Podcasts about Barocco

Gli anniversari sono riti che permettono di tracciare bilanci, organizzare eventi e grandi mostre. Succede a Mantova in occasione dei 500 anni di PALAZZO TE, l’edificio realizzato da Giulio Romano, che traghettò l’arte dal Rinascimento al Barocco. Anche nei pressi di Parma si festeggia per i 10 anni del LABIRINTO DELLA MASONE voluto dal grande editore Franco Maria Ricci, mentre l’iniziativa UNA BOCCATA D’ARTE, in 5 anni, ha già portato 100 artisti in 100 borghi italiani. In studio, poi, con l’assessore alla Cultura del comune di Milano TOMMASO SACCHI abbiamo fatto un breve bilancio a 100 settimane circa dalla fine del suo mandato, che si concluderà nel 2026.See omnystudio.com/listener for privacy information.

Artisti, pittura, architettura e opere nella Roma del '600, la capitale dei papi e del Barocco.

Biografia e opere di Francesco Borromini, architetto e scultore del Barocco romano. Formazione, le opere più importanti e la rivalità con il collega Gian Lorenzo Bernini.

Il genio di Bernini vive nelle sue sculture barocche: David, Apollo e Dafne e altre opere che hanno cambiato l'arte europea.

Il Barocco nell'arte: caratteristiche e definizione del periodo artistico che annovera tra i suoi esponenti Borromini, Bernini e Pietro Da Cortona.

Opere e stile di Luigi Vanvitelli, architetto e pittore italiano. Attraverso le sue opere è stato uno dei più grandi rappresentanti del Rococò e del Neoclassicismo.

La Crisi del '600 in Europa segnò un'epoca di guerre, crisi economica e carestie tra Rinascimento e Illuminismo, con profonde conseguenze storiche.

Hai mai guardato il tuo giardino e sentito che qualcosa non quadrava?Certi spazi verdi sembrano naturalmente parte del paesaggio, altri invece appaiono fuori posto.La risposta sta nella storia del nostro territorio e nel rapporto che abbiamo instaurato con la Natura nel corso dei secoli.In questo episodio di Giardino Futuro, ti porto alla scoperta delle evoluzioni parallele tra il paesaggio agrario italiano e i giardini, guidato dal magistrale libro di Emilio Sereni, "Storia del paesaggio agrario italiano".Ti racconto come ogni spazio verde non sia solo un angolo decorativo, ma un riflesso culturale e storico, frutto di scelte sociali, economiche e politiche che hanno plasmato la nostra terra.Dal rigore geometrico dei giardini romani, al caos produttivo del Medioevo, fino alla perfezione scenografica del Rinascimento e alla teatralità del Barocco: ogni epoca lascia tracce visibili nei giardini che amiamo.Scoprirai anche perché oggi, tra prati all'inglese e irrigazioni automatizzate, è necessario ripensare il nostro modo di vivere il verde, tornando a valorizzare biodiversità e sostenibilità.Ti anticipo inoltre una bella novità: sul sito di Giardino Futuro trovi finalmente dei videocorsi tematici per imparare a gestire il tuo giardino in modo sostenibile e autoprodurre cibo sano.Buon ascolto, e ricorda che il futuro del tuo giardino dipende anche dalle scelte che fai oggi.

Antonio Vivaldi (1678-1741) - Scanderbeg, RV 732  (Ricostruzione da vari frammenti poiché la partitura è andata perduta, resta solo il libretto). Scanderbeg è un'opera in tre atti su libretto di Antonio Salvi. Fu eseguita per la prima volta al Teatro della Pergola di Firenze il 22 giugno 1718 per celebrare la riapertura del teatro alle rappresentazioni pubbliche.  Il soggetto dell'opera è Skanderbeg, l'eroe albanese del XV secolo.Sinfonia RV 131 (Bela Banfalvi, direttore d'orchestra) - 0:001. Aria (Doneca) "Fra catene ognor penando" (Atto 1, Scena 8) - 4:26 2. Aria (Doneca) "Nelle mie selve natie" (Atto 2, Scena 2) - 9:29Emiljana Palushaj – sopranoOrchestra d'archi dell'Accademia delle Arti di TiranaZhani Ciko, direttore d'orchestra 3. Recitativo (Ormondo, Scanderbeg) e Aria (Scanderbeg) "Con palme ed allori" (Atto 2, Scena 9) - 14:074. Recitativo (Ormondo) e Aria (Ormondo) "S`a voi penso luci belle" (Atto 2, scena 10) - 19:22Sonia Prina, mezzosopranoAccademia BizantinaOttavio Dantone, direttore

Lecce, 22 settembre 2020 – Una serata di fine estate nella città salentina del Barocco si trasforma in un incubo che scuote l'intera comunità. In un appartamento nel cuore del centro storico, Eleonora Manta e Daniele De Santis, giovani e pieni di sogni, vengono brutalmente assassinati. Un crimine che lascia senza fiato per la sua efferatezza e per il legame inquietante con l'assassino, Antonio De Marco, un ex coinquilino della coppia. Dietro quel gesto folle si cela una mente calcolatrice, capace di pianificare ogni dettaglio con precisione chirurgica, lasciando un'intera nazione a interrogarsi sulle motivazioni di un simile atto. Si tratta di una semplice vendetta o c'è qualcosa di più profondo? Proviamo a scoprirlo insieme ad Eleonora Quarchioni, web editor, detentrice di un master in Media e Intrattenimento all'Università Luiss di Roma, ma soprattutto podcaster e autrice della serie “Italia Nera”. Iscriviti al gruppo Telegram per interagire con noi e per non perderti nessuna delle novità in anteprima e degli approfondimenti sulle puntate: https://t.me/LucePodcast Se vuoi ascoltarci senza filtri e sostenere il nostro lavoro, da oggi è possibile abbonarsi al nostro canale Patreon e accedere a contenuti bonus esclusivi tramite questo link: patreon.com/LucePodcast

Raffele Nigro"Il dono dell'amore"La nave di Teseowww.lanavediteseo.euPuglia, estate 2012. Marsilio Da Ponte, pittore di talento ma spiantato, figlio di un importante allevatore, cerca di sbarcare il lunario assieme a una combriccola di artisti, spiantati come lui. È molto vicino ai temi sociali che caratterizzano le zone in cui vive: il caporalato nelle campagne, la disoccupazione giovanile, i migranti che sbarcano dal Mediterraneo. Marsilio ha due amici con cui condivide tutto, Beppe e Michele, e con loro discute spesso di attualità: la questione meridionale, la fuga di cervelli dal sud verso il nord Italia e l'Europa, la politica, i contrasti e le differenze generazionali. Cruccio del protagonista, cresciuto in una famiglia di sinistra, è suo fratello Giacomo, candidato nelle liste di un partito di centro-destra.A portare un po' di scompiglio in una vita tutto sommato monotona, c'è l'amico Stavros Asimakopulos – re dei traghetti per la Grecia, l'Egitto, il Montenegro e l'Albania –, suo figlio Elides, studente all'Accademia di Belle Arti di Bari interessato alla questione palestinese, e l'avvenente Thenia, donna bellissima e misteriosa che accompagna Stavros nei suoi spostamenti fra l'Italia e la Grecia, della quale Marsilio si innamora a prima vista, apparentemente ricambiato. Coinvolgente e poetico, il racconto segue le iniziative artistiche ed esistenziali dei tre amici e dei loro colleghi, impegnati in viaggi attraverso i paesi del Mediterraneo, dalla Puglia al Marocco, alla Grecia, all'Albania. Fino a un decisivo sconfinamento in India, alla ricerca di una suggestione o di un luogo in grado di sovvertire i percorsi di una società in cui campeggia la dissonanza tra gli affetti e la disuguaglianza sociale.Raffaele Nigro (Melfi, 1947) vive a Bari. Dopo il saggio Basilicata tra Umanesimo e Barocco ha pubblicato Narratori cristiani di un Novecento inquieto e Giustiziateli sul campo. Letteratura e banditismo da Robin Hood ai giorni nostri. Nel 1987 con il romanzo I fuochi del Basento ha vinto il Supercampiello. Seguiranno una ventina di romanzi tra cui La Baronessa dell'Olivento, Ombre sull'Ofanto, Dio di Levante, Adriatico, Viaggio a Salamanca e Malvarosa, che ha vinto i premi Biella, Flaiano, Mondello, Maiori. Ha curato le edizioni critiche di Burchiello e la poesia giocosa del '400 e '500 e delle opere di Francesco Berni, per il Poligrafico dello Stato. I suoi libri sono tradotti in molte lingue.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

City Ballet The Podcast returns with a new Hear the Dance episode exploring George Balanchine's Concerto Barocco. Host Silas Farley is joined by three former NYCB dancers whose engagement with this foundational ballet continues today: SAB Senior Faculty Chair Suki Schorer, Balanchine Repetiteur Victoria Simon, and SAB Faculty Member Meagan Mann. Together they trace the highlights and unique demands of Barocco's four distinct movements, describing how the apparent simplicity of the ballet demands plenty of hard work and helps build community amongst the dancers. (1:00:28) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto in D minor for Two Violins, B.W.V. 1043 by Johann Sebastian Bach Performed by the New York City Ballet Orchestra Kurt Nikkanen and Arturo Delmoni, Violin Soloists Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach Performed by Susan Walters, Pianist Reading List:  1. Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein 2. Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein 3. Balanchine and Kirstein's American Enterprise by James Steichen 4. Suki Schorer on Balanchine Technique by Suki Schorer and Russell Lee 5. Balanchine Pointework by Suki Schorer 6. Balanchine Then and Now Edited by Ann Hogan 7. Balanchine's Ballerinas: Conversations with the Muses by Robert Tracy with Sharon DeLano 8. Balanchine the Teacher: Fundamentals That Shaped the First Generation of New York City Ballet Dancers by Barbara Walczak and Una Kai 9. Balanchine Variations by Nancy Goldner 10. Bach: Music in the Castle of Heaven by John Eliot Gardiner

Claudio Monteverdi (1567-1643) - L'Orfeofavola in musicaLibretto di Alessandro Striggio Apollo - Roland HermannCaronte - Hans Franzen Euridice - Turbante Dietlinde La Musica - Trudeliese Schmidt Messaggero - Glenys Linos Ninfa - Suzanne Calabro Orfeo - Philippe Huttenlocher Plutone - Werner Groschel Prosperpina - Glenys Linos Speranza - Trudeliese Schmidt  Monteverdi Ensemble dell'Opera di ZurigoCoro dell'Opera di ZurigoErich Widl, Maestro del CoroNikolaus Harnoncourt, direttore d'orchestra Libretto

