Podcasts about Baroque

Cat Rambo's 300+ fiction publications include stories in Asimov's, Clarkesworld Magazine, and The Magazine of Fantasy and Science Fiction. In 2020 they won the Nebula Award for fantasy novelette Carpe Glitter. They are a former two-term President of the Science Fiction and Fantasy Writers of America (SFWA). Their most recent works are space opera Devil's Gun (Tor Macmillan, 2023) and anthology The Reinvented Detective (Arc Manor, 2023), co-edited with Jennifer Brozek.Narration by: Diane Severson Daine Severson is a lyric soprano specializing in Early Music, specifically Baroque and medieval music and loves her work teaching people to sing. She has narrated for Escape Pod, PodCastle, Cast of Wonders, Pseudopod, and Tales to Terrify. Diane has been involved in the Speculative Poetry Scene since 2010, she is Vice President and membership chair of the Science Fiction and Fantasy Poetry Association and is a passionate promoter of genre poetry. The best place to find her is on the web because she tends to pick up and move to another country at the drop of a hat.Fact: Looking Back At Genre History by Amy H SturgisSupport this show http://supporter.acast.com/starshipsofa. Hosted on Acast. See acast.com/privacy for more information.

Title: Denner Flute of 1725 An important find in a house about to be demolished. Track: Jacques-Martin Hotteterre: Airs et brunettes à deux et trois dessus pour les flutes traversières: Prelude - Air de Monsieur de Bousset "Pourquoy, doux Artist: Ashley Solomon, Reiko Ichise & David Miller Publisher: ℗ 2020 Channel Classics Records

All songs in this episode are poems by Robert Louis Stevenson set to traditional tunes: “A Song of the Road” with Over the Hills and Far Away “The Spaewife” with unnamed tune collected by George St. J. Bremner “Wandering Willie” with Here Awa' There Awa' and Bonnie Dundee “Over the Sea to Skye” with the Skye Boat Song ======= Thanks to J.F.M. Russell, who has made his research into the music of Robert Louis Stevenson available on his website, https://sites.google.com/a/music-of-robert-louis-stevenson.org/introduction/home You can find many tantalizing tidbits about RLS' music manuscripts and stories about his writings. The index on his site will guide you to more information about the poems and songs I selected. ====== Thanks to Jeremy Kingsbury for inviting me to guest host this episode, and for the many words of advice and encouragement in the process of recording and editing it. Thanks to my son Ethan for his assistance and expert advice on mixing and mastering this episode. ====== A Song of the Road You can hear much more about the Over the Hills and Far Away tune in Wetootwaag's Bagpipe and History Podcast, Season 7 Episode 10: https://www.wetootwaag.com/s7e10 I didn't mention it in the episode, but one of my favorite sung settings of this song is arranged by Sean Dagher on La Nef's Sea Songs & Shanties album: (a great collection of sea shanty arrangements!) https://www.youtube.com/watch?v=vd69tvWD0xI&list=RDvd69tvWD0xI&start_radio=1 ====== The Spaewife Bremner's (unnamed) tune from a note with transcription by Fannie, Robert's wife, in her preface to Underwoods, A Child's Garden of Verses & Underwoods, Ballads, which is from the Works of Robert Louis Stevenson, Vailima Edition Volume VIII ====== Wandering Willie Original tune that Burns used for his Here Awa' There Awa', from a book RLS had in his library, The Songs of Scotland Without Words: https://www.google.com/books/edition/The_songs_of_Scotland_without_words_for/pGhBAQAAMAAJ?hl=en&gbpv=1&pg=PA19&printsec=frontcover&dq=wandering From (another book RLS had in his library) Gems of Scottish Song: (this is an adaptation of the tune that Burns used for his Bonnie Dundee) Page 1 and Page 2 RLS sketched a tune for Wandering Willie in his manuscripts, and based it on this Bonnie Dundee version, and likely altered it further in the second part. ====== Over the Sea to Skye Please see Mr. Russell's page about this song, which includes two examples of the song notated in Stevenson's hand. https://sites.google.com/a/music-of-robert-louis-stevenson.org/over-the-sea-to-skye/ And this note with transcription by Fannie, Robert's wife, in her preface to Underwoods, which is again from the Works of Robert Louis Stevenson, Vailima Edition Volume VIII https://www.google.com/books/edition/The_Works_of_Robert_Louis_Stevenson/t2Q4AAAAIAAJ?hl=en&gbpv=1&dq=spae%20wife%20brenmer&pg=PA89&printsec=frontcover ====== The Peter Pauper Press music journal is what I have been using for a few years to write down tunes as I'm learning them, or compose new ones, along with descriptions and other thoughts: https://www.peterpauper.com/products/music-journal My bellows-blown scottish smallpipes were made by Nate Banton https://natebanton.com/ My C chanter was made by Robert Felsburg https://www.thequietpiper.com/ My low D whistle and C whistle were made by Rob Gandara https://carbony.com/ +X+X+X+X+ FIN Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

Traveling troupe brings romp to Howland The jolly play Death and the Fool presents a musical romp through medieval Europe, when droves of people died from the plague and purveyors of whimsical folly did their best to leaven the mood. The play, which will be performed by the Happenstance Theater on June 20 at the Howland Cultural Center in Beacon, is promoted as family-friendly, although one of the characters is Death. "Kids have to deal with deep stuff all the time," says Sabrina Mandell, who co-directs the Maryland-based troupe with her husband, Mark Jaster. "This is no worse than church." Mandell, who also performs, is the visionary. "I usually lead the charge and wanted to deal with the more shamanistic roots of theater," she says. "I'm interested in alchemy and art, like [Hieronymus] Bosch. I proposed those things to the ensemble, and they went at it full bore." Death and the Fool, which began touring last year, is a spinoff from the full-scale production Adrift: A Medieval Wayward Folly, which opens a three-week run in Maryland starting next month to celebrate the company's 20th anniversary. The 50-minute, four-page script balances humor and gravitas but omits the music, dancing, puppets, slapstick and manic antics, says Mandell. Costumes make it easier to identify the five actors, including Mandell and Jaster, as they perform multiple roles. The play is loosely based on Tarot cards, but knowledge of that mystical realm is not required, Mandell says. "Few people will get the references, but things center on archetypal characters, like the fool, death, oracles, the magician." The ensemble also introduces obscure medieval instruments and performs period pieces from the Dark Ages, including works by composer Hildegard von Bingen, active in Germany during the 12th century. Jaster brings along a hurdy-gurdy, "which is mistaken for a pump organ or calliope organ grinder," he says. The real deal looks like a neckless violin; a crank at the bottom causes a mechanical bow to "circle underneath the six strings and create a drone, like bagpipes." Jaster also has a flute, a handheld tabor pipe, two portable harps, a chalumeau, — precursor to the clarinet — and a Baroque ukulele shaped like a lute. He enjoys wreaking havoc with the bombard, a double-reeded oboe-style instrument. "It looks innocent, but packs a punch for fanfares and intros," he says. "When we rehearse, the rest of the cast asks me to step into the other room or go outside." Happenstance Theater specializes in historic-oriented work. Another of its productions, Barococo, is set during the Baroque era. "People are nostalgic, and history is big now," says Mandell. "The aesthetics of different periods clash with the modern, but the topics are universal and the settings elevate the work because people seldom see that look in theater, film or TV." Despite the silliness, the heady message about enjoying life in the face of imminent death resonates as it did 900 years ago. "The content is playful and ridiculous," says Mandell. "But it's also quite moving." The Howland Cultural Center is located at 477 Main St. in Beacon. Tickets for Death and the Fool, which begins at 2 p.m. on June 20, are $10 at dub.sh/death-fool or $15 at the door.

