Podcasts about baroque music

DescriptionWhen Titans Duel: Handel vs. Scarlatti in the Baroque Showdown in 60 Seconds. Take a minute to get the scoop!Fun FactIn early 1700s Rome, Handel and Scarlatti participated in a legendary keyboard duel judged by local nobility. Though equals on the harpsichord, Handel's mastery of the organ gave him the edge. Scarlatti reportedly acknowledged Handel's superiority—an extraordinary moment of respect between two of the Baroque era's greatest composers.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Today we have a very special guest. He is an OBE and a Grammy award nominee. He has conducted Baroque music the world over, and today he joined us for a chat about his decades-long career, his love of music, the history of his family and of course, his upcoming 75th birthday.Welcome, Nic!Find Nic:https://www.nicholasmcgegan.com/Listen to Nic:https://open.spotify.com/artist/6tW7J49UTzVDW9ns4E37D1If you would like to join Natalie on her walking tours in London with Reign of London, please follow the links:https://www.getyourguide.com/london-l57/london-the-royal-british-kings-and-queens-walking-tour-t426011/https://www.getyourguide.com/london-l57/london-unsavory-history-guided-walking-tour-t428452/https://www.getyourguide.com/london-l57/royal-london-georgian-and-windsor-monarchs-walking-tour-t481355 .For more history fodder please visit https://www.ifitaintbaroquepodcast.art/ and https://www.reignoflondon.com/ Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

durée : 00:12:46 - Concerti Grossi Op. 3 : Francesco Geminiani - Ottavio Dantone - L'Accademia Bizantina et Ottavio Dantone complètent la trilogie sur la forme musicale du Concerto Grosso avec le troisième chapitre du projet The Exciting Sound of Baroque Music : les Concerti Grossi Op.3 de Francesco Geminiani.

durée : 00:12:46 - Concerti Grossi Op. 3 : Francesco Geminiani - Ottavio Dantone - L'Accademia Bizantina et Ottavio Dantone complètent la trilogie sur la forme musicale du Concerto Grosso avec le troisième chapitre du projet The Exciting Sound of Baroque Music : les Concerti Grossi Op.3 de Francesco Geminiani.

Title: Anniversary Bon Bon 3: Best use of Baroque Music in a Film Tracks: Handel: “Mio Cara Bene” from Rodelinda Artist: Simone Kermes with Alan Curtis & Il Complesso Barocco Publisher: Deutsche Grammophon 2005

The Bach Aria Soloists, now in their 25th season, celebrate the music of the 17th and 18th centuries through concerts and collaborations across genres.

Ars Lyrica performs works by Scarlatti, Vivaldi, and Purcell.

Otto Sauter is well-known as one of the world‘s leading trumpet soloists. As a specialist on the piccolo trumpet, the German musician has already appeared in all major concert halls. Otto Sauter⁠ and I sat down to talk about his illustrious career as a trumpet soloist specializing in baroque music. We discuss many issues including the changing listening habits of current students, his World Brass Association, the genius of J.S. Bach, Thomas Stevens, and many more subjects. This month we will release a talk about John Milton featuring Professor Maggie Kilgour (McGill University), an essay on a topic to be announced, and more. Don't forget to leave us a 5-star review! --- Support this podcast: https://podcasters.spotify.com/pod/show/artssalon/support

Mercury performs music by Bach, Vivaldi, and Telemann.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Adam Woolf, trombonist and sackbut specialist from the UK. Meet us at the SoCal Trombone Day on January 20th, 2024 at Mt. San Antonio College in Walnut CA, or see us at Booth #271 at the TMEA Convention, February 8th thru 10th, 2024 in San Antonio Texas. About Adam Woolf For many years Adam Woolf enjoyed a full-time career as a performing musician working with the very best classical music ensembles, festivals and orchestras around the globe. He complemented this by teaching at world-leading institutions around Europe. as professor of Historical Performance and Baroque Trombone at London's Royal Academy of Music, The Conservatoire of Utrecht, Royal Conservatoire of Brussels and the Conservatory of Amsterdam. Adam is proud to have had a part in the development of many fantastic musicians in today's classical music scene. As a performer, Adam played with top orchestras in the world of period-instrument performance, notably as first trombone with Sir John Eliot Gardiner's English Baroque Soloists, a member of His Majestys Sagbutts and Cornetts, and the Caecilia-Concert. Alongside this, he continued playing the modern instrument with London-based ensemble Mardi Brass and other groups. His love of jazz and contemporary music led to the creation of new compositions and experimental projects. Adam has recorded over 100 CDs and DVDs, among which he am proud to count two solo projects, Songs Without Words and The Food of Love. Songs Without Words was the first full length CD to focus on the trombone as a solo instrument exclusively in music from the 16th and 17th centuries. Alongside his output of recordings, some of which are available via this website, he also published various books which focus on historical performance practise on the trombone, also available here.

Mercury performs music by Baroque-era composers from Mexico and Spain.

This composer went from rags to riches, working his way to the top of the French aristocracy to compose for King Louis XIV at Versailles. He didn't HAVE to die at age 55, but to Lully, it was better than not being able to dance. Listen to the accompanying playlist for this episode on Spotify at https://open.spotify.com/playlist/3O4csYYf4tAHECR6CIH0XB?si=fb4ef8ddca3a49ac .Support the show

In dieser Folge spreche ich mit Irene Kalisvaart aus Köln. Die gebürtige Holländerin ist klassische Gitarristin. Mit ihrer Freude am Ausprobieren spannt sie den Bogen von Barockbearbeitungen über neue Musik bis hin zu Techno. Irene bricht immer wieder aus, geht tief in sich, ringt mit sich selbst, fühlt nach und lässt schließlich alles in ihre Musik fließen. Außerdem sprechen wir über Fingerfertigkeit, den Umgang mit Kritik und einen Leuchtturm auf Island. „Baroque Music transcribed for Guitar“ von Irene Kalisvaart ist am 1.9.2023 erschienen. Webseite: www.irenekalisvaart.com YouTube: https://www.youtube.com/channel/UCtk0bBri9Pprwum6ExE7t-A Instagram: https://instagram.com/irenekaguitar Facebook: https://www.facebook.com/irenekalisvaartguitar Musik in dieser Podcast Folge: J.S. Bach, Lute Suite in E Minor BWV 996 - IV Sarabande und J.S. Bach, Lute Suite in E Major BWV 1006a - I Prélude, gespielt von Irene Kalisvaart. BACKSTAGE unterstützen? ♥ Hier entlang: https://backstage.podcaster.de/unterstuetzen/ RSS-Feed: https://backstage.podcaster.de/BackstagePodcast.rss Blog: https://backstage.podcaster.de Facebook: https://www.facebook.com/BackstagePodcast Instagram: https://www.instagram.com/backstage_podcast Kontakt Leni Bohrmann: backstagepodcast@gmx.de BACKSTAGE! wird gefördert durch den Stadtverband für Kultur der Stadt Neustadt e.V.

