Podcasts about brahms

The great and somewhat controversial conductor Leopold Stokowski said this about Tchaikovsky: "His musical utterance comes directly from the heart and is a spontaneous expression of his innermost feeling. It is as sincere as if it were written with his blood." I couldn't agree more with Stokowski, because I think he hits on a word that has made Tchaikovsky's music so powerful to almost every audience that encounters it: sincere. Tchaikovsky's music is so profoundly moving because you feel as if there is no gap between the music and Tchaikovsky's emotions. It's as if he is earnestly speaking to you through his music. But paradoxically, this ability that Tchaikovsky had made him a punching bag of critics and cynics throughout his career and even into today. Even though Tchaikovsky remains one of the most popular composers in the Western Classical canon, his name is still not treated with the respect of a composer like Beethoven or Brahms or other luminaries. I understand that, but I also think Tchaikovsky's skills as a composer are extremely underrated, which brings me to Tchaikovsky's 6th and final symphony, nicknamed the "Pathetique." Tchaikovsky's 6th symphony essentially rewrites the traditional symphonic form. It is one of the few 19th century symphonies that end quietly, and that ending is one of the most extraordinary and daring in the entire repertoire. It is a piece of remarkable complexity and brilliant construction, and it packs an emotional wallop that leaves you walking out of the hall slightly changed from the way you walked in. In fact, this piece is so multi-layered that I wanted to devote some extra time to it, so I've decided to make this a two-part episode. This week, we're going to talk about the controversies over Tchaikovsky's emotional state as he composed this symphony, and the first two movements of the piece: a massive, 17-minute first movement that ingeniously melds multiple different symphonic forms into one long breath, and a waltz with a twist. We'll get into a lot more detail than we usually do, giving us a chance to really give Tchaikovsky the respect he deserves.  

The rich-voiced and expressive Hungarian mezzo-soprano Júlia Hamari celebrated her 83rd birthday last November, and in honor of that event, I produced an episode which originally appeared only on Patreon, but which I bring to you today as a belated birthday tribute. I've put together a program that serves mostly as a tribute to her as a song recitalist (with a nod as well to her matchless accomplishment as a Bach singer). Drawing on both studio and live recordings made over the course of nearly 30 years, I feature Hamari singing the songs of Brahms, Beethoven, Haydn, Debussy, Mahler, Schubert, and Wolf, as well as the original songs and folk song arrangements of her compatriots Zoltán Kodály and Béla Bartók. Hamari's rock-solid technique, maple-colored voice, and musical acuity reveal her as a true and humble servant of music. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Johann Strauss: L'empereur de la valse - Hélène de LauzunJohann Strauss est le compositeur du Beau Danube bleu, œuvre jouée et célébrée à travers le monde entier depuis sa création. Par sa capacité à incarner avec élégance une inépuisable joie de vivre, sa musique parle aujourd'hui encore au cœur de tous et fait désormais partie de notre patrimoine universel.La destinée de Strauss est peu commune : il grandit à l'ombre de son père, modèle haï et adoré, qui lui apprend la musique et dont il devient le premier rival. Strauss occupe pendant cinquante ans la scène viennoise – qui rivalise avec Paris –, associe sa mère et ses frères à son entreprise à succès et finit par se rendre indispensable dans toutes les cours européennes. Son don sans pareil pour la composition fait l'admiration de Wagner, Brahms et Verdi.Alors que l'on célèbre les deux cents ans de la naissance de ce génie de la musique, Hélène de Lauzun nous emmène à la découverte de son existence foisonnante. Indissociable de la ville de Vienne qui l'a vu naître, son itinéraire nous entraîne dans les fêtes, les cafés et les salles de bal, de la cour impériale au plus modeste des cabarets.Hélène de Lauzun est notre invitée en studioHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Consider taking out a paid subscription to The Piano Maven podcast via our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenJed talks about Piotr Anderszewski's Warner Classics release devoted to a probing selection of late Brahms piano pieces, while also exploring comparative performances of certain works. Here are links to several of the comparisons cited in this episode:Op. 118 No. 2 – Anderszewski - https://www.youtube.com/watch?v=VpISuRuqylcOp. 118 No. 2 – Emanuel Ax - https://www.youtube.com/watch?v=MLBwPu8tiPQOp. 116 No. 5 – Anderszewski - https://www.youtube.com/watch?v=c2Kivfkxq_YOp. 116 No. 5 – Wilhelm Kempff - https://www.youtube.com/watch?v=PMGg-IDhLYsOp. 116 No. 5 – Elena Kuschnerova - https://www.youtube.com/watch?v=c3rg7wcUrvwOp. 117 No. 2 – Anderszewski - https://www.youtube.com/watch?v=7saFNzKdDjUOp. 117 No. 2 – Walter Gieseking - https://www.youtube.com/watch?v=BdLeYOPHRkE

Brahms tenia la clara voluntat d'integrar el viol

Ist das überhaupt ein Klavierkonzert? Ein Kritiker spottet: eher eine „Sinfonie mit obligatem Klavier“. Brahms' 2. Klavierkonzert sprengt alle Erwartungen – monumentale 50 Minuten, sinfonische Wucht und ein Klavier, das manchmal lieber schweigt ... Von Michael Lohse.

