantastic Scene) The Pointillism of painters like Georges Seurat Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

durée : 00:29:42 - Avec Jérémie Bigorie - par : Philippe Venturini - "S'il passe toujours pour un des géants de la musique du XXe siècle, Arnold Schoenberg aura été timidement fêté en France en cette année anniversaire. Peu de concerts, peu de disques. A se demander s'il ne ferait pas toujours peur, c'est la question que pose Jérémie Bigorie." Philippe Venturini - réalisé par : Doria Zénine

For this edition of John Pitman's Reviews, John has invited All Classical host and producer Lisa Lipton to sit down with Larry Schoenberg, son of composer Arnold Schoenberg. Lisa, along with microtonal composer Ritchie Green, and 45th Parallel Universe musicians Ron Blessinger and James Shields, asked Larry what it was like having one of the 20th century's greatest, and most controversial composers as a dad. Listen and learn more on the All Classical Radio Arts Blog: https://www.allclassical.org/pitman-reviews-schoenberg/

Dr. Jo-Ann Reif of Scranton, Independent Scholar who lectures on Thomas Mann and writes about Mann and Arnold Schoenberg, presenting a review of the exhibition, "Thomas Mann: Democracy Will Win!" at the Williams Center Gallery, 317 Hamilton Street in Easton, on the campus of Lafayette College. The show is made possible by the Max Kade Center for German Studies at the College in collaboration with the Thomas Mann House in Los Angeles and the Lafayette Galleries and will run through October 25, 2024. www.galleries.lafayette.edu/

fWotD Episode 2703: Igor Stravinsky Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Saturday, 28 September 2024 is Igor Stravinsky.Igor Fyodorovich Stravinsky (17 June [O. S. 5 June] 1882 – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.Born to a famous bass in Saint Petersburg, Russia, Stravinsky grew up taking piano and music theory lessons. While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied music under him until the latter's death in 1908. Stravinsky met the impresario Sergei Diaghilev soon after, who commissioned the composer to write three ballets for the Ballets Russes's Paris seasons: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913), the last of which caused a near-riot at the premiere due to its avant-garde nature and later changed the way composers understood rhythmic structure.Stravinsky's compositional career is often divided into three main periods: his Russian period (1913–1920), his neoclassical period (1920–1951), and his serial period (1954–1968). During his Russian period, Stravinsky was heavily influenced by Russian styles and folklore. Works such as Renard (1916) and Les noces (1923) drew upon Russian folk poetry, while compositions like L'Histoire du soldat (1918) integrated these folk elements with popular musical forms, including the tango, waltz, ragtime, and chorale. His neoclassical period exhibited themes and techniques from the classical period, like the use of the sonata form in his Octet (1923) and use of Greek mythological themes in works including Apollon musagète (1927), Oedipus rex (1927), and Persephone (1935). In his serial period, Stravinsky turned towards compositional techniques from the Second Viennese School like Arnold Schoenberg's twelve-tone technique. In Memoriam Dylan Thomas (1954) was the first of his compositions to be fully based on the technique, and Canticum Sacrum (1956) was his first to be based on a tone row. Stravinsky's last major work was the Requiem Canticles (1966), which was performed at his funeral.While many supporters were confused by Stravinsky's constant stylistic changes, later writers recognized his versatile language as important in the development of modernist music. Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, who were all challenged to innovate music in areas beyond tonality, especially rhythm and form. In 1998, Time magazine listed Stravinsky as one of the 100 most influential people of the century. Stravinsky died of pulmonary edema on 6 April 1971 in New York City, having left six memoirs written with his friend and assistant Robert Craft, as well as an earlier autobiography and a series of lectures.This recording reflects the Wikipedia text as of 00:51 UTC on Saturday, 28 September 2024.For the full current version of the article, see Igor Stravinsky on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Amy.

Soprano Claire Booth discusses two new albums she's released in 2024 to mark 150th anniversary of Arnold Schoenberg's birth.