Cuốn sách Kẻ trộm nghệ thuật (The Art Thief: A True Story of Love, Crime, and a Dangerous Obsession) khám phá cuộc đời tên trộm kỳ lạ nhất trong lịch sử tội phạm nghệ thuật. Hơn 200 vụ trộm, Stéphane Breitwieser cùng bạn gái trót lọt đánh cắp bộ sưu tập trị giá gần 2 tỷ đô la chỉ để ngắm. Qua lời kể của nhà báo Michael Finkel, độc giả đắm chìm trong thế giới của những kỳ tích phạm tội, tình yêu cay đắng, sự ám ảnh khó tin. Động cơ của tên trộm khét tiếng Các tạp chí hàng đầu như New York Times, Wall Street Journal bình chọn tác phẩm này là cuốn sách của năm 2023. Michael Finkel dẫn dắt đưa độc giả ngược dòng thời gian của nhân vật chính Stéphane Breitwieser từ lúc nhỏ tới hiện tại (52 tuổi tại thời điểm xuất bản sách). Mặc dù thuộc thể loại phi tiểu thuyết, cuốn sách như truyện trinh thám hồi hộp, gay cấn nhờ tiết tấu nhanh và khai thác tâm lý nhân vật đa chiều. Kẻ trộm nghệ thuật kể về cuộc đời thực của Stéphane Breitwieser, người Pháp trầm lặng và say mê nghệ thuật điên cuồng. Hắn ưa thích đặc biệt nghệ thuật Phục Hưng (Renaissance) và Baroque từ nhỏ. Cha mẹ ly hôn để lại vết sẹo trong tâm hồn đứa trẻ yêu nghệ thuật vì bố của Stéphane được quyền sở hữu hết các tác phẩm trong nhà. Hắn chuyển sang sống với mẹ trong căn hộ tằn tiện, khác hẳn căn nhà rộng rãi với bộ sưu tập đồ cổ lúc cha mẹ còn hạnh phúc. Cú sốc tâm lý tuổi vị thành niên đã nung nấu động cơ một đứa trẻ mang tâm trạng bất mãn và hụt hẫng. Hắn khát khao xây dựng bộ sưu tập nghệ thuật cho riêng mình như viện bảo tàng thu nhỏ. Stéphane đồng hành cùng bạn gái Anne-Catherine thực hiện hàng loạt vụ trộm táo tợn trong các bảo tàng vừa và nhỏ trên khắp Châu Âu. Giá trị tài sản tác phẩm nghệ thuật hắn đánh cắp trong giai đoạn 1995 tới 2001 ước tính gần 2 tỷ đô la. Đáng ngạc nhiên là Stéphane không bán, mà lưu giữ chúng tại phòng ngủ áp mái vì tình yêu nghệ thuật điên rồ. Tác giả cân bằng được không khí hành động, hồi hộp đột nhập các viện bảo tàng và mổ xẻ được tâm lý chi phối nhân vật. Hắn say mê với cái đẹp hiện hữu, mắc chứng ái kỷ (yêu bản thân quá mức) và cơn nghiện (ăn cắp) khó thể từ bỏ. Tổng quan nửa đầu cuốn sách, phi vụ của Stéphane và bạn gái có thể ví von như cặp bài trùng Bonnie và Clyde, cặp đôi cướp táo tợn người Mỹ nổi danh từ thời kỳ Đại suy thoái (1932-1934). Bí kíp thành công của bộ đôi  “Bonnie và Clyde” Xuyên suốt cuốn sách, người đọc thâm nhập vào hàng trăm phi vụ trộm của cặp tình nhân trong các viện bảo tàng. Đâu là bí mật sau chuỗi dài thành công của Stéphane và Anne ? Chiến lược của hắn và bạn gái nhắm vào các bảo tàng địa phương quy mô nhỏ và vừa, an ninh kém như Gruyeres Castle, Thụy Sỹ (1995). Khá thú vị, họ chọn thời điểm ban ngày để trà trộn vào đám đông du khách. Stéphane chỉ lấy tranh, bỏ lại khung và những tác phẩm có kích thước nhỏ gọn, không bị gắn hệ thống báo động. Hắn thường giấu tranh dưới áo khoác hay túi hộp trong khi bạn gái đảm nhiệm vai trò quan sát, báo hiệu nếu ai đó tiếp cận. Hắn khôn ngoan chọn những bảo tàng không kiểm soát lối ra, không an ninh, do vậy tên trộm láu cá dễ dàng tẩu thoát như khách thăm quan. “Bộ đôi Bonnie và Clyde” của Pháp đã tung hoàng ngang dọc khắp bảo tàng tại khối Schengen như Đức, Áo, Bỉ, Thụy Sỹ, Hà Lan và Đan Mạch từ năm 1995 tới 2001. Đáng chú ý, Stéphane kiếm sống nhờ công việc bồi bàn tại Thụy Sỹ trong khi vẫn ở tại Pháp. Công việc có thu nhập khiêm tốn, bù lại lịch làm việc linh hoạt, di chuyển dễ dàng. Do vậy, việc đi lại xuyên biên giới của hắn không gây nghi ngờ cho cảnh sát biên giới. Chuỗi ngày thành công chính thức khép lại vào tháng 11 năm 2001 khi bộ đôi bị tóm gọn tại bảo tàng Richard Wagner ở Thụy Sỹ. Không như các phi vụ trước thực hiện trong ngày, Stéphane quay trở lại bảo tàng sau hai ngày, do vậy an ninh và nhân viên bảo tàng phát hiện, báo cảnh sát. Mổ xẻ tâm lý “ái kỷ” Dưới ngòi bút của Michael, nghệ thuật như một chiếc ô rộng lớn, che chắn cho tuổi thơ dữ dội của Stéphane. Hắn cô đơn, lạc lõng trong thế giới người trưởng thành cho nên nghệ thuật chính là bạn đồng hành về tinh thần. Tác giả mổ xẻ khá kỹ tâm lý nhân vật cho rằng Stéphane am hiểu nghệ thuật sâu sắc hơn cả các viện bảo tàng ! Chứng bệnh “ái kỷ” thúc đẩy suy nghĩ có quyền lấy những gì hắn thích và trở thành người hùng sau những vụ trộm. Thú vị hơn, sự đồng hành của bạn gái lâu năm lại là chất xúc tác mạnh cho bệnh ái kỷ. Hắn cho rằng mình tài năng và được bạn gái công nhận, trợ giúp tối đa. Sự ám ảnh nghệ thuật của Stéphane trở thành cơn nghiện khó cưỡng, với cấp độ rủi ro tăng cao dần. Hắn đạt được cảm xúc thăng hoa và nhẹ nhõm sau mỗi vụ trộm. Tuy nhiên, Stéphane không thể ngờ rằng điểm tựa tinh thần vào bạn gái chính là “gót chân Achilles”. Sau vụ bắt giữ năm 2001, họ đối mặt thực tế khắc nghiệt do bị truy tố, liên đới gia đình, sụp đổ ảo mộng. Michael lột tả sự tổn thương tột độ trong con người Stéphane khi Anne chia tay, giũ bỏ mọi trách nhiệm liên đới trong các vụ trộm của bộ đôi. Trong khoảng thời gian ngắn, hắn đánh mất tất cả : sự tự do, bạn gái, bộ sưu tập quý giá, danh tính kẻ sưu tập cổ vật. Theo cuốn sách, Stéphane còn không hề được biết vụ phá thai do Anne và mẹ hắn tiến hành một cách kín đáo. Ở góc độ nào đó, hắn vẫn là một đứa trẻ đầy mơ mộng, thiếu sự chăm sóc, dễ dàng bị người thân qua mặt. Bi kịch cuộc đời kẻ ám ảnh nghệ thuật Cuốn sách dần khép lại với cảm xúc hỗn độn về thế giới sụp đổ của Stéphane. Hương vị cay đắng, chua xót khi Anne bỏ rơi hắn, đặt dấu chấm hết cho thế giới ảo vọng bao bọc trong niềm vui chiến thắng, bảo tàng nghệ thuật và người tình. Hắn không thể chấp nhận thực tế rằng Anne có quyền lựa chọn tương lai khác mà không có hắn ! Đau đớn hơn, bảo tàng cá nhân dày công sưu tập đã chính thức “vô chủ” vì mẹ của Stéphane phi tang toàn bộ chiến tích nhằm cứu con mình khỏi bị truy tố. Sự mâu thuẫn, giằng xé tâm lý giữa hai mẹ con lên tới đỉnh điểm do động cơ khác biệt. Đây là bài học đắt giá về nuông chiều con cái, buông lỏng quản lý dẫn đến kết cục đáng thương của số phận con người. Sau khi ra tù, Stéphane có cơ hội gột rửa vết nhơ với nhiều lời đề nghị xuất bản sách hay bước sang truyền thông về thời trai trẻ “khét tiếng”. Tuy nhiên, sự ám ảnh nghệ thuật và bệnh ăn cắp lại hủy hoại giấc mơ làm lại cuộc đời. Năm 2011, cảnh sát khám xét nhà Stéphane, phát hiện thêm 30 tác phẩm nghệ thuật ăn cắp. Hắn tiếp tục kết án tù vào năm 2013 như vòng xoáy không thể dừng lại. Cuốn sách có những hạt sạn nhỏ như thời gian không khớp giữa những bộ phim tội phạm nổi tiếng Hollywood tương tự với những vụ trộm Stéphane tiến hành. Michael Finkel đã pha trộn tài tình giữa một cuốn hồi ký, tiểu sử, bi kịch, tâm lý tội phạm và bài học giáo dục sâu sắc chỉ trong 240 trang sách. (Theo Wikipedia, Guardian, New York Times, GQ) Michael Finkel, The Art Thief: A True Story of Love, Crime, and a Dangerous Obsession (Kẻ trộm nghệ thuật: Câu chuyện chân thực về tình yêu, tội phạm và sự ám ảnh nguy hiểm), NXB Knopf Publishing Group, 27/06/2023, 240 trang.