By a musical genius.

In the last years, some artistic proposals appeared combining baroque pieces with flamenco palos. In this episode, we will talk with Emil Rzajev, who has just finished his master's degree in ethnomusicology at the UNAM in Mexico, with a thesis where he analyzes the so-called "barrocho," where baroque pieces are combined with sones jarochos, a phenomenon analogous to what happens in flamenco. --- Send in a voice message: https://podcasters.spotify.com/pod/show/forgottensoundsflamenco/message

Guitarist Raphaël Feuillâtre talks to Gramophone Editor Martin Cullingford about his debut album for Deutsche Grammophon, Visages Baroque, which weaves a programme of arrangements of music by French Baroque composers around two major pieces by Bach. This Gramophone Podcast is produced in association with Wigmore Hall. 

Exploring the strong connections between Spanish (and European) music from the past and Spanish and Latin American folk music. The post Baroque Music from Spain and the New World appeared first on WFMT.

Baroque Music For Concentration Vivaldi - 7 Violin Concertos 'L'imperatore'

Aaron visits with the CGLP Listeners about the Presti/Lagoya Duo, the music played on the recording and the unique circumstances that surround this final release of this classical guitar duo who also were Husband and Wife. --- Send in a voice message: https://anchor.fm/powellguitar/message Support this podcast: https://anchor.fm/powellguitar/support

We join Dave and Dr Neil around the kitchen table as they discuss eye floaters, the benefits of a good night's sleep, and the feasibility of a musical duet with Gary Barlow.If you want to get in touch with Dave and the good Doctor here's how:Email: doctor@nextdoorpod.comInstagram: @docnextdoorpod Hosted on Acast. See acast.com/privacy for more information.

#095-今日は「英語修理店」のエピソードです。このエピソードは、中級から上級レベルの学生、または英語に興味のある日本人を対象としています。今日のショーでは、英語を勉強している日本の大学生からの英語のライティングの課題を修正します。Today is an "English repair shop" episode. This episode is for students, or Japanese people interested in English that are intermediate to advanced level. In today's show, I'm going to be fixing the English writing assignment from a Japanese university student studying English.Do you enjoy English podcasts? Find us on these popular platforms!Apple Podcasts | Google Podcasts | Stitcher | Pandora Subscribe.ポッドキャスト「日本人学習者のためのソーシャルイングリッシュ」ポッドキャストを購読することを検討してください。このポッドキャストでは、ほぼ毎日、新鮮な新しいコンテンツを聞くことができます。Consider subscribing to our podcast, the "Social English for Japanese Learners" podcast, where you can listen to fresh new content almost daily.Learn how to fix your problems with English. 社会的状況があなたが使用する英語の種類をどのように変えるかを学び、英語を勉強している日本人から英語をどのように修正するかを見てください。Learn how social situations change the type of English that you use, see how we correct English from Japanese people studying English. Free English guide. 私の無料ダウンロードを入手できる当社のウェブサイトにアクセスしてください。「ほとんどの日本人の英語学習者が犯す7つの間違いとその修正方法」。Come visit our website where you can get my free download.“The 7 mistakes most Japanese learners of English make, and how to fix them”. Help Support Us! パトロンになろう！ 私たちのショーを助けるために5ドルを寄付することによってショーを助けてください。 移動：www.patreon.com/socialenglish Become a Patron! Help the show by donating $5 US to help our show. 今後のエピソードで個人的にお礼を申し上げます！また、そこでしか利用できない新しいコンテンツも入手できます。We will show you thanks by me personally thanking you on a future episode! You will also get new content only available there! ソーシャルメディアでポッドキャストを友達と共有し、ツイッター、フェイスブック、インスタグラムでフォローしてください！Share our podcast on your social media with your friends, and follow us on Twitter, Facebook, and Instagram!

For this captivating episode of Baroque Now, the Brandenburg's Hugh Ronzani is in conversation with a rising star of the Baroque music world, Jonas Zschenderlein. Join them to learn more about Jonas' own musical journey so far and some of his greatest inspirations: Corelli, Westhoff, and Bach. All Recording & Editing by Hugh Ronzani, 2021

Difference between Bach's music and Vivaldi's music?If you were to distinguish between the two of them, how would you do it? From what I hear in Vivaldi's music, especially his sacred music abound with fifth progressions, there is an underlying 'need' or yearning, yet there is an overwhelming recognition of our place in this world. Vivaldi, unlike Bach, realizes that we are lesser beings of God and nothing can change this, despite an 'insatiable need to'. Bach, however, tries to elevate us onto the same standing as God through his music with the assumption that a route to the divine is possible. There is no route to the divine in Vivaldi's music and his music is quite parodistic, assuming there is, when there isn't.So although I appreciate the intellectual and spiritual magnificence of Bach's music, his music tells me he aspired to sit on the throne of the Divine, alongside God in heaven, which no human being can do, nor has the right to do because we are God's puppets and he our puppeteer. The difference is, Vivaldi's recognizes this whereas Bach does not. In other words, Vivaldi knocks on the gates of heaven, awaiting an answer from God but never receives one. Bach, however, arrogantly strides through the gates, thinking he is God's equal and therefore, takes the leap of faith Vivaldi could never take.Vivaldi is like the crying child in the corner whom you feel sorry for. Bach is the fatherly figure who comforts this child. And I think Bach was so heavily influenced by Vivaldi for this reason. He found his long lost crying child. Vivaldi was apart of Bach he knew he had inside of himself because listening to the opening of his Easter Oratorio, I know for sure Bach had a strong dormant sense of opera but, for reasons which I am sure you will explain, didn't elaborate on it as Vivaldi was able to in his music.This is a subjective opinion

Summer music festivals, those great opportunities to experience favorite sounds and hear new potential favorites in relaxed settings and frequently outdoors, were an early casualty of the COVID pandemic. In 2020 performances were few and almost entirely virtual. 2021, however, is a year of resurrection and rebirth for these events that are an essential part of the art music world's chemistry. Two of these, both long-standing Montana traditions, and both sources of fine performances that I'm delighted to have shared with you, our listeners in past years are the Flathead Valley's Festival Amadeus, and, along the Clark Fork River, the Montana Baroque Music Festival. Here is a preview of the 17th annual Montana Baroque Music Festival.

