Podcasts about Ludwig van Beethoven

"There is no loftier mission than to approach the Godhead nearer than other mortals, and to disseminate the divine rays among mankind." —Beethoven to Archduke Randolf when composing the Missa Solemnis Learn about the rare and impactful nature of bodhichitta: the joyful attitude that selflessly loves, serves, and redeems humanity. See how through the Ninth Symphony of Beethoven, whose masterpiece embodies the compassionate spirit of enlightenment, the nature of ultimate reality, and the happiness experienced by those freed from confusion and suffering. Resources and References https://chicagognosis.org/lectures/bodhichitta-liberation-through-enlightened-compassion 4th Movement of Beethoven's Ninth Symphony (YouTube) with English Lyrics Lyrics to Beethoven's Ninth Symphony

Keith Pascoe chats to Elmarie Mawe about the stunning concert from the CFSO in City Hall, with music from Strauss, Beethoven and a world premier from Ian Wilson, with Ian flying in to direct it too! Hosted on Acast. See acast.com/privacy for more information.

Musique classique Jean Perron, Laurent Patenaude et Jean Lecomte Tous les samedis matins, de 9 h à 12 h, L'Accroche-coeur propose aux auditeurs et auditrices férus de découvertes et de musiques rares, plus de 1000 ans de musique, des premiers temps du Moyen-Âge à aujourd'hui.; musiques savantes ou populaires, profanes ou sacrées mettant en vedettes les plus grands artistes capables de mettre en valeurs les oeuvres des Pérotin, Machaut, Dufay, Bach, Vivaldi, Beethoven, Chopin, Debussy, Poulenc, Jarrett et tous ces anonymes dont la postérité n'a retenu que les oeuvres. Le samedi matin, c'est le moment privilégié que CKRL, la radio culturelle de Québec, vous offre pour entendre les plus belles oeuvres de la musique occidentale, celles qui ont fait la meilleure partie de l'humanité. Jean Perron, Laurent Patenaude et Jean Lecomte mettent, tour à tour, leurs connaissances et leur amour de la musique à la portée de tous et toutes. C'est le rendez-vous bien-être de la semaine sur nos ondes.