Il melodramma nel Barocco Giulio Caccini (1551-1618) - EuridiceOpera in un prologo ed un attoLibretto: Ottavio Rinuccini (1562-1621)Pubblicata nel dicembre del 1600 (Giorgio Marescotti, Firenze)Prima rappresentazione: 5 dicembre 1602 a Firenze (Palazzo Pitti) Euridice, Tragedia: Silvia Frigato , sopranoOrfeo: Furio Zanasi , baritonoDafne, Proserpina: Sara Mingardo , contraltoVenere: Monica Piccinini , sopranoArcetro: Giampaolo Fagotto , tenorePlutone: Antonio Abete , bassoAminta, Tirsi: Luca Dordolo , tenoreCaronte: Mauro Borgioni , baritonoRadamonto: Matteo Bellotto , bassoConcerto ItalianoRinaldo Alessandrini , conductor

4 ottobre 2024, la musica barocca di Georg Philipp Telemann risuona nel cuore della città di Genova, dal Tempio Valdese di via Assarotti.Il concerto ha titolo "All for Telemann" e fa parte del 31° Festival Musicale “Le Vie del Barocco”, organizzato dall'Associazione Collegium Pro Musica e diretto da Stefano Bagliano.Ed è proprio Stefano Bagliano che in questa intervista - fatta nel Tempio Valdese la mattina delle prove - ci porta nel mondo della musica barocca ed in particolare in quello del musicista tedesco che tanto le diede.Perché la musica barocca è più immediata da ascoltare, anche da orecchie moderne e non particolarmente abituate a frequentare la musica classica? Quali sono gli strumenti che il Collegium Pro Musica utilizza? Perché "tutto Telemann"? A queste domande risponde Stefano Bagliano, virtuoso di flauto dolce e direttore artistico del Collegium;mentre William Jourdan, pastore della Chiesa Valdese di Genova, ci dice qualcosa della storia del luogo di culto e di vita della comunità valdese ed anche della Iglesia Evangélica Hispanoamericana, che dell'Ordinamento Valdese fa parte.Buon ascolto!Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/radio-21-aprile-web--4343828/support.

Calendula si, non usciamo indenni da questa puntata. La POSTA DEL CUORE di questa domenica contiene due storie che in lunghezza sfidano non solo lo sfarzoso Barocco, ma anche lo sfizioso Rocco. Attanaglianti e ricchi di colpi di scena i racconti di oggi c'hanno fatto tremare il coolo dall'inizio alla fine, e Cale se ti abbiamo suscitato anche solo un po' di curiosità allora sbrigati a fare play, che Merlino ha già estratto la sua bacchetta, capirai in puntata.

Mérida estrena nueva propuesta cultural, el Festival "CineBeat", con 28 conciertos y 4 proyecciones de películas en diferentes locales y monumentos de la capital extremeña. CineBeat comenzará 'a latir"en el Pórtico del Foro, con un concierto de Letter from C14 y Kike Pastrana; en el Templo de Diana, sonará El buen hijo, el cantante de este grupo es extremeño, de Mérida, igual que la mayoría de grupos como The Buzzos, Interfectos, Dimayo o Albarregas... Bandas que actuarán en locales como Malamadre, Jazz Bar, Maruja Limón, Barocco; También en restaurantes y monumentos. La otra gran apuesta de CineBeat es el cine, hay certamen de videoclips, y se han programado cuatro películas de temática musical: Una sobre los Talking Heads ("Stop Making Sense"); "I am everything", que intenta hacer justicia al gran Little Richard; "Opus", que tiene como protagonista al compositor japonés Ryuichi Sakamoto; y "Eterna", documental sobre la vida y obra de la rapera Gata Cattana. Un festival que amplía la oferta cultural de Mérida, más allá del Festival de Teatro Clásico y del Stone, y que cuenta con el respaldo del Ayuntamiento y de la consejería de Cultura de la Junta de Extremadura.Escuchar audio

Pozveme vás na jedno krásné hudební setkání v Kostelci nad Orlicí, do úžasných prostor tamního Nového zámku Františka Kinského, kde ve středu 2. října vystoupí přední český klarinetista Irvin Venyš s komorním souborem Barocco sempre giovane. Zahrají u příležitosti hned dvou výročí významného kosteleckého rodáka, hudebního skladatele Františka Ignáce Antonína Tůmy. Všechny díly podcastu Host ve studiu můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Pozveme vás na jedno krásné hudební setkání v Kostelci nad Orlicí, do úžasných prostor tamního Nového zámku Františka Kinského, kde ve středu 2. října vystoupí přední český klarinetista Irvin Venyš s komorním souborem Barocco sempre giovane. Zahrají u příležitosti hned dvou výročí významného kosteleckého rodáka, hudebního skladatele Františka Ignáce Antonína Tůmy.

durée : 00:04:38 - Voyage en comédie - par : Thomas CROISIERE - Les bandes originales de Philippe Sarde dont "Les choses de la vie" de Claude Sautet, "Que les gros salaires lèvent le doigt !" de Denys Granier-Deferre, "Barocco" d'André Téchiné, "Tess" de Roman Polanski...

“Jazz and classical music contaminations” - Il Barocco secondo Jacques Loussier George Frideric Handel (1685-1759) Jacques Loussier - Sarabande from Suite n. 11Jacques Loussier TrioJacques Loussier, pianoforteAndré Arpino, batteriaVincent Charbonnier, contrabbasso ******06:08Johan Sebastian Bach (1685-1750) Jacques Loussier – Variazioni Goldberg (1-9)Play Bach TrioJacques Loussier, pianofortePierre Michelot, contrabbassoChristian Garros, percussioni ******19:39Antonio Vivaldi (1678 – 1741) Jacques Loussier   from Le Quattro stagioni:Concerto n. 3 In fa Maggiore “L'Autunno”I. Allegro 23:35Concerto n. 2 in sol minore "l'Estate"III. PrestoJacques Loussier TrioJacques Loussier, pianoforteAndré Arpino, batteriaVincent Charbonnier, contrabbasso About Jacques Loussier About Jacques Loussier TrioQuesto podcast è stato prodotto per scopi esclusivamente didattici e per la diffusione della cultura musicale, senza fini di lucro. 

Gian Vittorio Avondo, Claudio Rolando"Il cammino Don Bosco"Edizioni CapricornoUn cammino di 165 km tra storia, paesaggi, vini e buon cibo. Dal centro di Torino al Po, dalle pendici di Superga alle colline del Chierese, fino alla basilica di Colle Don Bosco, dove la storia del «santo dei giovani» cominciò, dentro una casetta rurale all'inizio dell'Ottocento.Ripercorrere le orme di Don Bosco lungo i sentieri e le strade lungo i quali il fondatore dei Salesiani portava i suoi ragazzi a camminare attraverso le colline del Torinese, del Chierese e dell'Astigiano, consente di scoprire un'inattesa varietà di paesaggi che fanno di questo territorio un unicum in Italia: dalla Torino colorata e ciarliera del mercato di Porta Palazzo alle animate rive del Po, dai boschi della collina ai vigneti sui crinali, dal centro storico di Chieri alle Terre dei Santi.Un cammino per escursionisti puri e pellegrini, privo di difficoltà tecniche e percorribile tutto l'anno. Un cammino diverso. A due passi da Torino. Il “Cammino Don Bosco” è un itinerario escursionistico di alto valore culturale e naturalistico che si snoda lungo i luoghi legati alla vita di san Giovanni Bosco. Ideato e realizzato all'interno del progetto «Strade di Colori e Sapori», coinvolge la Città Metropolitana di Torino e interessa 21 comuni, con Chieri capofila. Un'occasione per conoscere in «modo lento» i paesaggi, le bellezze architettoniche, storiche e culturali, i castelli, le pievi e le abbazie, nonché i sapori dei prodotti tipici del territorio.Il “Cammino Don Bosco” fa parte della Rete Escursionistica Regionale della Regione Piemonte e s'intreccia con altri progetti culturali come la Rete Romanica di Collina e la rete dei musei diffusi.      Cammino alto:Maria Ausiliatrice - Basilica di Superga • Basilica di Superga - Abbazia di Vezzolano • Abbazia di Vezzolano - Colle Don Bosco (variante Castelnuovo Don Bosco - Colle Don Bosco)Cammino medio:Maria Ausiliatrice - Basilica di Superga • Basilica di Superga - Tetti Chiaffredo, Arignano • Tetti Chiaffredo, Arignano - Colle Don BoscoCammino basso:Torino - Eremo dei Camaldolesi (variante Torino-Pecetto) • Eremo dei Camaldolesi - Chieri (variante Pecetto-Chieri) • Chieri - Colle Don BoscoGli itinerari collegati:Cinzano - Arignano - Tetti Chiaffredo • Cinzano -Moncucco[1]Torinese - Cascina Moglia • Anello di Trofarello • Villanova d'Asti - Colle Don Bosco • Buttigliera d'Asti - Colle Don BoscoIl volume propone numerose schede di approfondimento: Valdocco e il Museo Casa Don Bosco; Don Bosco e le camminate con i ragazzi; Il Rondò d'la furca; il motovelodromo Fausto Coppi; La riserva naturale del Meisino e dell'isolone Bertolla; Superga e la collina degli Invincibili; il parco naturale della collina di Superga; i castelli di Bardassano e di Cinzano; l'abbazia di Vezzolano; i vitigni del chierese; i Santi, i Beati e i Venerabili del chierese; Mondonio e San Domenico Savio; il museo di Mamma Margherita; Colle Don Bosco e la borgata Becchi; Pavarolo; Montaldo Torinese; Marentino; la chiesetta San Lorenzo a Mombello; Cascina Moglia; Moriondo Torinese; la chiesa dei Santi Vito, Modesto e Crescenzia; l'Eremo dei Camaldolesi; Medioevo e preistoria di Pecetto; Villa Moglia; Chieri città del tessile; il Distretto del cibo del Chierese-Carmagnolese; il meandro di San Felice; il Centro Bonafous; la Rete Romanica di Collina; la Chieri ebraica; le chiese gotiche e i tesori del cotto chierese; dall'Arco di trionfo ai trionfi del Barocco; il lago di Arignano; Moncucco, il castello e il gesso; la cappella di San Sebastiano a Pecetto; il Santuario della Madonna delle Grazie a Villanova; il bosco di ontano nero; Buttigliera d'Asti, Chiese di San Biagio e di San Martino; don Mario Caustico e la strage di Grugliasco. GIAN VITTORIO AVONDOLaureato in Storia contemporanea, insegnante, ha al suo attivo numerose pubblicazioni di carattere storico, etnografico e turisti[1]co-escursionistico. CLAUDIO ROLANDOBiologo, è stato direttore di alcune aree protette piemontesi. Autore di lavori scientifici e di articoli divulgativi. Con Edizioni del Capricorno ha pubblicato diversi titoli di storia, escursionismo e cultura locale. IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Tra le ‘Vite' di Giorgio Vasari (1550) e quelle di Giovanni Battista Bellori (1672) si inserisce l'opera di catalogazione di Giovanni Baglione (1642) che raccoglie centinaia di biografie di pittori, scultori e architetti che hanno operato a Roma tra il Cinquecento e il Seicento. Pur mancando della visione storiografica di Vasari, l'opera di Baglione rappresenta una valida guida di Roma in un periodo di grande trasformazione, nel passaggio dal manierismo al barocco – commenta Barbara Agosti, autrice con Patrizia Tosini del libro “Giovanni Baglione. Le vite de' pittori, scultori et architetti (Roma 1642)” (Officina Libraria, 2 volumi, 924 p. + 342 p., € 80,00).RECENSIONI“Storia delle città in Italia” di Arsenio Frugoni (Morcelliana, 216 p., € 35,00)“Storia della pittura d'Italia” di Arsenio Frugoni (Morcelliana, 636 p., € 48,00)“Storia della scultura d'Italia” di Arsenio Frugoni (Morcelliana, 240 p., € 35,00)“Storia dell'architettura d'Italia” di Arsenio Frugoni (Morcelliana, 256 p., € 35,00)“La grammatica della calligrafia” di Barbara Calzolari e Alessandro Salice (Gribaudo, 216 p., € 24,00)“Scrivere (nel)la storia. Uno sguardo ai papi del XX secolo attraverso le loro grafie” di Lidia Fogarolo (Graphe, 284 p., € 15,90)“Due papi. I miei ricordi con Benedetto XVI e Francesco” di Julián Herranz (Piemme, 416 p., € 22,00)“Benedetto e Francesco. Due papi diversi, ma mai divisi” di Rosanna Virgili (Edizioni San Paolo, 176 p., € 16,00)“Benedetto XVI. Il teologo, il pontefice, l'uomo” di Andrea Tornielli (Piemme, 336 p., € 19,90)“Giovanni XXIII e Paolo VI. Due vite intrecciate” di Marco Roncalli (Morcelliana, 320 p., € 26,00)“Angelo Giuseppe Roncalli cappellano militare nella Grande Guerra” di Giorgio Cavalli (Gaspari, 140 p., € 18,00)IL CONFETTINO“Alla scoperta di Roma. Piccoli esploratori” di Daniela Celli (White Star - National Geographic Kids, 48 p., € 12,90)“Roma da scoprire” (Lonely Planet Kids, 104 p., € 14,00)