Jason Dovel is a versatile performer, teacher, composer, and entrepreneur. He has recorded four highly acclaimed solo CDs: Lost Trumpet Treasures (2014), Ascent: New Music for Trumpet (2016), Baroque Music for Trumpet and Organ (2018), and New Unaccompanied Music for Trumpet and Flugelhorn (2020). Jason is associate professor of trumpet at the University of Kentucky (UK), where he has taught since 2013. At UK, he teaches trumpet, plays in the faculty brass quintet, and hosts the popular UK Summer Trumpet Institute. Dovel also serves on the Board of Directors for both the International Trumpet Guild and the Historic Brass Society. In this chat with Jason, you'll discover:-Things that make making music more work than it should be...02:00-How physical ailments make us better players in the long run...09:49-Jason's personal story of learning trumpet...11:15-Why Jason chose trumpet over computers...14:20-Choosing a day job that's in line with your musical aspirations...18:50-Channeling the inner Maynard via the baroque trumpet...20:00-Preparing for the grueling physical demands of playing trumpet...23:45-Playing your best without over analyzing...31:00Resource mentioned:-https://amzn.to/3hOs8W7 (Teaching Brass by Kristian Steenstrup) -https://www.youtube.com/watch?v=or4GYg04Au0 (Into the Blue performed by UK trumpet ensemble) Credits: Trumpet Dynamics: The Story of the Trumpet, In the Words of Those Who Play It Host: James Newcomb Guest: http://jasondovel.com (Jason Dovel) Opening music: "Folklore" by https://bigbigtrain.com (Big Big Train) Closing music: "Creepin' With Clark" written and performed by Mike Vax Audio editing by: James Newcomb Show notes prepared by: https://committedmedia.org/podcast-artistry (Podcast Artistry™)

Join two old friends for more Baroque Now, as Hugh Ronzani shares the microphone with his Sydney Conservatorium chum and brilliant Baroque violinist Matthew Greco to talk about The Hague, rhetoric, and lessons we can all learn from Arcangelo Corelli. All Recording & Editing by Hugh Ronzani

Nicola Benedetti's new album is out today on Decca Classics focussing on two composers of the Italian Baroque, Francesco Geminiani, and Antonio Vivaldi, and accompanied by eight live performances at Battersea Arts Centre and an online education project, the Baroque Virtual Sessions. Then on August 14 the violinist begins a residency at this year's Edinburgh International Festival, featuring music spanning the breadth of her instrument's repertoire and history. She talks to Editor Martin Cullingford about all these projects, as well what it feels like to return to live performance.

Intro - 0:00Tune called Planxty Sir Festus Burke | Randal Bays/fiddle, Chris Smith/tenor banjo, Roger Landes/bouzouki | composition by Turlough O'Carolan, from the album “Coyote Banjo” by Chris SmithPart I, Path to Soundscapes - 01:05Relating to Tom Irvine's experience in history, music, and the vernacular, elaborating on global soundscapes.Part II, "Listening to China" - 24:40Relating to a vast and diverse  environment and the different soundscapes one encounters.Book blurb for "Sound and the Sino-Western Encounter.'Part III, The Past/Present/Future is Music - 47:48Relating to  coming back and rebuilding after a Global Pandemic, especially with the arts.Outro - 01:00:36Planxty Sir Festus Burke Thomas Irvine is Associate Professor and Director of Undergraduate Programmes in Music, and an Alan Turing Fellow.“Like many students and staff in our department and university I have an international background. I was born in Munich to American parents and grew up in Stony Brook, NY, USA. After studying viola at conservatoire (at the Shepherd School of Rice University and Indiana University Jacobs School of Music) I moved to Germany and played professionally, mostly in Early Music ensembles but also in symphony orchestras. I also taught for a year at the Frankfurt International School and worked as a manager for a large Early Music organisation.In 1999 I found my way to musicology and back to the US, studying performance practice and musicology at Cornell University, where I took my PhD in 2005. In 2002 I crossed the Atlantic again as a DAAD scholar at the University of Würzburg Institute of Musicology, where I stayed on as a postdoctoral fellow in 2005/06. I have lived and worked in Southampton since 2006.I am a Fellow of the Alan Turing Institute (the UK's national institution for AI and data science), a Non-Executive Director of the Southampton Web Science Institute and currently serve as an external examiner at the Royal Academy of Music. I co-chair the American Musicological Society study group ‘Global East Asia.' Outside of my teaching and research I am trying to learn Chinese and follow Southampton FC. Both can be challenging! I also sing a little.” VVMC Book ClubVVMC: Friends & Voices, a Collaborative PlaylistVoices from the Vernacular Music Center

Listen to the latest episode of Baroque Now where Hugh Ronzani is joined by Baroque flute and recorder player Mikaela Oberg to talk about some of her greatest influences and sources of inspiration: Hotteterre, Quantz, Telemann, and her very musical parents!

Versatile violinist,  Filip Pogády joins me on the show today. He talks about how he got his start, what inspires him, a mutual adoration of Bach, Beethoven, and Mozart, his thoughts on shoulder rests, and more.To learn more about Filip, his current projects, or to take virtual lessons, check out his websites and social media pages below.www.pogady.comIG: www.instagram.com/filippogadyFB: www.facebook.com/pogadyYT: www.youtube.com/filippogadyViolinist Filip Pogády has been praised by the press for the "beauty of his tone", “lightning-like virtuosity” (Russkoe Slovo) and his "commanding performances" (The New York Times).Pogády has performed in some of the most renowned concert venues in the world including Lincoln Center (New York), Rudolphinum (Prague), Konzerthaus (Vienna), Tel Aviv Opera House, Lotte Hall (Seoul), and Seoul Arts Center.He also makes TV appearances, including guest starring on Louis CK's "Louie".As a firm believer that music should be available to everyone, Pogády joined Yehudi Menuhin's “Live Music NOW!” Foundation, which is dedicated to bringing music to orphanages, nursing homes, prisons and hospitals. Pogády has played over 30 recitals for “Live Music NOW!”. Pogády decided to take this concept to the next level and has been performing the Sonatas and Partitas by J.S. Bach in the New York City subway throughout his studies at the Manhattan School of Music until present. “Most of these people have never heard this kind of music before, and yet it touches them on a basic human level, because this music is just SO good," he says.Pogády gave his solo debut with orchestra at age 11 at the Wiener Konzerthaus in Vienna after winning the 1st prize at the Tsusuki Violin Competition as the youngest contestant.He participated three times at Austria's nationwide music competition "Prima La Musica" and won the 1st prize each time. He was also honored with special prizes by the Austrian String Society and the Raiffeisen Bank for extraordinary results at this competition.Pogády earned his Master's Degree in Violin Performance under the tutelage of Maestro Pinchas Zukerman at the Manhattan School of Music, where he was awarded a full scholarship.Born in Bratislava (Slovakia), Pogády moved with his family to Austria as a child and began his violin studies at age 7. Just one year later he was admitted to the Bruckner Conservatory Pre-college in Linz. He gave his first recital at age 10.To learn more about host, Tammy Takaishi, including reading the corresponding creative arts blog, or to buy fun podcast merch, click here!Podcast social mediaIG   https://www.instagram.com/creative_peacemeal_podcast/FB https://www.facebook.com/creativepeacemealpod/

For the seventh episode of Baroque Now, the Brandenburg's Hugh Ronzani and Principal Second Baroque Violin Ben Dollman chat about divisions and the fundamentals of Baroque performance practice.