The Quattro Canti is a spectacular example of Sicilian Baroque architecture on a grand scale!  Marking the entrance to Palermo's historic district, the Quattro Canti (technically Piazza Vigliena) is a large octagonal piazza laid out in the early 17th century, four side of which are occupied by Baroque facades. Each of these facades contains allegorical fountains on the ground level, statues of Sicily's Spanish rulers of Sicily on the next, and Palermo's four patron saints above. 

RHR interviews Christine Gevert, Founder and Artistic Director of Crescendo.Christine, an internationally acclaimed artist,will perform a solo harpsichord recital. Experience the genius of Wanda Landowska, the legendary keyboard player who brought Baroque harpsichord music back to life. Discover how the... Read More ›

RHR interviews Christine Gevert, Founder and Artistic Director of Crescendo.Christine, an internationally acclaimed artist,will perform a solo harpsichord recital. Experience the genius of Wanda Landowska, the legendary keyboard player who brought Baroque harpsichord music back to life. Discover how the... Read More ›

RHR interviews Christine Gevert, Founder and Artistic Director of Crescendo.Christine, an internationally acclaimed artist,will perform a solo harpsichord recital. Experience the genius of Wanda Landowska, the legendary keyboard player who brought Baroque harpsichord music back to life. Discover how the... Read More ›

The trumpet is the most distinctive sound in the book of Revelation, more even than the harp. It has a long historical association with the divine, and has often been used to represent the voice of God and His angelic hosts. In the Baroque period, when this piece was written, the distinction between secular and sacred music was becoming more fluid, and pieces like this glorious sonata were soon adapted and played by the trumpet and organ during church services and religious processions. Let's use this brilliant Sonata for Trumpet and Strings by Henry Purcell, beautifully played by Anthony Thompson, to declare afresh the victory of the coming Kingdom of God.

Construction on the church of Sant Maria dell'Ammiraglio in Palermo, Italy, began in 1143 CE under the patronage of George of Antioch, admiral of King Roger II's navy, from which the church gets its name. The church preserves an extraordinary collection of 12th-century mosaics, the two most important of which are "Christ Coronating King Roger II" and " George of Antioch at the Feet of the Virgin Mary." In later centuries, the church received various Baroque-style additions and decorations, and the nickname "La Martorana" from the nearby Benedictine nunnery.

durée : 00:30:55 - Les Nuits de France Culture - par : Albane Penaranda - L'émission "Thèmes et controverses" proposait en 1961, un dialogue captivant entre Michel Foucault et Pierre Sipriot sur la folie et la raison, alors que Foucault publiait "Histoire de la folie à l'âge classique" (1ère diffusion : 20/10/1961 sur France III Nationale). - réalisation : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Title: Pisendel in Venice How the composer Pisendel introduced Vivaldi's music to the glittering court of Dresden. Track: Vivaldi: Violin Concerto in A Major, RV 340, III. Allegro Artist: Le Concert de la Loge & Julien Chauvin Publisher: ℗ 2022 Naïve, a label of Believe Group

By many accounts, he was an unsavory character, but Caravaggio was also a revolutionary and influential painter of the late 16th century in Rome, Naples, and Sicily. A new exhibition of Caravaggio's paintings and others by leading Baroque masters has opened at the Mint Museum in Uptown Charlotte. Hear more about it from exhibition curator and Mint President & CEO Todd Herman on this episode of Piedmont Arts. Plus, we have a report from the Spoleto USA Festival in Charleston, SC, and the latest edition of FanFare to help you plan more early-summer fun.

fWotD Episode 3313: Bicentennial Capitol Mall State Park Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Sunday, 31 May 2026, is Bicentennial Capitol Mall State Park.Bicentennial Capitol Mall State Park, commonly known as Bicentennial Mall, is an urban linear park in downtown Nashville, Tennessee, United States. The park is located on 19 acres (77,000 m2) north-northwest of the Tennessee State Capitol, and is considered an extension of the capitol grounds. It is modeled on the National Mall in Washington, D. C., and incorporates Classical Greek, Baroque, and Beaux-Arts architecture. It functions as an outdoor museum that uses symbolism to showcase the history, geography, culture, and musical heritage of Tennessee through a series of monuments, walkways, and interpretive displays. It is also landscaped with plants that are native to Tennessee. Receiving more than 2.5 million visitors annually, it is the most visited of the 61 state parks in Tennessee, and one of the most visited public spaces in Nashville.French Lick Creek passes through the site of the mall, which contained springs that attracted game wildlife and was an important hunting ground for Native Americans. These springs were later utilized by the first European explorers and settlers to the area in the 18th century. The site was prone to flooding from the nearby Cumberland River, and was not permanently settled until the arrival of German immigrants in the 1830s. When Nashville became the permanent state capital, the capitol building was constructed on the hill south of the site. French Lick Creek became contaminated with garbage and raw sewage, and was later channelized and buried in a brick sewer tunnel. The area fell into disrepair in the early 20th century, and many structures on and around the site were subsequently demolished as part of a large-scale urban renewal project funded by the Housing Act of 1949.Beginning in the mid-20th century, several tall buildings were constructed around the capitol, and some people began advocating for preserving the view from the capitol to the north. A large office complex was initially planned for the site to accommodate the enlarged Tennessee government. Plans subsequently shifted to construct a linear park for the state of Tennessee's bicentennial commemoration, although initially this plan faced skepticism from state planners. The park was designed by Tuck Hinton Architects in 1992 and 1993, and required coordination with several state agencies. Groundbreaking occurred on June 27, 1994, and the park was dedicated on June 1, 1996, the 200th anniversary of Tennessee's statehood. Additional features planned for the park, including a carillon and a walkway recognizing donors, were initially delayed due to funding constraints, but were added in succeeding years. The park struggled with maintenance difficulties and underuse in its early years. Since then, it has been recognized as a cultural and historical landmark. In 2018, the Tennessee State Museum moved to the northwest corner of the park, followed in 2021 by the Tennessee State Library and Archives, which moved to the northeast corner of the park. The incorporation of these entities into the mall complex fulfilled design concepts that were first envisioned during the initial planning of the park.This recording reflects the Wikipedia text as of 00:02 UTC on Sunday, 31 May 2026.For the full current version of the article, see Bicentennial Capitol Mall State Park on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Aria.