Hallo Freunde es ist Samstag... und es gibt eine neue Epiosde meiner Indie Dance The Mix Series... diesmal mit Dj & Producer Simone Besana aka O.P.S. aus Monza, Italien. Viel Spaß Kurt Kjergaard Hello friends It's Saturday... and there's a new episode of my Indie Dance The Mix Series... this time with Dj & Producer Simone Besana aka O.P.S. from Monza, Italy. Enjoy It Kurt Kjergaard Bio Simone Besana aka O.P.S. He is an Italian dj/producer, with an unbridled passion for Italo and House sounds that flow between the Cosmic and Futuristic, between the Baroque and the Classical. By definition a DANDY DREAMER DJ. Compulsive researcher of sounds, records and rarities. Simone Besana aka O.P.S. È un dj/producer Italiano, con una passione sfrenata per sonorità Italo e House che sfociano tra il Cosmico e Futuristico, tra il Barocco e il Classico. Per definizione un DANDY DREAMER DJ. Ricercatore compulsivo di suoni , dischi e rarità. Links SOUNDCLOUD https://soundcloud.com/simone-franky-besana SPOTIFY https://open.spotify.com/intl-de/artist/7wZZAonfRWG2OYxxmaDJAM?si=3NEaxJLLRUaBj_bs0C_nrw&nd=1&dlsi=30401f13d8334709 Tracklist Rambal Cochet - The Hidden Magenta O.P.S. - Martina Fred Falke - Crepuscule Depeche Mode - Enjoy the Silence ( Ewan Pearson RMX ) O.P.S. - Mirta Kasper Bjorke - RUSH ( feat Tobias Buch ) Brynjolfur Rmx Joe Lewandowski - Naturale Ido Morali - Tunel Rose , S , Kimshies - Kill my Summer ( feat Rose ) Damon Jee RMX Hugh Bullen - Alisand ( Pablo Bozzi rmx ) O.P.S. - Martina ( Modular Project RMX ) O.P.S. - Unreleased Captain Hollywood Project - More And More ( Modular Project Rmx ) DISCHI EDITS Los Angeles T.F. - Magical Body ( KENDAL RMX ) Also listen to this podcast here: APPLE PODCAST podcasts.apple.com/de/podcast/kurt…E7vXOuDgX7Ga8z4 AMAZON MUSIC PODCAST music.amazon.de/podcasts/1ce8511a…e1/kurt-kjergaard Disclaimer: All material on this channel is posted with the explicit consent of the artist/labels and no copyrights are violated in any way. If you are a copyright owner and want your work to be removed from our channel please contact us with a personal message here and we will remove your material right away. Please note that we do not benefit from posting this material and have only the intention to help new and emerging artist to be heard by supporting & promoting podcasts. Thx a lot... Kurt Kjergaard play ☑ like ☑ share with your friends ☑ | THANKS FOR YOUR SUPPORT |

Celebrating the artist who introduced photographic painting, Michelangelo Merisi da Caravaggio. - Credits : "Ciaccona" by Tarquinio Merula (1595-1665) performed by Giardino Armonico (2011)

Pierluigi Carofano"I grandi maestri del Barocco e Caravaggio"www.baroccoecaravaggio.itPiemonte Musei presenta a Mondovì, in provincia di Cuneo, la culla del barocco piemontese, una straordinaria esperienza artistica. Fino al 1° maggio, l'ex Chiesa di Santo Stefano, si trasforma in una cornice unica per la mostra “I Grandi Maestri del Barocco e Caravaggio".L'arte barocca è famosa per la sua esuberanza, l'uso ardito del chiaroscuro e la capacità di catturare emozioni intense. La mostra “I Grandi Maestri del Barocco e Caravaggio” offre un'immersione completa in questo stile affascinante, permettendo ai visitatori di apprezzare la genialità di artisti che hanno ridefinito il concetto di bellezza nel XVII secolo. Il fulcro della mostra è l'iconica “Maddalena in Estasi” di Michelangelo Merisi, noto come Caravaggio, un capolavoro che incanta per la sua drammaticità e maestria pittorica.Ma la bellezza del Barocco non si ferma qui. I visitatori avranno l'opportunità di ammirare opere straordinarie di artisti del calibro di Rubens, Ribera, Giordano, Preti, Reni, Van Dyck, Da Cortona, Suttermans, Dolci, Furini e Sirani ognuno con la propria interpretazione dell'estetica barocca.ll Barocco Piemontese è lo stile che ha vestito l'anima della città di Mondovì e incarnato alcuni tra i principali monumenti del territorio, tra cui il Santuario di Vicoforte. Non poteva dunque che essere dedicata al Barocco la mostra organizzata da Piemonte Musei al Centro espositivo Santo Stefano portando in città una serie di dipinti dei massimi artisti del tempo, cercando di disegnare e evidenziare un itinerario culturale estremamente significativo.L'eredità artistica e storica di un autore come Michelangelo Merisi, “il Caravaggio”, un nome che, al pari di altri prima e dopo di lui, rappresenta un punto di svolta imprescindibile della storia dell'arte. Raccontare chi e cosa ha rappresentato il milanese, artista maledetto ante litteram con una vita complessa e in viaggio, è estremamente lungo e complicato. Per sommi capi, si può dire che l'impatto fu tale da far saltare i codici dell'arte, soprattutto di quella sacra, e evidenziò un nuovo approccio al lavoro sulla luce.IL POSTO DELLE PAROLEAscoltare fa Pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/show/tracce-di-il-posto-delle-parole_1/support.

Barocco sempre giovane. V překladu Baroko stále mladé. Komorní hudební těleso letos slaví 20 let. Výroční koncert chystá na březen.

Barocco sempre giovane. V překladu Baroko stále mladé. Komorní hudební těleso letos slaví 20 let. Výroční koncert chystá na březen.Všechny díly podcastu Máme hosty můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Benvenuti a un nuovo entusiasmante episodio di Giardino Futuro, il podcast del giardinaggio consapevole, condotto da Roberto Massai.In questo appassionante capitolo, ci immergeremo nel magico mondo del Barocco e scopriremo come questo periodo storico ha plasmato i giardini europei in modo straordinario.Dopo il Rinascimento, le città italiane e molte altre d'Europa persero la loro indipendenza, subendo il dominio di potenze straniere. Scopriremo come la Chiesa cattolica, attraverso la Controriforma, trasformò l'arte, l'architettura e i giardini in espressioni di maestosità e devozione.Il Barocco si diffuse in tutta Europa, ma ogni regione aggiunse il proprio tocco.In Francia, divenne uno strumento di esibizione del potere assoluto dei monarchi.I giardini francesi, famosi per i loro parterre e giochi prospettici, sono un'opera d'arte di per sé.Scopriremo come il Barocco si differenziò dal Rinascimento, con forme più fluide, illusioni prospettiche e l'uso rivoluzionario dell'acqua come specchio.Non perdere questo viaggio nel passato che ha plasmato i giardini come li conosciamo oggi.E non dimenticare di condividere le tue opinioni e domande all'indirizzo email robertomassai@giardinofuturo.it.Sostieni questo progetto su patreon.com/giardinofuturo

In questa puntata ci tuffiamo nel mondo barocco del Seicento, per ammirare i sorrisi scolpiti del grande Gian Lorenzo Bernini.Ascolta il podcast ********Mario Alberto Catarozzo - Formatore e Business Coach professionista• https://mariocatarozzo.it | https://myp.srl• FACEBOOK: https://facebook.com/MarAlbCat• LINKEDIN: https://it.linkedin.com/in/macatarozzo• TWITTER: https://twitter.com/MarAlbCat• INSTAGRAM: https://www.instagram.com/mariocatarozzo• TELEGRAM: http://t.me/COACHMAC_official• BUONGIORNO FELICITÀ: https://www.facebook.com/groups/buongiornofelicita• GIOVEDÌ IN DIRETTA:https://myp.srl/webinar/