Con la loro musica, la cantante e il chitarrista classico ci riporteranno ai tempi dei Cavalieri della tavola rotonda alla Blacktown City Medieval Fayre in programma sabato 22 e domenica 23 maggio.

Why We Should Expose Our Kids To Classical Music https://ourtownlive.net #herbw79The term "baroque" is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of approximately 150 years. Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device.Jean-Jacques Rousseau, who was a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, and loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, and the movement limited. It appears that term comes from the word 'baroco' used by logicians." Rousseau was referring to the philosophical term baroco, in use since the 13th century to describe a type of elaborate and, for some, unnecessarily complicated academic argument.The systematic application by historians of the term "baroque" to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflin's theory of the Baroque systematically to music. Critics were quick to question the attempt to transpose Wölfflin's categories to music, however, and in the second quarter of the 20th century independent attempts were made by Manfred Bukofzer (in Germany and, after his immigration, in America) and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather than comparative abstractions, in order to avoid the adaptation of theories based on the plastic arts and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer and Paul Henry Lang.As late as 1960, there was still considerable dispute in academic circles, particularly in France and Britain, whether it was meaningful to lump together music as diverse as that of Jacopo Peri, Domenico Scarlatti, and Johann Sebastian Bach under a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding (Renaissance) and following (Classical) periods of musical history.

In this episode we are thrilled to be discussing our two favorite topics: human behavior and music. We learn that music, more than any other activity, can help lift our mood, during COVID. Our guests Pablo Ripollés PhD and Ernest Mas Herrero have spent years studying how the brain responds to rewards, learning and memory. Early in the pandemic, they decided to conduct research on a long list of activities that people were doing at home to manage their stress and increase the pleasure in their lives. While a number of the activities were found to help with mental health, the research overwhelmingly showed that engaging with music was the best way to lift your mood. We have a really engaging conversation with Pablo and Ernest about their research findings on wellbeing and music. They believe that because listening to music is a passive activity and is so accessible, or “fun and free” as they call it, everyone can experience pleasure from it. And it’s not just listening to music; dancing, singing or playing music are all beneficial.  We also learn that the best type of music to engage with is whatever music you really enjoy: “It will be beneficial as long as it is pleasurable.” The questionnaire Pablo and Ernest discuss in the podcast is the Barcelona Music Reward Questionnaire http://brainvitge.org/z_oldsite/bmrq.php. It will take you only a few minutes to find out about your individual sensitivity to musical reward. And you can also read Pablo and Ernest’s full research article: “Rock ’n’ Roll but not Sex or Drugs: Music is negatively correlated to depressive symptoms during the COVID-19 pandemic via reward-related mechanisms” https://psyarxiv.com/x5upn/.  Listen in to find out more from Pablo and Ernest about how music can benefit your mental wellbeing. And If you’d like to support the work we do at Behavioral Grooves bringing you interesting research insights, please consider becoming a Patreon member at https://www.patreon.com/behavioralgrooves.  © 2021 Behavioral Grooves Topics (0:06) Introduction (5:20) Speed Round Questions (8:44) Research Insights with Pablo and Ernest (36:50) Grooving Session (50:26) Bonus Track Musical Links  Dropkick Murphys https://www.youtube.com/channel/UCcIRZxNH7xcEt1fu4pfqFRg  Rumba https://www.youtube.com/watch?v=XrsK48Bp6T8  Catalan music https://www.youtube.com/watch?v=kjJnF95TWN8  Zoo https://www.youtube.com/channel/UCBh82sG2OKv1J6Ij43mdFiw  Depeche Mode https://www.youtube.com/channel/UCM-CWGUijAC-8idv6k6Fygw  Aretha Franklin “Think” https://www.youtube.com/watch?v=HqYnevHibaI  Links “Rock ’n’ Roll but not Sex or Drugs: Music is negatively correlated to depressive symptoms during the COVID-19 pandemic via reward-related mechanisms” Herrero et al (2020): https://psyarxiv.com/x5upn/  “Neural correlates of specific musical anhedonia” Martínez-Molina et al (2016): https://www.pnas.org/content/113/46/E7337 Pablo Ripollés: https://as.nyu.edu/faculty/pablo-ripolles.html  Ernest Mas Herrero: https://orcid.org/0000-0002-3607-8489  Jamón ibérico https://en.wikipedia.org/wiki/Jam%C3%B3n_ib%C3%A9rico  Lionel Messi https://en.wikipedia.org/wiki/Lionel_Messi  Michael Jordan https://en.wikipedia.org/wiki/Michael_Jordan  Roger Federer https://en.wikipedia.org/wiki/Roger_Federer  “Goal Gradient Theory” Kivetz et al (2006): https://home.uchicago.edu/ourminsky/Goal-Gradient_Illusionary_Goal_Progress.pdf  Robert Zatorre, PhD https://www.mcgill.ca/neuro/robert-zatorre-phd Neomi Singer, PhD https://neuroscience-innovation.org/music-to-my-brain-neomi-singer  Laura Ferreri, University of Lyon https://emc.univ-lyon2.fr/laura-ferreri-785895.kjsp  Michael McPhee, NYU https://steinhardt.nyu.edu/people/michael-mcphee   Hedonia and anhedonia https://en.wikipedia.org/wiki/Anhedonia  Barcelona Music Reward Questionnaire http://brainvitge.org/z_oldsite/bmrq.php  Spotify https://www.spotify.com/us/  The Ikea Effect https://en.wikipedia.org/wiki/IKEA_effect#:~:text=The%20IKEA%20effect%20is%20a,of%20furniture%20that%20require%20assembly The Singing Revolution https://en.wikipedia.org/wiki/Singing_Revolution  Music of the Civil Rights Movement https://en.wikipedia.org/wiki/Freedom_songs Baroque Music https://www.youtube.com/watch?v=ApSoNBu2wt8  Agatha Christie https://en.wikipedia.org/wiki/Agatha_Christie  Other Podcast Episodes Dessa: The Attention Shepherd on the Curious Act of Being Deeply Human” https://behavioralgrooves.com/episode/dessa-being-deeply-human/  The Counterintuitive Persuasion of The Catalyst with Jonah Berger https://behavioralgrooves.com/episode/the-catalyst-with-jonah-berger/  Chris Matyszczyk: Listening to Music While You Work  https://behavioralgrooves.com/episode/chris-matyszczyk-listening-to-music-while-you-work/ Covid-19 Crisis: Emotional Impact of WFH with Liz Fosslien https://behavioralgrooves.com/episode/c-19-crisis-emotional-impact-of-wfh-with-liz-fosslien/  Jonah Berger episode: “The Counterintuitive Persuasion of The Catalyst with Jonah Berger” https://behavioralgrooves.com/episode/the-catalyst-with-jonah-berger/ 

T. S. Flanders talks to Massimo Scapin about the spirituality and characteristics of Baroque Music. In this interview we also listen to and discuss pieces by Pergolesi and Vivaldi. The opening music is Bach, “Air on a G String.” Art and photography from wikipedia commons. M. Scapin’s writings at One Peter Five St. John Cantius […]

T. S. Flanders talks to Massimo Scapin about the spirituality and characteristics of Baroque Music. In this interview we also listen to and discuss pieces by Pergolesi and Vivaldi. The opening music is Bach, “Air on a G String.” Art and photography from wikipedia commons. M. Scapin’s writings at One Peter Five St. John Cantius […]

Bach, Handel, Vivaldi, Purcell, Monteverdi. These are some of the biggest names in the history of Western Classical Music, and they were all writing in one of the most innovative periods in musical history - the Baroque Era. Spanning from ca.1600 to ca. 1750, Baroque music is truly the bedrock of the Western Classical Music tradition all the way through the Romantic Era. We'll discuss the earth-shattering impact of this, along with all of the composers who led the way to a new way of thinking about music.

