Podcasts about Baroque

This Day in Legal History: Entrapment as DefenseOn December 19, 1932, the U.S. Supreme Court decided Sorrells v. United States, a case that reshaped how American courts evaluate government conduct in criminal investigations. The case involved a Prohibition-era prosecution in which a federal agent repeatedly pressured the defendant to obtain illegal liquor. The Court held that criminal convictions should not stand when the government induces a crime that the defendant was not otherwise predisposed to commit. This decision formally recognized entrapment as a valid defense under federal law.Rather than focusing only on the defendant's actions, the Court emphasized the importance of limiting improper law enforcement tactics. The majority opinion reasoned that Congress could not have intended criminal statutes to be enforced through deception that manufactures crime. As a result, courts were instructed to examine whether the criminal intent originated with the government or the accused. The ruling reflected growing concern about aggressive policing methods during Prohibition. Over time, Sorrells became a foundational case cited whenever defendants challenge undercover operations. The decision also highlighted the judiciary's role in supervising executive conduct in criminal prosecutions.The Trump administration has suspended the Diversity Immigrant Visa Program—commonly known as the green card lottery—following two high-profile campus attacks. Homeland Security Secretary Kristi Noem announced the move, stating that the suspect in the fatal shootings of a Brown University student and an MIT professor had entered the U.S. through the program. The shooter, Claudio Manuel Neves Valente, a 48-year-old Portuguese national and former Brown student, was found dead in an apparent suicide. Noem said the pause is necessary to prevent further harm from what she called a “disastrous program.”The lottery program, which grants up to 50,000 green cards annually, has long been a target of Trump's immigration agenda, which links violent incidents to immigration policy failures. This suspension follows earlier actions by the administration, including visa restrictions after a separate shooting by an Afghan national and a proposal to impose a $100,000 application fee for H-1B work visas, which are heavily used in the tech industry.Trump's broader immigration crackdown also includes enhanced social media vetting for tourists, expanded ICE operations in major cities, and the development of large-scale immigration detention centers known as “mega centers.” These moves align with Trump's campaign promises to tighten border controls and execute large-scale deportations.Trump Suspends US Green Card Lottery After Brown, MIT AttacksTrump administration officials are scrambling to meet a Friday deadline to release a large cache of documents related to the Justice Department's investigations into Jeffrey Epstein. The release was mandated by a recently passed law, supported by both parties in Congress, following months of political pressure and public frustration over the administration's resistance to transparency. Though President Trump initially opposed the legislation, he reversed course shortly before the vote amid growing dissent from his own supporters.The new law permits the Justice Department to withhold certain details, including victims' identities and information tied to ongoing investigations. Attorneys in the department's National Security Division have been racing to redact sensitive data, raising internal concerns about the risk of mistakes, especially regarding private information. The tight timeline has disrupted other DOJ casework since Thanksgiving.Trump's handling of the Epstein matter has dented his support among Republicans, with only 44% approving of his actions, according to a recent Reuters/Ipsos poll. This contrasts sharply with his broader 82% approval within the party. Critics argue that Trump's past friendship with Epstein and his failure to follow through on a 2024 campaign promise to declassify the records have fueled suspicions of a cover-up. While Trump has denied knowledge of Epstein's crimes and has not been accused of wrongdoing, past email disclosures have added to the controversy.As more emails emerge—some implying Trump's involvement, others suggesting no direct misconduct—the administration has tried to redirect attention toward figures like Bill Clinton and JPMorgan. But with midterms approaching, the Epstein file release may remain a political liability.Trump administration officials race to meet Friday deadline for Epstein files | ReutersWisconsin Judge Hannah Dugan was found guilty of obstructing a federal proceeding for aiding a migrant in avoiding an immigration arrest at the courthouse, marking a significant legal win for the Trump administration's intensified immigration enforcement efforts. The jury acquitted Dugan on a lesser charge of concealing a person from arrest but convicted her on the more serious obstruction count. The case is part of a broader Justice Department campaign targeting local officials accused of interfering with Immigration and Customs Enforcement (ICE) operations.Prosecutors alleged that in 2023, Dugan helped Mexican national Eduardo Flores-Ruiz, who faced domestic violence charges, avoid a planned ICE arrest by rerouting him and his lawyer through a restricted exit after confronting ICE agents stationed near her courtroom. Dugan, a former head of Catholic Charities and longtime legal aid attorney, argued she was following internal court policies meant to manage ICE activity in courthouses, especially after prior arrests caused confusion and concern.Flores-Ruiz was ultimately arrested outside the courthouse after a brief chase. The Justice Department framed the case as a message that even judges are not above the law when it comes to obstructing federal immigration enforcement. Critics, however, view courthouse arrests as damaging to the legal system's integrity, potentially deterring vulnerable individuals from seeking legal protection.Judge found guilty of obstructing arrest in Trump immigration crackdown | ReutersIn a piece I wrote for Forbes earlier this week, I take down yet another One Big Beautiful Bill Act tax “reform” that, upon closer examination, isn't as great a deal as it may first seem.Starting in 2025, a new federal tax deduction allows taxpayers to deduct up to $10,000 in interest on qualifying new car loans—but only under strict conditions. The car must be newly purchased (not leased or used), assembled in the U.S., and not used for business purposes. The deduction phases out for individuals earning over $100,000 and joint filers over $200,000, narrowing its reach to a slim demographic of middle- to upper-middle-income earners. While promoted as consumer relief amid high car prices and interest rates, critics argue it's a veiled subsidy for automakers, not a meaningful economic benefit for struggling Americans.The policy resembles the mortgage interest deduction, which has long been criticized for inflating home prices and disproportionately benefiting wealthier borrowers. Similarly, this car loan deduction doesn't lower car costs—it subsidizes borrowing, pushing consumers toward pricier new vehicles and encouraging debt accumulation. The IRS will also gain new data from lenders, who must now report annual interest paid, further expanding government oversight.Despite the flashy $10,000 cap, few borrowers will come close to that threshold. A typical new car loan might yield only a $600 annual tax benefit—negligible compared to high monthly payments and rapid depreciation. Rather than meaningful relief, the policy appears to be more of a political gesture, using tax code tweaks to create the illusion of support while primarily serving industry interests.‘No Tax On Car Loan Interest'—Tax Reform Or Facade?This week's closing theme is by Louis-Nicolas Clérambault.This week's closing theme comes from Clérambault, a French Baroque composer born on December 19, 1676, whose music captures the elegance and structure of early 18th-century Paris. Clérambault is best known today for his sacred cantatas and his refined works for keyboard and chamber ensemble. He spent much of his career as an organist, serving at prominent Paris churches and developing a style that balanced expressive melody with formal clarity. His music reflects the French taste for ornamentation while remaining grounded and disciplined.The piece featured here is Suite du premier ton: V. Basse et Dessus de Trompette, presented in a complete performance. This movement highlights the contrast between a strong bass line and a bright, trumpet-like upper voice, a hallmark of French Baroque color and texture. Rather than showcasing virtuosity for its own sake, the music emphasizes balance and conversation between parts. The result is confident and ceremonial, yet never overstated.As a closing theme, this work offers a sense of order and resolution, bringing the week to a measured and dignified close. Clérambault's writing reminds us that Baroque music was as much about structure and purpose as it was about beauty. His music endures because it is clear, expressive, and carefully crafted. Ending the week with this piece is a quiet nod to tradition, discipline, and lasting musical craft.Without further ado, Louis-Nicolas Clérambault's Suite du premier ton: V. Basse et Dessus de Trompette–enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

