Podcasts about baroque music

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

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

Why is Pachelbel's Canon in D played at weddings?In this episode of The Classical Music Minute, we explore how a small Baroque chamber work by Johann Pachelbel unexpectedly became one of the most popular wedding processional pieces in the world.Written around 1680, Canon in D was originally composed for three violins and basso continuo, with no connection to weddings at all. Its famous repeating bass line supports a series of increasingly elaborate violin melodies, creating a sense of balance, anticipation, and gentle emotional build. Over the past century—particularly through string quartet arrangements—the piece became closely associated with wedding ceremonies. Today, it's one of the most requested classical pieces for walking down the aisle.In just sixty seconds, discover how a modest Baroque composition became the soundtrack to countless modern love stories.Fun FactThe famous chord progression from Canon in D appears in dozens of pop songs. Comedians have even joked that a surprising amount of modern music secretly borrows Pachelbel's chords.About The Classical Music MinuteThe Classical Music Minute is a short podcast exploring fascinating stories, quirky history, and surprising facts from the world of classical music—all in about sixty seconds.Each episode offers a quick and entertaining glimpse into composers, masterpieces, musical traditions, and the curious moments that shaped music history.You can now also read the written version of these episodes on Substack, where new posts are delivered straight to your inbox.About Steven, HostSteven Hobé is a Canadian composer and actor based in Toronto and a member of the Canadian League of Composers. Through The Classical Music Minute, he shares curious and engaging stories from the world of classical music in short, accessible episodes.Topics CoveredPachelbel, Canon in D, Baroque music, wedding music, classical wedding traditions, chord progression, string quartet, Johann Pachelbel, famous classical pieces, classical music historyJoin me on Substack

A Boise trio is showcasing baroque music at St. Michael's Cathedral, blending rich sound and history.

DescriptionThe Fugue: Discipline, Drama, and Design in 60 Seconds. Take a minute to get the scoop!Fun FactBach's The Art of Fugue was left unfinished at his death, ending abruptly mid-piece. Legend claims he was working on a final fugue spelling his own name in musical notes—B-A-C-H. Whether intentional or not, the idea feels fitting: a composer signing off using pure musical design.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.Support the show