Yiorgos Kaloudis interprets on the Classical Cretan Lyra, one of the most important works of Baroque Music, J.S.Bach’s Cello Suites on the Cretan Lyra. Cellist, Cretan lyra player, improviser and composer, Yiorgos Kaloudis created a new interpretive approach, adding a fourth string (low C), on the traditional Cretan lyra, changing the technique of the interpretation on both hands and transcribing this work of Bach in the authentic tonalities of the composer. J.S. Bach Cello Suites 1,2,3,4 and 5 : Cello Suite no. 1, BWV 1007 Cello Suite no. 2, BWV 1008 Cello Suite no. 3, BWV 1009 Cello Suite no. 4, BWV 1010 Cello Suite no. 5, BWV 1011 Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p1170/JS_Bach_Cello_Suites_on_the_Cretan_Lyra.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

The Lameque International Baroque Music Festival is bringing some music to people's lives this holiday season with an 'advent calendar' of performances. We speak to artistic director Vincent Lauzer.

The dynamic, award-winning concert pianist Asiya Korepanova has been immersed in music since she was 4 years old. Since moving to the states from Russia in 2012, she's played at Carnegie Hall, the Phillips Collection, the International Miami Piano Festival, and countless others. She's the only pianist currently performing Franz Liszt's 24 Etudes as a single program, and one of the few to tout a concerto that features over 60 works. If you have no idea what this means, it will suffice to say that she is a total badass in the realms of piano and classical music. But she's more than just an interpreter or performer of past tradition. She recognizes that many of us have been put off from classical music by virtue of history, elitism, culture, and stereotypes.An accomplished composer in her own right, as well as a talented visual artist and poet, she weaves together these threads to reimagine and reinvigorate traditions. Her performances are an invitation to every listener into beauty, wonder, and magic, regardless of your background.In her video series Midnight Pieces, she shares 53 beautifully produced and recorded performances of short works. She also founded Music for Minds, a non-profit designed to introduce young people to the depth and energy of classical music.All in all, she is a soulful, thoughtful, virtuosic player who believes deeply in the power of art to save lives. I trust that this light and power will come through to you when you hear the person behind the piano.The Wonder Dome Newsletter http://bit.ly/3dTfdPi​Follow Andy on Twitter http://twitter.com/cahillaguerilla​Like us on Facebook http://facebook.com/mindfulcreative.coachEPISODE #32 NOTESEpisode #05 Awake to the Mystery (with Christos Vayenas)The Magic Flute by MozartWhat is Baroque Music?Asiya's Midnight Pieces video seriesmusicforminds.orgfacebook.com/asiya.korepanovainstagram.com/pianist_asiyatwitter.com/pianist_asiyayoutube.com/c/AsiyaKorepanova

In this episode, Jackye and Katee explore a recent announcement by Wells Fargo's CEO and the amazing women of color who have left the organization. Inclusive cultures don't build themselves.   If you like what you hear, we would like to encourage you to subscribe to our channel! We would also appreciate it if you would rate this channel by going here: RateThisPodcast.com/inclusiveaf We create this podcast as a labor of love. But if you would like to support this channel you can buy us a cup of coffee here: https://www.buymeacoffee.com/InclusiveAF 

In a new series, which we'll alternate with our instrument breakdowns, we provide five tips for listening to a certain style of music. Today's episode is on Baroque music, an era that included some of the most famous and well-respected composers, including J.S. Bach, Handel, Vivaldi, and others!  Tips 1. Distinguishing between sacred and secular music (4:25) 2. Finding emotional nuance in baroque music (9:02) 3. Hearing simple forms and mapping (18:28) 4. Distinguishing between modern and historically-informed performance (23:45) 5. Noticing ornamentation and virtuosity (30:53) www.attentiontodetailpod.com

In this podcast we have as our guest Angela Voss, senior lecturer at the Faculty of Education of the Canterbury Christ Church University, and Programme Director for the MA in Myth, Cosmology and the Sacred. Her expertise is on Renaissance and Baroque Music and has focused a great part of her research on Marsilio Ficino. In the podcast we discuss the importance and contributions of Ficino to early modern astrology, as well as the position of the history of astrology in academia. For more information on Angela Voss’ work see: https://canterbury.academia.edu/AngelaVoss Some of her publications are: – Marsilio Ficino (North Atlantic Books, Western Esoteric Masters Series, 2006) – Daimonic Imagination: Uncanny Intelligence (Cambridge Scholars Publishing, 2013), edited with William Rowlandson. – Re-enchanting the Academy (Rubedo Press, 2017), edited with Simon Wilson.

For the sixth episode of Baroque Now, the Brandenburg's Hugh Ronzani and Baroque violist Marianne Yeomans discuss tuning, perfect pitch, and one of JS Bach's favourite instruments to play.

This Week: 00:48 Culture Night in Sligo 04:20 Artist Dermot Seymour discusses his latest exhibition The Settlement at the Hamilton Gallery. 12:15 Interview with Artistic Director of the Sligo Festival of Baroque Music, Nicola Cleary. 21:15 Ep.4 of Little John Nee’s Jumpin Inn, a mysterious encounter during lockdown. To contact the show www.oceanfm.ie/arts All Podcasts can be found on Spotify, Apple Podcast, Soundcloud or wherever you find your podcasts. Just search OceanFmIreland.

In the fifth episode of Baroque Now the Brandenburg's Hugh Ronzani and Baroque violinist Rafael Font delve into the differences between modern and Baroque violins, performance spaces, and the origins of polyphonic writing for the solo violin.

When we listen to the music of certain composers, we can immediately say "I recognize that sound!" But why? What techniques is that composer using in their music to convey that instantly recognizable sound to us? In this episode, I dive into the Baroque Era, and one of its icons, Johann Sebastian Bach. I look at some of his music - primarily keyboard music, but also a feature of the Brandenburg Concertos - and try to demystify the sound that has become so associated with him.

Let’s start episode 610 of Secrets of Organ Playing Podcast. This question was sent by Joanna, and she writes: “Dear Vidas, can finger substitutions be used in slow baroque music, such as Kyrie by Cabezon? Or is it best to stick to articulated fingering even in relatively slow passages?”