This Day in Legal History: Pennsylvania Coal Co. v. MahonOn this day in legal history, November 14, 1922, the Supreme Court heard arguments in Pennsylvania Coal Co. v. Mahon, a foundational case in American property law. At issue was a Pennsylvania statute—the Kohler Act—that prohibited coal mining beneath certain structures to prevent surface subsidence. The Pennsylvania Coal Company had previously sold the surface rights to a parcel of land but retained the right to mine the coal beneath. When the state blocked their ability to do so, the company sued, arguing that the law had effectively stripped them of valuable property rights without compensation. The case reached the Supreme Court, where Justice Oliver Wendell Holmes Jr. delivered the majority opinion.In his decision, Holmes introduced the now-famous principle that “while property may be regulated to a certain extent, if regulation goes too far it will be recognized as a taking.” This line marked the birth of the regulatory takings doctrine, which holds that government actions short of full appropriation can still require just compensation under the Fifth Amendment. Holmes emphasized that the economic impact of a regulation on the property owner must be weighed, not just the public interest it serves. In this case, the regulation was deemed too burdensome to be considered a mere exercise of police power.The Court sided with the coal company, holding that the Kohler Act, as applied, amounted to an unconstitutional taking. The dissent, penned by Justice Brandeis, warned against undermining states' ability to protect public welfare. Despite being a 5–4 decision, Mahon has had lasting influence on land use, zoning, and environmental regulation. It reframed the boundaries between public regulation and private rights, signaling that not all public-interest laws are immune from constitutional scrutiny. Today, Mahon remains a cornerstone case for litigants challenging regulations that significantly diminish property value.A Texas judge is set to hear arguments on Attorney General Ken Paxton's request to block Kenvue from issuing a $398 million dividend and from marketing Tylenol as safe during pregnancy. Paxton sued Kenvue in October, accusing the company of hiding risks linked to prenatal Tylenol use, including autism and ADHD—a claim not supported by the broader medical community. The lawsuit follows public comments by Donald Trump and Robert F. Kennedy Jr. promoting the same unproven theory. Kenvue and Johnson & Johnson, which previously owned Tylenol, maintain the drug's safety and argue the state has no authority to interfere in federal drug regulation or corporate dividends.The companies also say the dividend will not impair Kenvue's solvency and warn that Paxton's effort could undermine both the First Amendment and the credibility of Texas courts. Paxton, however, argues that the public interest justifies intervention, citing potential future liabilities from Tylenol and talc-related lawsuits. He contends that misleading commercial speech can be regulated, and that the dividend should be halted to preserve cash in the face of those risks. The case could have broader implications, particularly for Kimberly-Clark's $40 billion acquisition of Kenvue, announced shortly after the lawsuit. Kenvue has vowed to appeal any injunction.Judge to weigh if Texas AG can block Kenvue dividend over Tylenol claims | ReutersSierra Leone has reached a tentative settlement with U.S. law firm Jenner & Block to resolve a dispute over $8.1 million in unpaid legal fees. The law firm sued the West African nation in 2022, claiming it was still owed money for representing Sierra Leone in a high-stakes case against Gerald International Ltd., which had sought $1.8 billion in damages over an iron ore export ban. Jenner argued the legal work was more extensive than initially expected and said it had only been paid $3.6 million by the end of 2021.Sierra Leone pushed back, disputing the existence of a valid contract and asserting that no further payments were owed. The country also tried to claim sovereign immunity, but a federal judge rejected those arguments in January, allowing the lawsuit to proceed. U.S. Magistrate Judge G. Michael Harvey announced the settlement in principle last week, although specific terms were not disclosed. Neither party has commented publicly on the resolution.Sierra Leone, law firm Jenner & Block reach settlement over $8 million legal tab | ReutersMcDermott Will & Emery has become the first major U.S. law firm to publicly confirm that it is considering private equity investment, signaling a potential shift in how Big Law might operate. The firm's chairman acknowledged preliminary talks with outside investors, a move that stunned the legal industry, where non-lawyer ownership has long been resisted due to ethical and regulatory restrictions. McDermott is reportedly exploring a structure that would separate its legal services from administrative operations by creating a managed service organization (MSO) owned by outside investors, allowing the firm to raise capital without violating professional conduct rules.This model has gained traction among smaller firms, but McDermott's adoption could legitimize the MSO approach for large firms. Proponents argue it would free lawyers to focus on client work while upgrading support systems through external funding. Critics caution that it involves relinquishing control of critical firm functions and raises concerns about maintaining ethical standards, particularly regarding fee-sharing with non-lawyers. While still early, industry experts say other firms are beginning to explore similar paths to stay competitive, especially in jurisdictions like Arizona that allow non-lawyer ownership.McDermott's Outside Investor Talks Augur Big Law TransformationThe Trump administration has filed suit against California over its recently approved congressional redistricting maps, which were adopted through a ballot initiative known as Proposition 50. The measure, passed by voters last week, allows temporary use of new district lines that could give Democrats up to five additional U.S. House seats. The Justice Department joined a lawsuit initially filed by the California Republican Party and several voters, alleging that the redistricting plan was racially motivated and unconstitutional.U.S. Attorney General Pam Bondi called the maps a “brazen power grab,” accusing California of using race to unlawfully boost Hispanic voting power. California Governor Gavin Newsom dismissed the lawsuit, framing it as retaliation for California's resistance to Trump's broader political agenda. Newsom also argued that the new maps are a necessary corrective to Republican-led gerrymandering efforts, like those in Texas, where civil rights groups have sued over alleged dilution of minority voting power.The lawsuit claims California's map violates the U.S. Constitution by improperly using race in the redistricting process. The outcome could impact the balance of power in the House and add fuel to ongoing legal battles over partisan and racial gerrymandering nationwide.Trump administration sues California over new redistricting maps | ReutersThis week's closing theme is by Ludwig van Beethoven, a composer of some note.This week's closing theme is the first movement of Ludwig van Beethoven's Symphony No. 8 in F Major, Op. 93 – I. Allegro vivace e con brio, a work that balances classical clarity with Beethoven's unmistakable wit and rhythmic drive. Composed in 1812 during a period of personal turmoil, the Eighth is often described as a cheerful outlier among his symphonies, compact and effervescent despite being written amid deteriorating health and emotional strain. It was premiered in 1814, but it was a revival performance on November 14, 1814, in Vienna that helped solidify its reputation and gave the public a second opportunity to appreciate its lightness and humor in contrast to the more dramatic works surrounding it.Unlike the grand scale of the Seventh or Ninth, the Eighth is shorter and more classical in form, often drawing comparisons to Haydn in its wit and economy. Yet Beethoven infuses it with his unique voice—syncopations, dynamic extremes, and abrupt harmonic shifts abound, particularly in the first movement. The Allegro vivace e con brio opens with a bold, playful theme, tossing melodic fragments between the orchestra with cheerful assertiveness. It's less stormy than many of Beethoven's first movements, but no less commanding.Critics at the time were puzzled by the symphony's restraint and humor, expecting more overt heroism from Beethoven. But modern listeners often recognize the Eighth as a masterwork of compression and invention. The first movement in particular plays with rhythmic momentum, frequently disrupting expectations just as they form. There's a confidence in its restraint, a knowing smile behind the forceful accents and offbeat rhythms. It's music that's both technically impressive and viscerally enjoyable, which is perhaps why Beethoven held it in especially high regard.As we close out the week, we leave you with that November 14 revival spirit—a reminder that even a “little Symphony” can land with enduring force.Without further ado, Ludwig van Beethoven's Symphony No. 8 in F Major, Op. 93 – I. Allegro vivace e con brio, enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Episode Summary This month on Strangers, we have "Beethoven on Bloor Street" by K. Zimmer. It's memoirist essay that is the first chapter of our newest book, "Up:Rising: a collection of rebellious imaginings from authors with lived experiences of mental health and addiction." The word of the month is about being transported. Read along for free at TangledWilderness.org. And consider preordering our new book. Host Info Inmn can be found on Instagram @shadowtail.artificery. Margaret can be found on twitter @magpiekilljoy or instagram at @margaretkilljoy. You can also find her on Substack at Birds Before the Storm. Publisher Info This show is published by Strangers in A Tangled Wilderness. We can be found at www.tangledwilderness.org, or on Twitter @TangledWild and Instagram @Tangled_Wilderness. You can support the show on Patreon at www.patreon.com/strangersinatangledwilderness. Find out more at https://strangers-in-a-tangled-wildern.pinecast.co This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-69f62d for 40% off for 4 months, and support Strangers In A Tangled Wilderness.

Víkingur Ólafsson zählt zu den spannendsten Pianisten der Gegenwart. Mit feinsinnigem Spiel und innovativen Interpretationen begeistert er weltweit Publikum und Kritiker. Der in Reykjavík geborene Musiker studierte an der Juilliard School in New York und ist international gefragt, füllt die Elbphilharmonie wie die Carnegie Hall. Sein kommendes Album "Orbiting Around Opus 109 " zeigt seine persönliche Sicht auf Beethovens Meisterwerk sowie Bach und Schubert, begleitet von einer deutschlandweiten Tour. Neben Konzerten moderiert er auch Musiksendungen in Island. Wir sprechen mit ihm über die Kraft der klassischen Musik und seine Liebe zu Literatur, Philosophie und der Natur seiner Heimat.