SONGS in this podcast episode: M1 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) M2 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20). M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40). M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55). M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06). M7 JESU, JOY OF MAN'S DESIRING, JS BACH, 1723, BWV 147 (2:56) M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) PROGRAM NOTES Johann Sebastian Bach was a German composer and organist from the late Baroque period. He was born in Eisenach, in what is now central Germany. Bach lived from 1685 to 1750, The Baroque period was a 150-year period in music, dating from 1600 to 1750. Baroque music is Western Classical Music that followed the Renaissance period. Baroque music features drama, ornamentation, major and minor tones, and was presented in new ways – – like the Opera, Concerto, and Sonata, Baroque composers included BACH, HANDEL, VIVALDI. M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27). Bach probably used the CLAVICHORD to compose most of his music. The Clavichord is small, lightweight and would not disturb people. The clavichord was very temperamental, because it required tuning before each play, just like a violin or guitar.  The keyboard instruments of the day were referred to as a general category: the “KLAVIER”….these included HARPSICHORD, CLAVICHORD, ORGAN and PIANOFORTE. Bach's favorite KLAVIER instrument was the LAUTENWERK or LUTE HARPSICHORD with animal gut strings.  The writing of music was in support of GOD and KINGS. Over time, Baroque Music evolved into what is today known as the modern Orchestra. Bach was a prolific composer, writing hundreds of pieces for solo instruments, particularly the organ. He also wrote pieces for orchestra and choir. Bach is MOST known for writing two or more  melodies or voices against each other. Also called point against point, or, Counterpoint. Bit Bucket A BWV catalog number is a unique identifier for musical works composed by Johann Sebastian Bach, standing for Bach-Werke-Verzeichnis (Bach Works Catalogue).  Today I will present 9 compositions, dating from 1710 to 1731, during the time Bach was about age 25 to 45. M1 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20) Our first piece — TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). an ORGAN COMPOSITION.     It is taken from a 1959 album of BACH ORGAN WORKS   . The movement is called ADAGIO ….which indicates “At Ease”, or “Slow and Stately”. Tempo is only 66-76 BPM. like the resting heart rate for many people. Great liner notes. HERE IS AN  excerpt from the liner notes on that album – – QUOTE “OUR BACH” said the obituary notice, “was the greatest organ and clavier player that ever lived”. Though it may seem strange to us now, Bach's genius during his life was recognized only as a master of the organ—not as a composer. It was actually over a hundred years after his death that his works revealed him as a unique and mighty composer. His reputation as an organist brought many invitations to test new organs and advise on the construction of them.  UNQUOTE As with most of his organ works , there is no autograph or manuscript score from Bach, his organ work manuscript copies are lost.  This song has a CONCERTO style and rhythm.  We will hear the 2nd or ADAGIO movement. . It is all very calm and beautiful and pastoral and serene…until Bach pulls out all the stops in the last minute of this ADAGIO movement. He is really rocking the walls and windows of that church. Without any further adieu, here is TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). PLAY M2 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M2 MUSICAL CREDIT: This Bach organ work  was recorded on the Luneburg Organ at St. Johanniskirche, in the town of Luneburg, in northern Germany, the organist is Professor Michael Schneider. This LP was produced and released on the SOMERSET label here in the US in 1959 The album title is BACH The Majesty of the Luneburger Organ. M2 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) Our next piece is the most famous church cantata written in 1714 for THE FIRST SUNDAY IN ADVENT. NUN KOMM DER HEIDEN HEILAND or in English “NOW COME, SAVIOR OF THE HEATHANS” A HEATHAN is a person with no religion, i.e., a PAGAN. In this chorale, Jesus is asked to …  come and save the pagans.  In 1714, Bach would have been 29 years of age. It turns out that this song goes back almost two centuries before BACH's time.  It's based on a LUTERAN CHORALE with words written by Martin Luther for the 1523 first Advent Sunday.  For centuries, this was the first hymn for the first Sunday of ADVENT.  What I will play next is an arrangement for as modern symphony orchestra (the Philadelphia Orchestra) and it is definitely JS BACH heard in those phrases. But it is a large orchestra – – Conducted by Leopold Stokowski.  This is an extremely restrained, demure, and understated interpretation of a Bach piece the most restrained I have ever heard. The recording you will hear next is performed by the Philadelphia Orchestra, with conductor   Leopold Stokowski. This recording is on a Vinyl LP titled THE SOUND OF GENIUS, produced by COLUMBIA MASTERWORKS, in 1960. It was one of many records that were shipped by mail to members of the Columbia Record Club. My parents were enthusiastic members. A new disc would arrive in the mail every month, such as this LP of classical music. Without further delay here is NOW COME, SAVIOR OF THE HEATHANS PLAY M1 SHOW PLUG – SHOW PLUG – DON'T TOUCH THAT DIAL ! ! That was…M1 NOW COME, SAVIOR OF THE HEATHANS” MUSICAL CREDIT: Arranger and Composer JS Bach, sometime between the years 1708-1717 Performance: Philadelphia Orchestra, conducted by Leopold Stokowski. Album: The Sound of Genius Limited Edition LP (1960) Members Only ! Label: Columbia Master Works BIT BUCKET This piece also is based on a song listed in the ZAHN Lutheran chorales catalog. ZAHN 1174 M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40) The next three pieces are called TWO PART INVENTIONS, composed by JS Bach around 1720   The inventions were composed for use in instruction of Bach's oldest son WILHELM FRIEDEMANN BACH who was 12 years old. Today, these inventions are introduced to music students in school grades 4-7. Learning the Two-Part Invention requires ROTE learning, practicing over and over until the two hands work completely independently of one another. The inventions teach, among other things, the use of COUNTERPOINT. Bach is MOST known for writing two melodies against each other. Also called point against