For the fourth episode of our new podcast, Baroque Now, the Brandenburg's Hugh Ronzani talks about tablature, figures and everything basso continuo with Principal Theorbo/Baroque Guitar Tommie Andersson.

In the third episode of our new podcast, Baroque Now, Hugh Ronzani is joined by Principal Baroque Flute/Recorder Melissa Farrow to talk about her performance of the final movement from JS Bach's Partita in A minor, but also concert programming, dancing masters, and her many, many instruments.

Have you ever wanted to know more about Classical music, but felt you weren’t ~fancy~ enough to ask? Well, you’re in luck, because today, our guest, musician (and current Mental Samurai!) Heather Hurley has all the information you crave. Later, take a quiz on plays and ears called “Playing by Ear”! . . . [Music: 1) Ludwig von Beethoven, “Allegretto” from Symphony No. 7 in A major, Op. 92; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]

In the second episode of Baroque Now, the Australian Brandenburg Orchestra's Hugh Ronzani speaks to Baroque cellist Anthea Cottee about her instruments, reading Bach's manuscripts and the crossover between the worlds of music and psychology. Recording & editing by Hugh Ronzani, featuring excerpts of the Australian Brandenburg Orchestra in live performance.

Vincent Lauzer is Artistic Director of The Lamèque International Baroque Music Festival.

This episode is an exploration on the similarities between Early Western Music and Islamic Culture. The 800 year Moslem occupation on Spain left a huge mark on European Music, Orchestra and even way of life. In the narration, I discuss this influence and go deeper to talk about the Virgin Mary in both religion and the section in the Quran where her story is narrated and held in the highest forms.. I also draw similarities in the way the Mary has been respected, depicted and her sanctity in Western Music.. --- Send in a voice message: https://anchor.fm/laradarwazah/message

Dive into the world of Johann Sebastian Bach! In the first episode of Baroque Now, the Australian Brandenburg Orchestra's Hugh Ronzani speaks to Artistic Director Paul Dyer about the seminal composer's life and work, and his importance to the Orchestra's digital platform, Brandenburg One. Recording & editing by Hugh Ronzani, featuring excerpts of the Australian Brandenburg Orchestra in live performance.

Sonata in G Minor, BWV 1030b                      Johann Sebastian Bach (1685-1750) Andante — Siciliano — Presto Bach's G-minor Sonata for Oboe and Keyboard was probably first performed in a coffee house for a weekly meeting around 1730 of the Leipzig Collegium Musicum, a music society which Bach directed at the time. His score gives distinct personalities, dignified, flirtatious or childlike, to each musical line, one at a time for the oboe and two or three at once for the keyboard player. The Andante movement is a trio sonata with increasingly intricate counterpoint. The Siciliano movement is a slow dance in 6/8 meter, with elaborate ornamentation around a swaying melody. The Presto has two sections. It starts as a quick fugue ("chase") in which an opening theme chases after its imitations through a thicket of counter-melodies in different keys. The finale is a hopping dance in 12/8, a gigue in (of course) jig time. The jig has a rollicking bass near the end that might well have inspired “The Teddy Bears' Picnic:” “If you go down in the woods today, you're sure of a big surpriseIf you go down in the woods today, you'd better go in disguiseFor every bear that ever there was Will gather there for certain because Today's the day the teddy bears have their picnic!” (lyrics ©Henry Hall, 1932)

Episode: 2495 Creativity Within Limits: Rules as a Source of Creativity.  Today, bounded creativity.

Join Chris, Jerry, and Rozie as they explore baroque style from both a luthiers perspective as well as a player's perspective. Special guests Sarah Peck walks us through her relationships with clients seeking to play in the baroque style, followed by an interview with Juliana Soltis, touring professional baroque cellist, exploring the different colors of sound created in this unique time period. Special Guests: Juliana Soltis and Sarah Peck.

Tom Owen ist Solo-Oboist des Gürzenich-Orchester Köln. Musikhören ist für ihn wie Kochen - eines führt zum Anderen. Beim Rohrebauen hören wir Musik von Kenny Wheeler und Antonio Vivaldi.

Now You Can Have The Baroqque Music Of Your Dreams – Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era, with the galant style marking the transition between Baroque and Classical eras.for Studying, for kids, for adulta, and for rest.

Now You Can Have The Baroqque Music Of Your Dreams – Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era, with the galant style marking the transition between Baroque and Classical eras.for Studying, for kids, for adulta, and for rest.

Now You Can Have The Baroqque Music Of Your Dreams – Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era, with the galant style marking the transition between Baroque and Classical eras.for Studying, for kids, for adulta, and for rest.

Partia #2 of Die Kleine Kammermusik by Georg Philipp Telemann (1681-1767). It consists of a slow dance with six variations. The movements are  Siciliana Allegro Allegro Allegro Affetuoso PrestoTempo di menuetto

https://www.saintpatrickscathedral.org/ Knowledge Double Article 4 Levels of Steak https://en.wikipedia.org/wiki/Baroque_music baroque architecture --- Send in a voice message: https://anchor.fm/ohvamusic/message

Taking you back to the ancient times

This question was sent by Fedor, and he writes: Hello Vidas, Thanks for your helpful video and advices. I'm not a musician, but have primary music education on piano (7 years of music school). Many years I'm fan of organ music and play something in piano transcriptions. But, at one side, these transcriptions is often so difficult and I should simplify them, whereas in organ scores the musical tissue looks transparent, at second side, transcriptions still don't reflect power of originals, and, at the third side, I always dreamed to study playing on the king of musical instruments. Finally, I got an opportunity to assemble home midi-system with my Yamaha keyboard (88 keys) and midi pedalboard (Nord pedal Keys 27 keys), and I started to master original organ scores. I should say that it's not easy, but wonderful simultaneously! Due to your and others videos, I mastered correct sitting and simple playing on pedalboard, but it's more difficult for me to combine playing my feet with my arms. So I would like to kindly ask you to tell and show in more details exercises for the development of the pedal technique and methods of quick connections with hands score. Answering your questions: 1. I would like to learn to play masterpieces of baroque music (Buxtehude, Bach, Bruhns, Clerambault and others), 2. As music is not my profession, the main problem is in free time, but I try to practice regularly. At this time I should navigate on pedalboard as freely as on manual and make quick connections my feet with hands. Also, it would be useful to show the principles of correct legs changing and selection of heel or toe, on examples from Orgelbüchlein or something else. Thank you again for education. With my best regards and appreciation, Fedor

The music written and performed in Spain Latin America during the Colonial period (16th to early 19th centuries) has become more popular in recent years. However, even before those treasures were rediscovered, several composers from those regions showed their interest in exploring the strong connections between Spanish (and European) music from the past and Spanish and Latin American folk music. The post Baroque Music from Spain and the New World appeared first on WFMT.