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

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In this episode, Hannah Käthler (RECET) talks to RECET's Founding Director Philipp Ther, whose newest book Der Klang der Monarchie (Suhrkamp, 2025) tells the history of the Austro-Hungarian Empire through the prism of the music it created and was shaped by. Haydn, Mozart, and Beethoven were instrumental in holding the empire together. "Habsburg Pop" reached the masses and became a global export. The Habsburg Empire hummed, sang, danced, drummed, and only went under when its great musical means failed in the Great War. Philipp Ther teaches Modern European and East European History at the University of Vienna. He has published five books in English, and his publications have been translated into various other languages. He has received several prizes and awards, including the 2015 Prize of the Leipzig Book Fair for Die neue Ordnung auf dem alten Kontinent, which was also shortlisted for the Prix du livre européen. Furthermore, his work has earned him the Richard G. Plaschka Prize (2006) and the Wittgenstein Prize (2019). He is the founder of the Research Center for the History of Transformations at the University of Vienna.

Atlanta's congressional delegation unlikely to vote for GOP funding plan to reopen the government; Atlanta's public defender's office prepares for doubling of its caseload; and Lois Reitzes speaks with ASO's Norman Mackenzie about what makes Beethoven's Ninth, returning to Atlanta Symphony Hall this week, the enduring work it is. See omnystudio.com/listener for privacy information.

durée : 01:29:01 - Piotr Anderszewski, une personnalité riche et passionnée - par : Aurélie Moreau - Pour Piotr Anderszewski, pianiste célèbre pour ses interprétations de Chopin, Szymanowski, Beethoven, Mozart et Bach, « la musique demeure, à l'heure d'internet, le dernier bastion d'une géographie des sentiments qui nous dépasse ». (Le Figaro). Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

We're back with another AFTN Soccer Show packed full of Vancouver Whitecaps, Major League Soccer, and Canadian Premier League chat, and it's a landmark episode - our 700th one for the main show, the longest running soccer podcast in Canada. To mark it, we've a lot of talk about Vancouver Whitecaps' future - particularly when it comes to issues around their current and potentially new stadiums. MLS Commissioner Don Garber was in town last week. We bring you his media roundtable in full and chat about the main talking points coming out of it as it was confirmed that the Whitecaps haven't signed a lease to play at BC Place next year and they won't be unless they get a better deal. The MLS conference semi-finals are all set after a wild weekend wrapped up the first round of playoff matches. We look at how they played out and have an initial look ahead to Whitecaps vs LAFC. The CPL also wrapped up this weekend and the North Star Cup final was played in whiteout conditions in Ottawa. The scenes went around the world, but should the game have gone ahead and will the league see any actual long-term benefit from all the virality or was it just an in-the-moment buzz? Has this turned people on to watch and attend the league next year? Plus we look at the CPL awards that were handed out for the season. Music-wise, Camper van Beethoven begin their residency as our Album of the Month, we've two Britpop songs from Blur and Gorky's Zygotic Mynci, and Halftime Oranges are back in Wavelength. Here's the rundown for the main segments from the episode: 01.28: Intro - landmark episodes, college soccer, Rise move on to final 16.55: MLS conference semi-finals set after wild weekend 60.20: Don Garber Vancouver media roundtable 99.15: The future of Vancouver Whitecaps and the club's stadium issues 132.45: Snowy CPL final goes viral, but will the league see a real benefit? 156.10: CPL award winners announced 166.45: Wavelength - Halftime Oranges - Theme From Orange

Hugh Bonneville is one of the most familiar faces on British TV and film. You might know him as the Earl of Grantham from Downton Abbey, or the long-suffering Mr Brown in the Paddington films, or the baffled Ian Fletcher in the London Olympics sitcom Twenty Twelve and its BBC-centred sequel W1A.Hugh was captivated by acting from an early age, staging his own plays at home and even making the tickets to sell to his family.More recently he's has branched out into writing, with a memoir Playing Under the Piano and a children's book Rory Sparkes and the Elephant in the Room, which is inspired by some of the events of his childhood.Hugh's selection of music includes works by Beethoven, Strauss, Elgar and Faure.Presenter: Michael Berkeley Producer: Clare Walker

No hay duda de que este tenor de nuestros días, bautizado como baritenor, es un artista muy interesante. En este programa analizamos su voz y lo escuchamos en una interesante selección de arias de variado signo pertenecientes a las siguientes óperas: Joseph de Méhul, Fidelio de Beethoven, Der Freischütz de Weber, Norma de Bellini, Rienzi y Lohengrin de Wagner.Escuchar audio

Rafa Panadero se adentra en la quinta sinfonía de Beethoven. El amigo secreto se atreve con los primeros acordes de 'Proud Mary', de Tina Turner.

Musique classique Jean Perron, Laurent Patenaude et Jean Lecomte Tous les samedis matins, de 9 h à 12 h, L'Accroche-coeur propose aux auditeurs et auditrices férus de découvertes et de musiques rares, plus de 1000 ans de musique, des premiers temps du Moyen-Âge à aujourd'hui.; musiques savantes ou populaires, profanes ou sacrées mettant en vedettes les plus grands artistes capables de mettre en valeurs les oeuvres des Pérotin, Machaut, Dufay, Bach, Vivaldi, Beethoven, Chopin, Debussy, Poulenc, Jarrett et tous ces anonymes dont la postérité n'a retenu que les oeuvres. Le samedi matin, c'est le moment privilégié que CKRL, la radio culturelle de Québec, vous offre pour entendre les plus belles oeuvres de la musique occidentale, celles qui ont fait la meilleure partie de l'humanité. Jean Perron, Laurent Patenaude et Jean Lecomte mettent, tour à tour, leurs connaissances et leur amour de la musique à la portée de tous et toutes. C'est le rendez-vous bien-être de la semaine sur nos ondes.