point, or, Counterpoint. That is the feature of these inventions, in each one there are TWO PARTS, left and right hand parts. COUNTERPOINT is found mostly in Bach's FUGUES and in his INVENTIONS. Perhaps a brief demonstration is in order. Here is an excerpt from one of Bach's inventions. FIRST the right-hand part or first point – the melody SECOND the left-hand part or second point – the bass line LAST both parts played in counterpoint. In some of Bach works, the roles reverse, The left hand plays the first point – the melody And the right hand plays the second point – the bass line Could you do this by crossing hands on the keyboard – yes, but, the roles are reversed, so no cross-hand playing. I will now play  WENDY CARLOS's rendition of three BACH TWO-PART INVENTIONS from her 1969 recording titled “SWITCHED ON BACH” .. I will play all three, back-to-back. Each one is short – – average length ONE MINUTE EACH! PLAY M3 PLAY M4 PLAY M5 Credits: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) And now….. PLAY M4 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M4 MUSICAL CREDIT: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55) PLAY M5 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M5 We heard three inventions – – Bach's 2-PART INVENTION in F MAJOR And the 2-PART INVENTION in B-FLAT MAJOR And the 2-PART INVENTION IN D MINOR Each invention is very different than the other. Not just a key change like the work title would suggest ! Bach stated that he wrote his inventions “to be models of composition” in other words, to enable the student to form ways of developing musical ideas and “acquire a strong taste of composition” Bach wrote the inventions, one for of the notes A to G and one for each minor and major key. Today these inventions are over 300 years old ! MUSICAL CREDIT: Composer JS Bach Estimated dates between 1720-1723 Performer – Wendy Carlos – early prototype Moog Synthesizer Arranger and Recording Engineer – Wendy Carlos on MOOG SYNTHESIZER in 1968. Record and label:  Switched-On Bach, Columbia/CBS BIT BUCKET M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06) Next is Bach's “The Well-Tempered Clavier” written in 1722. He was 37. The title page to the Well-tempered Clavier song book reads : “The well-tempered Clavier, or Preludes and Fugues, through all the tones and semitones, both the [major] and [minor]. For the profit and use of the studious musical young…” Bach wrote these preludes and fugues in all keys in the chromatic scale … 12 major and 12 minor keys I have the version in D MAJOR. It's two sections – the prelude, and the fugue The Prelude is the introduction. LISTEN FOR the Stride Piano on the left hand !! It's a short 1:10. The Fugue is the second section. It's slower but with a more Bold left hand. Also short at 1:54. And now….PRELUDE & FUGUE No. 5 D-Major fromThe Well-Tempered Clavier PLAY M6 SHOW PLUG – DON'T TOUCH THAT DIAL !  That was…M6  PRELUDE & FUGUE No. 5 D-Major from The Well-Tempered Clavier MUSICAL CREDIT: Composer JS Bach and the autograph date is 1722 Pianist: Vasso Devetzi Label Festival Classique (1978) M7 JESU, JOY OF MAN'S DESIRING, JS BACH, 1723, BWV 147 (3:22) Our next song is Jesu, Joy of Man's Desiring This song was also composed by JS Bach in that same year of 1723 – – prolific at age 38. This was written for the Christian Feast of the Visitation- celebrated at the end of May in Western Christianity. The song is a Lutheran hymn. … a CANTATA and it has a CHORALE or chorus piece repeated twice within this cantata. There are many arrangements and versions because this song is one of Bach's most beautiful, well-known, and popular. The version we will hear next is arranged for SOLO PIANO. the pianist is Leon Fleisher. And Now, Here is Jesu, Joy of Man's Desiring – Bach       1723 PLAY M7 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M7  Jesu, Joy of Man's Desiring MUSICAL CREDIT: JS Bach composer 1723 Performance: Leon Fleisher – Pianist    (courtesy of EPIC records) Album  THE SOUND OF GENIUS VOLUME 3   Label Columbia, 1962   (3:22) M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) Here is another Chorale recording titled Chorale Prelude VACKET OFF “Wachet Auf”, which translates to SLEEPERS, WAKE! This hymn was transcribed from a Lutheran hymn written in 1599 by written by Phillippe Nicolai. This Cantata is truly a work from the middle ages. In 1731, Bach took this hymn and created a 7-movement cantata, we will hear the first movement or PRELUDE”.  This cantata is sung in church on the Trinity Sunday. Today this piece is very popular piece in general…it is POPULAR CLASSICAL MUSIC.    J.S. Bach wrote 46 of these cantatas for church, in all. ODD FACT  about this song… it was performed only once by Bach, in Leipzig that year. And now the FIRST MOVEMENT  from  VACKET OFF …the Prelude PLAY M8 SHOW PLUG – DON'T TOUCH THAT DIAL ! that was M4    The Chorale Prelude “Wachet Auf”, also known as SLEEPERS, WAKE! Song credits M4 Credits: Hymn by Phillippe Nicolai in 1599 Transcribed by JS Bach in 1731 Performance: Wendy Carlos – on an early prototype Moog Synthesizer Wendy Carlos arranger and recording engineer Album:  Switched-On Bach Label: Columbia/CBS, 1968 M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27) Our next AND LAST piece is from the Switched-On Bach album and s titled AIR ON A G-STRING. This title comes from Johann Sebastian Bach's Orchestral Suite No. 3 in D major,  written almost 300 years ago.   So what is the meaning of the song title Air on a G-String? Well, Bach composed this as an orchestral suite in 1730. 141 years later, August Wilhelm arranged the second movement for SOLO VIOLIN and he did something unique. He transposed the song down from D so that the entire piece could be played on one string of the violin, the G-String, which is the lowest register on that instrument. Here is an example of what this sounds like on the Violin G-String, thjs example with piano accompaniment—pardon the scratchy sound, is from an old 78 RPM disc in 1935. Play example  – Jacques Dumont (Violin) Bach Air On The G String with Andre Collard (piano) We went from Bach's orchestral piece, to Wilhelm's transcription for solo violin, to Wendy Carlos modern interpretation with her MOOG Synthesizer. Now here is Wendy Carlos' arrangement of Air on a G String, from her debut album, SWITCHED-ON BACH, in 1968. PLAY M9 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M9  MUSICAL CREDIT: Composer JS Bach 1730 Performance Wendy Carlos on early prototype MOOG SYNTHESIZER Arranger and Recording Engineer: Wendy Carlos  Album:  Switched-On Bach Label: Columbia/CBS, 1968 END OF PROGRAM VV-031