Flute 360 | Episode 44: “Competition Repertoire Guides with Jake Fridkis” (57:22) In today’s episode, Heidi talks with Jake Fridkis who is the principal flutist with the Fort Worth Symphony Orchestra. We talk about specific repertoire requirements for NFA and TFS competitions that are approaching. Repertoire includes Telemann’s Fantasie in A Major, Büsser’s Prélude et Scherzo, and Coleman’s Danza de la Mariposa! Finally, Jake gives some general tips to successfully prepare for a flute competition.    Episode 44 – Main Points: 0:28 – William S. Haynes Co. Website 1:40 – Repertoire requirements for NFA & TFS competitions. See links below. 2:19 – General suggestions for competition preparation. 3:06 – “If I was looking at the piece...the first thing I’d be focused on is how can I get all of this stuff on the page into my performance?” – Jake 4:08 – “If you go into any flute competition trying to improve your flute playing, as your first goal, you can’t lose!” – Jake 5:17 – “You don’t have control over the outcome, so don’t try to control it.” – Jake 6:33 – Telemann’s Fantasie in A Major 6:52 – “For Telemann, you are the show!” – Jake   10:14 – Jasmine Choi, James Galway, Emmanuel Pahud, Jean-Pierre Rampal 10:21 – Amy Porter’s DVD of Telemann’s 12 Fantasias 10:41 – Bärenreiter’s Publication, urtext edition 11:17 – Bach’s Partita in A minor for solo flute – BWV 1013 13:20 – Quantz’s “On Playing the Flute” 13:23 – Robert Donington’s “A Performer’s Guide to Baroque Music” 14:23 – Jed Wentz, flutist, conductor, and teacher 15:39 – Nicholas McGegan, conductor 16:57 – Kim Pineda, flutist and musicologist 18:08 – Early music experts 18:31 – Finger vibrato 19:06 – Summary of the Telemann 19:14 – Traverso flute– experiment with this instrument! 20:20 – Büsser’s Prélude et Scherzo 21:09 – Jake talks about the Prélude! 23:12 – “Be flexible with your dynamics.” – Jake 24:30 – “French music is all about flow. If you listen to Ravel and Debussy it’s this amazing wash of colors and sounds.” – Jake 24:49 – Melody at the 6/4 time signature 25:17 – Debussy’s “Prélude à l’après-midi d’un faune” 26:22 – Ravel, composer 26:46 – Conservatoire de Paris 29:25 – “Those are real notes in real time.” – Heidi quoting Dr. Sarah McKoin 31:04 – Büsser’s Scherzo 32:58 – “Don’t be afraid to have fun; this is all happy, fun music!” – Jake 33:37 – Cadenza 35:04 – Film: Matrix (1999) 36:12 – “I practice fast things extremely slowly. It’s effective because I am working on my sound. Then, when I play fast, my air knows where to go.” – Jake 37:01 – NFA’s Professional Flute Choir Competition 38:34 – Valerie Coleman’s “Danza de la Mariposa” 39:10 – Valerie Coleman, flutist and composer 39:24 – “We can show our full range and what we can do with the flute.” – Jake 40:47 – Fanfare opening! 42:44 – Singing and playing as tone exercises. 44:53 – Extended Techniques: Flutter tonguing 46:54 – Butterfly House, Dallas, TX 48:14 – Listen to Valerie play! 48:30 – Listen to “butterfly” pieces for other instruments! 48:50 – Jake’s final competition suggestions. 49:32 – Eastern Music Festival’s Application 50:00 – David Cramer, flutist 53:31 – Jake’s YouTube Channel 54:40 – Jolivet’s Chant de Linos 55:08 – Conclusion 55:37 – Brahms’ Symphony No. 2 – upcoming FWSO concert! 55:48 – Pam Adams, FWSO flutist Episode 44 – Resources Mentioned: Jake’s YouTube Channel Jake’s Instagram Jake’s Twitter FWSO – Jake’s Bio NFA’s Professional Flute Choir Competition NFA’s Convention Performers Competition Texas Flute Society’s Myrna Brown Competition William S. Haynes Co. Flutes’ Instagram William S. Haynes Co. Flutes’ Twitter William S. Haynes Co. Flutes' Facebook Heidi Kay Begay's Website Episode 44 – Sponsors: Gold Level: William S. Haynes Co. Website Silver Level: Contact Heidi for more details! Bronze Level: J&K Productions’ Website

Continuing a now 4 part series, this week we take a deep look at the Baroque Era, featuring composers like Bach, Handel, Couperin, Vivaldi, Purcell, Monteverdi, Biber, and more.  What made the Baroque Era distinct from the Renaissance?  A lot! We'll take a look at all of the innovations of the baroque, from tonality, the expansion of the orchestra, the emergence of true national styles, and the biggest key of the Baroque era, a focus on text and on meaning that distinguished it from the Renaissance. Thanks!

PSO Executive Director chats to Soprano Prudence Sanders and trumpeter Jenny Coleman - two soloists performing with Perth Chamber Orchestra on Saturday 12th May in Armadale for 'Baroque by Candlelight'.

Cheric: Eric Chen New York, NY Progressive, Techno, Deep, House Baroque Music Cinematique Music (Manual Music) Majestic Family Records Euanthe Records Intimate Project Music Incepto Music Inmost Records Bullfinch Records Tears Recordings Biography: Although he wasn't to keen on it as a youth, Eric has always played a musical instrument. Never did he imagine that someday it would help shape his career. It was the early 2000's that he first was introduced to House Music. He attended clubs in New York like Exit, Arc, and Sound Factory. One night he was at Arc for Danny Tenaglia's "Be Yourself" party and all it took was one moment and one song set him on the path to become a DJ. Spending the most of that decade learning the art of beatmatching and mixing with vinyl, he eventually started to gain local attention with some promoters. In 2007, under the name "Cheric" he landed his first residency at Rebel NYC. A year later, he went to become a resident for ILoveHouseMusicNYC.com which eventually led to his first big break in 2010 with the Groove Cruise Miami. 2010 was also the same year he decided he wanted to produce the music and not just play it. While learning how to produce, he created a group called Static & Bass with a childhood friend and Trance DJ. The duo went on to become residents at Pacha NYC and in 2013 they won the Discovery Project and was invited to play his first Festival at EDC NY. Uninspired by the direction his music was taking him, in 2015 he went solo and completely changed his sound. "I wanted to go back to my House and Deep House roots, I wasn't enjoying the music anymore" The past 2 years Eric has "matured" his sound to the Progressive and Deep influences that started it all... ссылка ссылка