durée : 00:30:25 - avec Patrice Veit et Philippe Gumplowicz - par : Philippe Venturini - Unique opéra de Beethoven, "Fidelio" reste une œuvre à part, fruit de dix ans de travail et de multiples versions. Entre élan héroïque et quête de liberté, ce chef-d'œuvre singulier continue d'interroger interprètes et auditeurs plus de deux siècles après sa création. - réalisé par : Doria Zénine Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Enquanto você se esforça pra ser um sujeito normal... Em fazer tudo igual...Você já ouviu falar da NORMOSE?Esse adorável termo que soa como um diagnóstico de algum mal do século, mas na verdade é apenas a doença da conformidade disfarçada de virtude. Estamos cercados por ela, especialmente no mundo corporativo, onde a originalidade é tão rara quanto um unicornio no metrô. Aqui estamos nós, gloriosos executivos, marchando ao som da mesma batida monótona, pensando que estamos em uma sinfonia de Beethoven.Como todos nós, supostos gênios do mundo dos negócios, caímos nessa armadilha de seguir o rebanho. "Não reinvente a roda", dizem eles. Ora, se todos pensassem assim, ainda estaríamos em cavernas admirando a inovação que é o fogo. A normose nos faz crer que seguir o script é a única maneira de sucesso. Quão entediante! Quão previsível! Quão... normal.Mas espere, há mais. A normose não apenas mata a inovação; ela suga a vida do ambiente de trabalho. Todos se transformam em zumbis corporativos, com sorrisos plásticos e frases feitas. "Pensamento fora da caixa?" Por favor, a caixa é tão confortável, por que alguém iria querer sair? Afinal, por que se arriscar a ser brilhante, quando se pode ser medíocre e ainda assim receber os aplausos por fazer o mínimo?Portanto, aqui está o meu brinde à normose: a gloriosa celebração da mediocridade, a ode ao conformismo, a canção de ninar que embala os inovadores ao sono. Mas, cuidado, caro colega executivo, a normose é contagiosa. E, uma vez que você cai nessa armadilha, a saída é tão difícil quanto encontrar uma agulha em um palheiro de ideias banais e repetitivas. Esse é o tema da minha #ProvocaçãodoDia de hoje... Me conte o que acha disso tudo?Bora conversar?Então, que tal ser um pouco anormal hoje?Abração procê! Simbora apimentar essa liderança! #liderança #leaderclasses #papodelíder#carreiras#LiderançaSemMoleza,#EquipeForteComeçaNoTopo,#AcordaGerente,#NadaDeBundaMole,#DesperteOLíderEmVocê,#EspelhoDaLiderança,

Live from the Cheltenham Literature Festival, Rachel Parris joins Dan, James and Andy to discuss baboons, breakouts, Beethoven, and bottom stainers. Visit nosuchthingasafish.com for news about live shows, merchandise and more episodes.  Join Club Fish for ad-free episodes and exclusive bonus content at apple.co/nosuchthingasafish or nosuchthingasafish.com/patreon

We're back with another AFTN Soccer Show packed full of Vancouver Whitecaps, Major League Soccer, Canadian Premier League, and FIFA Under 17 World Cups chat and interviews. It wasn't the prettiest victory, but the Whitecaps got the job done in Dallas on Saturday night, winning a penalty shootout in game two of their playoff series to book their berth in the Western Conference semi-finals and setting up a mouthwatering clash with LAFC. It's the Müller v Son showdown so many around MLS wanted. We look back at the game, look ahead to that semi-final, and round-up the rest of the MLS (and CPL) playoff action. One of the Whitecaps many strengths this year has been their defence. We look at what's made it so successful with the help of some thoughts from Jesper Sorensen and chat with MLS Defender of the Year Tristan Blackmon. Plus we sit down with rookie defender Tate Johnson to talk about his season so far, his first playoff experience, and enjoying life in Vancouver. We also talk Canada at the men's and women's U17 World Cup and hear from both head coaches, Mike Vitulano and Jen Herst, plus music-wise, Camper van Beethoven begin their residency as our Album of the Month, we've two Britpop songs from Oasis and Wavelength with features a song about Arsenal centreback Tony Adams. Here's the rundown for the main segments from the episode: 01.28: Intro - college nationals set to begin, Rise missing out on BC talent 10.35: Whitecaps beat Dallas on penalties to advance in MLS playoffs 47.45: Müller v Son semi showdown awaits 58.15: MLS playoff round-up 90.25: Whitecaps defence discussion 109.00: Tate Johnson interview 117.40: Cavalry knock off Forge and head to CPL championship game 121.00: Canada U17 men set to get their World Cup underway 136.30: Canada U17 women pay the penalty in heartbreaking World Cup loss 144.30: Wavelength - The A Team - Ooh Ooh Tony Adams

durée : 00:19:05 - Disques de légende du mardi 04 novembre 2025 - En 2012, le pianiste américain Jonathan Biss entreprend d'enregistrer l'intégrale des Sonates de Beethoven, un cycle qu'il achève pour le 250e anniversaire du compositeur en 2020. Les premiers disques paraissent chez Onyx, puis Orchid Classics prend le relais et réunit les 9 volumes dans un coffret. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

David Fleming speaks with Al Pitrelli once again about the 2025 tour for Trans-Siberian Orchestra - The Ghosts of Christmas Eve. This is also the 25th anniversary Beethoven's Last Night, so a bit here as well. We'll also touch briefly on Savatage, the group from which TSO sprang. They (finally) started touring again!