Roberto Rossi Precerutti"Sonetti funebri"Luis de Góngora y ArgoteNeos Edizionihttps://neosedizioni.itEscono nella collana Neos Edizioni Poesia i “Sonetti funebri” del più grande lirico spagnolo del Seicento, Luis de Góngora. La cura è del poeta Roberto Rossi Precerutti, le cui traduzioni da diverse lingue neolatine sono apparse prevalentemente nei volumi e nella rivista “Poesia” dell'editore Crocetti, nonché in alcune antologie pubblicate, fra l'altro, da Rizzoli-Corriere della Sera.“Sonetti funebri” rappresentano uno dei vertici della poesia barocca europea: perfezione vertiginosa della struttura e amara riflessione sulla impermanenza della gloria terrena e di ogni fasto mondano.Accostarsi alla lirica gongorina significa innanzi tutto scoprire quella splendida ossessione della forma, quello strenuo lavoro sulla parola che rivelano l'inquietudine dell'uomo del Barocco di fronte all'infinita molteplicità del reale.Inoltre, la severa precisione con cui il poeta esplora la presenza della morte nel quotidiano e l'austera attitudine a nominarne i particolari materiali che ne simboleggiano il trionfo sono drammatica testimonianza dell'unica scelta ascrivibile a un'istanza di umana dignità, cioè l'accettazione di un percorso terreno sublimato certo dalla cristiana promessa di salvazione, ma anche dal coraggioso confronto con la mutevolezza del destino che sovente trascina nella rovina i grandi e i potenti.Espressione di un'affascinante stagione culturale, artistica e politica che volge ormai al tramonto, l'opera di Góngora, al pari della pittura di Velázquez che al poeta dedicò un magnifico ritratto, illumina di indimenticabile luce la Spagna del Siglo de Oro. Luis de Góngora y Argote nasce a Cordova l'11 luglio 1561 da una famiglia della media nobiltà, invero non molto facoltosa. Avviato alla carriera ecclesiastica, studia all'Università di Salamanca e costruisce precocemente la sua fama di autore ingegnoso e versatile. Numerosi i viaggi e i soggiorni presso la corte (nel 1617 sarà nominato cappellano d'onore del sovrano) che gli consentono di legarsi a personaggi potenti e influenti, anche se la sua carriera mondana non sortirà gli effetti sperati, ingenerando sentimenti di delusione e disinganno. Il suo successo letterario, ormai indiscusso, contrasta dunque con le angustie di una non mai superata precarietà economica e il disfavore dei grandi, cui con tanta speranza si era affidato. Il poeta muore nella sua città natale il 23 maggio 1627. Cospicua la produzione in versi, nella quale spiccano, oltre ai numerosissimi sonetti, i poemi Fábula de Polifemo y Galatea e le Soledades. Roberto Rossi Precerutti, poeta, saggista e traduttore, vive e lavora a Torino, dove è nato nel 1953. Le sue raccolte di versi sono apparse prevalentemente per i tipi degli editori Crocetti, Aragno, Neos. Tra gli ultimi titoli: Genio dell'infanzia cattolica (Aragno 2021) e Lo sgomento della grazia (Neos 2022). IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Versione audio: La morte di papa Alessandro VII, nel 1667, segnò, a Roma, il declino della committenza papale e la fine di quel regime di esclusivo monopolio esercitato dai pontefici nei confronti degli artisti più affermati. Questa particolare situazione lasciò ampi margini di azione al mecenatismo degli ordini religiosi e in particolare dei gesuiti. Nel […] L'articolo Gaulli e Pozzo: la percezione dello spazio barocco proviene da Arte Svelata.

"Musica Maestro" è il programma di Radio 24 dedicato alla musica classica: lirica, sinfonica, d'epoca, strumentale e da camera commentata dai protagonisti del momento. Il programma affronta la musica sotto molteplici sfaccettature, indagando e portando alla luce anche i rapporti con la cultura, la filosofia, la scienza e la società, ponendo un'attenzione particolare all'attualità: ogni settimana la segnalazione di un libro o un disco appena uscito, un esecutore o un giovane musicista, un anniversario o un avvenimento di rilievo.

Alex D'Alessandro in questa puntata di Opera Coast to Coast ci propone J.S.Bach. Nato il 31 marzo 1685 in Turingia, Johann Sebastian Bach è universalmente considerato uno dei maestri indiscussi della storia della musica classica. Il compositore e musicista fu uno degli esponenti di spicco del Barocco musicale fra Seicento e Settecento, ricordato soprattutto per la complessità strutturale delle sue opere (suo anche il canone retrogrado), per la loro armonia estetica e per un allontanamento dal genere melodrammatico, in una sapiente sintesi fra il cosiddetto stile tedesco e influenze italiane che gli venivano da compositori come Antonio Vivaldi. La sua produzione è sterminata, abbracciando in modo enciclopedico diversi strumenti, in particolare organo e clavicembalo, occupandosi però anche di musica da camera e da orchestra, addirittura di musica cantata (fu lui stesso un soprano, ma non compose mai opere liriche). www.radioshamal.i

Aujourd'hui dans Mercredi ! nous allons voyager dans les films policiers. Gangsters, détectives, villes sombres et ruelles mal éclairées seront nos fils rouges pour cette émission tout en noir et blanc. Les musiques de l’émission : - Simplon Express d'Amiina - Vibrational Force de Dj Fleg - Barocco de Philippe Sarde - Miles Davis pour le film Ascenseur pour l'Echaffaud - The Lonely de Molly Nilsson Extraits de films : - Les Affranchis - Le Mystère de la chambre jaune - Ocean's Eleven - L'Assassin habite au 21

Il Seicento e il Barocco: elementi caratterizzanti.

Dal Kursaal di San Marino

Versione audio: Francisco Goya (1746-1828), pittore e incisore spagnolo, fu uno dei più sensibili e autorevoli esponenti del primo Romanticismo europeo. Le sue prime opere rivelano un talento di scenografo, sviluppato studiando il Barocco italiano. A Madrid, produsse una serie di cartoni destinati alla regia arazzeria: veri e propri quadri di genere, concepiti secondo la […] L'articolo Goya: il sonno della ragione e i disastri di ogni guerra proviene da Arte Svelata.

Building on our recent fascination with cathedrals, this week we cast our architectural net a bit wider by taking a look at the other wonderful structures we walk past every day. Eavesdrop on us as we delve beneath the facade and open a window on everything from Bauhaus to Gothic, whilst being a little arch along the way.   We love hearing from you, find us @SomethingRhymes on Twitter and Facebook, @SomethingRhymesWith on Instagram or you can email us here: purple@somethinelse.com   We currently have 20% off at the SRwP official merchandise store, just head to: https://kontraband.shop/collections/something-rhymes-with-purple   Want even more purple, people? Join the Purple Plus Club via Apple Subscription, simply follow this link and enjoy a free 7 day trial: https://podcasts.apple.com/gb/podcast/something-rhymes-with-purple/id1456772823   Don't forget that you can join us in person at our upcoming tour, tap the link to find tickets: www.somethingrhymeswithpurple.com    Enjoy Susie's Trio for the week:   Scripturiant: having a strong urge to write.  Patrizate: to imitate one's fathers or forebears.  Catillate: to lick the dishes clean.   Gyles' poem this week was 'The Living Proof' by Roger McGough    A Somethin' Else & Sony Music Entertainment production.  Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts  To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Conoscere la storia dell'arte e gli artisti che hanno realizzato le copertine dei dischi vinili raccontando a modo loro movimenti artistici, tendenze, ma anche rivisitazioni di temi classici per far prendere coscienza dei rapporti tra arte, musica e società, questo è "Copertine come Quadri" progetto di Renato Portolan. Confartigianato Pordenone ci ha portato nel suo "museo" di vinili, CD e soprattutto tante tante copertine in questa puntata di "Artigiani in diretta", seguiteci in questa puntata: https://www.youtube.com/watch?v=Y8DUBRRr42c&t=1s IL PROGETTO Il 29 settembre 2017 è stata fondata l'associazione culturale "Copertine come quadri "che si propone di promuovere e diffondere la conoscenza della storia dell'arte e degli artisti che, attraverso le espressioni a valenza pittorica, grafica e fotografica, hanno realizzato le copertine dei dischi vinili in modo da rappresentare sia i principali movimenti artistici, tendenze e stili del XIX e XX secolo (Modernismo, Pop Art, Arte Concettuale, Postmodernismo, ...) che le rivisitazioni e riproposizioni di temi classici (Rinascimento, Manierismo, Barocco, Romanticismo, ...) per far prendere coscienza dei rapporti che intercorrono tra arte, musica e società ma anche operare con l'intento di arricchire l'offerta culturale del territorio coinvolgendo scrittori ed esperti nel campo della storia dell'arte, della musica, della fotografia, della pittura e della grafica proponendo: mostre didattiche con copertine di vinili per la conoscenza e divulgazione delle medesime attraverso percorsi e tematiche suggerite ed espresse da tutti i generi musicali; presentazioni e conferenze con personalità legate al mondo storico-artistico-musicale ed il coinvolgimento di musicisti e cantanti nei campi della musica classica, pop rock, folk, progressive, elettronica e jazz; collaborazioni con istituti scolastici di ogni ordine e grado sia pubblici che privati per la conoscenza e divulgazione di tale produzione artistica; collaborazioni con istituzioni locali, regionali e nazionali per la eventuale partecipazione ad eventi ed iniziative correlate a valenza artistica; collaborazioni con altre associazioni ed enti similari. Inoltre "Copertine come quadri", per integrare le proprie manifestazioni con un supporto musicale dedicato, ha costituito il proprio gruppo musicale denominato "I conservatori del museo", chiaro richiamo alla sede espositiva delle opere d'arte ma anche al significato di raccolta di opere d'arte o di oggetti aventi interesse storico-scientifico, etno-antropologico e culturale. Artigiani in diretta è un progetto realizzato  in collaborazione con Confartigianato Pordenone con il sostegno della Camera di Commercio di Pordenone-Udine Qui il podcast della puntata completa:

Un incontro con la storica dell'arte e curatrice Francesca Pietracci nel quale ricsotruiamo un'immagine del Barocco italiano, parlando della storia del XVII Secolo e delle maggiori correnti culturali dell'epoca. --- Send in a voice message: https://anchor.fm/nuevaitalia/message