觀光工廠 guān guāng gōng chǎng – tourist factory; factory open for visitors雄獅文具想像力製造所 Xióngshī wénjù xiǎngxiànglì zhìzào suǒ – SIMBALION Art StudioAddress: 桃園市龍潭區中原路二段188號 (No. 188, Section 2, Zhongyuan Rd, Longtan District, Taoyuan City)動手DIY dòngshǒu DIY – hands-on DIY; make it yourself文具 wénjù – stationery互動體驗 hùdòng tǐyàn – interactive experience設計裝置 shèjì zhuāngzhì – design installation上色 shàngsè – coloring塗鴉 túyā – graffiti; doodling療癒 liáoyù – therapeutic; healing芒果農創玫瑰綠柏園 Mángguǒ nóngchuàng méiguī lǜ Bǎiyuán – Mango Agro-Rose Green ParkAddress: 台南市楠西區水庫路9號 (No. 9, Shuiku Rd, Nanxi District, Tainan City)當季水果風味餐 dāngjì shuǐguǒ fēngwèi cān – seasonal fruit tasting meal芒果果乾 mángguǒ guǒgān – dried mango園區 yuánqū – park area; campus兒童遊樂設施 értóng yóulè shèshī – children's playground facilities空曠 kōngkuàng – open and spacious放風箏 fàng fēngzheng – fly kites取景 qǔjǐng – take photos; choose a scene for filming雲林 Yúnlín – Yunlin (county in Taiwan)土庫驛可可莊園 Tǔkù yì kěkě zhuāngyuán – Tukuyi Cocoa ManorAddress: 雲林縣土庫鎮大同路1之2號 (No.1-2, Datong Rd, Tuku Township, Yunlin County)莊園 zhuāngyuán – manor; estate整頓 zhěngdùn – organize; renovate北歐風 běi'ōu fēng – Nordic style種植 zhòngzhí – plant; cultivate可可樹 kěkě shù – cocoa tree食農教育 shí nóng jiàoyù – food and agriculture education佐登妮絲城堡生技園區 Zuǒdēng nī sī chéngbǎo shēngjì yuánqū – Château de Jourdeness ParkAddress: 嘉義縣大林鎮大埔美園區三路15號 (No. 15, 3rd Road, Meiyuan District, Dapu District, 22, Zhongkengli, Dalin Town, Chiayi County)採 cǎi – adopt; use; take文藝復興 wényì fùxīng – Renaissance巴洛克式 Bāluòkè shì – Baroque style穹頂 qióngdǐng – dome愛奧尼克柱列迴廊 Ài àoníkè zhùliè huíláng – Ionic column colonnade宮殿 gōngdiàn – palace保養品 bǎoyǎngpǐn – skincare/cosmetic products無法離開視線 wúfǎ líkāi shìxiàn – unable to take eyes off; mesmerizing城堡 chéngbǎo – castle宏偉 hóngwěi – magnificent; grandFollow me on Instagram: fangfang.chineselearning !

Mandy Aftel is a pioneering American artisan natural perfumer who has been called one of the fragrance industry's “most prolific talents” by Vogue and an “angel of alchemy” by Vanity Fair. She is an author, educator, and founder of Aftelier Perfumes and the Aftel Archive of Curious Scents located in Berkeley, CA. Mandy is renowned for her deep focus on plant-derived essences, historical fragrance, and innovative perfume creation that connects scent to memory and emotion, establishing new standards in natural perfumery through her many books like Essence & Alchemy and Fragrant. Her new book, Symbolorum: The Secret Wisdom of Emblems explores the esoteric insights and enchanting imagery of the Baroque emblem book, a long-lost cousin of the tarot.On this episode, Mandy discusses the alchemical magic of perfume, favorite sacred scents, and her latest fascination with the esoteric emblem book.Pam also talks about scented solar spells for Solstice, and answers a listener message from the snowy bottom of the globe.Check out the video of this episode over on YouTube (and please like and subscribe to the channel while you're at it!)Our sponsors for this episode are Mithras Candle, Zouz Incense, and Sister Temperance TarotWe also have print-on-demand merch like Witch Wave shirts, sweatshirts, totes, stickers, and mugs available now here, and all sorts of other bewitching goodies available in the Witch Wave shop.And if you want more Witch Wave, please consider supporting us on Patreon to get access to detailed show notes, bonus Witch Wave Plus episodes, Pam's monthly online rituals, and more! That's patreon.com/witchwave

Title: Cartloads of Music (Music for a foot tapping king) Track: John Jenkins: Fantasia-Suite in A Minor, VdGS group IV, No. 1, Courante Artist: Rachel Podger & Brecon Baroque. Publisher: ℗ 2024 Channel Classics Records / Outhere Music France & Kerkenstein Productions

To commemorate the release of the digital album release of the live audio recording of Pinchgut's 2019 production of Farnace, Conductor Erin Helyard chats with countertenor Christopher Lowrey and mezzo-soprano Helen Sherman to revisit the production. Together, they reflect on moments both on stage and off, while honouring the memory of beloved friends Taryn Fiebig, Max Riebl, and Jacqueline Dark, whose artistry and spirit left an enduring mark on Pinchgut and on all who knew them.