Kate Molleson explores the twists and turns of Schoenberg's lifeIs there a more controversial, infamous figure in 20th Century music than Arnold Schoenberg? Arguably no other twentieth-century composer's ideas have been more influential among composers since, however his music is still neglected and misunderstood by programmers and audiences. Schoenberg was a revolutionary - one of the founders of musical Modernism - but he also recognised the importance of musical tradition. His music defined the times in which he lived, and whether you see Schoenberg as the most important innovator in 20th century music, or as a heretic who led his followers to an artistic dead end, he was absolutely dedicated to art – both musical and visual. This week, Kate Molleson explores the twists and turns of Schoenberg's life, and tracks the composer's changing relationship with art through the prism of 5 different visual works, from an image which terrified and obsessed Schoenberg as a child, through the composer's own paintings, and one of his practical twelve-tone selection dials, to a portrait of Schoenberg painted while he was in exile in America, by his friend and fellow composer George Gershwin.Music Featured:Strauss (arr. Schoenberg): Roses from the South 2 Gesange, Op , No 1 “Dank” 4 Lieder, Op 2, No 1 “Erwartung” Pelleas und Melisande, Op 5 (Langsam) Verklarte nacht, Op 4 6 little piano pieces (No 6) Mahler (by Schoenberg and Webern): Das Lied von der Erde (No 3, Of Youth) Gurrelieder (excerpt) String Quartet No 2, Op 10 (3rd mvt, Langsam, 'Litanei') Erwartung (excerpt) Friede auf Erden De Profundis Pierrot Lunaire, Op 21 (Act II excerpt) Die eiserne Brigade (The Iron Brigade) Bach (orch. Schoenberg): Gott Schopfer, heiliger Geist, BWV 631 Suite for piano, Op 25 (2nd mvt, Gavotte & 3rd mvt, Musette) Suite, Op 29 (3rd mvt, Theme and Variations) Accompaniment Music to a Film Scene, Op 34 Songs for male chorus, Op 35 (No 6 Verbundenheit "Man hilft zur Welt dir kommen") Die Jakobsleiter (Ob rechts, ob links) Kol Nidre, Op 39 Moses und Aron (Act II excerpt) Concerto for String Quartet and Orchestra (after Handel) Prelude to Genesis Suite for string orchestra (2nd mvt, Adagio) Brahms (orch. Schoenberg): Piano Quartet No 1 in G Minor, Op 25 (2nd mvt, Intermezzo) Chamber Symphony No 2, Op 38b A Survivor from Warsaw, Op 46 NotturnoPresented by Kate Molleson Produced by Sam Phillips for BBC Audio Wales & West For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Arnold Schoenberg (1874-1951) https://www.bbc.co.uk/programmes/m0022k1rAnd you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

durée : 01:28:26 - Influences et descendance d'un compositeur : Arnold Schoenberg - par : Aurélie Moreau - Pour célébrer les 150 ans d'Arnold Schoenberg, nous vous proposons de remonter aux sources de sa formation musicale avec son unique mentor, Alexander von Zemlinsky, avant découvrir l'univers de ses élèves les plus marquants, notamment Anton Webern et Alban Berg.

durée : 01:29:00 - En pistes ! du vendredi 06 septembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme du jour, les œuvres d'Igor Stravinsky, Arnold Schoenberg, Giovanni Gabrieli, Rita Strohl, Robert Schumann, Dmitri Chostakovitch, Gabriel Fauré, Emmanuel Chabrier, et Déodat de Séverac. En pistes !

durée : 01:29:00 - En pistes ! du vendredi 06 septembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme du jour, les œuvres d'Igor Stravinsky, Arnold Schoenberg, Giovanni Gabrieli, Rita Strohl, Robert Schumann, Dmitri Chostakovitch, Gabriel Fauré, Emmanuel Chabrier, et Déodat de Séverac. En pistes !