Seven years of junior high band concerts. Yep, that was the special joy Karen and I had since all three of the Hutchcraft kids were in junior high band. Oh, it wasn't always a supreme musical experience, but hey, it's our kids, right? Let's imagine you have never heard of the brilliant composer Ludwig von Beethoven before. And I say to you, "Beethoven was a genius. His music is some of the most beautiful ever written." You're a little skeptical because you've never heard any of his music, but I suggest a way you could remedy that. See, the junior high band is having a concert this week, and they're performing Beethoven's 9th Symphony. So you go, and you come back to me and you say, "I thought you said this Beethoven guy was a genius! I just heard his music. It wasn't brilliant!" Now what's the problem here? It isn't Beethoven - it's the way the band played his music. Just because they don't play his music well doesn't mean the man who wrote the music wasn't a genius! I'm Ron Hutchcraft and I want to have A Word With You today about "The Hypocrite Hang-up." I've devoted my life to telling people about the Genius who can harmonize our lives, who wrote the music that's supposed to guide everything we do. His name is Jesus. But many people - maybe you - can't bring themselves to a point where they'll put their trust in Jesus Christ to be their own personal Savior from their personal sin. And one of the biggest reasons? Christians who are hypocrites. That's why I'm so glad for today's word for today from the Word of God, where Jesus clarifies what, and who, is the real issue in this whole Christian thing. Mark 2:14, our word for today from the Word of God, "As Jesus walked along, He saw Levi sitting at the tax collector's booth. 'Follow Me', Jesus told him, and Levi got up and followed Him." Jesus sums up here the central decision we all have to make by issuing a clear, two-word invitation that He gave to so many people: "Follow Me." Jesus basically is saying, "I'm the issue. Your decision is about me." He repeated that invitation so many times when He was on earth. And listen, He's done it millions of times since then and I think He's extending it to you today. As for those Christians who aren't a very good advertisement - well, they're like that junior high band trying to play the Beethoven symphony. Unfortunately, some of us don't play Jesus' music very well. But it has nothing to do with Jesus. He's still the Genius who forgives our failures, who loves us with a "never leave you" love. He promised, "I'll never leave you." And who can take us to heaven when we die because He walked out of his grave and conquered death. Jesus never said, "Follow My followers." He never said, "Follow My leaders," or "Follow My religion" or "Follow My rules." He said, "Follow Me." The only reason not to be a Christian is if you have something against Jesus. And there wasn't a trace of hypocrisy in Him. All that's going to matter when you keep your appointment with God is what you did with Jesus, God's one and only Son who died on the cross to pay...not for His sins, but for yours. Honestly, there's just no place to hide when it comes to Jesus. Either you commit yourself to this Man who died for you or you turn your back on Him and you walk away. It's all about Jesus. And maybe you're ready to surrender all the baggage that has kept you from experiencing His love for yourself. Forget all those people that in your mind are between you and Him. It's Jesus and you, because it's Jesus you're trusting, not Christianity, not Christians. Maybe you're ready to begin this relationship you were created for. I hope you are. Tell Him, "Jesus, I'm yours. You died for me. You're alive and I'm giving myself to You." And then, would you go to our website? I've laid out there how to be sure you belong to Him. It's ANewStory.com. On Judgment Day, it will just be you and Jesus. Today it's you and Jesus. There's an old hymn that puts it this way: "What will you do with Jesus? Neutral you cannot be. For someday your heart will be asking, 'What will He do with me?'"

Con Mario Mora y Ana Laura Iglesias | Vuelve el espacio dedicado a la Orquesta y Coro Nacionales de España en Clásica FM, con información, secciones de entretenimiento y los mejores invitados. Carlos Iribarren visita el Auditorio con una nueva oyente que se sorprende al escuchar la formación por primera vez, te contamos los titulares y debatimos cuál es la obra del mes: ¿la Primavera Apalache de A. Copland o el Concierto para Violín de Beethoven? Además, un compositor que tendrá protagonismo este mes de noviembre en la programación de la OCNE, Óscar Colomina i Bosch, nos cuenta todos los detalles de su estreno, la obra VISITACION[e]S. Branded Pódcast de la Orquesta y Coro Nacionales de España.

This episode with violinist Ida Kavafian is packed with key points about effective practice, plus fascinating nerdy details about bowing and fingering principles, references to specific passages in the Sibelius concerto, Schubert Fantasy, Beethoven's Kreutzer sonata, a clever hack for playing fifths in tune, and so much more.And if you're not a string player, don't worry - many of the principles are equally applicable to other instruments too.Get all the nerdy details and learn how to level up your practice in this month's interview:Ida Kavafian: Habits That Separate Good Musicians from Great OnesMore from The Bulletproof Musician Get the free weekly newsletter, for more nerdy details and bonus subscriber-only content. Pressure Proof: A free 7-day performance practice crash course that will help you shrink the gap between the practice room and the stage. Learning Lab: A continuing education community where musicians and learners are putting research into practice. Live and self-paced courses

In Composers, we explore how songs are created by people from long ago and today. We meet Bach, Mozart, and Beethoven, and learn how their lives shaped their sounds. We also hear from Sesame Street, and legendary Broadway composer Bill Sherman about writing catchy tunes with meaning. Listeners discover that anyone can start with a small idea and build a powerful piece of music.

durée : 00:04:47 - Classic & Co - par : Anna Sigalevitch - Anna Sigalevitch nous parle ce matin des trois dernières sonates de Beethoven que le pianiste américain Jonathan Biss jouera au Théâtre des Champs Elysées mardi prochain, le 4 novembre. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:08:11 - France Musique est à vous junior du samedi 01 novembre 2025 - par : Gabrielle Oliveira-Guyon - Cette semaine, un nouvel épisode des Contes de la Maison Ronde avec Ulysse et Calypso. Une œuvre de jeunesse de Beethoven, le choix de Hugo sur le répondeur des enfants avec Bach, et dans le labo musical, Nico se demande : comment fabrique-t-on un violon ? Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

The 8th entry in a series is always the best! Like Mission Impossible: Final Reckoning or Beethoven's Treasure Tail(Direct to Video). They're the most popular entries in their franchise!What does this year have in store? Harmony? Disharmony? Dis-harmony? (Harmony among Disney fans). Little Leota's and Hitchhiking Ghosts await..."Haul-O-Ween" episode is up at: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/PodcastTheRide⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FOLLOW PODCAST: THE RIDE:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/PodcastTheRide⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/podcasttheride⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BUY PODCAST: THE RIDE MERCH:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/stores/podcast-the-ride⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PODCAST THE RIDE IS A FOREVER DOG PODCAST⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://foreverdogpodcasts.com/podcasts/podcast-the-ride⁠See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ludwig van Beethoven - Piano Trio No. 5 “Ghost”: 2nd movementTakako Nishizaki, violinCzaba Onczay, cello Jeno Jando, pianoMore info about today's track: Naxos 8.550442Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