Tunes: Donald MacDonald: A Jig, A Jig, “The 92nd Gordon Highlanders” Quickstep, Buachail Na Gobhar. Is Na Caroach “The Goat Herd”, Taladh, or the Nurse's Song, “Mackay's March” Quickstep, A Reel “The Flirting Brown maid”, Hurichum Harichim “72nd Highlanders”, A Jig “The Gown and Apron”, The Highland Laddie, The Haughs of Cromdale, Buain Ne Ronich, or the Weary maid, Lochial's Awa' To France Mr. Mitchell: I'll Gar Ye Be Fain to Follow Me Alan Ramsay: Song To the Tune of “I'll Gar ye be fain to follow me O'Farrell: Fain to Follow Me Donald MacDonald 1828: A Jig from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105682880 +X+ 1828: A jig from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105682902 +X+ 1828: “The 92nd Gordon Highlanders” Quickstep from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105682913 +X+ 1828: Buachail Na Gobhar. Is Na Caroach “The Goat Herd” from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105682924 +X+ 1828: Taladh, or the Nurse's Song from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105682946 +X+ 1828: “Mackay's March” Quickstep from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105682957 +X+ 1828: A Reel “The Flirting Brown maid” from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105682968 +X+ 1828: Hurichum Harichim “72nd Highlanders” from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105682968 +X+ 1828: A Jig “The Gown and Apron” from Donald McDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105682990 +X+ 1828: The Highland Laddie, The Haughs of Cromdale, from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105682990 +X+ 1828: Buain Ne Ronich, or the Weary maid, from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105683012 +X+ 1828: Lochial's Awa' To France from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105683012 +X+X+ I'll Gar ye be Fain to Follow Me 1828: “I'll Make you be Fain to Follow me” A Jig, “Donachd Head” A Jig from Donald MacDonald https://digital.nls.uk/special-collections-of-printed-music/archive/105682891 +X+ 1731: I'll Gar Ye Be Fain to Follow Me from Mr. Mitchell's The Highland Fair, or Union of the Clans: https://archive.org/details/bimeighteenth-centurythe-highland-fair-or-umitchell-mr-joseph1731/page/51/mode/2up +X+ 1740: Song To the Tune of “I'll Gar ye be fain to follow me from Alan Ramsay's Tea Table Miscellany Vol 2 https://archive.org/details/teatablemiscella03rams/page/133/mode/1up +X+ 1806ish: Fain to Follow Me from O'Farrell https://archive.org/details/ofarrellspocketc00rugg/page/56/mode/1up +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

Anytime I do an episode on Fritz Wunderlich, the sun breaks through the clouds, emotionally speaking. Possessor of a bright-timbred voice of such exquisite beauty anchored by a profoundly satisfying musical sensibility, he and his legacy inspire rather than sadden me. Today I've chosen a duet program, because it allows me to showcase Fritz's effortless stylistic flexibility, while at the same time highlighting a rainbow of singing partners, some of whom are old favorites, and others of whom might not yet be well-known to my listeners. Today's treasure-trove of singers includes sopranos Maria Stader, Lucia Popp, Teresa Stratas, Erika Köth, Edith Mathis, Stefania Woytowicz, Pilar Lorengar, Melitta Muszely, Trude Eipperle, Hilde Güden, Anneliese Rothenberger, and Ruth-Margret Pütz; mezzo-soprano Christa Ludwig; and baritones Hermann Prey and Marcel Cordes, among others. Wunderlich and his co-stars sing repertoire ranging from the early Baroque through Janáček, including a particularly generous helping of Italian opera (albeit sung mostly in German), German Singspiel and Viennese operetta. It's a long episode, so don't hesitate to divide the episode up into bite-sized segments. No matter how you slice it up, I forecast a blissful response to these clarion tones! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and 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 original source sound for this piece was from a bat echolocation detection device. So in this sonic interpretation, I aimed to create the feeling of reaching out into a mysterious, dark space of unknown size or location.  "The timbre is meant to be muffled and imprecise while the musical material is deliberate and approaching Baroque. I also bounced the original source sound between various audio and music composition softwares, relaying the message and having it change along the way–similar to a game of telephone. The rhythmic patterns were all taken for the rhythmic patterns of the sonified echolocation." Bat detector in Witney, England reimagined by Janae Jean.

Chaque jour, retrouvez le journal de 8h de la rédaction d'Europe 1 pour faire le tour de l'actu. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Chaque jour, retrouvez le journal de 8h de la rédaction d'Europe 1 pour faire le tour de l'actu. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Title: The King's Favourite ( The favourite composer of King Charles I and a piece about drops of water) Track: William Lawes: Almaine "La goutte" (the Drop): Fantasia-Suite No. 8 in D Major Artist: Rachel Podger & Brecon Baroque Publisher: ℗ 2024 Channel Classics Records / Outhere Music France & Kerkenstein Productions

Kevin is the guitarist and composer of the instrumental rock band Pyramids on Mars. Hard rock, industrial, and metal infused with lead guitar melodies inspired by violin melodies of Baroque classical composers Bach & Vivaldi. Kevin has been a guest on over 70 UFO Radio talk shows describing his UFO and ongoing Extraterrestrial Experiences. Kevin's latest album Cosmic Angels is inspired by his visitations by Extraterrestrials. Elements in all his albums incorporate many things that have been taught to him by these otherworldly visitors including, but not limited to telepathic storytelling, and tonal language (of the cetaceans and whales). Kevin has always had a passion for UFOs and Extraterrestrials. He spent over 20 years researching to understand why they are here. Kevin wanted to combine his passion for music with raising consciousness and awareness of the UFO and Extraterrestrial presence. He felt it was always his purpose in life. This calling was affirmed for him on August 21, 2014, when he had contact with an inter-dimensional craft of unearthly origin. Since then, Kevin began experiencing many related incidents like incredible synchronicities, music downloads, symbol downloads, through dreams (Neck Illusions DNA Double Helix design on his guitar), and increased Telepathy. His musical downloads are discussed in UFO Researcher Grant Cameron's book "Tuned In: The Paranormal World of Music." Many of Kevin's personal (CE5) ET encounters are discussed in "Inviting ET" by Su Walker. Kevin works with the P'ntl (Zetas) who reside in the Sandia Mountains, Albuquerque NM helping prepare humanity for Official First Contact. https://www.officialfirstcontact.com/ Kevin is the host of Pyramids on Mars UFO radio (since 2016 https://artistfirst.com/pyramidsonmars.htm ) on the Artistfirst. Kevin has a large network of friends, colleagues, and researchers in the UFO community who are Experiencers, Starseeds & Star Nation/Human Hybrids. He brings their stories to Artistfirst network.

durée : 01:27:41 - En pistes ! du mardi 09 décembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - L'Accademia Bizantina imagine une nouvelle lecture des six Concertos Brandebourgeois de Bach, en lien avec six parties du corps humain. A retrouver également ce matin, un disque que l'on doit au contre-ténor américain Reginald Mobley et qui mèle voix, luth et viole de gambe. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:27:41 - En pistes ! du mardi 09 décembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - L'Accademia Bizantina imagine une nouvelle lecture des six Concertos Brandebourgeois de Bach, en lien avec six parties du corps humain. A retrouver également ce matin, un disque que l'on doit au contre-ténor américain Reginald Mobley et qui mèle voix, luth et viole de gambe. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Within the hallowed expanse of Santiago de Compostela Cathedral, the organ resonates through centuries of devotion and artistry. Heard in this recording, the profound sonic environment of the historic basilica emerges as each note played on the grand organ seems to breathe life into the walls, carrying the weight of countless pilgrimages and prayers. As the music unfolds, it fills the space with transcendent quality, blending seamlessly with the ambient acoustics of the Romanesque architecture and Baroque embellishments. The rich tones of the organ evoke a sense of awe, paying homage to the cathedral's role as a sacred endpoint for the Way of St. James - a journey steeped in history and spirituality. This sound setting not only preserves the majestic beauty of the organ but also invites the listener to reflect on the timeless significance of this revered place. It is a sonic offering that mirrors the cathedral's enduring legacy as both a spiritual sanctuary and a monument to human devotion. Recorded by Serge Bulat. 