Robert Bremner: Duke of Perth's Reel, Capt. Ross's Reel, Short Apron, Hoptoun House, Lady Hariot Hope's Reel, The Highlandman Kiss'd His Mother, Miss Murray's Reel, Drummore's Rant, He Hirpl'd till her, Had the Lass till I winn at her, Cadgers of the Cannongate, Jeremy Kingsbury Sets: Colonel MacBain's Fancy, Brenda Stubbert's Reel, The Gravel Walk, Highlandman Kissed His Mother & Jenny Sutton From Bannocks of Barley Meal. Paddy Cary, Jigg Poltage, Ryan's Rant from Pay the Pipemaker. Dark-eyed one of the Night, Lady Seaforth, Dark Girl of the White Feet, Lady Mary Mackay, Mary Gray, Sweet Molly From Rowly Powly. J. Johnson: The Lads of Boot, William Ross: Miss Victoria Ross Iain MacInnes: Miss Victoria Ross, Lady Doll Sinclair, A'Chubhag (The Cuckoo), McFarlane's from Album Tryst Anselm Lingnau: (Traditional Tune Archive) Lady Susan Stewart's Reel John Walsh: Susan Stewart's Reel, Big thank you to Iain MacInnes for his blessing to include his track from Tryst. Tryst was published by Greentrax Label: https://greentrax.com/product/iain-macinnes-tryst-cd/ But is available on most streaming platforms as well. +X+ Cover Art is a Receipt from Robert Bremner's Shop in London courtesy of the British Museum: https://www.britishmuseum.org/collection/image/1544287001 +X+X+ I played tracks from Pay the Pipemaker: https://jeremykingsbury.bandcamp.com/album/pay-the-pipemaker Bannocks of Barley Meal: https://jeremykingsbury.bandcamp.com/album/bannocks-of-barley-meal and Rowly Powly: https://jeremykingsbury.bandcamp.com/album/rowly-powly +X+X+ Nearly all of the tunes this week come from Robert Bremner's 1757(ish) publication: A Collection of Scots Reels or Country Dances https://digital.nls.uk/special-collections-of-printed-music/archive/105002262 +X+X+ 1750: Lads of Boot From J Johnson's Country Dances (Via Traditional Tune Archive) https://tunearch.org/wiki/Lads_of_Boot +X+X+ 1869: Miss Victoria Ross: from William Ross's Collection of Pipe Music: https://ceolsean.net/content/WRoss/WRoss_TOC.html +X+X+ Susan Stewart's Reel From Traditional Tune Archive: https://tunearch.org/wiki/Lady_Susan_Stewart%27s_Reel +X+X+ 1758 (I've also seen 1760): Lady Susan Stewart's Reel from John Walsh's Caledonian Country Dances Vol 2 part IV https://archive.org/details/walsh4caledonian/ +X+X+ For may Hihland Man Kissed His Mother Episode Listen here: https://www.wetootwaag.com/s5e28 +X+X+ FIN Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

Worship for Pentecost Sunday May 24, 2026, from Queen Anne Lutheran Church in Seattle, our 10:00 service— Pastor Dan Peterson; Cantor Kyle Haugen Prelude— Organ settings of Luther's Pentecost hymn, KOMM HEILIGER GEIST (ELW 395, “Come, Holy Ghost, God and Lord”) by Baroque composers—Matthias Weckmann (1616–1674)  •  Dietrich Buxtehude (1637–1707) • Processional Hymn—O Holy Spirit, Enter In (ELW 786) • First Reading— Acts 2:1-21 • Psalm 104:24-34, 35b • Second Reading— 1 Corinthians 12:3b-13  • Gospel—John 20:19-23  • Sermon—Pastor Dan Peterson—"The Job of the Spirit" • Hymn of the Day—Spirit of God, Descend Upon My Heart (ELW 800) • Offertory—Psalm 68:28b–29 • Distribution Hymn—Eternal Spirit of the Living Christ (ELW 402) • Sending Hymn —God of Tempest, God of Whirlwind ELW 400) • Postlude— from an organ partita on KOMM, HEILIGER GEIST, Matthias Weckmann⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link here to view the bulletin⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Enjoying our worship recordings? Consider giving. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Visit this link⁠⁠⁠⁠⁠⁠.

Title: Schrank II What lay behind the doors of Cabinet II in Dresden? Track: Henricus Albicastro: Violin Sonata in F Minor: III. Passacaglia Artist : Kinga Ujszászi & Tom Foster Publiher: ℗ 2022 First Hand Records

This episode of The Other Side of the Bell, featuring historical, classical and jazz trumpeter Brian Shaw, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Brian Shaw Trumpet Interview" And, find the expanded show notes, transcript and more photos here --- Whether it's big band jazz, classical baroque, or any number of styles in between, Brian Shaw's trumpet career is a reflection of the word, "versatility." Brian is the type of musician who, when having trouble deciding whether to major in classical or jazz, decided to simply do both! Hence a double major in jazz studies and classical performance, which yes, did result in him having to do two senior recitals. But Brian embraced the challenge, just as he did in finishing his doctorate in one year instead of three, so that he would have more time to pursue all the various avenues he wanted to explore. Today, Brian pursues teaching, writing, performance, arrangement and more from his home base near Seattle, WA. And, as you'll know from our recent "Kenny Wheeler Special," he and Nick Smart recently collaborated on a biography of inspirational trumpeter Kenny Wheeler, Song For Someone: The Musical Life of Kenny Wheeler, which added published author to Brian's resume as well. Brian joins us today to talk about his early inspirations coming from a non-musical family in small town southern Illinois, to being the first in his family to attend college, taking control of your musical education, and the various stops and projects he's pursued along his trailblazing journey. About Brian Shaw: Brian Shaw is an active performer, arranger, and educator known for his versatility. He is one of the few trumpet players in the world equally comfortable in early music, orchestral, jazz, and commercial settings on modern and period instruments, and enjoys an international performing career as a modern and historical trumpet soloist. He holds principal positions with the Dallas Winds, Santa Fe Pro Musica, Spire Baroque Orchestra. He is also a regular guest instructor of Historical Trumpet at the Eastman School of Music. From 2007-2021, he was Professor of Trumpet and Jazz Studies at Louisiana State University and was Principal Trumpet of the Baton Rouge (Louisiana) Symphony from 2014-2021. Brian has also served as guest Principal Trumpet of the Oregon Symphony, Kansas City Symphony, St. Louis Symphony, and Pacific Northwest Ballet Orchestra (US). A noted Baroque trumpet player, Shaw's 2008 recording Virtuoso Concertos for Clarino includes some of the most difficult pieces ever written for the instrument. Early Music America observed: "Shaw's tone is beautiful, and his playing unfailingly musical… His is a voice that will make a major mark on Baroque trumpet playing." His critically-acclaimed 2014 solo trumpet recording redshift was accompanied by the Dallas Wind Symphony and conductor Jerry Junkin. Brian has also released a collaborative album of classic recital pieces with pianist Jan Grimes called Sonatas and Fantasies: A Century of Standards for Trumpet and Piano, and has just completed another recording project called Virtuosic Versatility, outlining the history of the trumpet, from early music to modern jazz.  As a jazz musician, Brian plays solo and lead trumpet professionally in the Seattle area and leads a big band in Baton Rouge every December, which released a holiday-themed album titled Christmas at the Manship! in 2017. He is in demand as an arranger as well, with many scores for jazz band, brass ensemble, studio orchestra, and wind ensemble to his credit. Brian Shaw lives near Seattle with his wife Lana, their sons Thomas and Elliot, and their dog, Ernie. Episode Links: www.brianshawmusic.com YouTube: https://www.youtube.com/user/bshawmusic Apple Music: https://music.apple.com/us/artist/brian-shaw/1564984803 Kenny Wheeler book: https://www.equinoxpub.com/home/song-someone-musical-life-kenny-wheeler/ Bob Reeves Brass Events and Appearances: William Adam Trumpet Festival July 9-12, Southern Illinois University, Carbondale, Ill. Book your trumpet alignment here: https://trumpetmouthpiece.com/products/william-adam-trumpet-festival-valve-alignment-presale Podcast Credits: "A Room with a View" - composed and performed by Howie Shear Podcast Host - John Snell Photo Credits - Courtesty Brian Shaw and Equinox Publishing Audio Engineer - Ted Cragg