Ai microfoni di Unica Radio ospitiamo la violinista Anna Tifu per raccontare il concerto che sabato 14 maggio la vedrà protagonista al Teatro Doglio di Cagliari insieme al pianista Giuseppe Andaloro. Dopo due anni di assenza dai palcoscenici cagliaritani, torna a esibirsi nel capoluogo sardo la violinista Anna Tifu, protagonista, insieme al pianista Giuseppe Andaloro di un concerto straordinario che si terrà al Teatro Doglio sabato 14 maggio alle ore 21. Il concerto si inserisce nell'ambito della programmazione di Teatro Doglio ed è realizzato con la collaborazione di Compagnia B e del LEI Festival. Tifu e Andaloro sono reduci da un applauditissimo concerto tenutosi a fine marzo nello storico Teatro Regio di Parma. Vincitrice nel 2007 del prestigioso concorso internazionale George Enescu di Bucharest, Anna Tifu è considerata una delle migliori interpreti della sua generazione. All'età di 12 anni, debutta alla Scala di Milano con il Concerto n.1 di Max Bruch. Viene ammessa, all'età di 17 anni, al Curtis Institute di Philadelphia. Si è esibita con alcune tra le più prestigiose Orchestre Nazionali ed Internazionali come l'Orchestra Nazionale di Santa Cecilia, Orchestra Nazionale della RAI di Torino, Orchestra del Teatro Carlo Felice di Genova, Orchestra del Teatro La Fenice di Venezia, Simòn Bòlivar Orchestra del Venezuela, George Enescu Philarmonic, per citarne alcune, e ha collaborato con direttori del calibro di Yuri Temirkanov, Gustavo Dudamel , Diego Matheuz, Ezio Bosso, David Afkham, Mikko Franck, Jonathon Heyward. Tra gli impegni più prestigiosi ricordiamo concerti al George Enescu Festival di Bucharest con l'Orchestra RAI di Torino e Juraj Valcuha, concerto con Gustavo Dudamel e la Simòn Bòlivar Orchestra del Venezuela, inaugurazione della Stagione a Genova, Teatro Carlo Felice dove, per l'occasione, si è esibita con il famoso violino Guarneri del Gesù detto “IL CANNONE” appartenuto a Niccolò Paganini, inaugurazione a Venezia, Teatro La Fenice con Diego Matheuz, concerto inaugurale della Stagione Fondazione Società dei Concerti di Milano dove è regolarmente invitata, concerto allo Stradivari Festival di Cremona, dove si è esibita in uno spettacolo insieme all'Etoile Carla Fracci, concerti all'Auditorium Parco della Musica di Roma insieme a Yuri Temirkanov e l'Orchestra dell'Accademia di Santa Cecilia e l'inaugurazione della Stagione a Parigi, con l'Orchestra Filarmonica di Radio France, diretta da Mikko Franck. Recente è il suo debutto per la casa discografica Warner Classics, in duo con il pianista Giuseppe Andaloro. Anna Tifu è stata testimonial della campagna pubblicitaria 2011 di Alitalia, assieme a Riccardo Muti, Giuseppe Tornatore ed Eleonora Abbagnato. Suona il violino Antonio Stradivari “Marèchal Berthier” 1716 ex Napoleone e il violino Carlo Bergonzi “Mischa Piastro” 1739 della Fondazione Canale di Milano. Molto suggestivo il programma del concerto che consente ai due musicisti di poter esprimere al meglio le doti tecniche e esecutive e che prevede la Sonata in Sol maggiore di Ravel, la Fantasia op. 131 di Robert Schumann, Il Poeme di Ernest Chausson e la Tzigane, ancora di Ravel. Sul palco del Teatro Doglio la Tifu sarà accompagnata dal pianista d'eccezione Giuseppe Andaloro, ospite di importanti festival, presso le più prestigiose sale del mondo e, come solista, di orchestre quali la London Philharmonic, Nhk Symphony Tokyo, Philharmonische Camerata Berlin. Ha collaborato con direttori del calibro di Vladimir Ashkenazy, Gianandrea Noseda, Andrew Parrott, e con artisti quali Sarah Chang, Giovanni Sollima, Sergej Krylov, John Malkovich. Ha al suo attivo numerose incisioni discografiche: il suo ultimo album Cruel Beauty nel 2013, edito da Sony, è una world première di musiche italiane del tardo Rinascimento e del primo Barocco, per la prima volta registrate con un pianoforte moderno. Info biglietti su questo link.

Episodio registrato con una tecnica sperimentale. Ho cercato di emulare l'audio all'interno dei musei. La mia voce cambia in base all'artista di cui parlo, come se ci si ritrovasse in una stanza dedicata esclusivamente a lui. Video dell'episodio Contenuti dell'episodio: Gotico Leonardo da Vinci Michelangelo Buonarroti Raffaello Sanzio Giorgione Tiziano Vecellio Correggio Andrea Del Sarto Giorgio Vasari Iacopo Tatti, detto il Sansovino Andrea di Pietro della Gondola, detto il Palladio Iacopo Robusti, detto il Tintoretto Paolo Caliari, detto il Veronese Albrecht Dürer Bruegel Domínikos Theotokópoulos Il Barocco Michelangelo Merisi, detto il Caravaggio Gian Lorenzo Bernini Francesco Borromini --- Send in a voice message: https://anchor.fm/corgiov/message

Bevor Johann Sebastian Bach im Jahr 1723 sein Amt als Kirchenmusiker in Leipzig antrat, war er an Fürstenhöfen tätig, wo er viele Konzerte für verschiedene Soloinstrumente geschrieben hatte. Diesen Konzerten widmet sich seit 2021 das Ensemble "Il Gusto Barocco" aus Stuttgart in einem CD-Projekt. Jedes Jahr zu Bachs Geburtstag erscheint ein Album mit Konzerten Bachs - diesmal unter anderem mit den Cembalokonzerten BWV 1054 und 1060.

Il mare, Napoli e la Spagna. Tre ispirazioni lontane che a Lecce diventano vicine.Per ricevere la trascrizione dell'episodio, iscriviti alla newsletter:http://eepurl.com/hrMwC1Testo e voce di Salvatore GrecoSullo sfondo:My Valentine - Oak Studios – Licenza Creative Commons Attribution ND 4.0Morning Mandolin - Chris Haugen – Creative Commons CC BY 4.0Acoustic guitarWoods – Oak Studios – Licenza Creative Commons CC BY 4.0

Olimpia Maidalchini (1591-1657) - Cognata di Papa Innocenzo X e per qualcuno più importante del pontefice stesso. La Papessa domina la scena nella Roma barocca di Bernini e Borromini, tra gli strali dei romani che non sopportano di vedere una donna con tanto potere, tanta intelligenza e tanta, smisurata, ambizione.

Giorgio Scavino conduce "Gusto Barocco" ogni mercoledì dalle 10 alle 10.30

Andrea Dall'Asta"La luce colore del desiderio"Percorsi tra arte e architettura, cinema e teologia dall'Impressionismo a oggiAncora Librihttps://www.ancoralibri.it/Dopo avere compiuto nel saggio La luce, splendore del Vero (2018) un viaggio dall'età paleocristiana al Barocco, l'autore prosegue in questo volume l'indagine sulla luce dall'Impressionismo ai nostri giorni. In un'interdisciplinarità tra arte e architettura, fotografia e cinema, filosofia e teologia, con un'attenzione particolare ad artisti come Cézanne, Rothko, Matisse, Fontana, Turrell, viene delineata un'inedita e originale «storia della luce» che conduce dalla luce fisica dell'Impressionismo alle più attuali sperimentazioni tecnologiche. Nel Novecento, la luce divina della tradizione non illumina più la vita umana, ma si fa materia stessa dell'opera. Così, gli Ambienti spaziali di Lucio Fontana aprono a una serie di straordinarie ricerche su come l'uomo percepisce se stesso, in un cammino di appercezione. Di fatto, in un'epoca che ha conosciuto il bagliore tragico e inquietante sprigionato dalle bombe di Hiroshima e Nagasaki, la luce continua a incarnare il desiderio dell'uomo di lasciarsi interrogare dal segreto del mondo, affinché la realtà sia illuminata e riconosciuta nella sua verità e nella sua bellezza.Andrea Dall'Asta, dopo avere terminato gli studi di architettura a Firenze nel 1985, entra nella Compagnia di Gesù nel 1988. Dal 2002 dirige la Galleria San Fedele di Milano e dal 2008 al 2020 ha diretto la Raccolta Lercaro di Bologna. Ha fondato a Milano nel 2014 il Museo San Fedele. Itinerari di arte e fede. La sua attenzione è rivolta al rapporto tra arte, liturgia e architettura. Ha partecipato ad alcuni importanti progetti come l'adeguamento liturgico della cattedrale di Reggio Emilia (2011), la realizzazione dell'Evangeliario Ambrosiano (2011), del Padiglione Vaticano per la Biennale di Venezia (2013) e della sezione Disegnare il sacro alla Biennale di Architettura di Venezia (2014). Insegna alla Facoltà Teologica dell'Italia Meridionale a Napoli.Scrive su alcuni quotidiani e riviste come Avvenire e La Civiltà Cattolica. Ha pubblicato: La mano dell'angelo. La Vergine delle Rocce di Leonardo. Il segreto svelato, Àncora, Milano 2019; Il viaggio della vita. La chiesa di San Fedele in Milano tra arte, architettura e teologia: paradigma di un percorso simbolico, Àncora, Milano 2019; Dio chiama con arte. Itinerari vocazionali, Àncora, Milano 2018; La luce, splendore del Vero. Percorsi tra arte, architettura e teologia dall'età paleocristiana al barocco, Àncora, Milano 2018; La Croce e il Volto. Percorsi tra arte, cinema e teologia, Àncora, Milano 2015; Dio storia dell'uomo. Dalla Parola all'immagine, Messaggero, Padova 2013.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