Tunes: Jeremy Kingsbury: Saw ye a Lassie of Fifteen at the mines in Wicklow or Bath? From Humours of Toddy ArBo Doughty: Far Away/ The Moth in the Lantern, Green Fields of Canada and Paddy's Rambles Through the Park from fahy's fields Nicholas Brown: Master, I Go Hunting - Shaving Baby With a Spoon - Sky Blue Dress (Hop Jigs) from Not so Good As The Flute Dave Rowlands: Cotting Burn from Musica ex alia terra Brendan Taaffe & Maurice Manning: Spin All the Stars, Grace it Falls from The Bucolics Project Muco: Wið ymbe (a beekeeper's charm) from Soþlice, Bryd One Brere from Summer Crossing and Frankie Archer: In Brunton Town from Sing Yonder 2 Mike MacNintch: The Keelman O'er the Land/Jenny Nettles/Drops of Brandy from The Chanter's Song Ian Lawther: Meggy's Foot from The Empty Trough Donald WG Lindsay & Alisdair Roberts: Wheels of Fortune, Jock Hawk's Adventures in Glasgow from Welcome Home My Dearie Matthew Welch: Lessons in Dragonease Six (Glass Dragons) from Dragon Fire Raflum | 雨鎖悲秋: Sunset Glow, Secluded Vale from Melodies of Forest and Springs 林泉吟 Sean Reidy: The Arduous Wait from Tunes for the Soul Landless: The Grey Selkie of Sule Skerry, The Hag from Lúireach Topette!!: JLP, Winstanley's/Les Trois Canards from Bourdon Marit and Rona: Kilmartin Glen Campsite from Turas +X+X+ Jeremy Kingsbury: Saw ye a Lassie of Fifteen at the mines in Wicklow or Bath? From Humours of Toddy https://jeremykingsbury.bandcamp.com/album/humours-of-toddy +X+X+ ArBo Doughty: Far Away/ The Moth in the Lantern, Green Fields of Canada and Paddy's Rambles Through the Park from fahy's fields https://arbodoughty.bandcamp.com/album/fahys-fields +X+X+ Nicholas Brown: Master, I Go Hunting - Shaving Baby With a Spoon - Sky Blue Dress (Hop Jigs) from Not so Good As The Flute https://nicolasbrown.bandcamp.com/album/not-so-good-as-the-flute +X+X+ Dave Rowlands: Cotting Burn from Musica ex alia terra https://daverowlandsbagpipes.bandcamp.com/album/musica-ex-alia-terra +X+X+ Brendan Taaffe & Maurice Manning: Spin All the Stars, Grace it Falls from The Bucolics Project https://brendantaaffe.bandcamp.com/album/the-bucolics-project +X+X+ Muco: Wið ymbe (a beekeeper's charm) from Soþlice https://muco.bandcamp.com/album/so-lice +X+ Bryd One Brere From Summer Crossing: https://muco.bandcamp.com/track/bryd-one-brere +X+ In Praise of Mary From Tiktok https://www.tiktok.com/@muco0/video/7558402271311121686?r=1&_t=ZP-91vvH6vnmYR +X+X+ Frankie Archer: In Brunton Town from Sing Yonder 2 https://karlsinfield.bandcamp.com/album/sing-yonder-2 +X+X+ Mike MacNintch: The Keelman O'er the Land/Jenny Nettles/Drops of Brandy from The Chanter's Song https://mikemacnintch.bandcamp.com/album/the-chanters-song +X+X+ Ian Lawther: Meggy's Foot from The Empty Trough https://ianlawther.bandcamp.com/album/the-empty-trough +X+X+ Donald WG Lindsay & Alisdair Roberts: Wheels of Fortune, Jock Hawk's Adventures in Glasgow from Welcome Home My Dearie https://donaldwglindsay.bandcamp.com/album/welcome-home-my-dearie +X+X+ Matthew Welch: Lessons in Dragonease Six (Glass Dragons) from Dragon Fire https://kotekanrecordslabel.bandcamp.com/album/dragon-fire +X+X+ Raflum | 雨鎖悲秋: Sunset Glow, Secluded Vale from Melodies of Forest and Springs 林泉吟 https://raflum.bandcamp.com/album/melodies-of-forest-and-springs +X+X+ Sean Reidy: The Arduous Wait from Tunes for the Soul https://seanpatrickreidy.bandcamp.com/album/tunes-for-the-soul +X+X+ Landless: The Grey Selkie of Sule Skerry, The Hag from Lúireach https://landless.bandcamp.com/album/l-ireach +X+X+ Topette!!: JLP, Winstanley's/Les Trois Canards from Bourdon https://topette.bandcamp.com/album/bourdon +X+X+ Marit and Rona: Kilmartin Glen Campsite from Turas https://maritandrona.bandcamp.com/album/turas +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

Inside St Martin's Church, which was founded in 1356 by the Duke of Mazovia Ziemowit and his wife Euphemia. It has been repeatedly reconstructed in the Baroque style, following destruction in 1944, the Baroque interior was not rebuilt and now it is largely modern, with the only surviving original element being the partially burned crucifix in the main nave.  Recorded by Maria Papdomanolaki.

The Basilica of St. Mary Institute for Faith and Culture Presents: Beauty and the Beast, an Exploration of the Power of Beauty, Part 5 of 5 With Fr. James Searby  In this final class of Beauty and the Beast, we look at the tale's two feasts to understand beauty as a path back to communion, meaning, and sacramentality. The tavern scene becomes a picture of the ego- loud, empty, and isolating, while "Be Our Guest" reveals what self-giving love looks like when a community pours itself out in joy. From there, Fr. James Searby explores the vocation of the artist, the vulnerability of real creativity, and the way beauty acts almost like a sacramental, opening the soul to grace. This class traces the larger cultural story as well, from the Baroque renewal of the Church to the rise of modernity and postmodernity, and finally to our quiet rediscovery of wonder today. Using the fairy tale as a map, the episode shows how the loss of beauty disfigures a culture and how its return restores the human heart. At its center is the conviction that beauty heals, reveals, and reunites, and that when we allow ourselves to receive it, the beast in all of us begins to become whole again.