Title : A salon in Paris where the finest Italian and French musicians could mingle. Track : J.B. Quentin: Sonata in D Minor for Violin and Continuo, Book III No. 10, IV. Gracioso Artist : David Plantier & Les plaisirs du parnasse Pubisher : ℗ 2024 David Plantier

After six years, the Abu Ghosh festival on Shavuot is returning to the Kiryat Yearim church May 22-23, with a two-day concentrated program of vocal and instrumental masterpieces from the Baroque and Classical repertoire. Among the four special concerts is: I Am a Guitar, featuring the Barrocada Ensemble with acclaimed guitar virtuoso Liat Cohen and the radiant soprano Daniela Skorka. Cohen spoke earlier with KAN's Naomi Segal (Photo: Rob Sitbon) See omnystudio.com/listener for privacy information.

Stijn Schmitz welcomes Art Berman to the show. Art Berman is known as the energy realist and he paints a dire picture of the global energy situation, describing the Strait of Hormuz disruption as an unprecedented crisis with no historical precedent. He likens the world economy to a human losing 20% of its blood supply daily, explaining that while the West hasn’t felt immediate effects due to drawing on oil inventories, these savings will soon run out, and the lag will hit hard. Discussing supply numbers, Berman clarifies that roughly 15 to 20 million barrels per day of crude and refined products normally flow through the strait, but the effective loss is reduced to around 10 million barrels by bypass pipelines, still a catastrophic bleed-out. Berman outlines scenarios, starting with an unrealistic best case where everything resolves by June 1st, yet logistical hurdles like de-mining, insurance, and tanker queues mean oil wouldn’t flow until late 2026 at the earliest, leaving the world with no supply replenishment for months. His base case is that the Strait of Hormuz never returns to normal flows, as Iran has no incentive to relinquish the immense geopolitical leverage it now holds. He emphasizes that the U.S. is not truly energy independent, importing 6.5 million barrels of heavy crude daily because domestic light oil cannot substitute for the diesel and jet fuel the economy requires. Production restarts would be fraught with technical problems, and investor confidence in the region is permanently shattered. Berman stresses the irreversible nature of these events, comparing them to personal betrayals or missed opportunities—stabilization may occur, but the world will never return to 2025 economic norms. He notes that credible analysts predict global oil storage could hit operational limits by late July, with price spikes to $150-$160 possible before demand destruction tempers them. He highlights the unprecedented rate of supply loss, 99 times faster than any previous oil shock. Despite the bleakness, Berman finds hope in the crisis forcing necessary behavioral changes and a reevaluation of humanity's planetary footprint. Timestamps: 00:00:00 – Introduction 00:00:49 – Strait of Hormuz Disruption Significance 00:03:59 – Inventory Drawdown Effects 00:11:01 – Missing Barrel Estimates 00:16:44 – Best Case Recovery Scenario 00:27:37 – Base Case Permanent Blockade 00:28:39 – United States Energy Impact 00:32:33 – Crude Oil Quality Differences 00:45:12 – Long Term Geopolitical Outlook 01:05:40 – Storage Inventory Limits 01:25:29 – Concluding Thoughts Guest Links: Website: https://artberman.com X: https://x.com/aeberman12 Art Berman isn’t your run-of-the-mill energy consultant; he’s a full-blown disruptor in a realm riddled with myths. With 40 years in petroleum geology and an intriguing twist – a degree in Middle Eastern history – Art slices through energy complexities with academic rigor and market savvy. Forget what you thought you knew. This man’s comparative inventory approach is a guiding light for traders, investors, and policymakers. And he doesn't just spend his time consulting. Art is an adjunct lecturer at the University of Houston, your go-to expert witness, and an electrifying keynote speaker who doesn’t mince words. In a sector awash with misinformation, Art’s your source for gut-punching, data-backed truths. His clientele spans from ambitious investors to globe-spanning corporations, all seeking decisions steeped in reality, not fantasy. Love him or hate him, one thing is certain: Art Berman is an undeniable force in the energy sector. Away from the charts and graphs, Art enjoys Baroque music and psychology and spending family time with his wife, kids, grandkids, and his dog, Lily. So, are you ready for the unvarnished truth? Look no further.

durée : 00:27:13 - Les émissions culturelles de France Culture - par : Lucile Commeaux - L'heure du bilan cannois a sonné ; au programme du débat critique, trois films importants qui divisent : "La Bola Negra" de Javier Calvo et Javier Ambrossi, "L'Inconnue" d'Arthur Harari et "Minotaure" d'Andrey Zvyagintsev. - réalisation : Anne-Laure Chanel, Hélène Trigueros, Boris Pineau, Aïssatou N'Doye, Jules Barbier, Zohra Vignais, Lise Ripoche, Mathi Adjinsoff - invités : Sandra Onana Critique française de cinéma, Philippe Rouyer Critique et historien de cinéma à la revue Positif Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Title : A favourite of Madame du Pompadour and Louis XV. Track : Louis-Gabriel Guillemain - Six sonates en quatuors, Op. 12, Sonate No. 3: I. Allegro moderato Artist : Nevermind Publisher : ℗ 2015 Alpha Classics / Outhere Music France

Send us Fan MailWhy has Pachelbel's Canon in D become one of the most popular wedding pieces of all time?In this episode of The Classical Music Minute, we explore how a Baroque composition written centuries ago became closely associated with modern wedding ceremonies.Known for its flowing melodies and repeating harmonic progression, Canon in D creates a calm and elegant atmosphere that naturally suits processions and ceremonial moments. Its adaptable instrumentation has also helped make it a favourite for string quartets, organists, pianists, and wedding ensembles of all kinds.Although the piece was not originally composed for weddings, its popularity grew rapidly during the twentieth century through recordings, films, and widely broadcast ceremonies.In just sixty seconds, discover why this gentle Baroque masterpiece continues to accompany couples down the aisle around the world.Fun FactThe famous chord progression in Canon in D has become so recognizable that variations of it have appeared in countless pop songs over the years, leading some musicians to jokingly call it “the four-chord ancestor” of modern music.About The Classical Music MinuteThe Classical Music Minute is a short podcast exploring fascinating stories, quirky history, and surprising facts from the world of classical music—all in about sixty seconds.Each episode offers a quick and entertaining glimpse into composers, masterpieces, musical traditions, and the curious moments that shaped music history.You can also read the written versions of these episodes on Substack, where they're published as short articles delivered directly to subscribers.About Steven, HostSteven Hobé is a Canadian composer and actor based in Toronto and a member of the Canadian League of Composers. He is the creator and host of The Classical Music Minute, a series devoted to making classical music history engaging, surprising, and accessible.Topics CoveredCanon in D, Pachelbel Canon in D, wedding classical music, why Canon in D weddings, Johann Pachelbel, famous wedding music, Baroque music, classical wedding songs, Canon in D history, wedding procession musicJoin me on Substack