You've heard it many times before. The famous term: 'Author Voice'. But what is it exactly and how do you develop one? Or should you even be concerned about your Author Voice? That's some of the questions Autumn and Jesper seek to answer in episode 97 of the Am Writing Fantasy podcast.   Link to episode 100 questionnaire: https://forms.gle/KDHdPnUB5A9cwViz7     Tune in for new episodes EVERY single Monday.  SUPPORT THE AM WRITING FANTASY PODCAST! Please tell a fellow author about the show and visit us at Apple podcast and leave a rating and review.  Join us at www.patreon.com/AmWritingFantasy. For as little as a dollar a month, you'll get awesome rewards and keep the Am Writing Fantasy podcast going. Read the full transcript below. (Please note that it's automatically generated and while the AI is super cool, it isn't perfect. There may be misspellings or incorrect words on occasion). Narrator (2s): You're listening to The Am Writing Fantasy Podcast. In today's publishing landscape, you can reach fans all over the world. Query letters are a thing of the past. You don't even need a literary agent. There is nothing standing in the way of making a living from writing. Join two best selling authors who have self published more than 20 books between them now onto the show with your hosts. Autumn Birt and Jesper Schmidt. Jesper (30s): Hello I'm Jesper and I'm Autumn. This is episode 97 of The Am Writing Fantasy Podcast. And you heard it before The famous term Author Voice, but what is it exactly and how do you develop one? Or should you even be concerned about your Author Voice in the first place? That's some of the questions that we will seek to answer in today's episode? Autumn (56s): Oh, it will be so much fun because I, it was, I did, I actually did some homework for this one. Again, I did some research and I think hearing some stuff out because it is, I could see why it's a confusing topic and it, some of the posts I read about it and I'm like, no, that's not what you were actually talking about. So it will be interesting to break this one and unpack it. But first, how is the moving saga now with that the house has been officially contracted? Jesper (1m 25s): Yeah, it's a it's it's going well, we signed the lease on an apartment, which is only like two minutes walk from the beach. So that's amazing. Yeah. I can't remember if I already mentioned it, not on a previous podcast episode or if I did. Sorry. Deal is, you know, but he's so excited actually looking. Yeah, we are looking forward to moving on to the, and the kids are also really much looking forward to it because they know they're going to get closer to the school and to their friends, you know, from, from the apartment is only a 15 minute bus ride to school. Whereas today we have to drive the kids every time and it takes, if they want to take the bus today will take them in a bit more than an hour to get to school and to visit our friends and so on. Jesper (2m 14s): So yeah, the kids who are very much looking forward to it, but yeah, my wife and I are also looking forward because it's going to be releasing some pressure on us to act as chauffeurs all the time. You're going to get away with not having to drive the kids way before they turn 16. So that's exciting. Yeah, that is good. Yeah. But I think that the trick becomes now, how do we get all this stuff from a house to fit into an apartment, which is probably like almost 50 square meters, smaller than that. So it's going to demand some serious organization skills to pull that off. Autumn (2m 55s): Yeah. You guys are definitely going to have a few things in storage, which we already about the strategies of labeling boxes. I think you guys are all, Jesper (3m 5s): So if we have to get a storage room, there was no way around that though. Autumn (3m 8s): But it'll be exciting. And it's, it's fun to clean out the cupboards and get rid of some things. This is from the person who's gotten rid of like 99% of this stuff she has owned. So don't get me started on if I would use the word fun, but, but okay. Cathartic, how's cathartic. It's a good word. But you have fair enough. At least it will be done once it's over with, then I will feel like it was nice, but I knew in the process itself, I am not so excited. So that's always the hard part and going through it. Yeah. Yeah. How about you? Oh, it's good. It's the leaves are falling here in Vermont so much. Autumn (3m 51s): It looks like it's snowing yellow. So it's, it's beautiful on it. We've had some, right. So it is nice. The rains have come back. So we are, are a little pond and stream outside of the cabin have actually filled. So we have flowing water. It's very picturesque, little chilly, perfect for staying inside. It goes to the wood stove and WRITING, which is good because I'm being my insane self. I have my own bucket at, to do for Am Writing Fantasy to keep things going here. And I have some clients and people I'm helping with their books or their covers, including some tarot cards. I'm gonna suddenly found myself doing some graphic design for, and meanwhile, I'm trying to finish up this trilogy. Autumn (4m 37s): I'm writing and hope to release in early 2021. And I just, I, I dreamt last night that I was dreaming. I'm starting to layer my need for sleep in my dreams. Since inception, I woke up thinking I'm dreaming about dreaming and this is not a good sign, but I love it. I love what I love, the way, the direction everything is heading it. I just need more time in the day I need, I need her. Mine is a little hourglass clock. I know we can build myself into my extra hours. It would be fantastic. Autumn (5m 17s): But what if you only spoke up from your dreams into another dream that you don't know your dreaming? Well, today's been really good. So I wanted to stick to this when I'm good. I'm fine. I'm fine with me living in a dream. It's just this one can manifest some more dragons and Magic. That would be awesome. Yeah. Jesper (5m 39s): Well that act as long as you are. Well, then you have to also have to be a model or something you don't want to get roasted by dragging us. Autumn (5m 46s): Yes. As long as the dragon is my pet and it will protect me. Okay. All right. I will look to problem solve it. Yeah. Narrator (5m 53s): A week on the internet with the Am Fantasy Podcast. Jesper (6m 0s): Now that we are only three episodes away from episode 100, it would be a good time for you to submit your question. Autumn (6m 9s): Yes. At the time is almost running out and we need some more questions. So please send us something, anything, it doesn't have to be about writing. It can be about what it's like to live at a tiny cabin in Vermont, or to sell your house in Denmark and move him into an apartment. Anything. Yeah. Jesper (6m 29s): Yeah. Well that might be a bit boring for somebody in the us too, to know how you sell the house. Autumn (6m 34s): So what someone might want to know. Oh, it could be anybody. Yeah. I have traveled all across North America in a land cruiser, including some amazingly difficult, like a boiling the brakes and having the muffler shear off in that one time with a grizzly bear. But, you know, so if you're curious, ask, if I'm not going to say, I don't want to know more about when you were in New Zealand and you went to the Hobbit. Yeah, that was cool. If I have to come up with questions, I know where I'm going, Jesper (7m 8s): Right? Yeah. That's cool. And then sometimes as well, I meet some really crazy people when I'm at refereeing. So maybe there are some stories that you want to hear them. Autumn (7m 17s): That's true. You do. Those are always some interesting stories. I had no idea. The world of a soccer or football is so deeply strange. It was interesting. Jesper (7m 32s): It's filled with a lot of very, very passionate people and they can't always control it. Autumn (7m 40s): Fair enough. I think that sounds a reasonable. I know I've never been a sports person recently. We managed to get the play pool, which is one of the few sports I enjoy. If you can call it a sport. Cause it's really mathematical, which was kind of sad. But, but besides having to do that, I have never been a sports fanatic or even a huge movie buff. So I don't quite, when I see these people like chanting and nearly tearing apart stadiums, I, I don't, I, I will never write a sports fan as a character because I don't think I can. Jesper (8m 20s): Now you said that it just reminded me... It was quite impressive how everybody could keep calm this last Saturday, because well, now you prompted me so very quickly, you two are here just to show a very short story. But this Saturday I had a match in the, basically... well... the stadium here in the main city or close to where I I'm living. So I had a match there and in the morning, I was woken up by a phone call from the football association and they said, Oh, we are in really big trouble. Can you take a second match today? Jesper (9m 1s): And I was like, in the morning, you know, the call woke me up, so I was a bit like disoriented and like, "yeah, well, what, when?" And they say, yeah, it was just an, a, it's a, it was like, what is that? I don't know what that is in miles, but it's like 60 kilometers from where I live. So it's not, it's not far fire in the Western standards, but it's fine enough that it takes a while to drive there. And I did some quick calculation of distances in, in my head. And it was like, well, that's not really gonna work as hard, because if I'm going to take that medicine, I will not be able to get to the other match in time. And she said, no, I know, but we don't have any other referees. Jesper (9m 42s): So can you take it, and that was like, yeah, OK. But then you have it. If you can call the, the, the other team's at the latest, Matt is just to tell them that I will not make it in time so that they know and that, and she said, yeah, yeah, no problem. I'll do, I'll do that. Now. I'll tell him that this was at the football association cost and this right. So that they don't get upset with you when they say, okay, that's fine. And then I'll do it. So I went and I refereed the first match. And then I drove as fast as I could back to the town here where I live. And it was just so weird because speaking of people, keeping comm, because there was not a lot, but that might've been like a, a, a hundred spectators in the stadium. Jesper (10m 26s): So it's not a lot, but it, it was like a day on the 19th, a, the highest leak for youth people. So it's the under 19 at the highest level, you can play up at. They were pretty good. And there was probably like a, a hundred people there to watch the game. And they were just sitting there twiddling their thumbs in stadium, like an hour. And then the referee walked in like 15 minutes after the games should have started. And everyone is just sitting there looking at it and I'm walking in like, LA, you know, of course I hurt as much as I could, but, and then, you know, take on some, a different shirt and what not. And then onto the pits, straight away, just stop the match. Jesper (11m 6s): But it was a bit, but it was so amazing, everybody. It was just so calm and relaxing to everybody, except there was no complaints about anything. So that was actually a pretty good. So I don't know if, what you said just reminded me of that. Right. Autumn (11m 18s): It's a good story. It was just like the kind of questions we want and the stories we hope to tell for a a hundred episodes. So that's a good one. Oh, that's too funny. Jesper (11m 28s): Yeah. So, we added the link in the show notes from where you can post your questions. It will take you two, a simple Google forum, and you can leave a written question there if you want. But of course we would prefer an audio or video file where you ask you a question. So that way we can play it during episode 100. Autumn (11m 47s): Yes. So we can have your voice with us on the air with this is air. What is, Podcast it? I don't know. Yeah. I don't know. But Jesper (11m 58s): The, and of course, if you want to record a video of yourself, don't worry about where you were pointing the camera. We don't need the actual images. We just need the audio. So yeah. Point the camera at the floor of the wall or something. If you want to say that we, because we were just going to strip off the audio anyway. So yeah, we don't, we don't need any images, so yes. Yeah. But all right. Before we finished off this segment, we also need to give a huge, thank you to you really. I hope I am pronouncing that correctly. That was my cousin and yeah. David Goslin and also guilt master Seth. Yes. So thank you so much for joining us on Patreon. Jesper (12m 41s): I think, well, I have said this before. I know, but in all honesty, it is the support on a patron is really what justifies the time that we spent recording these podcasts episodes every week. So I don't get me wrong. We love creating this podcast and that's the main drive behind why we do it. But that set, it is still time that we could have spent on Writing. So, hence just to do a lot on Patreon and a month really helps us keep the lights on. So if you haven't checked out patron, yet there is a link in the show notes. And I should, yeah, I, I should just tell you to take a look at the Query what we offer that if you haven't done so already. Jesper (13m 25s): So yeah, the link is in the show Autumn (13m 28s): And we would love to have you come and take a look at it. Jesper (13m 32s): Oh, sorry. I was playing my music to fast. Autumn (13m 36s): That's okay. I had a quick internet hiccup, which I am one cell phone tower repeaters through rural Vermont woods. What could I say? It's bad. That's nice. It isn't. It's nice. Except for the internet. We won't get into internet. I am very jealous of your internet. But and you know, we couldn't have a conversation about that if you want. No, I don't think that's what people are tuning in four. They want to know about our Author Voice. So we'll just jump into that. And we'll hope that my mind steady is out in the falling leaves. Do not somehow mysteriously interrupt the airwaves or maybe it was a dragon eating a tower. I'm not sure if it was something it could have been in my bed. I don't know if I'll have to talk to my dreams. Autumn (14m 19s): I get it. Right. Jesper (14m 20s): Okay. But let's start out by defining what we are talking about when we speak of Author Voice and I can just start out with a definition I found. And then you mentioned that you, you saw quite a few different definitions of it. So maybe