Title: The Dutch Muse (Can the muse Euterpe be found in old Amsterdam?) Track: Van Eyck: Comagain a 2 Pieter de Vois: Brande Yrlandt, Artist: Cordevento & Erik Bosgraaf Publisher: ℗ 2024 Brilliant Classics

English singer and multi-instrumentalist Patrick Wolf built his sizable reputation on a blend of Baroque pop and arty, classically-informed folk-rock. But a series of setbacks kept him from the music scene for a decade, before he returned with an EP in 2023, and in June of 2025, his latest LP called Crying The Neck. Patrick Wolf joins us at the piano, to play new songs, in-studio. Set list: 1. Enter the Day 2. The Last of England 3. Foreland 

Tunes: Rhiona Sidley, Stuart Letford and Tom Rust with MacCrimmon's Lament Jeremy Kingsbury: Hacky Honey, Tam Glen/Lads Wi' the Kilts, Stool of Repentance, Merry Old Woman, Jackson's Lake, Fionnlaigh Mac a Phiocair with the Rolling Wave Set Ian Kinnear with The Bloody Fields of Flanders and Lochanside +X+X+ Big thanks to all the musicians and LBPS for inviting me over! Check out the episode on Enjoy Your Piping: https://enjoyyourpiping.buzzsprout.com/2146429/episodes/18254064-episode-125-bellows-in-dunkeld Check out the LBPS Website here: https://lbps.net/j3site/index.php 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

This podcast takes you into the extraordinary building and collection of the Borghese Gallery in Rome, Italy. From the great hall with its beautiful ceiling fresco, ancient Roman floor mosaics depicting gladiators and beast hunters, and ancient/Baroque statue of "Marcus Curtius," to the adjoining Caravaggio room which houses six paintings by the great master, a visitor to the Borghese Gallery is immediately struck by the magnificence of the collection.   

In this episode Jeremy contemplates the 'shape' of time with the help of French philosopher Gilles Deleuze. If reclaiming time from the catastrophe of progress requires that we invent new forms of temporality, then perhaps the fold, a concept developed by Deleuze, can help us develop better metaphors, more dynamic 'shapes,' for time. Folds and pleats fold, unfold, and enfold, emphasizing interrelationships between past, present and future. The fold helps us think with a weirder time of the present, opening a zig-zagging path towards more relational futures.Show note:Join Jeremy for a weekend seminar starting on December 5, "Integral Futuring: Reclaiming Time in the Radical Present."Gilles Deleuze. The Fold: Liebniz and the Baroque.Forthcoming: Fragments of an Integral Future: Essays on Time, Ecology, and a New Worldview (early 2026).

Title: St Cecilia(Saint and Muse - Cecilia is breaking my heart) Track: Herbert Howells: A Hymn for St Cecilia Artist: The choir of Royal Holloway is conducted by Rupert Gough Publisher: ℗ 2014 Hyperion Records Limited

durée : 00:14:26 - Le Disque classique du jour du lundi 24 novembre 2025 - Dans ce nouvel album, qui marque son retour après plusieurs années de silence, le pianiste David Fray présente un répertoire comprenant des œuvres pour clavier originales de Bach, Rameau ou Scarlatti, ainsi que des transcriptions pour piano de Haendel, Vivaldi, Royer... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:14:26 - Le Disque classique du jour du lundi 24 novembre 2025 - Dans ce nouvel album, qui marque son retour après plusieurs années de silence, le pianiste David Fray présente un répertoire comprenant des œuvres pour clavier originales de Bach, Rameau ou Scarlatti, ainsi que des transcriptions pour piano de Haendel, Vivaldi, Royer... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Step into a world where music transcends time, weaving a tapestry of sound and storytelling. From the majesty of the Baroque to the passion of the Romantic era, from cinematic landscapes to bold contemporary soundscapes, the organ's voice will transport you across centuries. Laughter and drama unfold in a lively work for organ and narrator, while the ethereal fusion of organ and tape blurs the line between the real and the otherworldly.