Welcome to Secrets of Organ Playing Podcast #82! http://www.organduo.lt/podcast Today's guest is Peter Holder who is Sub-Organist of St Paul's Cathedral in London. He was appointed at the age of 23 following two years as Organ Scholar at Westminster Abbey. His responsibilities at both institutions have involved playing at numerous events of national importance, including the 60th Anniversary of the Coronation of HM Queen Elizabeth II, and accompanying the world famous choirs. He completed both undergraduate and postgraduate studies at the Royal Academy of Music whilst studying with David Titterington. During his studentship, he was awarded numerous scholarships and prizes, most notably HRH Princess Alice the Duchess of Gloucester's Prize for exemplary studentship at Graduation in 2013. He was appointed the Pidem Organ Fellow in 2014 and to the Junior Royal Academy of Music where he is now an organ tutor. He continues his repertoire studies with David Titterington, Jon Laukvik and Patrick Russill, and improvisation with Thierry Escaich. Peter Holder has previously held posts at St Albans Cathedral, Southwell Minster and The Royal Hospital Chelsea. He has broadcast for BBC radio and television, and performed in the 2012 BBC Proms with the combined Orchestra of the Royal Academy of Music and Juilliard School, conducted by John Adams. As a continuo player, he has performed with St James's Baroque at the Lufthansa Festival of Baroque Music's annual concert at Westminster Abbey. Recent performances include venues such as the Royal Albert Hall; Royal Festival Hall; Reading Town Hall; St John's Smith Square; Westminster Abbey; the Cathedrals of Gloucester, St Paul's, and Westminster; Cambridge Summer Music Festival; John Hill Memorial Series at St Lawrence Jewry; Lichfield Festival; and St Albans International Organ Festival. His first solo recording is scheduled for release later this year recorded on the magnificent 1797 Holzhey organ of Neresheim Abbey, featuring the works of members of the Bach family, WA Mozart and Christian Heinrich Rinck. Peter's solo repertoire is broad and eclectic, and includes transcriptions of celebrated orchestral scores (see link). His concerto repertoire includes works by Handel, Lou Harrison and Poulenc and his orchestral repertoire includes the works of composers such as Duruflé, Elgar, Resphigi, Saint-Säens (Symphony No 3) and Walton. He is also a keen player of both the piano and harmonium, and has performed the prominent roles in Fanshawe African Sanctus and Rossini Petite Messe Solennelle on these respective instruments. In this conversation Peter talks about what does it take to play such magnificent instruments at one of the most important cathedrals in the world and what is the musical life behind it. ​Enjoy and share your comments below. ​ And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. Thanks for caring. Relevant links: http://www.peterholdermusic.co.uk/ https://www.stpauls.co.uk/​

The hit American series Billions starts in the UK this week and is set in the power-hungry and corrupt world of New York finance, starring Paul Giamatti and Damian Lewis. Boyd Hilton Reviews.As part of our Shakespeare's People series, Hugh Bonneville chooses Malvolio from Twelfth Night.Bryan and Mary M Talbot, authors of the award-winning Dotter of Her Father's Eyes, discuss their latest graphic novel The Red Virgin and the Vision of Utopia.Folk musician Olivia Chaney will be performing songs by Henry Purcell this weekend at the London Festival of Baroque Music. Olivia discusses reinterpreting the composer's songs in the folk tradition.And with the Zac Efron/Seth Rogan comedy Bad Neighbours 2 in cinemas this week, Adam Smith considers how much cinema loves it when you just can't get along with the folks next door.

This episode from the archives features an interview that Barry Lieberman did with Gary Karr. In preparation for it, Barry listened to all of Gary Karr’s recordings and picked out his very favorite, and he and Gary listen to these and discuss the context behind them. It’s a fascinating window into this great artist, and it’s well worth a listen. This was originally released in 2008 on episode 89 of the podcast. There is a video version of this episode as well. About Gary Karr: Gary Karr, acclaimed as "the world's leading solo bassist" (Time Magazine), is, in fact, the first solo double bassist in history to make that pursuit a full-time career. It is a career that adds new lustre to his already lustrous 1611 Amati doublebass which was given to him by the widow of Serge Koussevitzky. Since his debut with Leonard Bernstein and the New York Philharmonic in 1962, Karr has performed as soloist on six continents with orchestras, including the Chicago Symphony, London Philharmonic Orchestra, Hong Kong Philharmonic, Montreal Symphony, Simon Bolivar Orchestra (Caracas, Venezuela), Jerusalem Symphony, Oslo Philharmonic, Zurich Chamber Orchestra, and with all the major orchestras of Australia. On Italian cable, three Karr doublebass recitals reached 20 million classical music lovers. The numerous CDs that Gary Karr has recorded and released in Japan are "top of the recording charts" favorites in the Far East. The BBC has featured two video films of Karr, one an illumination of his life and music (Amazing Bass) and one a series for children. On his third recording with the London Symphony Orchestra, Karr performed the Concerto for Bass by John Downey. CBS Sunday Morning celebrated Gary Karr's career and the University of Wisconsin has released a video demonstrating his instructional approach to the doublebass (BASSically Karr) in addition to a special video concert for children (Karrtunes). One of Karr's proudest achievements is the Bronze Medal he received from the Rosa Ponselle Foundation which recognizes him as an outstanding lyrical musician. Gary is the proud holder of the 1997 Artist/Teacher of the Year Award from the American String Teacher's Association (ASTA). He also holds the Distinguished Achievement Award (1995) from the International Society of Bassists (ISB). Gary Karr participated in the Bi-Annual Rainforest Concert in Carnegie Hall with fellow-bassist Sting, Stevie Wonder and others in 1997. In 1999 a new book by Claude Kenneson, entitled Musical Prodigies -- Perilous Journeys, Remarkable Lives was released by Amadeus Press, which includes a passage describing Karr's early love affair with the doublebass. In June 2001, Gary Karr played his farewell public concert as part of the International Society of Bassists 2001 Convention in Indianapolis. A large audience that included eight hundred bassists from twenty-seven different countries attended this event. At the close of this recital with his pianist, Harmon Lewis, Karr was given the ISB's Distinguished Teacher Award. He was also presented with a very special gift from more than two hundred of his colleagues and fans…a newly developed rose named in his honor to commemorate his forty years on the international concert stage.

Writer Ricky O'Bannon talks about counterpoint in the context of video game music.

Catherine Bott explores the history of the Hanseatic League and the impact that it had for music from the 13th to the 18th centuries among the towns and ports around the Baltic. This programme provides the background to one of the main themes of this year's Lufthansa Festival of Baroque Music, highlights from which will feature in the Early Music Show over the next two weeks.

Also there were these catalogs of pieces by Weiss, so I had at least a sense of a taste preference.

A composer makes a bad political move and almost makes off with some musical gems!

Nathan Gilmour moderates a discussion with David Grubbs and Michial Farmer about the divisions, history, and purposes of what folks call Classical Music. On the way the discussion digs into questions of how symphonic or operatic music stands sacred and why all three Humanists hold up classical music as worthy of a place within a Christian liberal arts education. Among the composers and artifacts we discuss are J.S. Bach, St. Hatthew's Passion, Beethoven's 9th, The Magic Flute, Plato, and Frederic Chopin.