The last of my festive potpourri episodes for this, my birthday month, this episode focuses on a favorite vocal range of this opera queen: the soprano voice, in all its variety and glory. Included are such pristine lyric voices as Erika Köth, Benita Valente (who just departed us last weekend, shortly after celebrating her 91st birthday), Judith Raskin, Judith Blegen, Mattiwilda Dobbs, and Edith Mathis, among others; medium- to heavier-weight lyric voices such as Pilar Lorengar, Delia Rigal, Teresa Stratas, Taru Valjakka, Melitta Muszely, and Margarete Teschemacher; and “ambiguous” voices as Arleen Augér, Martha Flowers, Irmgard Seefried, Andrée Esposito, Jill Gomez (pictured), Faye Robinson, Hilde Güden, and Elizabeth Harwood which could, if you'll pardon the term, “swing both ways,” at least in terms of vocal weight! They perform a wide range of material of material including vocal chamber music by Manuel de Falla and Miriam Gideon; art song by Brahms, Bridge, Poulenc, Beethoven, Bizet, Granados, Sibelius, and Mahler; operetta and musical selections by Arlen, Lehár, Stolz, and Kern; and full-throated operatic selections by Richard Strauss, Jacques Ibert, Leoncavallo, and Meyerbeer. It's another jam-packed episode guaranteed (in a limited sense) to bring you the full-range of listening pleasure. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

durée : 00:14:29 - Beethoven : Intégrale des sonates pour violon - Lena Neudauer, Paul Rivinius - En s'attaquant aux dix sonates pour violon et piano de Beethoven, la violoniste allemande Lena Neudaeur et le pianiste Paul Rivinius touchent à certaines des grandes œuvres de la jeunesse de Beethoven : les neuf premières ont été composées entre ses 26 et ses 33 ans. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:08 - En pistes ! du mardi 28 octobre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Une nouvelle intégrale des sonates pour violon de Beethoven ouvre en Pistes ! aujourd'hui, interprétée par Lena Neudaeur. Écoutons aussi la suite d'une autre intégrale, celle des cantates de Bach par Hans-Christoph Rademann qui en est déjà à son huitième CD. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:14:29 - Beethoven : Intégrale des sonates pour violon - Lena Neudauer, Paul Rivinius - En s'attaquant aux dix sonates pour violon et piano de Beethoven, la violoniste allemande Lena Neudaeur et le pianiste Paul Rivinius touchent à certaines des grandes œuvres de la jeunesse de Beethoven : les neuf premières ont été composées entre ses 26 et ses 33 ans. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:08 - En pistes ! du mardi 28 octobre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Une nouvelle intégrale des sonates pour violon de Beethoven ouvre en Pistes ! aujourd'hui, interprétée par Lena Neudaeur. Écoutons aussi la suite d'une autre intégrale, celle des cantates de Bach par Hans-Christoph Rademann qui en est déjà à son huitième CD. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

David Fleming speaks with Al Pitrelli, music director for, and lead guitarist with, Trans-Siberian Orchestra. We'll hear about the tour for this year - The Ghosts of Christmas Eve. This is also the 25th anniversary of Beethoven's Last Night, so there will be special attention paid to that as well.

Send us a textToday I vant to talk vith the final Composer of the three Bs - this podcast has previously Broadcast episodes regarding Bach and Beethoven - and vill certainly have more regarding those musicians - but today I vant to talk about another composer vhose last name also begins vith B, and is also considered one of the greats.  That composer is yo-HAH-nes Brahms. Unlike some composers of his era, he did not have any recorded middle names or additional given names—he vas vas alvays knovn as  yo-HAH-nes Brahms.  And by the vay, the musical opening to this podcast it's an excerpt from a remix of Brahms Hungarian danceGhost soundAh, here is the ghost of - or if you vill -       the spirit of Brahms.Maestro Brahms, thank you for joining me today. To begin, could you tell us a little about your early life in Hamburg?Ah, Hamburg. A fine city of ships and sailors, though not so fine ven hen one is poor. I vas as born in 1833, the son of a bass player—my father Johann Jakob—and my mother, a seamstress. had little but music and determination. From the beginning, it seemed I vas destined to live at the piano.I've heard you began playing in public quite young.Herr Bartley, By the time vas a boy, I played in taverns and dance halls to earn a fev  coins.Imagine a skinny lad of thirteen, pounding avay at the piano vile sailors shouted for more beer. Hardly the glamorous concert life! But those rough rooms taught me discipline. I learned to keep the music alive, even if no one cared to listen.Support the showThank you for experiencing Celebrate Creativity.

durée : 01:24:18 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - En 1996, "Opus" explore le lien intime du poète Jacques Roubaud à la musique. Pianiste dans son enfance, sa relation à la musique est à la fois sentimentale et poétique. Mozart, Beethoven, Schubert et Brian Eno accompagnent cet entretien mené par Christian Rosset. - réalisation : Rafik Zénine, Vincent Abouchar, Emily Vallat - invités : Jacques Roubaud Poète et mathématicien français

Je kent vast wel zo'n familie waar iedereen muziek maakt, zingt of een instrument bespeelt. Waar misschien zelfs de hele familie professioneel muzikant is. Oefenen ze daar dan gewoon élke dag? Of is muzikaal talent erfelijk? Prof. dr. Maarten Larmuseau, geneticus aan de KU Leuven, maakte van Ludwig Van Beethoven zijn case-study en vertelt er in dit college vanuit Concertzaal Miry (KASK & Conservatorium Gent) alles en nog veel meer over!Gastspreker: Maarten LarmuseauRedactie: Helene VanlathemEindredactie: Katleen BrackeMontage: HuzaarDeze podcast is mogelijk dankzij de medewerking van KU Leuven, UAntwerpen, UGent, UHasselt, VUB en de Jonge Academie en komt tot stand met de steun van VRT, de Nationale Loterij en de Vlaamse overheid.