you, you have something to add to it, but at least from Well a way I would define it would be to say that Author Voice is its the choice of words. So the way you punctuate a, how the author conveys personality and their characters, it's, it's basically like a unique identifier that sometimes at least allows you to recognize the authors writing. Jesper (15m 4s): Even if you don't know who wrote what you are reading. So yeah. If, if the Author Voice is strong enough, you can just out of reading it, you will tell you this is Author X. Yes. So I think that's how I would say. Autumn (15m 20s): I think that's a good one. And I, what I saw a lot on the internet is from other bloggers was they were confusing. Author Voice with character, voice, and those are, they overlapped the spheres of them. But technically they're totally different. Your characters can have a, Voice a way of speaking. What they described it as an entirely different from your yourself, your own like personal Voice, who you are as a person, as well as your Author Voice, which is how you write things, which is often. So if you, especially when you're newer, it's very similar to how you write things, but it's a more how you perceive the world in how you put it on paper, but your character is, you know, I've written a dystopian thriller that it has this politician at all. Autumn (16m 9s): I always felt like I was doing like mental gymnastics to squeeze my brain into those characters because I am not a male politician from Spain. I don't know where that came from, but that's the character. And once I got into his head, I could write stuff that I never would think of as a person. But technically I think when you broke it down there, you could still pull to be able to pull out pieces and say, these are examples of Author Voice, which will get into. But I do want to point that out that character voice, the way the characters are talking and the dialogue is actually kind of a different thing. It's not your Author Voice right. Jesper (16m 50s): Actually I would almost say that if you, so if we go with the idea for just a second here, that the character of Voice is the Author Voice like you found on some of those blogs there. I haven't read those blocks. So in all transparency, I'm just making up a hot air here. But, but if we just go with that idea for a second, wouldn't that just mean that let's say you have a strong Author Voice and the Author Voice is the unique identifier I just define. But if you didn't say that that's the characters for Voice wouldn't that just means that every single character sounds exactly the same because they all speak in the Author Voice Autumn (17m 32s): I think, I think that could happen, but that's not what you're going for. You want your characters to sound, you know, I, I think you're right. That's why I think there was some confusion and maybe why maybe especially novice authors might think character Voice is Author Voice authors who have a problem separating characters from themselves, which I've definitely seen in some books I've edited in some novice things where it's just like, every character sounds the same, which sounds exactly like the Narrator it's all just written in Author Voice. But if you do a good job developing your character's and especially when they are almost like pop alive in your head and they talk and think so entirely different from you that it's, it is like putting on someone else's skin. Autumn (18m 19s): That's a really strong character voice, and it will have pieces of it that our part of Author Voice our part of your voice. It's gonna be this tiny little, like its the salt and the recipe. Its not the overall KC that comes out and yes, I know I'm back to food metaphor. Sorry. Jesper (18m 39s): No, but I, I think speaking of characters, because I think very good example of this is a way back in episode 30, one of the Am Writing Fantasy Podcast here. We have the highly successful FANTASY Author Lindsay, Barocco on to talk about the importance of writing and series a, but I've read several of Lindsay's books and she writes these well, sometimes they are very snarky characters. What are the times? It's just like a very humorous once, but her characters are always very distinct. A and it's definitely part of her. Jesper (19m 21s): Author Voice the way she creates characters in the way that they behave. That's part of how she writes. Ah, and I don't think she will disagree with me when I say that many of her readers, they come back because of the characters. That's why they read the stories. But that's not to say that her character is, sounds the same because they don't know, but they all have this very like Lyndsey. Barocco kind of mock on him. You know, you, you know that it has her character is, but they are very different characters. They have different goals, they have different motivations. They speak in different ways, but it is just, well, I, I can't be bothered and this is probably the difficult part of it because it's a unique identifier at sometimes, sometimes how to put your finger on what exactly it is. Jesper (20m 3s): But she just has a way of creating characters that is her own way. And either people love it, some, some hate it and they don't want to read her books. And a lot, a lot of people have to say a lot like it and they read her books. So, so that's a good example of, of what you just talk about. Autumn (20m 22s): Yeah. That's an example, a perfect example. And it's just sort of stepping back and looking at it from a big picture. So yeah, the way an author creates characters in how well they are created and how unique and different in whatever it is, is about them is a part of your voice as part of what you become known for as an author. If that's your style or if you have, you know, the gritty detective, you know what those other types, there's different ways of writing and you would be known for that. If you're always have a touch of romance, that might be a part of your Author Voice. So it is, it is something I actually had to, I had a reader and leave a review and they have to admit, I looked for it before this one, but I have 20 books out and I can't remember which book this one was on, but they had described it that they read a few chapters and then the art, as they put it, the authors familiar hand came in and they knew it was one of my books. Autumn (21m 14s): And I was like, Oh, that was so it was such a beautiful way of phrasing it that I wish I could have found the review because it summed up how a reader looks at Author Voice how they can say, Oh, this is this Author it's like picking up a Neil Gaiman with the, you know, having the cover of the title rip off in about, you know, six sentences. And you'd be like, Oh, I know who wrote this. That's when you know, you have found an author's voice. Yeah. And do you, Jesper (21m 41s): And then, or if we take some, some one, like I got to the Christie, a, you know, her style was like heavily influenced by her time as a nurse in world war one, she has often characters use postman to carry out the murders in the quarries. So you also let the psychological trauma of war effect her characters. So that's, you know, that's, that's a way where her experiences splits into her stories and that's definitely part of her Author Voice Autumn (22m 15s): Yes. That's very true. And such. It is. I can see it changing over time. Like I wonder, especially from a novice Author, but say if you were a novice Author in your twenties and you wrote to your sixties, seventies or eighties, I'm sure your Author Voice would also change and evolve because you are going to go through so many changes in your life. I mean, you could imagine, like if you switch it, if you started writing as a teenager, can you imagine, and so your career is going to spend meeting someone, falling in love, maybe having kids getting married and all these things, how you're Author Voice is probably going to deepen or change over time. I know when I look back at it, like my first book, and I think that was only a written seven, eight, nine years ago, something like that. Autumn (23m 1s): I know if I wrote it Today it would sound to me, I think it would sound nothing like what it is written. It would come out different, similar but different. But I also know that it would be recognizable as mine. And I think it's that recognizable element. That is what your author's voice is. And probably some aspects might not change over your entire life. I mean, for one of them is how you were saying, like how you develop characters, a how much description you put into things, you know, are, are you an author who sits there and talks about smelling the orange blossoms and the breeze or, or you want, that's just pretty much like, you know, you're straight to the action. Those are the differences and how you write and that's a part of your voice. Jesper (23m 47s): Yeah. And then I feel like throwing a bit of curve ball here and then see what you think about it. Autumn (23m 53s): Do you like challenging me on while we were recording? Tell me, you know. Yeah. Jesper (23m 59s): Well, I usually come up with things and then I don't tell about, you know, about it in advanced, just throw it out because I feel its more interesting or you don't like it, but I feel it's interesting. Autumn (24m 8s): What do you like to see what you think of my feet? Jesper (24m 12s): Oh no, no, it's not too bad. I promise this is more like a reflection of, I'm curious about your thoughts on it. Because if we take somebody like J K Rowling, for example, she writes commercial fiction. The so does Lindsay broke her by the way and as well. So do you And I right. But the thing is that if we go into like the helicopter view around Author Voice then I feel like if you look at it from a literary critics perspective, they don't really spend any time analyzing works that are labeled as commercial fiction. Jesper (24m 53s): You know, they, they knew it would look at a more experimental in writing style and then say, okay, look at this very distinct Author Voice here and how this is different from what we've seen before. And this is a very brave Writing or whatever. Whereas the commercial fiction is just trying to tell a good story and that's it, you know, Rawling focuses on her audience and she writes for them to get the story across in a transparent manner as possible where the provost doesn't get in the way of the story at all. So I've just, my reflection in here is just, is that if we were talking about commercial fiction, how much do we then say that Author Voice plays into that versus the other types of a, you know, fiction where Author Voice might be more clear, you know, it might be more easily, Autumn (25m 51s): But yes. All right. So Author, Voice it's I think it's speculative fiction with a commercial fiction. It is more, it is toned down, but it's still there. I mean, if you think about like Ernest Hemingway and his Turner phrase and how he wrote, I mean, its so easy to no, that that was, you know, that's Hemingway or especially with the style where there is a third person like omniscient narrator Narrator or a narrator, the narrator often comes across as an Author Voice even though sometimes it is a character, but something about it creates more of a lie in the literary fiction has more of a distinctive Author Voice in poetry. Autumn (26m 31s): To me is a really good example. A poet's how there, where their punctuation, where they stopped the sentence as the words they use. M those, you read the whole book, the book of poetry. You have a very good feel for that. Voice and it's often, I mean, you read some poems and you know, whether or not you like these authors or you're going to like to get entire Pope book of poetry just based on one or two poems. And it's usually based on the subject of the Author Voice but so I think it's, I do think it's, it's different with commercial fiction, but it is still there because it's more of a hidden layer. It's a, it's still present though. Autumn (27m 9s): I mean, where we punctuate, how do we develop our characters weather? We use description's those types of things. Weather were fast paced weather. We had that a little bit of a romance. You get a feel for what is the package. So when you have that, Author what you are going to expect to see every single one of the books. And that is more than Voice I think when it comes to a speculative fiction, it's just like, Author plotting as well. It's all tied in there. You get the Author brand basically is sort of your Author Voice. Yeah. Jesper (27m 41s): And then of course, ah, well, I mean you mentioned Vinci Baroque a minute ago, right? I mean, she, she writes commercial fiction, ah, as well, and a Hare characters is definitely a very clear part of her Author Voice so it's a, it's not like I'm not, I'm not trying to say that in commercial fiction, there is no Author Voice I'm just saying that I think it might be a bit harder to notice it and you have to look a bit harder. Autumn (28m 5s): Oh no, I, I agree. And I think that's maybe why a lot of commercial fiction or fantasy authors, especially the way we wonder, like what is our Author Voice is that the characters Voice what does, is this nebulous thing? And that's because it is not as forward as it is in like non-fiction you have a very strong Author Voice and literary fiction. You have a very strong Author Voice, but in commercial fiction and fantasy fiction, it's it's much subtler because we do want the story to be for front. You know, we were telling this story of where you live with you. I like that phrase. You get the pros out of the way, you know, you're trying to get those words from him, encumbering the story you wanted to just flow and B a beautiful stories that people don't get hung up on certain phrases where yeah, you did fiction and you were like, you know, you could have so much more fun with metaphors. Autumn (28m 54s): I've had people yell at me for some of my metaphors because they didn't think they work together quite correctly, but I know that's part of my Author Voice get rid of it and get used to it. Yeah. But yeah, Jesper (29m 4s): That is so true because it is also, I think we also need to be mindful that it's different readers. I mean, the people who love to read books where they can just say well, in how the Author, you know, put together these words to make wonderful sentences. And so on, those readers are different readers than the ones who picks up a commercial fiction, people back and just chat through it. Right. 