Donald Macleod explores the life and music of American composer, Lou Harrison Lou Silver Harrison was an American, multi-faceted composer who died in 2003. In his music he explored a synthesis of Asian and Western influences, just intonation, and writing for percussion ensemble. He also involved himself in the arts as a performer, dancer, instrument maker, critic, puppeteer, poet, painter and much more. Harrison's interest in Asian cultures began when he was very young, and remained a significant influence on his work for the rest of his life He enjoyed working with Gamelan percussion and instruments from Korea or China. With his partner William Colvig, Harrison also made his own instruments including an American Gamelan, for which he composed multiple works. Harrison took lessons with Henry Cowell and Arnold Schoenberg, and also collaborated with John Cage in exploring the possibilities of percussion ensembles. His career as a composer developed in the world of dance and theatre, supplementing his income as a critic and, later, as a teacher.Music Featured: The Heart Sutra (Tial, Sariputro, ciuj Darmoj) Waltz in C (New York Waltzes) First Concerto for Flute and Percussion Suite for Symphonic Strings (excerpt) Largo Ostinato Prelude for Grandpiano John Cage & Lou Harrison: Double Music Blaze of Day (Finale: Solstice) Piano Sonata No 3 (excerpt) Symphony No 2 “Elegiac” (excerpt) Hesitation Waltz (New York Waltzes) Waltz in A (New York Waltzes) Suite No 2 The Marriage at the Eiffel Tower (Overture) The Only Jealousy of Emer (excerpt) Suite for Cello and Harp Beverly's Troubadour Piece, for harp and percussion Suite for Symphonic Strings (Nocturne) Four Strict Songs (Here is Holiness) Concerto in slendro Pacifika Rondo (excerpt) Easter Cantata A Waltz for Evelyn Hinrichsen Music for Bill and Me Young Caesar (excerpts) Suite for violin and American Gamelan (excerpt) Double Concerto for Javanese gamelan, violin and cello (excerpt) Third Symphony (Largo ostinato) Piano Concerto with selected orchestra (excerpt) O you whom I often and silently come where you are Grand Duo (Polka) Fourth Symphony ‘Last Symphony' (Largo) Vestiunt Silve Pipa Concerto Mass to St Anthony (Gloria)Presented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Lou Harrison (1917-2003) https://www.bbc.co.uk/programmes/m00209q6 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Jamaica Kincaid discusses with Ivan six things which should be better known. Jamaica Kincaid was born in St. John's, Antigua. Her books include At the Borrom of the River; Annie John; Lucy; The Autobiography of My Mother; My Brother; Mr Potter; and See Now Then. She teaches at Harvard University and lives in Vermont. Her new book is an Encylopedia of Gardening for Colored People at https://blackwells.co.uk/bookshop/product/9780374608255?gC=5a105e8b. Let Love Come Between Us by James and Bobby Purify https://www.youtube.com/watch?v=32CgFcOSbxw 26 of the 50 United States bear the names of Native Americans https://thoughtcatalog.com/james-b-barnes/2014/10/26-states-that-were-named-by-native-americans-was-your-state/ The Travels of William Bartram https://www.smithsonianmag.com/science-nature/americas-first-great-enviromentalist-florida-william-bartram-180983452/ The first paragraph of the 3rd Chapter of the Life of Frederick Douglas https://www.sparknotes.com/lit/narrative/full-text/chapter-iii/ Ervartung, a mono-drama opera with music by Arnold Schoenberg https://www.theguardian.com/culture/2002/feb/01/artsfeatures.classicalmusicandopera The seed packet was invented by The Shakers, an English Protestant sect, who immigrated to America and made many beautiful and useful things for the home. Their beliefs were quite severe regarding sex so no children were produced to ruin the beautiful and useful things they made for the home https://digventures.com/2018/02/11-things-we-still-use-that-were-invented-by-the-shakers/ This podcast is powered by ZenCast.fm

durée : 00:58:39 - Le Quatuor de Hollywood, raffinement et perfection - par : Aurélie Moreau - Le Quatuor à cordes de Hollywood a donné des interprétations magistrales de musique de chambre. Arnold Schoenberg leur enverra une dédicace : « Au Quatuor de Hollywood, pour avoir joué ma Nuit Transfigurée avec une telle sublime beauté ».

Esta semana, celebramos el centenario del nacimiento de Truman Capote a propósito de la semblanza en serie que Ryan Murphy estrena en HBO estos días. Se trata de la segunda temporada de "Feud", esta vez dedicada a la enemistad del escritor con la alta sociedad neoyorquina, a la que destripó en "Plegarias atendidas". Además, celebramos otra efeméride: la del 150 aniversario del nacimiento de Arnold Schoenberg. Con la música de entreguerras y la vanguardia compositiva, cerramos el programa.