Tunes: Robert Bremner: Ratha Fair, Lady Doll Sinclair's Reel, The Milkmaids of Blantyre, Miss Polly Skinner's Reel, Miss Ramsey's Reel, The Parks of Kilburnie, Kiss me Sweetly, Cameron Has Got his Wife Again, Mr. Robert Kenney's Reel, Miss Blair's Reel, I'll gae nae mair to your Town, The Fyket, Isle of Sky, Jacky Stewart's Reel, Capt. Ross's Reel, Duke Of Perth's Reel, Wililam Vickers: Lanox Love, Sutherland: Clean Peas Straw, Donald MacDonald: Pease Straw, Thomas Glen: Pease Strae, Abraham MacIntosh: Miss Parker's Reel, James Aird: The Fyket, +X+X+ If you like the sound of my new whistles, check out Verdant Whistles here: https://www.irishflutestore.com/products/verdant-whistles?variant=46855357432034 +X+ If you want to hear Robert Bremner's Treatise on music you can listen to my reading of it here: https://www.wetootwaag.com/s8e2 +X+ The Articles I found about the Possible "Lady Doll Sinclair" https://tunearch.org/wiki/Annotation:Lady_Doll_Sinclair https://threadinburgh.scot/2023/01/04/the-thread-about-the-ninth-day-of-christmas-the-lady-behind-lady-fifes-house-well-and-brae-and-what-she-has-to-do-with-primrose/ https://www.facebook.com/share/1CzNLUYjcC/ +X+X+ Nearly all of the tunes this week come from Robert Bremner's 1757(ish) publication: A Collection of Scots Reels or Country Dances https://digital.nls.uk/special-collections-of-printed-music/archive/105002262 +X+ I'm hoping ot update the notes soon, but shoot me an email if you're looking for any of the other sources I didn't link yet. FIN Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

Cello and piano can be a brutal matchup when nobody makes room, but when the balance is right it becomes one of the most revealing duo formats in music. We sit down with cellist Matt Haimovitz and pianist Christopher O'Riley to trace how their partnership started, why it clicked so fast, and what they've learned from years of turning rehearsal into a kind of shared research lab.We talk about building programs that cross borders without losing rigor, from Shuffle Play Listen to projects that pull ideas from Beethoven, contemporary music, and arranged songs by artists like Radiohead. Chris shares the pianist's responsibility for momentum and for protecting the “lyric impulse,” and Matt explains how true collaboration feels less like compromise and more like testing ideas until the music tells you what it needs.Then we go deep on Bach Dialogues: Bach sonatas reimagined with a five-string Baroque cello piccolo and the clavichord, an instrument Bach loved for its dynamic control and string-like touch. They unpack the realities of gut strings, pitch standards like A=415, why the clavichord is both expressive and famously quiet, and how modern recording and modeling technology can help bring an “impossible” instrument pairing to life onstage and in the studio.If you care about chamber music, historically informed performance, Bach interpretation, or simply how great musicians listen to each other, this conversation is full of practical insight. Subscribe, share this with a musician friend, and leave a review so more listeners can find the show.For more information on Matt: https://www.matthaimovitz.com/You can also find Matt on Facebook and Instagram: @MatthaimovitzYoutube: @MatthaimovitzFor more information on Chris: https://christopheroriley.com/You can also find Chrison Facebook and Instagram: @christopher_oriley_Youtube: @ChristopherORiley360To download "The Bach Dialogues https://www.pentatonemusic.com/product/the-bach-dialogues-digital-only-album/If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

I've decided to make it Tenor Week here on Countermelody. Earlier this week, we heard Charles Kullman in a smattering of live and studio recordings. Back in November, as I was collating material for the arie antiche episode, which featured more than a century's worth of great singers, I noticed one singer who frequently programmed such (restyled) Italian baroque songs in his concerts and recordings, the Italian tenor Beniamino Gigli, considered by many to be the greatest tenor, Italian or otherwise, since Caruso. I confess that, in all my years of listening, Gigli was a singer to whose charms I had remained mostly indifferent. But then I began to listen to his recordings of arie antiche, many of them made in the last decade of his career, and I was charmed and delighted by his performances. There is a freshness of voice, an evenness of scale, a headiness of timbre, and, most of all, a sheer delight in singing, that is completely infectious. So today I have compiled most, if not all, of his recordings of this material for an episode of pure vocal escapism. Here is Gigli, all his problematic qualities set aside, singing the songs and arias of Carissimi, Caldara, Cesti, Marcello, Scarlatti, and Bononcini, among others, in a way that invites us to leave our troubled world for a few moments and partake of his vocal stylings of these delectable faux-Baroque bocconcini. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

The Myth, the Music, and the Australian Coast How do you transform a 300-year-old rediscovered masterpiece into a visceral Australian beach holiday? Join host Genevieve Lang as she goes behind the scenes of Pinchgut Opera's premiere of Scarlatti's The First Murder (Il primo omicidio). In this episode, Artistic Director and Conductor Erin Helyard and Director Dean Bryant reveal how they are bringing this classic myth of Cain and Abel to the modern stage. From Scarlatti's luscious Baroque score to the nostalgic salt-etched setting of the Australian coast, discover how this "staged oratorio" is the must-see opera event of the season.

This year marks the tercentenary of polymath Sir John Vanbrugh, regarded as the rockstar architect of the Baroque era. Art historian Sir Charles Saumerez Smith, co-curator of the Vanbrugh exhibition at the Sir John Soane's Museum, and Rory Fraser who is writing a biography on Vanbrugh, discuss the man happy creating dramas for the British stage and dramatic buildings on the British landscape.Turner Prize-winning artist Lubaina Himid is known for her distinctive brightly coloured paintings of black characters. She reflects on representing Great Britain at this year's Venice Biennale, and her ambition as a painter to capture the awkward moment.Marking tonight's first semi-final of the Eurovision Song Contest, television critic Scott Bryan assesses this year's runners and riders aiming to win the song for Europe.Theatre and opera director Kip Williams on directing the UK premiere of the Pulitzer prize-winning opera Angel's Bone which has its UK premiere in Manchester tonight. Fresh from directing one-woman shows with Cynthia Erivo in Dracula, and Sarah Snook in The Picture of Dorian Gray, he talks about juggling the challenges of a contemporary genre-fusing opera.Presented by Nick Ahad Produced by Ekene Akalawu

Title: Not one Nicola Matteis, but three. Track: Matteis Jnr "Alia Fantasia" Artist: Isabelle Faust Publisher: ℗ 2023 harmonia mundi

Send us Fan MailWhy has The Four Seasons remained one of the world's most recognizable pieces of classical music?In this episode of The Classical Music Minute, we explore the enduring popularity of Antonio Vivaldi's famous set of violin concertos. Written in the early eighteenth century, The Four Seasons uses music to depict scenes from nature, including birdsong, storms, flowing water, hunting scenes, and winter winds.This approach, known as program music, helped make the work vivid and accessible to audiences. Combined with energetic rhythms, memorable melodies, and dazzling violin writing, the music continues to captivate listeners centuries after it was composed.Today, The Four Seasons remains a staple of concert halls and one of the most frequently used classical works in film and television.In just sixty seconds, discover why Vivaldi's musical portrait of the seasons still resonates today.Fun FactEach concerto in The Four Seasons was originally published alongside a sonnet—possibly written by Vivaldi himself—describing the scenes and imagery the music was intended to portray.About The Classical Music MinuteThe Classical Music Minute is a short podcast exploring fascinating stories, quirky history, and surprising facts from the world of classical music—all in about sixty seconds.Each episode offers a quick and entertaining glimpse into composers, masterpieces, musical traditions, and the curious moments that shaped music history.You can also read the written versions of these episodes on Substack, where they're published as short articles delivered directly to subscribers.About Steven, HostSteven Hobé is a Canadian composer and actor based in Toronto and a member of the Canadian League of Composers. He is the creator and host of The Classical Music Minute, a series devoted to making classical music history engaging, surprising, and accessible.Topics CoveredVivaldi Four Seasons, why is Four Seasons popular, Antonio Vivaldi, Four Seasons explained, program music, Baroque violin music, famous violin concertos, classical music for beginners, Four Seasons history, Vivaldi masterpieceJoin me on Substack

Episode: 3373 Today we meet Thomas Campion: medical doctor, and a great poet and composer.  Today, let's meet Thomas Campion.