Hello Listeners!In this episode, we had the opportunity to have a conversation with KabeaushéKabeaushé (Kabochi Gitau) creates a captivating vortex of musical styles, merging influences from Nairobi to Berlin, from French Baroque music to hip-hop, from blaxploitation films to the artwork of Jean-Michel Basquiat. As a singer, rapper, and producer, he has been making rap and electronic music since 2015, collaborating with the Ugandan creative collective Nyege Nyege, and releasing the album The Coming Of Gaze on the Hakuna Kulala label (2023). His critically acclaimed debut album, Hold On To Deer Life, There's A Black Boy Behind You! (2023), earned him the Polyton Music Prize and the VIA VUT Award in 2024. Kabeaushé has released his boldly titled new single, “I DON'T NEED YOU, SO YOU COULD TELL ME IF I'M GUD.” The track serves as the first glimpse of his highly anticipated second album, "IGGY SWAGGERING UNGRATEFUL INCESSANT LITTLE PEEEAAAAAAAA". The track introduces a character named Herr Iggy, an egotistical ruler of the fictional Doerf Kingdom, a figure inspired by Kabeaushé's fascination with Stanley Kubrick's film Barry Lyndon.Listen full episode on Bingkai Suara and don't forget to follow our podcast on any podcast platforms, our Instagram Bingkai Karya, and stay updated with our recent news on www.bingkaikarya.com