Esta semana, celebramos el centenario del nacimiento de Truman Capote a propósito de la semblanza en serie que Ryan Murphy estrena en HBO estos días. Se trata de la segunda temporada de "Feud", esta vez dedicada a la enemistad del escritor con la alta sociedad neoyorquina, a la que destripó en "Plegarias atendidas". Además, celebramos otra efeméride: la del 150 aniversario del nacimiento de Arnold Schoenberg. Con la música de entreguerras y la vanguardia compositiva, cerramos el programa.

In this episode, Dave and Andrew explore a composer who played with Benny Goodman as a jazz pianist, and then embraced Arnold Schoenberg's musical ideas as a member of the academy. What kind of music does that concoction create? Listen to this episode on Duplicates, Powell's winning piece for two pianos and orchestra. If you'd like more information about Mel Powell, we recommend: Sally Lamb, “An Analytical Guide to the Works of Mel Powell.” DMA diss., Cornell University, 1988. Jeffrey Perry, "Constructing a Relevant Past: Mel Powell's Beethoven Analogs" American Music 29, no. 4 (2011): 491–535. Finally, you might like to see Mel Powell in action with Benny Goodman:

Le ponemos precio a la cultura y consultamos los precios de los museos, hablamos con Alondra de la Parra y escuchamos el dodecafonismo de Arnold Schoenberg.Escuchar audio

SynopsisDecades before the Cuban revolution, some decidedly revolutionary sounds had their birth in that country's capital city on today's date in 1930 during a concert of ultramodern music presented by the Havana Philharmonic.The concert offered the premiere performance of a new Piano Concerto by American composer Henry Cowell, who also was the soloist. Cowell's concerto broke new ground — and perhaps a few piano strings — by employing what Cowell dubbed “tone clusters.” These dense, dissonant chords were produced by pounding the keys of the piano with the fist, palms or extended forearms.Cowell also took his new techniques to the Old World in the 1920s and ‘30s, performing concerts of his works in Europe. These attracted the attention of Bela Bartok, who asked Cowell's permission to employ tone clusters in his works, and Arnold Schoenberg, who invited Cowell to perform for his Berlin composition classes.Cowell's oft-stated goal was to embrace what he described as “the whole world of music,” whether dissonant or consonant, radical or traditional, Western or non-Western. Perhaps that ideal was even more revolutionary than his Piano Concerto must have seemed back in 1930.Music Played in Today's ProgramHenry Cowell (1897-1965) Piano Concerto; Stefan Litwin, piano; Saarbrucken Radio Symphony; Michael Stern, cond. Col Legno 20064