"In “Out of the Woods” new and old swirl together. The primary inputs are field recordings from a violin workshop near the river. All of the percussion sounds come from the wood instrument construction sounds from the workshop. The rhythms were already so compelling, I took long clips of them and did very little processing. The voices are also all from the workshop visit, in the field recording. Voices in the workshop blended four languages, discussing craft and location. “Acero” means maple in Italian. Wood was harvested nearby, connecting nature and human process. Soft sandpaper rubbing underlies the vocals."The only sound I added was viola da gamba, an early bowed, wooden, stringed instrument that was popular in Europe in the Renaissance before the onset of modern strings. This instrument had a musical culture of being played in the home and in small groups, emphasizing soft richness of tone and polyphonic shaping before more modern priorities of loudness and soloists. Visually the instrument looks similar to the violin family, but has more sloped shoulders, 6 strings (generally) with frets, C holes instead of F holes, and all sizes are played upright held between the knees. Strings are tuned mainly in fourths, with the historical tuning of A a bit below modern standards (415hz vs 440hz or higher). The instrument went out of fashion being gradually replaced by the violin family in the Baroque period, though viols started to regain interest in the 20th century. I added reverb and effects to this early music sound, linking past and future. Along with other dedicated players and composers worldwide, I write and play new music for the viola da gamba to keep this instrument alive."In “Out of the Woods,” wood is nurtured by water. Wood is flooded by water. Wood resonates. Wood transforms. Wood speaks. Wood connects. Wood remembers. Wood forms new memories."Section of the river Lech reimagined by Heather Spence. -------Part of Flow, a creative exploration telling the story of a river through the power of sound. Explore the full project at https://citiesandmemory.com/flow.

Title: Disastrous Fireworks Track: Handel: Music For The Royal Fireworks, HWV 351 - La Réjouissance Artist: King's consort, Robert King Publisher: Hyperion 2009

Send us Fan MailWhy Is Bach Called the Father of Classical Music?Why is Johann Sebastian Bach often referred to as the “Father of Classical Music”?In this episode of The Classical Music Minute, we explore the lasting influence of one of history's greatest composers. Although Bach lived during the Baroque period, his work laid the foundation for much of the music that followed.Renowned for his mastery of counterpoint, Bach demonstrated how multiple independent musical lines could work together in harmony. His compositions, including The Well-Tempered Clavier and The Art of Fugue, are still studied today for their structural brilliance and expressive depth.Later composers such as Mozart, Beethoven, and Brahms learned from Bach's techniques, helping to carry his influence into the Classical and Romantic eras.In just sixty seconds, discover why Bach's music continues to shape the sound of classical music centuries later.Fun FactBach's music was largely forgotten after his death in 1750 until it was revived decades later—most notably when Felix Mendelssohn conducted a famous performance of the St. Matthew Passion in 1829, sparking renewed interest in his work.About The Classical Music MinuteThe Classical Music Minute is a short podcast exploring fascinating stories, quirky history, and surprising facts from the world of classical music—all in about sixty seconds.Each episode offers a quick and entertaining glimpse into composers, masterpieces, musical traditions, and the curious moments that shaped music history.You can also read the written versions of these episodes on Substack, where they're published as short articles delivered directly to subscribers.About Steven, HostSteven Hobé is a Canadian composer and actor based in Toronto and a member of the Canadian League of Composers. He is the creator and host of The Classical Music Minute, a series devoted to making classical music history engaging, surprising, and accessible.Join me on Substack

durée : 00:58:53 - par : Nicolas Pommaret - Dans ce nouveau quartet européen, avec Arve Henriksen à la trompette, Ambre Vuillermoz à l'accordéon et Robert Lucaciu à la contrebasse, le violoniste Clément Janinet prolonge l'esthétique de ses projets précédents en réunissant des musiciens issus de cultures diverses. Parution chez BMC. - réalisation : Emmanuelle Lacaze, Stéphane Poitevin - invités : Clément Janinet violoniste, compositeur jazz (1983, Les Lilas) Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Tunes: David Young: The Drunken Wives in Pearson's Closs, Robert Bremner: Oyater Wives Rant, Lady Doll Sinclair's Reel, James Aird: The Oyster Wive's Rant, Mullindough or the Black Laddie, Angus Cumming: Haugh's of Cromdale, John Peacock: Oyster Wifes Rant Donald MacDonald: A Mulinn Dubh, The Whimsical, Jingling Johnie, The Miller's Fair Daughter, Morag is Domhnull (or Marion & Donald), The Jolly Old Gardner, John Rook: The Black Laddie, Thomas Glen: Mulinn Dubh (The Black Mill), William Gunn: Am Muilen Dubh (The black Mill) William Ross: The Black Mill LBPS Blue Book: The Oyster Wife's Rant, Jeremy Kingsbury: Oyster Wife's Rant, Be sure to Post your performance to your own instagram account and tag it #LBPS or #LBPSTOTM or post your rendition straight to the Lowland and Border Pipers' Group (Formerly LBPS Forum) https://www.facebook.com/share/g/1FZMPP8vUm/ You should also explore the growing resources at the LBPS Tune of the Month Website: https://lbps.net/j3site/index.php/repertoire/tune-of-the-month/1297-may-2026-oyster-wifes-rant SOURCES +X+ 1740: The Drunken Wives in Pearson's Closs from David Young's A Collection of the Newest Country Dances Perform'd in Scotland at Edinburgh by Da. Young WM Image Courtesy Pete Stewart +X+ 1760s: The Oyster Wive's Rant From Robert Bremner's A Collection of Scots Reels or Contry Dances https://digital.nls.uk/special-collections-of-printed-music/archive/105003175 +X+ 1780: The Oyster Wive's rant from James Aird's A selection of Scotch, English, Irish, and foreign airs : adapted to the fife, violin or German-flute https://archive.org/details/selectionofscotc00ingl/page/2/mode/2up +X+ 1800(ish): Oyster Wifes Rant from John Peacock's A Favourite Collection of Tunes with Variations Adapted for the Northumberland Small Pipes, Violin or Flute http://www.farnearchive.com/farneimages/jpgs/K0101300.jpg +X+ 1828: A Mulinn Dubh from Donald MacDonald's A Collection of Quicksteps, Strathspeys, Reels & Jigs Arranged for the Highland Bagpipe https://digital.nls.uk/special-collections-of-printed-music/archive/105682759 +X+ 1840: The Black Laddie from John Rook's Manuscript Multum in parvo or a Collection of old English, Scotch, Irish & Welsh Tunes. https://www.cl.cam.ac.uk/archive/rja14/musicfiles/manuscripts/rook/rook_pages/059.htm +X+ 1843: Mulinn Dubh From A New and Complete Tutor for the Great Highland Bagpipe by Thomas Glen https://ceolsean.net/content/TGlen/TGlen_TOC.html +X+ 1848: An Muilen Dubh (The black Mill) from William Gunn's The Caledonian Repository of Music adaptes for the Bagpipes https://ceolsean.net/content/Gunn/Gunn_TOC.html +X+ 1869: The Black Mill From Ross's Collection of Pipe Music by William Ross https://ceolsean.net/content/WRoss/WRoss_TOC.html +X+ Black Mill Set from Cold and Raw: https://jeremykingsbury.bandcamp.com/album/cold-and-raw + 1828: The Whimsical (Fall of Foyers) from Donald MacDonald's Collection of Quicksteps, Strathspeys, reels and Jigs https://digital.nls.uk/special-collections-of-printed-music/archive/105682660 + 1828: Jingling Johnie (Kate Dalrymple) from Donald MacDonald's Collection of Quicksteps, Strathspeys, reels and Jigs https://digital.nls.uk/special-collections-of-printed-music/archive/105682737 + 1828: The Miller's Fair Daughter from Donald MacDonald's Collection of Quicksteps, Strathspeys, reels and Jigs https://digital.nls.uk/special-collections-of-printed-music/archive/105682605 + 1828: Morag is Domhnull (or Marion & Donald) from Donald MacDonald's Collection of Quicksteps, Strathspeys, Reels and Jigs https://digital.nls.uk/special-collections-of-printed-music/archive/105682682 + 1828: The Jolly old Gardener from Donald MacDonald's Collection of Quicksteps, Strathspeys, reels and Jigs https://digital.nls.uk/special-collections-of-printed-music/archive/105682627 +X+X+ The Oyster Wife's Rant from Lowland and Border Pipers' Society The Blue Book; Committee Sessions Repertoire https://j3site.lbps.net/index.php/repertoire/miscellaneous-collections/379-the-blue-book-committee-sessions-repertoire +X+ Link to the Discussion of “Playing Reels to Oyster women” https://lbps.net/j3site/index.php/common-stock/archive-issues/130-june-2012/690-playing-reels-to-oyster-women Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