Auditrices :Alice :  22h31–23h41Atteinte de syllogomanie, Alice cherche une solution. Vanessa :  23h46–00h14Avec son groupe Baroque and Pop, Vanessa revisite les grandes œuvres lyriques. Brigitte : 00h15–00h33Psychopédagogie : Brigitte souligne l'importance des mots chez les jeunes. Fanny : 00h37–00h56Fanny est en proie à des rêves récurrents qui l'épuisent.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Auditrices :Alice :  22h31–23h41Atteinte de syllogomanie, Alice cherche une solution. Vanessa :  23h46–00h14Avec son groupe Baroque and Pop, Vanessa revisite les grandes œuvres lyriques. Brigitte : 00h15–00h33Psychopédagogie : Brigitte souligne l'importance des mots chez les jeunes. Fanny : 00h37–00h56Fanny est en proie à des rêves récurrents qui l'épuisent.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Auditrices :Alice :  22h31–23h41Atteinte de syllogomanie, Alice cherche une solution. Vanessa :  23h46–00h14Avec son groupe Baroque and Pop, Vanessa revisite les grandes œuvres lyriques. Brigitte : 00h15–00h33Psychopédagogie : Brigitte souligne l'importance des mots chez les jeunes. Fanny : 00h37–00h56Fanny est en proie à des rêves récurrents qui l'épuisent.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Auditrices :Alice :  22h31–23h41Atteinte de syllogomanie, Alice cherche une solution. Vanessa :  23h46–00h14Avec son groupe Baroque and Pop, Vanessa revisite les grandes œuvres lyriques. Brigitte : 00h15–00h33Psychopédagogie : Brigitte souligne l'importance des mots chez les jeunes. Fanny : 00h37–00h56Fanny est en proie à des rêves récurrents qui l'épuisent.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Invités :Alice : atteinte de syllogomanie, Alice cherche une solution.Vanessa : avec son groupe Baroque and Pop, Vanessa revisite les grandes œuvres lyriques.Brigitte : Psychopédagogie : Brigitte souligne l'importance des mots chez les jeunes.Fanny est en proie à des rêves récurrents qui l'épuisent.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This Day in Legal History: Mississippi BurningOn November 21, 1964, a federal grand jury convened in Meridian, Mississippi, and indicted 19 men in connection with the murders of James Chaney, Andrew Goodman, and Michael Schwerner—three civil rights workers abducted and killed by the Ku Klux Klan during Freedom Summer. The brutal killings had shocked the nation, but Mississippi officials refused to pursue murder charges, prompting the federal government to step in. Lacking jurisdiction over homicide, federal prosecutors turned to a rarely used provision of the Reconstruction-era Civil Rights Act of 1870, charging the defendants with conspiracy to violate the victims' civil rights.This legal maneuver led to United States v. Price (1967), a pivotal Supreme Court case that affirmed the federal government's authority to prosecute state actors and private citizens working in concert to deprive others of constitutional rights. The Court unanimously held that the Due Process Clause of the Fourteenth Amendment could be enforced through criminal prosecution when state officials or their proxies engaged in unlawful conduct.At trial, seven of the defendants, including a deputy sheriff, were convicted—though none received more than ten years in prison. Several of the most notorious perpetrators, including Edgar Ray Killen, evaded justice for decades. Still, the case marked one of the first successful federal efforts to hold white supremacists accountable for racial violence in the Jim Crow South.The Mississippi Burning case revealed both the limits of federal power—since murder charges were off-limits—and its emerging role as a necessary backstop when local justice systems failed. It signaled a new willingness by the Department of Justice to engage in civil rights enforcement, even in the face of deep local hostility. The grand jury's action on this day helped set legal and moral precedent for future federal interventions in civil rights cases.Google is making a final argument in federal court to avoid a forced breakup of its advertising technology business, as the U.S. Department of Justice (DOJ) wraps up its antitrust case. U.S. District Judge Leonie Brinkema already ruled in April that Google maintains two illegal monopolies in the ad tech space. Now the court is weighing remedies, with the DOJ and several states pushing for the sale of Google's AdX exchange, a key platform where digital ads are auctioned in real time.During an 11-day trial that began in September, the DOJ argued that only a forced divestiture would effectively curb Google's anticompetitive conduct. In response, Google contended that breaking up its ad business would be technically disruptive and harmful to customers. The company also emphasized that it would comply with less drastic remedies.The trial represents one of the most serious legal threats to Google's ad empire to date. While Google has largely avoided major penalties in previous antitrust actions, this case—and others still pending against Meta, Amazon, and Apple—could mark a turning point in federal enforcement against Big Tech.Google has pledged to appeal any adverse ruling, including Judge Brinkema's earlier decision and a separate finding in Washington that declared Google's dominance in online search and advertising unlawful. In that case, Google was not forced to sell its Chrome browser but was ordered to share more data with competitors.The outcome of this trial could have lasting implications for the structure of the digital ad industry and the future of antitrust enforcement in the tech sector.Google aims to dodge breakup of ad business as antitrust trial wraps | ReutersAs the federal government considers limiting state regulation of artificial intelligence, many U.S. states are moving in the opposite direction—introducing legislation to curb algorithmic pricing practices that may be inflating costs for consumers. These laws target the growing use of software that sets prices based on personal data, such as location, browsing history, and past purchases. Critics argue this enables businesses to charge consumers what they're perceived to be willing to pay, not a fair market rate.Former FTC Chair Lina Khan, now advising New York City's incoming administration, is helping shape efforts to leverage state authority to combat such practices. Laws already passed in New York and California prohibit algorithmic collusion in rental markets, and 19 other states are considering similar bills to restrict price-setting based on competitor data.The issue has attracted bipartisan concern. Utah Republican Tyler Clancy plans to introduce legislation aimed at giving consumers more control over the data companies collect and use to personalize prices. Advocacy groups like Consumer Reports warn that AI-driven pricing risks exacerbating inequality, allowing companies to charge different prices based on who they think the buyer is—effectively punishing certain groups of consumers.Meanwhile, President Trump is reportedly considering an executive order that would block state-level AI rules, escalating the tension between federal deregulation efforts and state-led consumer protection initiatives.US states take aim at data-driven pricing to ease consumer pain | ReutersIn a landmark decision, the New Jersey Supreme Court has become the first high court in the U.S. to ban prosecutors from introducing expert testimony that shaking alone can cause the internal injuries typically attributed to Shaken Baby Syndrome (SBS). The 6–1 ruling came in two separate child abuse cases involving fathers accused of harming their infant sons. The court held that the state failed to show sufficient scientific consensus across relevant fields, particularly from biomechanical engineering, to justify presenting SBS as a reliable diagnosis in the absence of external trauma.While SBS has long been used to explain serious injuries like brain swelling and internal bleeding in infants—forming the basis for thousands of abuse prosecutions—the court emphasized that scientific evidence must be broadly accepted and reliable, not speculative or limited to select disciplines. Pediatricians and neurologists largely support the SBS diagnosis, but the court noted that the foundational research stemmed from a 1968 whiplash study, and the biomechanics field has not confirmed that shaking alone, without head impact, can produce the injuries.One of the defendants, Darryl Nieves, had his case dismissed, while the other, Michael Cifelli, remains charged but plans to seek dismissal based on the ruling. The decision opens the door for challenges in past SBS convictions and may limit future prosecutions relying solely on SBS testimony.Justice Fabiana Pierre-Louis wrote that the door isn't permanently closed—if future research can establish consensus, such testimony may be admitted. But for now, the ruling significantly raises the bar for the use of SBS in court. Justice Rachel Wainer Apter dissented, warning that the majority gave too much weight to a single scientific field over others.New Jersey high court first in US to ban Shaken Baby Syndrome testimony | ReutersA piece I wrote for Forbes this week examined how Foreign Bank and Financial Account (FBAR) reporting enforcement has evolved into a penalty system wildly out of sync with the actual harm caused. I opened with the United States v. Saydam decision, where a dual citizen was hit with a $437,000 civil penalty for failing to file FBAR forms—even though the government's tax loss was only about $29,000. There was no fraud, no evasion, and no criminal behavior, yet the punishment looked like something reserved for offshore tax schemers. I argued that this case shows how FBAR has drifted far from its original purpose under the Bank Secrecy Act, which was aimed at serious financial crime, not routine reporting lapses.In the article, I explained how the concept of “willfulness” has morphed into something elastic enough to include recklessness or even simple inattention, giving the IRS license to impose penalties of up to 50% of an account's highest balance per year. That structure means the punishment often bears no relation to any underlying tax obligation. Saydam's case illustrates this perfectly—the government simply took his highest‑balance year, sliced it in half, spread it across the years he didn't file, and ended up with a crushing figure.I also emphasized that the people being hit hardest aren't drug traffickers or money‑launderers; they're ordinary taxpayers with overseas ties—dual citizens, immigrants, retirees—whose “wrongdoing” is usually limited to missing a form. The court's acknowledgment that FBAR penalties are indeed “fines” under the Eighth Amendment should have prompted a stronger proportionality analysis, but instead it set a very forgiving standard for the government, effectively blessing massive penalties for paperwork lapses.In my view, when penalties exceed the actual tax loss by a factor of fifteen, we're no longer talking about a compliance tool—we're talking about a punitive revenue mechanism. The system now incentivizes extracting large sums from people who pose no threat to the tax base. Saydam didn't hide money or lie about his income; he just didn't file a disclosure. Yet he now faces nearly half a million dollars in liability. As I wrote, if this is the precedent, FBAR has stopped being a transparency measure and has become a blunt instrument aimed at immigrant taxpayers.The Rise And Proliferation Of Excessive FBAR PenaltiesThis week's closing theme is by Henry Purcell.This week's closing theme comes from Purcell, the brilliant English Baroque composer often called “the Orpheus Britannicus” for the beauty and depth of his music. Born in 1659 and active during the late 17th century, Purcell's work bridged the gap between Renaissance polyphony and the emerging Baroque style, blending French elegance, Italian expressiveness, and a distinctly English sensibility. Though he died young at just 36, his influence on British music would echo for centuries.While his “Ode to Saint Cecilia”—written for the patron saint of music—is his most direct connection to November 22, the official feast day of Saint Cecilia, Purcell's music is appropriate listening for this week. His compositions often graced the St. Cecilia Day festivals held annually in London, celebrating music itself as a divine art.The Overture in G minor, which closes our episode today, is not among his ceremonial odes but showcases many of his signature strengths: tight contrapuntal writing, a dark, dignified mood, and striking harmonic shifts that feel centuries ahead of their time. The overture begins with a slow, solemn introduction before launching into a more vigorous section, where rhythmic vitality meets melodic restraint.It's a concise, powerful piece that reflects Purcell's talent for writing music that is both emotionally direct and structurally refined. Though originally composed for a larger suite or theatrical context, it stands on its own as a miniature masterwork. As the week draws to a close and Saint Cecilia's Day approaches, Purcell's music reminds us that even in constraint—of time, of scale, of form—there can be grandeur.And with that, enjoy Purcell's Overture in G minor! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Andrew talks in detail about his unsure entry into the world of Dungeons and Dragons. A story about the use of A.I. in documentaries has Luke very concerned. And a favorite TBTL song scats its way back onto the show. 