Our guest today, Michael Brofman, was seriously injured during undergraduate school. He tried various teachers and received much medical advice - some of which included chain smoking! That's not a typo. Stay tuned for that outrageous story.Michael came across Taubman Approach expert Robert Durso. Through lessons with Robert Durso, Michael experienced physical healing and a level of artistic freedom that was almost unimaginable during his academic study.  Today's episode is a story of healing and freedom through the Taubman Approach. www.golandskyinsitute.org Pianist Michael Brofman has earned a reputation as one of the finest vocal accompanists of his generation. He has performed over one thousand songs, from Schubert's earliest lieder to premieres of new songs by today's most-recognized composers. He was hailed by the New York Times as an “excellent pianist” and Feast of Music recently praised his “elegant and refined playing… exhibiting excellent touch and clean technique.”  Parterre Box Blog called Mr. Brofman a “master communicator at the piano,” and Voix des Arts praised his “finesse and flexibility.”  Seen and Heard International recently wrote “Brofman got to the core of each song…delving into their emotional depths.”  Opera News stated “Michael Brofman provided exquisite piano accompaniment.”Highlights from Mr. Brofman's 2023-2024 season include performances of Arnold Schoenberg's Das Buch der Hängenden Gärten with Kate Maroney, Poulenc's Tel Jour, Telle Nuit with Michael Kelly, and repeat or premiere performances of works written for him by Daniel Felsenfeld, Libby Larsen, Jessica Meyer, and Reinaldo Moya.  Mr. Brofman also performs works by Benjamin Britten, Johannes Brahms, Michael Djupstrom, Shawn E. Okempolo, Caroline Shaw, Clara Schumann, Anton Webern, Kurt  Weill, and Hugo Wolf.Mr. Brofman has championed new works and has fostered relationships with many living composers, including Katherine Balch, Lembit Beecher, Tom Cipullo, Michael Djupstrom, Daniel Felsenfeld, Herschel Garfein, Mikhail Johnson, Daron Hagen, Jake Heggie, James Kallembach, Libby Larsen, Lowell Liebermann, David Ludwig, James Matheson, Reinaldo Moya, Harold Meltzer, Russell Platt, Kurt Rohde, Glen Roven, Andrew Staniland, Carlos Simon, and Scott Wheeler. In all, he has premiered over 100 songs, many of them dedicated to him. Mr. Brofman is the founder and artistic director of the Brooklyn Art Song Society, an organization dedicated to the vast repertoire of poetry set to music now in its 14th  season. His first CD New Voices on Roven Records includes four world-premiere recordings and was number one on Amazon's new releases for Opera/Vocal and debuted in the top 10 of the Traditional Classical Billboard Chart.  Since then he has recorded world premiere recordings of Kurt Rohde on Albany Records and Herschel Garfein for Acis Records. An eloquent and passionate advocate for art song, Mr. Brofman has been interviewed by Russell Platt for Opera News, for Caught In the Act on Brooklyn Public Television, on the WQXR radio show Soundcheck, on Seattle KING FM 98.1, and for the Linked Music blog. He also hosts his own internet show Song and Wine.  Mr. Brofman has a reputation as a gifted educator and has presented masterclasses at the University of Chicago, Cornell, Ithaca College, the University of Notre Dame and University of South Carolina. Mr. Brofman holds a bachelor of Music from Northwestern University where he studied with James Giles. There he was awarded the Frida A. Pick Award for Piano and featured on Chicago's classical radio station. Mr. Brofman spent several summers at the Aspen Music Festival as a student of Rita Sloan and continues his studies with Robert Durso. He resides in Windsor Terrace, Brooklyn with his wife

Un-Loki for some? It is said that If 13 people sit at a table, then one of them must die within a year and Fear of the number 13 is widespread in Western superstition. But how did the number and Friday become such an infamous collab? Whack on your Jason Voorhees hockey mask as we explore Loki's gatecrash into the Valhala private feast, the 13th guest at “The Last Supper” and the real-life phobia of 1 and 3 adjacent.  Join our Coven on Instagram ⁠@honeyandthehex⁠ and we're on Twitter too ⁠@honeyandthehex⁠ Hosted by ⁠@tatumkarmen⁠ & ⁠@tanpire⁠ Honey and the Hex is a sibling duo exploring the origins, traditions and intersections of folklore and where they lie today. Through a progressive lens they delve into myths, magick and mystery folklore. Journey through the British Isles in search of gremlins, goblins, fairies, banshees, witches and vampires. Episode references History. (2017). Friday the 13th. [Online]. history.co.uk. Last Updated: 10/08/21. Available at: https://www.history.com/topics/folklore/friday-the-13th [Accessed 13 October 2023]. Live Science. The Origins of Unlucky Friday the 13th. [Online]. https://www.livescience.com/. Last Updated: June 12, 2014. Available at: https://www.livescience.com/46284-origins-unlucky-friday-the-13th.html [Accessed 13 October 2023] Sarah Scoop. (.). The Meaning and Symbolism of The Angel Number 13 in Numerology. [Online]. sarahscoop.com. Last Updated: .. Available at: https://sarahscoop.com/the-meaning-and-symbolism-of-the-angel-number-13-in-numerology/ [Accessed 13 October 2023]. Melissa Chan. (13/10/17). Why Friday the 13th Is a Real Nightmare for Some People. [Online]. timer.com. Last Updated: .Available at: https://time.com/4979595/friday-the-13th-triskaidekaphobia/ [Accessed 13 October 2023]. Stephen King. (April 12, 1984). A Bad Year if You Fear Friday the 13th. [Online]. archive.nytimes.com. Last Updated: .. Available at: https://archive.nytimes.com/www.nytimes.com/books/97/03/09/lifetimes/kin-v-friday13th.html?scp=2&sq= [Accessed 13 October 2023]. Helena Asprou. (9 November 2020). Arnold Schoenberg had a crippling fear of the number 13… and he died on Friday 13th.. [Online]. https://www.classicfm.com/. Last Updated: .. Available at: https://www.classicfm.com/music-news/arnold-schoenberg-crippling-fear-number-thirteen/ [Accessed 13 October 2023]. CARA GIAIMO. (APRIL 25, 2017). The 1880s Supper Club That Loved Bad Luck. [Online]. https://www.atlasobscura.com/. Last Updated: .. Available at: https://www.atlasobscura.com/articles/thirteen-club-superstition-new-york [Accessed 13 October 2023] Ancient Origins. (.). Frigg: Queen of Asgard, Beloved Norse Goddess, Mother. [Online]. https://www.ancient-origins.net/. Last Updated: 16 JULY, 2019. Available at: https://www.ancient-origins.net/myths-legends-europe/frigg-queen-asgard-beloved-norse-goddess-mother [Accessed 13 October 2023]. 