News, kratom intoxications on the rise, fate of Baroque Štiřín Chateau uncertain, interview with expert on extinct languages

Step into the sun-drenched world of 18th-century Venice as we explore the "theatrical splendor" that defined an era. In this episode, Ann and resident expert Tru Ludwig dive into the vibrant Venetian art scene, where the city itself served as both a stage and a muse. We set the scene by discussing the transition from the heavy Baroque style to the airy, spontaneous Rococo and the rise of the "Grand Tour." Discover why 18th-century Venice wasn't just a destination, but a living, breathing entity where reality and imagination blurred through the medium of etching, catering to a new generation of connoisseurs seeking the direct, autographic hand of the artist. Show me the images !!

Title: The Divine Saxon Track: Hasse: Sinfonia for Strings in G Minor: I. Allegro. Op.5 no. 6 Artist: Concerto Köln & Pablo Heras-Casado Publisher: ℗ 2014 Deutsche Grammophon GmbH, Berlin

Ahead of our upcoming production of tThe First Murder at Roslyn Packer Theatre, host and Artistic Director Erin Helyard dives into the world of Alessandro Scarlatti. He is joined by Dr. Rosalind Halton, renowned harpsichordist, researcher, and Associate Professor at the University of Newcastle. Together, they explore the genius of this Italian Baroque master and the rare emotional depth of his masterpiece, Il primo omicidio (The First Murder).

durée : 00:27:04 - Les Midis de Culture - par : Marie Sorbier - Pour bien commencer la semaine, nous parlerons d'expositions, avec celle consacrée à l'artiste Brion Gysin au Musée d'Art moderne de Paris, “Splendeurs du baroque” au musée Jacquemart-André, et notre coup de cœur pour "Adrien Fragosi. Les moyens du bord" au Miam à Sète. - réalisation : Laurence Malonda - invités : Corinne Rondeau Maître de conférences en esthétique et sciences de l'art à l'Université de Nîmes et critique d'art; Sarah Ihler-Meyer Critique d'art et commissaire d'exposition

durée : 00:12:30 - Les Midis de Culture - par : Marie Sorbier - Le Musée Jacquemart-André présente, avec la Hispanic Society of America, l'exposition "Splendeurs du baroque", réunissant des chefs-d'œuvre de Greco à Velázquez. L'exposition explore ainsi la richesse du Siècle d'or espagnol et la puissance expressive du baroque hispanique. - réalisation : Laurence Malonda - invités : Sarah Ihler-Meyer Critique d'art et commissaire d'exposition ; Corinne Rondeau Maître de conférences en esthétique et sciences de l'art à l'Université de Nîmes et critique d'art

Title: A Coffee Ban Track: “Ei! wie schmeckt der Coffee süße” from Bach's coffee Cantata. Artist: Sum Jo with the Concertgebouw orchestra Publisher: 2006 Warner Classics

Tunes: William Dixon: Wallington, John Cudbursuns fancy, Minuat Edward the Second, an thay were my own thing, William Vickers: Shew Me the Way to Wallington, The Pipers maggot, Melodies Committee of the Newcastle Antiquarian Society: Shew me the Way to Wallington, John Cuthbertson's Fancy, William Cocks: Shew's The Way to Wallington, Pipers' Maggot, David Young: The Piper, John Johnson: The Piper's Maggot, McFadyen (Aird): Piper's Maggot, Hime: The Pipers Maggot, O'Farrell: The Pipers Maggot, Donald MacDonald: The Piper's Maggot Angus MacKay: The Pipers Maggot, David Glen: The Piper's Maggot, John Dally Playing: John Cuthbertson's Fancy John Giddy: Nansavallen, Check out the Cree Fiddlers going to Orkney Documentary Here The Fiddlers of James Bay: https://www.folkstreams.net/films/fiddlers-of-james-bay Check out John Dally's Piping here: https://youtube.com/@rustygulley-r3r?si=dh1yPpW-cVe4Fegx https://on.soundcloud.com/Vk1wTdlhIkNXnypFMH and his Leatherwork here: https://www.instagram.com/dallyleather/ Check out Alan Kingsbury's Art here: https://alankingsbury.com/ For links to Sources for tunes, download the tunebook: https://www.patreon.com/file?h=155908454&m=648290193 Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

Michał Bylina is a Polish bassist and composer whose work bridges early music performance and new music for the instrument. In this conversation, Michał shares how a love of the past pulled them toward gut strings, Baroque style, and the Vienna bass tradition, plus the path from studying in Kraków to a year studying in Brussels with Korneel Le Compte. We dig into Michał's composing process, from writing cadenzas to building a huge library of bass sheet music and learning by analysis, along with current projects like a concerto inspired by the surviving bars of Dittersdorf's concerto for violone and an aria for countertenor and obbligato bass. Michał also talks about balancing music with life as a parent and work as a software developer, and what might come next. Connect with Michał on Instagram and Facebook, and explore his catalog on his website and in our DBHQ Store! Connect with DBHQ Join Our Newsletter Double Bass Resources Double Bass Sheet Music Double Bass Merch Gear used to record this podcast Zoom H6 studio 8-Track 32-Bit Float Handy Recorder Rode Podmic Sony Alpha 7 IV Full-frame Mirrorless Interchangeable Lens Camera Sony FE 16-35mm F2.8 GM Lens Sony FE 24-70mm F2.8 GM Lens When you buy a product using a link on this page, we may receive a commission at no additional cost to you. Thank you for supporting DBHQ. Theme music by Eric Hochberg

John Wilson talks to the Australian born opera singer Danielle de Niese. A soprano renowned for her vibrant stage presence, she made her professional operatic debut with the Los Angeles Opera at the age of 15 and, and four years later she became one of the youngest singers to perform at Metropolitan Opera in New York. Her international breakthrough came in 2005 at the Glyndebourne Festival, where her performance as Cleopatra in Handel's Giulio Cesare established her as a major operatic star. Since then she has sung leading roles at opera houses around the world, specialising particularly in Baroque repertoire, and has recorded six studio albums of music by composers including Handel and Mozart. She is the recipient of the 2026 Olivier Award for Outstanding Achievement in Opera.Producer: Edwina Pitman

In this episode of Busy Kids Love Music, we begin a brand-new three-part composer series all about Antonio Vivaldi—one of the most famous composers of the Baroque period. You may already recognize Vivaldi's name from some of his nature-inspired music, but in this series, we're slowing down to take a closer look at his life, his music, and what makes his style so unique. In today's episode, we explore Vivaldi's early life, family, and musical training, and discover how a boy growing up in Venice became a composer known all across Europe. Download Your Audio Treasure Map Make listening interactive! Click here to download your Audio Treasure Map to follow along and answer questions as you listen. This printable helps students: Listen more carefully Remember key details Engage with the story of the music What You'll Learn in This Episode

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