'cause they want to assault, absolved the story, but it's not the same thing. I mean, if, if you want to, at least for me, I mean, I prefer as well to read commercial fiction. I, I like the stories. I am there to read the wonderful Perros and whatnot. Jesper (29m 46s): It can probably start annoying me a bit if there's to much of it. So, hence that is also the kind of stories that are right. Because I know I don't like to ride overly prose, heavy stuff. I'm of course I want it to sound good. And what not, that's not what I'm saying it. Right. But, but it's just, I think you own preferences bleed to bleeds into your Author Voice. I mean, for example, I know if I write, when I write nonfiction, it's a very different tone and a style than what I use when I write fiction, because it's, it's different things, you know, it's different mediums. So you adapt and do you adapt to that? Autumn (30m 24s): That makes total sentence. Yes. And I think, cause that was actually another review, which I thought was so funny that an Author had pointed out of my work and they had said that M each of her serious, totally. Are you totally unique from one another or her writing style seem to shift a bit to accommodate the story. And I think that's why it's so true about commercial fictions and our Author Voice is that we do change the tone. You changed the tone to fit the character. You changed the tone to fit story. If I'm writing a novel, bright, it's going to be a lot brighter and happier, and there's going to be other tones to it than when I'm reading, like some of the darks fantasies that I'm writing that as much more gritty and the end of the world sort of stuff. Autumn (31m 9s): So our, I think we're a little bit more malleable. We kind of hide it and we kind of nuance different things because we don't want it to get in the way of the story, but there's still, you know, how often do we use metaphors that I do always make sure that I set a scene very well, the characters. So those are all sorts of, like I said, it's, it's becomes almost more of a brand. You could almost pull out those aspects and say, these are my books. I am, this is the type of Author I am, this is my brand. This is my Author Voice. Jesper (31m 43s): Mm. Yeah. And I guess a burning question that we could look into a bit here is how important is it to have or develop a distinct Author Voice because we were sort of tiptoeing around that question anyway, now, right? Autumn (31m 57s): Yeah. I guess so we like to dance around questions. It's fun. Jesper (32m 2s): Yeah. But I, you know, I, I think Author is often wants there Writing to stand out and there was nothing wrong with that. I mean, I understand that, but this Author, Voice a thingy here. It is, I think. And I'm curious, what do you think afterwards? Of course, as well, but I think it's really something that you can be too concerned about developing, because I honestly do think that while it might be Well, it might take you some time to understand exactly what your style actually is, but you are Author Voice his, in my view already there, you know, it it's been developing since the very first day you started writing and so you don't overthink it. Jesper (32m 44s): Yeah. That's kind of how I do with it. Autumn (32m 47s): I think so I think if you were writing Fantasy commercial fiction fiction and a new author came to me and they were, especially if they were stressed about the Author Voice or if anyone asked me and be like, don't even worry about it, write the backstory, you can write the best characters you can. And you know what readers will probably the more you're right. The more someone is going to point out like, Oh, you always do this. And that might be how you find out what your Author Voice is. I think I said I've had one or 20 books out now. So I kind of have an idea of what my Author Voice is and what I am selling when I write a book. So I understand that. And I've had some readers with me since the first book, by the way, if you are out there, I love you. Autumn (33m 30s): Thank you for sticking with me in as many years, but they are, if it comes as you right. More so your fans, when they become true fans, their fans, because of how you write of what you write. So they come over time and you don't even have to work on them because it's, it is a part of you and your personality and sort of how you put those words on paper. I did one of the blog posts I wrote. So, you know, someone pointed out that she writes just the way she speaks. And so that it is sort of the part of it. I mean, if you are Starkey or a, have a sense of humor is going to bleed through and to some of the characters you create the way they looked at the world, as much as we tried to create characters who are separate from us, there's still something we create. Autumn (34m 23s): And no, no, no. The hand of God or goddess that we are as authors were going to imbue them with some little sense of looking at the world, the way we look at the world and that's that a little, little touch. So that's your Author Voice coming through and everything you write it, it will be there, but if you don't sit there and do it like exercises to learn, to develop your voice, I mean, I guess you could go, right. Some poems, you'll probably figure out your Voice very quickly, but it's not going to translate well into a, a a hundred thousand words a novel. Jesper (34m 57s): No, I, and I think when you're first starting out writing, and if you're really experienced the Writing, the listeners here are some listeners will be, I think that they will probably recognize that what happens a lot is that when you were first starting out, you have a tendency to copy a bit, the style of writing that you're favorite authors right. In, but then after a while it starts morphing into your own thing. But I don't think really that you can sit down and say, okay, now I want to develop my own Author Voice because I don't think it works like that. It's it's not like a skill that you can. Jesper (35m 38s): I, I think it's just well, finding your Author Voice, it's just a process of writing and writing and writing sophomore, and then Autumn (35m 47s): It will come. Definitely. And I do think I still, at this point, if I read a book while I'm writing, I can feel a little bit of the tone of it sneak into my writing. But I do think that the editing can, you know, evens it out. That's what good at editing does. So it takes care of some of those changes, because goodness knows, even though I've learned to write very quickly, if you're writing style over a trilogy over six months can change from book one to book three easily. So it's, you know, those, those, what editing is good for is making sure that all sounds like it was the same person written, you know, consistently, but it is definitely something that is there, but it doesn't have to be, it develops, like you said, I think you can change a little bit over time as your experience changes over time. Autumn (36m 36s): But that is probably going to be some essence. That's just simply you and the way you look at the world since you opened your eyes the first time. Jesper (36m 45s): Hmm. Yeah. And I've also heard examples of, you know, what, when people could write books in our case, we are not a good example because of that case, you know, you will be the one doing all the editing. So in the end, it'll be more in your voice as such, which is fine. So, but I'm thinking more about the scenarios where I've heard people who they might write alternating points of view, alternating chapters. So in those cases, I think you will be able to recognize that there is a difference in the way each of those chapters are written. I have not. I've just heard this. So it's hearsay. I am not read any of those types of books for myself, but I've heard people say that they can tell which author was writing, which chapter Autumn (37m 35s): That makes I. And I am sure. I actually think about that when we do Patrick on post, because I do Monday post and you do one's at the end of the week. And sometimes I try to remember to quote unquote, sign mine, put my name at the bottom. Cause I know, you know, we get to be patrons. They don't know which one of us it was Writing but I wonder if I think I have seen one or two se, Oh, I know it, it was you. Or I knew it was you fall on the comment because of how you said something. And so yeah, when people do pick up those nuances, though, I will say I'm doing transcripts and putting our names on the transcripts of our podcast. I get lost sometimes. So this, so sometimes you go to the longer we know each other, I think we are going to have to watch that we might start talking a little bit of a light, but we have very similar viewpoints on things. Autumn (38m 23s): So I think that's just the way things go sometimes. That's all right. Considering what the opposite side of the Atlantic its kind of funny. Jesper (38m 33s): Absolutely. Yeah. No, but, but I just think if it proves the point that we have our own way of saying things, I mean, of course when, if you're using the Podcast transcript, that's an example that that comes out just the way we speak. So, but of course, when you are handling fiction, you are editing it. Meaning that I would get rid of all of the speech impediments I have and correct those and make it sound different. But also making sure that I don't start every sentence with So or something like that, right there. Like I said, in a previous podcast that I have a tendency to do, so I will, I will edit the, edit out all those sows to make sure that we start different paragraphs on different Sentences different and, and so on. Jesper (39m 27s): Right. But whereas the transcript is a bit different because that's just us speaking with fiction. I, I think some of the Author Voice lies Autumn (39m 36s): In the editing as well. I think it does to, because I know that's when you might work in some more metaphors that's when you might break up Sentences and ease and things are adding in the description, So whatever you do, it is part of creating your voice. I know I've recently read something that was, you know, that the writer didn't do many edits and I know what, like what I am doing at the time, like nine passes, which I know I'm a little obsessed. I like editing. So I tend to do layers and layers and layers of passes when I edit. And again, that is then part of my style, which comes across in my voice. And I know I, when I look at something and it's not written the same way, I know its usually the Polish is not there because it's not in the editing. Autumn (40m 23s): Mia. I even know when I'm writing, I wouldn't have called it my voice until I sat down and thought of it. What were you recording this episode? But when my writing is flowing and it's just like, it's coming so easily, whether I'm writing in a character's voice or anything it's because you know, the Author Voice is strong. Everything is, you know, you, when you have that synergy and writing is going well, that's usually, that's when you're Author Voice, it's just, everything's just gold and, and everything is working well. But when I can't find that character, Voice when I can't find my style in my flow, it's probably cause I am off a little bit and I just need to sit down and maybe, you know, get into my own head and, and maybe put it on my headphones. Autumn (41m 5s): Right. A little bit better. That will bring out the Author Voice. Jesper (41m 10s): Hmm. Yeah. And it, it might also be a case of the more mindful you become have you're own unique style and your own Author Voice the more you can, you can play on it on purpose and put it to you. Yeah. Autumn (41m 22s): Yeah. But I don't think I would think so. And that, that would be so something I would think and say, because I love, once my readers do know me well enough, I started misleading them. That's just sort of the fun, you know, its like the pied Piper of Hamlin. You never know if you're going to the seaside or the cliff. Yeah. Yeah. But I just think, Oh they all don't worry to much about this Author Voice thing. Right? I mean you can read many blog posts on the internet where people talk so much about how, if you don't have a unique Author Voice than you are not memorable a and you, you were basically doomed and they listen and putting in the $150 per hour, it will teach you to do yours. Autumn (42m 7s): No that's yeah. It might be that as well. Yeah. Are you sure it is? It's got to be no, I agree. You don't have to stress about your Author Voice if you're worried about being memorable, there are so many ways, you know, you're plotting your character's just write a really good fiction. You have that little twist, right. Something you love that is more important than sitting there and niggling about whether or not you've created it a unique Author Voice to me it's Writing as we often say, it's a marathon, not a sprint. You know, when you start getting your second series or a third series, as you develop all of these books, not only will you have found your Author Voice you'll have found fans who love you for your Author Voice and it will have all worked itself out without you wearing the bit about it. Jesper (42m 58s): So don't lose any sleep and don't dream about dreaming. 'cause that's just really confusing and you might never wake up. So that was a bit dark. Sorry about that. No, but the good news is that the cures pretty easy. Right, right, right. That's the cure. Eh, you know, if the Author Voice isn't in Q2 right now, it will become clear and as time goes by. Yeah. And just keep writing. Right. I mean absolutely. The story isn't it? Absolutely. You know, when you say it's a great question to ask your, your readers in your newsletter, after you published a couple of series of saying, Hey, what's your favorite aspect? What do you think is, you know, my father is Voice and see what people say because it could be a lot of fun. Jesper (43m 45s): Alright. So next Monday we'll do another one of our popular alternating lists. You have a top 10 mistakes, AMA sauce writers. Narrator (43m 55s): So if you like what you just heard, there's a few things you can do to support The Am Writing Fantasy Podcast please tell a fellow author about the show and visit us at Apple podcast and leave a rating and review. You can also join Autumn and Jesper on patreon.com/amwritingfantasy for as little as a dollar a month, you will get awesome rewards and keep The Am Writing Fantasy Podcast going to stay safe out there and see you next Monday.