The Right Honourable Sir Keir Starmer is the seventh Labour Prime Minister of the United Kingdom.Prior to his political career, he was a barrister and served as Director of Public Prosecutions. He was elected as a Member of Parliament in 2015 and became Labour leader in 2020.A former Guildhall School of Music scholar, Sir Keir Starmer is a flautist but also played piano, recorder, and violin in his youth.He shares his love of music including works by Beethoven, Mozart, Shostakovich and Brahms.Presenter: Michael Berkeley Producer: Clare Walker

Send us a textI began with CPI, but as usual, I ended up somewhere between Beethoven and gold. The headline CPI 3%, core the same. The whisper was higher. The market calls it “Goldilocks.” Not too hot, not too cold. I call it “Never be a dick for a tick.”That's how you survive this racket. Everyone obsesses over decimals while the system quietly breaks and remakes itself. The models are wrong, the Fed's neutral rate misplaced, and shelter data a bad joke.Markets have music. Sometimes off key, sometimes perfect pitch. Beethoven wrote his best symphonies when he couldn't hear. Euler saw math more clearly after he went blind. My best trades happen when I stop staring and listen. Markets are sound before they're numbers.Then someone messages me: “Copper, all the way.” I laugh. NVIDIA doesn't need a century of copper. The chips use little. The heavy copper is in data centers, transformers, cables feeding the AI gods. One megawatt of data power needs twenty-seven tons. There's a story there, but not the one the hype merchants sell.Copper is pregnant in expectation. It mirrors the world's mood and that mood is uncertainty. The charts show past booms and fatigue. The next leg will come from real demand, from grids and wires that make the world hum.Gold refuses to fade. I mocked it before, but I'm giving it credit. Maybe this rise is necessary, the price to end mercantilist misery. China's citizens buy stablecoins and gold to escape the red cabbage trap. They know seven cabbage for a dollar is a steal.America sits on 262 million troy ounces. At ten thousand an ounce, that's 2.5 trillion in fiscal firepower. While everyone says “Rome is falling,” they're wrong. This isn't the fall of America; it's the fall of Chinese communism.Russia produces forty percent of global palladium, quiet leverage no one mentions. Even Trump treads carefully. Geopolitics meets gigawatts. Metals and power are the same story.I've talked CPI, Beethoven, copper, gold, palladium, geopolitics. A full orchestra. I never promised coherence, only curiosity. The market, like life, is a fuzzy cloud. You don't predict it. You play with it.Support the show⬇️ Subscribe on Patreon or Substack for full episodes ⬇️https://www.patreon.com/HughHendryhttps://hughhendry.substack.comhttps://www.instagram.com/hughhendryofficialhttps://blancbleustbarts.comhttps://www.instagram.com/blancbleuofficial⭐⭐⭐⭐⭐ Leave a five star review and comment on Apple Podcasts!

Roll over Beethoven! And Balto too!

A Note from JamesI first got really impressed with Steven Pinker when he wrote The Better Angels of Our Nature: Why Violence Has Declined. He basically shows that over the past 10,000 years, every single century has been less violent than the one before it. You might think, “That can't include the 20th century,” right? We had World War I, World War II, atomic bombs, the flu pandemic of 1920, Vietnam—all these massive wars. But when you look at violent deaths per capita, the 20th century was actually less violent than the 1800s, which were less violent than the 1700s, and so on. It's a beautiful, data-driven argument for optimism.But it's his latest book that really fascinated me: When Everyone Knows That Everyone Knows: Common Knowledge and the Mysteries of Money, Power, and Everyday Life. That subtitle alone—“common knowledge and the mysteries of money, power, and everyday life”—you can't just skip past that. You have to know what it means.Take poker, for example. If someone bluffs you, you have to think: are they bluffing? Or are they making me think they're bluffing, but they're not? Or do they know that I think they're bluffing, so now they're actually not bluffing at all? That kind of circular reasoning—what philosophers call “common knowledge”—shows up in real life all the time.Like when you ask someone up for “a cup of coffee” after a date. You're not really talking about coffee. But you're also not saying what you actually mean. You're hinting. You're creating a safe, ambiguous space where both people know what's being suggested without anyone having to say it outright. The same thing happens when you ask your boss, “Can we discuss taking on more responsibilities?” instead of saying “I want a raise.” We give partial information all the time, because being direct can change the relationship—or close off possibilities.Steven and I talked about why we communicate this way, how shared knowledge shapes everything from flirtation to power to money, and what happens when that balance breaks down.And by the way—if you've never seen Steven Pinker—he looks exactly like what you'd imagine a Harvard professor to look like. Long white hair, sharp blue eyes, and this kind of wild genius energy. Jay and I joked that he looks like Einstein meets Jimmy Page meets Beethoven. He's the best-looking academic I've ever seen.Anyway, here's our conversation on When Everyone Knows That Everyone Knows: Common Knowledge and the Mysteries of Money, Power, and Everyday Life, with my good friend Steven Pinker.Episode DescriptionIn this conversation, James and Steven Pinker explore how much of life runs on signals, innuendo, and the unsaid. Pinker explains how “common knowledge”—what everyone knows that everyone else knows—shapes everything from romantic attraction to political polarization to financial panics.They discuss why laughter matters, how game theory explains social awkwardness, and why being “brutally honest” all the time can destroy relationships. From Seinfeld to poker tables to the stock market, Pinker shows that our most human moments depend on the subtle art of leaving things unsaid.What You'll LearnWhy subtle hints and shared assumptions keep relationships, negotiations, and societies stableHow laughter creates “common knowledge” and strengthens social bondsThe role of game theory and “recursive thinking” in everything from dating to diplomacyWhy total honesty isn't always a virtue—and how “rational hypocrisy” preserves relationshipsHow stock market behavior, toilet paper hoarding, and bank runs all reflect the same hidden logicTimestamped Chapters[00:00] Introduction – When everyone knows that everyone knows [03:00] A Note from James: Why Pinker's optimism matters [08:00] The hidden rules of communication and “weasel words” [10:00] Why we hint, wink, and avoid blurting the truth [13:00] “I love you” and the creation of common knowledge [16:00] How humor and laughter level the playing field [20:00] Politics, laughter, and social signaling [27:00] Bluffing, poker, and recursive thinking [31:00] Negotiation, honesty, and the limits of directness [38:00] Rational hypocrisy vs. radical honesty [42:00] Stock markets, speculation, and public knowledge [47:00] The toilet paper paradox: when panic becomes reality [56:00] Why intimacy can't be legislated [01:00:00] Trade-offs, awareness, and flexible social norms [01:01:00] The “Sagan Curse” and being a public intellectual [01:04:00] The logic behind life's unspoken rulesAdditional ResourcesSteven Pinker – When Everyone Knows That Everyone Knows: Common Knowledge and the Mysteries of Money, Power, and Everyday LifeSteven Pinker – The Better Angels of Our Nature: Why Violence Has DeclinedSteven Pinker – Rationality: What It Is, Why It Seems Scarce, Why It MattersSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