Title: Baroque Minimalism (Need some calming 400 year old ‘minimalist' music while studying for exams?) Track: Kapsberger's Toccata Arpeggiata Artist: Darko Karajić Publisher: ℗ 2015 Darko Karajic

A Mile to Ride, Dorrington Lads, Generous Fox, Bonny Lad, Welcome to Town Again, Rock and Wee Pickle Tow, Terribus, Ye Banks and Braes of Bonnie Doon, Jack Lattin 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

Website

Before the idea of feminism took shape, there was what writers once called “the woman question.” The phrase comes from the querelle des femmes—a centuries-long debate in Europe about women's rights, intellect, and place in society. One of the first to take it up was Christine de Pizan, the Italian-French court writer who, in 1405, published The Book of the City of Ladies. At a time when most women were excluded from education and public life, de Pizan challenged misogyny head-on, laying some of the earliest groundwork for what we now understand as feminist thought. That question—what is a woman's place in culture and history?—has echoed ever since. In 1971, the art historian Linda Nochlin famously reframed it by asking: “Why Have There Been No Great Women Artists?” We have a clear answer: there had been great women artists all along, but their stories were often overlooked, dismissed, or erased. A new exhibition at the recently opened Museum of Modern Art in Warsaw hones in on that conversation. "The Woman Question: 1550–2025," curated by Alison M. Gingeras, gathers nearly five hundred years of women's creative production—from Renaissance pioneers like Sofonisba Anguissola and Lavinia Fontana, to Baroque heroines such as Elisabetta Sirani and Artemisia Gentileschi, and contemporary artists including Betty Tompkins and Lisa Brice. With more than 200 artworks, the exhibition focuses on how women saw and depicted themselves and the world, and how the represented power, resistance, desire, and violence. Through portraits, allegories, and bold depictions of female experience, these artists reveal how women have long claimed creative agency despite the structures built to contain them. On this episode of The Art Angle, Gingeras joins senior editor Kate Brown from Warsaw, Poland, to talk about early women art stars, recent rediscoveries, and why, after all this time, we still need all-women exhibitions.

Venice is a museum without walls — but behind her doors, each palace tells a different story.In this episode, Monica takes you through the city's most fascinating museums — places where beauty, history, and imagination still breathe.In this episode:

This week it's the tale of the Portuguese galleon Padre Eterno, launched in the Bay of Guanabara in 1663. More the story of a ship that did wreck at some point and the world she inhabited rather than a nuts-and-bolts 'shipwreck' yarn. The Sameer Project Sources: Blackburn, Robin. The Making of New World Slavery: From the Baroque to the Modern, 1492 - 1800. Verso, 1998. Camenietzki, Carlos Ziller. “O galeão Padre Eterno.” BN Digital Brasil. https://bndigital.bn.gov.br/dossies/historia-da-ciencia/o-galeao-padre-eterno/Costa, Fernando Dores. A Guerra da Restauração, 1641 - 1668 (Temas de História de Portugal. Livros Horizonte, 2004. Gomes, Laurentino. Escravidão, Volume I: Do primeiro leilão de cativos em Portugal até a morte de Zumbi dos Palmares. GloboLivros, 2019. Lara Mesquita, João. “Padre Eterno: maior navio do século 17 no Brasil.” Mar Sem Fim, 13 Jan 2020. https://marsemfim.com.br/maior-navio-do-mundo-no-seculo-17-foi-construido-no-brasil/Marcolin, Neldson. “Por mares sempre navegados.” Pesquisa, vol. 189, Nov 2011. https://revistapesquisa.fapesp.br/por-mares-sempre-navegados/Russell-Wood, A. J. R. The Portuguese Empire, 1415 - 1808: A World On The Move. Johns Hopkins University Press, 1998.https://lisboa-e-o-tejo.blogspot.com/2019/06/padre-eterno.htmlEls Segadors (Catalan National Anthem) referenced in the episodeSupport the show

Title: Telemann's Garden (Opus Article) Track: James Oswald: Airs for the Seasons, Spring. Ranunculus: I. Moderato and II. Allegro Andante Artist: Rezonance Baroque Ensemble Publisher: ℗ 2023 Leaf Music ULC

Art Historian Eleanor Walker joins us this episode to discuss the life and patronage of Isabella d'Este, Marchioness of Mantua. Isabella perfectly bridges the northern courts of Este Ferrara and Gonzaga Mantua, serving as the pivotal figure who united the two courts.Eleanor Walker introduces us to the life and vibrant personality of this Renaissance giant, looking at the scope and limitations of women in power in the northern courts. Then we turn to her patronage, diving deep into her portrait by Titian and a copy of another Titian portrait of Isabella by the Baroque master Peter Paul Rubens. Works Discussed: Titian, Isabella in Black, ca. 1536 https://www.khm.at/kunstwerke/isabella-d-este-markgraefin-von-mantua-1474-1539-1940Peter Paul Rubes, Isabella in Red (copied after Titian), ca. 1605 https://en.wikipedia.org/wiki/Isabella_in_Red_(Rubens)Support/Watch/Follow: https://linktr.ee/italian_renaissance_podcastJennifer Samit and Eleanor Walker, Women Artists in Their own Words: https://www.merrellpublishers.com/9781858947235Jill Burke, How to Be a Renaissance Woman, https://www.amazon.it/How-Renaissance-Woman-Jill-Burke/dp/1788166663/ref=asc_df_1788166663?mcid=84574746f829322698bfc93eb94e80af&tag=googshopit-21&linkCode=df0&hvadid=700814440216&hvpos=&hvnetw=g&hvrand=11473624181355666976&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9199215&hvtargid=pla-1888711395289&psc=1&hvocijid=11473624181355666976-1788166663-&hvexpln=0Get additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the show