Jeremy Eichler's new book, Time's Echo, just out from Faber (HB; £25) tangles with memory – what we choose to remember, what to forget – as history takes hold, and he argues that music can become in many ways the most powerful form of memorial. To illustrate this argument, he engages with works by Richard Strauss, Arnold Schoenberg, Dmitri Shostakovich and Benjamin Britten. James Jolly caught up with him recently to talk about the book.  The musical excerpts which appear on the podcast, with kind permission, are: Shostakovich Symphony No 13, 'Babi Yar' Nikita Storojev; CBSO & Choir / Okko Kamu (Chandos) Schoenberg A Survivor or from Warsaw Franz Mazura; CBSO & Chorus / Simon Rattle (Warner Classics) R Strauss Metamorphosen Sinfonia of London / John Wilson (Chandos) Britten War Requiem Soloists; Choristers of St Paul's Cathedral; LSO & Chorus / Richard Hickox (Chandos) This Gramophone Podcast is published in association with Wigmore Hall. Visit Wigmore Hall's webite for full details of this week's events.

SynopsisOn today's date in 1967, Aaron Copland's final orchestra work, titled Inscape, was premiered by Leonard Bernstein and the New York Philharmonic at the University of Michigan in Ann Arbor.Copland said the work's title Inscape was borrowed from the 19th century English poet Gerard Manley Hopkins. Its compositional technique was borrowed from the serial or 12-tone models of Arnold Schoenberg and the some of the late works of one of Copland's favorite composers, Igor Stravinsky. Bernstein himself was no great fan of 12-tone music, but he exclaimed to Copland following the premiere, “Aaron, it's amazing how, even when you compose in a completely foreign idiom, the music STILL comes out sounding like you!”Beyond the technical challenge involved, Inscapes, said Copland, reflected what he called “the tenseness of the times in which we live.”Copland's experiments with 12-tone pieces like Inscape didn't impress the avant-garde composers of the day, and only baffled audiences who expected him to produce more works in the style of his popular ballet scores of the 1930s and 40s.By 1970, Copland stopped composing altogether, and claimed not to miss it very much. “I must have expressed myself sufficiently,” he said.Music Played in Today's ProgramAaron Copland (1900 - 1990) Inscape New York Philharmonic; Leonard Bernstein, cond. Sony 47236

When the King of Prussia requested Bach's presence for a visit, Bach probably expected to be asked to improvise some complex music on the king's prototype fortepiano.  But did he expect the king to give him such a twisty, chromatic theme?  And, after he played an extemporaneous 3-part fugue successfully, was it then even more unfair for the king to ask for a 6-part fugue immediately following that?  And, most intriguing to us, was it actually Bach's son who convinced the king to spring this "trap" on Bach, as theorized by Arnold Schoenberg? Today we dive deeper into the Musical Offering, and take a suggestion from listener Darcy, looking at a fairly jazzy few seconds of Bach.  Playlist of the entire Musical Offering, performed by the Netherlands Bach Society Or, go straight to the Ricercar a 3. Ricercar a 6, orchestrated by Anton Webern (as mentioned in this episode), with scrolling score, performed by the LA Philharmonic  

Parker and Max tiptoe through the twelve-tone technique and music of Arnold Schoenberg.ContactEmail: themusiciansmusicianpodcast@gmail.comTwitter: @tmmpod_Instagram: @tmmpodFacebook: The Musician's Musician Podcast @tmmpodWebsite: www.tmmpod.comParker Speirs: www.parkerspeirs.comSupport the show