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

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

In his second appearance on Anthony Plog on Music, celebrated biographer and composer Jan Swafford returns for an expansive two-part conversation that dives deep into the very soul of classical music. In his previous interview from 2021, Jan discussed his monumental biographies of Mozart, Beethoven, Brahms, and Ives. But his intellectual and creative output extends far beyond those volumes, and this new set of interviews explores more of his wide-ranging contributions to the world of music.In Part 1, the focus turns to Jan's book Language of the Spirit: An Introduction to Classical Music, a refreshingly vivid and often personal guide to the history of Western music. The discussion begins with a few select quotes that set the tone for Swafford's engaging style—an approach that never shies away from humor, insight, or imagination. Along the way, Tony and Jan take an unexpected detour into a blog post imagining a conversation between Mozart and Picasso's Guernica. As the conversation returns to the content of Language of the Spirit, the two explore key aspects of the Baroque period, including figured bass and the challenges of intonation. The episode concludes with a discussion of three of Jan's own compositions—They That Mourn, Late August, First Snow, and River—offering a glimpse into his creative voice as a composer.Part 2 picks up right where they left off, continuing the discussion of the Baroque with special attention to the genius of Bach and the dramatic flair of Händel. This naturally leads into a thoughtful debate on performance practice, particularly the tension between historically informed performances (HIP) and modern approaches. Jan brings his signature candor and wit to the conversation, questioning what authenticity really means and whether the HIP movement sometimes overreaches. The episode closes on a memorable note, as Jan describes the extraordinary experience of holding the original manuscripts of Mozart's Marriage of Figaro and Brahms's German Requiem in his hands. And in true Swafford fashion, he promises to return again—next time, to tackle the Classical era through to the present day.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

This week, Geoff and Rory are joined by countertenor, arranger of classical music and co-founder of 'Vache Baroque', Jonathan Darbourne, to discuss the storied history of the The Vache - an elegant, privately owned Elizabethan country house nestled in the gently rolling Chiltern Hills - and the Baroque music festival he directs every summer in its grounds.Every year in late August and early September, the discreet and immensely private gardens of The Vache are to be found buzzing with people immersed in music and surrounded by beauty, as Vache Baroque celebrates baroque music in all its splendour. The festival transforms this magical Grade II‑listed country house setting into a vibrant, multi-sensory stage with pop‑up performances, art installations and opera under the trees, all designed to captivate both novice aficionado alike.With a keen vision for community outreach and engaging audiences who aren't usually exposed to baroque (or classical) music, Vache Baroque succeeds both in reaching new audiences with music and championing the history and importance of country houses and their place in our nation's history. Critics have lauded its 'astonishing acoustics' and 'thrilling performance', while audiences delight in the relaxed, picnic‑style ambience as evening opera unfolds beneath the Chiltern sky.Please join us for this fun episode celebrating music, the country house and their enduring relationship with each other. If you like this episode please like it and write us a review. Please also send in questions for our soon-to-be-resurrected Q&A episodes!

These are stressful times for human rights activists where every day, a new development may cause despondency or rage. Feminist activist and campaigner Francoise Girard explains why you really need some seventeenth century music in your life.Contact us at pod@strengthandsolidarity.org We are now publishing our newsletter on Substack, if youwould like to subscribe: ⁠https://substack.com/@strengthsolidarity⁠Contactus at pod@strengthandsolidarity.org We are now publishing our newsletter on Substack, if youwould like to subscribe: ⁠https://substack.com/@strengthsolidarity⁠

Nate Widelitz is a singer, conductor, and educator. He is also the Founding Director of the Five Cities Baroque Foundation & Festival. He spoke with Community Voices about his music career, passion for teaching, and shares the story behind the foundation, which brings access to high-quality Baroque music to Central Illinois. Nate also previews what audiences can expect from the upcoming concerts, including featured pieces and performances. Learn more about the festival, including dates and locations here.

Nate Widelitz is a singer, conductor, and educator. He is also the Founding Director of the Five Cities Baroque Foundation & Festival. He spoke with Community Voices about his music career, passion for teaching, and shares the story behind the foundation, which brings access to high-quality Baroque music to Central Illinois. Nate also previews what audiences can expect from the upcoming concerts, including featured pieces and performances. Learn more about the festival, including dates and locations here.

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 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.

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

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

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!

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.

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.

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 […]

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 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.

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.

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.

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.