We've unlocked a bonus episode for everyone, since there's some useful information here for an upcoming main episode dealing with Portugal/Brazil. Sources:Blackburn, Robin. The Making of New World Slavery: From the Baroque to the Modern, 1492 - 1800. Verso Books, 1998. Silva, Daniel Neves. "Escravidão no Brasil." Universo Online, https://mundoeducacao.uol.com.br/historiadobrasil/escravidao-no-brasil.htmTinnie, Dinizulu Gene. “The Slaving Brig Henriqueta and Her Evil Sisters: A Case Study in the 19th Century Illegal Slave Trade to Brazil.” The Journal of African American History, vol. 93, no. 4, Fall 2008, pp. 509 - 531. "Trans-Atlantic Slave Trades - Estimates." https://www.slavevoyages.org/assessment/estimatesSupport the show

durée : 01:33:17 - Les Nuits de France Culture - par : Mathias Le Gargasson - Ce numéro de "Surpris par la nuit" reprend l'enregistrement du cours donné en 1986 par Gilles Deleuze sur le pli, Leibniz et le baroque. Un assemblage qui semble bien hétéroclite mais qui a été un moment essentiel de la pensée deleuzienne, l'un des apports les plus connus à l'histoire de la pensée. - réalisation : Vincent Abouchar - invités : Gilles Deleuze Philosophe français; Rodolphe Burger Compositeur, guitariste et chanteur français; Georges Didi-Huberman Historien de l'art et philosophe, maître de conférences à l'EHESS; Gibus de Soultrait Directeur de “Surfer's Journal” France

Title: Telemann meets Don Quixote Track: Don Quixote Suite: III Son Attaque Des Moulins a Vent, IV Les Soupirs Amoureux Apres La Princesse Dulcinee, VII Le Couche De Don Quixote Artist: Christian Lindberg, Musica Vitae & Georg Philipp Telemann Publisher: ℗ 2020 European Gramophone

The great French soprano Rachel Yakar died on 24 June 2023 at the age of 87. As she frequently performed opposite our last subject, Swiss tenor Eric Tappy, this episode makes a suitable pendant to that one. Celebrated for her transcendent performances of Baroque music, (Monteverdi and the French Baroque in particular), Yakar was (like previous podcast subjects Eugene Holmes, Oralia Domínguez, Hana Janků, Gwendolyn Killebrew, and Teresa Żylis-Gara) also a member of ensemble of the Deutsche Oper am Rhein in Düsseldorf and Duisburg, with which company she performed for more than 25 years, singing a dizzying range of repertoire, everything from Mélisande to Arabella, Liù to Rusalka, Euridice to Desdemona. She also performed Donna Elvira and the Marschallin at Glyndebourne; and was an unforgettable Poppea in the Ponnelle-Harnoncourt Monteverdi cycle filmed for Unitel. In her prime she was also a frequent visitor to the recording studio, singing everything from Rameau to Varèse, Mozart to Messiaen, with conductors from Harnoncourt to Boulez, Leonhardt to Nagano. She was also a devoted song recitalist and in the later years of her career, she made two recordings of melodies for Virgin Records with the admirable support of her long-term accompanist Claude Lavoix. For the majority of this episode, I have chosen excerpts from both of those recordings, featuring the songs of Fauré and Hahn, which include settings of poets central to their output, including Paul Verlaine, Armand Silvestre, Léconte de Lisle, and Théodore de Banville, supplementing it with additional material in French by Ravel, Lekeu, Clérambault, Messiaen, and Poulenc. Yakar, who, like Régine Crespin and Nadine Denize, studied under the French dramatic soprano Germaine Lubin, was renowned for her faultless technique, her acting prowess, her peerless French diction, and her communicative artistic sensibility, traits of which are all in evidence in all of her recordings from the 1960s through the end of her career in the mid-1990s. Yakar was especially treasured by her colleagues, friends, and students for the warmth and effervescence of her personality, and her devotion to passing on her knowledge and experience to a younger generation of singers. May you delight in the delicacy, humor, precision, and pathos of one of the most prodigiously gifted and versatile vocal artists of her generation. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and 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.

Tunes: Jeremy Kingsbury: Drømde mik en drøm i nat, Niizh Aandegog, Twa Corbies, Robert Bremner: Bristol Petrie: The Song of the Ghost Readings: 'History of the Danes' of Saxo Grammaticus "The Burial of the Foster Brothers" (In Medieval Ghost Stories by Andrew Joynes) A book about Bristol, historical, ecclesiastical, and biographical, from original research by John Taylor: "A Ghost Story" A Narrative of the Captivity of John Tanner: "The Place of the two Dead Men" XX* You can Find the Poster for The Minnesota LBPS Gathering Here: https://www.facebook.com/photo/?fbid=1227215585913336&set=gm.25902092846047993&idorvanity=134798469870784 +X+X+ Drømde mik en drøm i nat: I just used music off Wikipedia article: https://en.wikipedia.org/wiki/Dr%C3%B8mdemikendr%C3%B8mi_nat +X+X+ The Niizh Aandegog version of the Twa Corbies goes into "Saw Ye Not My Maggy" which I got from the playing of Pete Stewart. +X+X+ The Song of the Ghost: Comes from The Petrie Collection of Irish Music Part II: https://imslp.org/wiki/TheCompleteCollectionofIrishMusic(Petrie%2C_George) +X+X+X+ 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

Swiss tenor Eric Tappy (19 May 1931 – 11 June 2024) excelled in so many different musical styles, eras, and genres, that when one considers his artistic achievement systematically, as a whole, one is positively stunned at all that he achieved, and that within a relatively short international career that extended barely 20 years. In addition, at the beginning of his career, his voice was that of a light lyric tenor, but gradually he came to sing heavier roles such as Idomeneo and Tito. The episode considers his biography and the trajectory of that career, touching upon his opera and concert work which ranged from early Baroque through contemporary. For the first ten years of his adult life, he worked as a teacher, gradually gaining enough exposure that he was able to fully devote himself to his singing career after he won several international singing competitions. Tappy is heard in the episode in concert work of Bach, Berlioz, Haydn, and contemporary Dutch composer Rudolf Escher; art songs by both Franz Schubert and Lili Boulanger; and operas by Monteverdi, Gounod, Mozart, and Debussy (his Pelléas was as legendary as his Monteverdi and Mozart impersonations). In addition, Tappy is heard in live and radio recordings of work by his fellow Swiss compatriots Arthur Honegger, Frank Martin, Constantin Régamey, and Hermann Suter. Guest singers include Countermelody favorites Ileana Cotrubaș, Rachel Yakar, Hugues Cuénod, Edda Moser, and Gino Quilico; musical collaborators include Ernest Ansermet, Michel Corboz, Nino Sanzogno, John Pritchard, Armin Jordan, Hans Münch (brother of Charles), Colin Davis, Hans Vonk, and Jean Françaix, among others. Prepare to be surprised and delighted by this great singer, who ended his active singing career at the age of only 50 but who continued as a formative and beloved teacher well into his old age. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and 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.

Departing from episode 148, Renaissance Music Pt.2 (Late), we now arrive at the Early Baroque period! Up for discussion will be some pioneer composers of this period such as Gabrieli, Monteverdi, Frescobaldi and Strozzi! We will also talk about the dawn of opera, the aria and the recitative. We will see how the rise in use of instrumental music also carried with it fugues, dance suites and a new appreciation for virtuosic performance!