Synopsis This lush, late-Romantic score, composed in 1904, had to wait until 1962 for its premiere performance, when, on today's date that year, the Philadelphia Orchestra led by Eugene Ormandy performed it in Seattle during an international festival devoted to its composer, Anton Webern. For most music lovers, the Austrian composer is a shadowy, vaguely mysterious figure. If they know anything at all about him, it is that he was a pupil of Arnold Schoenberg, that he wrote a small body of very short and very condensed atonal scores, and that in 1945 he was shot by accident by an American soldier in the tense days following the end of World War II. The early orchestral score that received its belated premiere on today's date in 1962 was titled In the Summer Wind, completed when Webern was just 19 years old. It's very much in the style of Richard Strauss, Gustav Mahler, and early Schoenberg. To earn a living, Webern worked as a conductor of everything from Viennese operettas to worker's choral unions. His conducting career came to a halt when the Nazis annexed Austria in 1938, and until his untimely death in 1945, Webern lived by doing routine work for a Viennese music publisher. Music Played in Today's Program Anton von Webern (1883 - 1945) Im Sommerwind Cleveland Orchestra; Christoph von Dohnanyi, conductor. London 436 240

Captain, We Hit A Schoenberg! Did Arnold Schoenberg break Classical music? Widely considered the greatest composer of the 20th century, Schoenburg's innovations in ‘atonality' (a term he detested throughout his life) changed the trajectory of music forever. In this episode, Joanna and Stephen explore the ripples of Schoenberg's (much preferred) ‘emancipated dissonances', through modern British composers such as Tippet, Turnage, Weir and Maxwell Davies.

I've been plotting an episode on the subject of Dreams for a while. Given the profusion of music that references that altered state of consciousness, my challenge was narrowing down the topic. I chose to focus today on theater music (opera, operetta, and musicals) that references actual rather than figurative dreams. Even within these parameters, there was a plethora of material and as usual my repertoire choices are strangely and uniquely my own. So on this episode you'll hear everything from a 1965 recording of Tevye's Dream from Fiddler on the Roof in Yiddish, from the first Israeli production of the musical; Renata Scotto in late career essaying the haunted dreamscapes of Arnold Schoenberg's monodrama Erwartung; Mattiwilda Dobbs in a rare 1952 recording of “Ruhe sanft, mein holdes Leben” from Mozart's Zaide; excerpts from unusual French and German operettas featuring Robert Massard and Charles Kullman, respectively; birthday tributes to Birgit Nilsson and Richard Tauber; and the great Welsh bass Geraint Evans in a live performance of Bottom's Dream from Britten's A Midsummer Night's Dream. And much, much more, including a teaser of next week's subject the Italian lyric tenor Cesare Valletti; and Janet Baker live in recital in 1966, a preview of the first in a series of bonus episodes that will feature rare LPs from my personal collection. As always, thanks for your support; enjoy! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

I'm not sure there's ever been a composer who changed as much throughout his or her life as Arnold Schoenberg. Schoenberg would become famous, or infamous, depending on who you talk to, for his invention of atonality; the equalization of all keys so that the system of harmony that had been followed, in one way or another, in Western music for nearly a thousand years, was banished.  This invention radically changed the course of contemporary classical music, and it remains controversial to this day. Some people think Schoenberg ruined classical music forever with this invention, while others say he liberated it from convention.  But all of these inventions were in the future for Arnold Schoenberg when he wrote his Verklarte Nacht, or Transfigured Night, for string sextet. This piece, written in just 3 weeks in 1899, is hyper-Romantic in every sense and burning with passion and yearning, as well as being almost hyper tonal throughout. It is based on a poem by the German poet Richard Dehmel called Transfigured Night and is an example of a composition that is inextricably linked to the text it was based on, despite the music being wordless. Almost every moment in the score can be linked to a line of Dehmel's poem, which is just as full of passion and yearning as the music. So today I'll take you through the piece and the poem in parallel, showing you the links between the two, and also trying to pick apart the remarkable complexity within Schoenberg's writing, all of which serves to whip up one of the most emotionally dramatic and compelling pieces of chamber music ever written. If you've ever been a skeptic of Schoenberg, this just might be the piece for you. Join us!