After Camper Van Beethoven performed the final show of its recent tour in Washington, D.C.—and perhaps its last show ever—violinist/multi-instrumentalist Jonathan Segel returned to Stockholm, Sweden, where he has lived for the past 13 years. Segel is well traveled as a musician and otherwise, having been born in Marseille, France, grown up in Davis, Calif., and played with Sparklehorse as well as the Øresund Space Collective and on solo projects. He was a key element, if not the sparkplug, in the classic Camper Van Beethoven lineup until, he says, frontman David Lowery dismissed him before the band recorded Key Lime Pie and then broke up altogether. Segel recalls how he found his place in a band that would shift from ska to klezmer music to crunching rock within a few measures. He describes the band's rise, his departure, how he and Lowery patched things up and whether the far-flung bandmates might record or perform together again. (Photo by Bengt Alm)

Interview with Lucas Ward and Elisa Fantini of The Silver Snails.  The Silver Snails are a fully independent pop music project based in the medieval wine country of Romagna, Italy, with strong ties to the West Coast. Anchored by the husband and wife team of Lucas Ward and Elisa Fantini, their mission is to open human hearts through song. The Silver Snails draw from a diverse palette of musical influences including classic rock and pop, Beethoven, electronica, Irish, jazz, Nigerian, Kawali, Asian folk music, and more. Silver Snails's Info:  https://www.thesilversnails.com    

We close out our Westerns series with a review of dueling Wyatt Earps. On one side, we have an absolute shitshow of a production saved at the last moment by two powerhouse actors and some absolute perfect melodrama. On the other side, we have Kevin Costner giving the most soulless performance of his life. This is a real contrast, one destined for cable classic status and one that really could just be wiped from the face of the earth. Take the long walk to the OK Corral with us as we watch Tombstone and Wyatt Earp on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "Main Theme" from the film Tombstone, written and composed by Bruce Broughton. © 1993 Hollywood Pictures. Excerpt taken from "Main Theme" from the film Wyatt Earp, written and composed by James Newton Howard. © 1994 Warner Bros. Entertainment Inc. All Rights Reserved.

Author Ian Johnson talks about how he returned to China in 2009 to write his books ‘The Souls of China' and ‘Sparks,' which both deal with China's search for meaning.About Peking HotelThe Peking Hotel podcast and newsletter are digital publications in which Liu He interviews China specialists about their first-hand experiences and observations from decades past. The project grew out of Liu's research at Hoover Institution collecting oral history of China experts living in the U.S. Their stories are a reminder of what China used to be and what it is capable of becoming.Podcast music Piano Sonata No. 1 in F Minor, Op. 2, Artlist Classics, Ludwig van Beethoven, Raviv Leibzirer, Artlist Original Music Get full access to Peking Hotel at pekinghotel.substack.com/subscribe

Much of the material in this podcast is related to Grant Cameron's books Tuned-In, Inspiration, Contact Modalities, and Paranormal Music.Podcast Description: The Download: Where Truly Great Ideas Come FromWhere do our most brilliant, game-changing ideas actually come from? We like to believe they're the product of our own hard work and genius, but what if the greatest breakthroughs in history—from timeless songs to world-changing inventions—aren't created, but received?In this episode, we dive into the mysterious source of creativity, exploring the compelling theory that the human brain is less an originator and more a sophisticated receiver, tuning into ideas that already exist in a non-local field of consciousness. We trace the history of this concept, from the muses of ancient Greece and Socrates' guiding “demon,” to the pivotal Renaissance shift where we stopped having a genius and started being one. This ego-centric view, we argue, might be the very thing blocking the signal.Through stunning, firsthand accounts, we explore the evidence:Paul McCartney waking with the fully-formed melody of “Yesterday” in his head, convinced it was a memory, not an original creation.Bono dreaming a complete song that sounded like Roy Orbison, only for Orbison to unexpectedly appear and ask for a new track.The Guess Who spontaneously channeling their hit “American Woman” in a live jam, unaware they were even creating a song.Nikola Tesla visualizing his complex inventions in perfect, minute detail before building a single prototype.We then investigate the mechanism: how does the brain act as a receiver? The key seems to be silencing the analytical, self-doubting ego. We examine the power of the hypnagogic state between sleep and waking, the disciplined receptivity of deep meditation as practiced by Carlos Santana, and even shocking scientific evidence where temporarily inhibiting the brain's left hemisphere can unlock savant-like abilities.Finally, we meet the modern creators who maintain active relationships with their non-physical guides, from Joni Mitchell and her muse, “Art,” to the extraordinary case of Rosemary Brown, a housewife with no musical training who channeled new compositions from deceased masters like Liszt and Beethoven.This journey challenges our deepest assumptions about originality, ownership, and the very nature of creativity itself. If the best ideas are downloads, then the creator's real work is not to struggle, but to become a clear, quiet, and receptive vessel. Join us as we learn how to quiet the noise and tune in.Grant Cameron Websitewww.presidentialufo.org

Chuck Berry famously sung for Beethoven to roll over and make way for rock and roll. But coming up on the 100th anniversary of his birth, the SLSO will pay tribute to the St. Louis musical icon in a pair of concerts this weekend. STLPR's Jeremy Goodwin talks to some of the rockers who will be playing with the orchestra.