Johannes Brahms (1833–1897) – Sechs Quartette per quattro voci e pianoforte Op. 112 1.      Sehnsucht (testo di Franz Kugler)2.      Nächtens (testo di Franz Kugler)3.      Himmel strahlt so helle (Zigeunerlied - testo ungherese, adatt. Hugo Conrat)4.      Rote Rosenknospen (Zigeunerlied - testo ungherese, adatt. Hugo Conrat)5.      Brennessel steht am Wegesrand (Zigeunerlied - testo ungherese, adatt. Hugo Conrat)6.      Liebe Schwalbe, kleine Schwalbe (Zigeunerlied - testo ungherese, adatt. Hugo Conrat) Edith Mathis, sopranoBrigitte Fassbaender, mezzo sopranoPeter Schreier, tenore Dietrich Fischer-Dieskau, baritono Karl Engel, pianoforte

In this deeply personal and wide‑ranging episode of Equine Assisted World, Rupert Isaacson speaks with longtime colleague and friend Karla Brahms of Wellenreiter in the Odenwald, Germany — a region steeped in myth, forest, and living horse culture.What begins as a conversation about equine‑assisted practice unfolds into an intimate exploration of grief, love, resilience, and the sacred role horses play in helping humans navigate life's darkest passages.Karla shares her evolution from decades of forest‑based therapeutic riding with children into her current work integrating NIG (Neuro‑Imaginative Gestalt) constellation methods with horses. Through spontaneous drawing, embodied awareness, and equine presence, she helps clients access inner wisdom beyond intellectual processing.The conversation then turns to the death of her husband, musician Jan, and the profound grief that followed. Karla speaks openly about ritual, laying out the body at home, identity loss, and how horses — through presence, warmth, and simple being — helped her remain anchored in the present.This episode explores what modern culture has lost around death and ceremony — and how horses may help us reclaim a more honest, embodied relationship with grief.If you want to support the show, you can do so at Patreon: https://www.patreon.com/LongRideHome

durée : 01:58:11 - Musique matin du mardi 24 février 2026 - par : Jean-Baptiste Urbain - À 25 ans, Paul Zientara sort un premier récital au disque consacré à Brahms, avec le pianiste Arthur Hinnewinckel. L'altiste, très demandé en musique de chambre, sera notamment au Festival de Pâques d'Aix-en-Provence pour jouer avec son mentor, Renaud Capuçon. Rencontre avec une nouvelle étoile. - réalisé par : Phane Montet Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Das Cellospielen war ihr in die Wiege gelegt. Und das nicht nur, weil der Cellokasten beim Fangenspielen so ein gutes Versteck ist. Schon ihr Vater hat im berühmtem Hagen-Quartett das Cello gestrichen. Mittlerweile ist Julia Hagen (*1995) zum Cello-Shootingstar avanciert und tritt selbst mit dem Quartett des Papas auf. Julia Hagen ist fest davon überzeugt, dass man den Inhalt eines Liedes auch dann verstehen kann, wenn die Melodie nur ausdrucksstark genug von einem Cello gespielt wird. Lieder von Brahms und Schubert hat sie mit in die Sendung gebracht, aber auch Volksmusik aus ihrer österreichischen Heimat und Songs von den Beatles (natürlich gespielt von einem Cello-Ensemble).

durée : 00:25:26 - Paul Zientara, altiste - À 25 ans, Paul Zientara sort un premier récital au disque consacré à Brahms, avec le pianiste Arthur Hinnewinckel. L'altiste, très demandé en musique de chambre, sera notamment au Festival de Pâques d'Aix-en-Provence pour jouer avec son mentor, Renaud Capuçon. Rencontre avec une nouvelle étoile. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:28:45 - Les Midis de Culture - par : Marie Sorbier - Après ses interprétations de renommée de Bach, Beethoven ou Mozart, le pianiste Piotr Anderszewski consacre son nouvel album à Brahms, reprenant douze pièces écrites à la fin de la vie du compositeur. - réalisation : Laurence Malonda - invités : Piotr Anderszewski Pianiste

Buffalo String Works Development Manager, Whitney Dann and Outreach & Engagement Manager, Aye Min Thant visited the Flamingo Lounge on February 10, 2026. n March 2014, a performance at Buffalo's P.S. 45 revealed a profound truth: music transcends language. After hearing Brahms, a young student poignantly identified the music's theme as "love," prompting founders Elise Alaimo, Yuki Numata Resnick, and Virginia Barron to address a critical gap in local arts education. What began in September 2014 as a modest program for 17 violinists has evolved into a cornerstone of the Buffalo arts community. Now celebrating its tenth anniversary, Buffalo String Works provides comprehensive string instruction to 160 students across three campuses, dedicated to fostering excellence and community through music.

Brahms spent much of his adult life battling with his ambition to write the next great symphony and his terror at the shadow of Beethoven standing behind him. Brahms tortured himself for 14 years with his first symphony, and only published it when he was 49 years old. But when that symphony finally came out, it was a relative success for a new work, and with immense relief, Brahms quickly turned out another symphony in just 4 months.  Brahms' first symphony was quickly dubbed "Beethoven's 10th" something that annoyed Brahms to no end.  When told that the main theme of the last movement  resembled the Ode to Joy,  he notoriously responded, "any ass can see that!"  But all the same, Brahms had been re-anointed as Beethoven's successor with the symphony, and so therefore his second symphony would also be given a Beethovinian name, Pastoral.  The question since the symphony has been written has been this: just how pastoral and idyllic is this symphony? Many commentators see an unadulterated joy and gentleness in the piece, with some melancholy moments to be sure.  But overall, the piece is as sunny as it seems on its surface, with just the typical battles between happiness and sadness that mark every symphony. But there's another school fo thought with this symphony, and that is that it is marked by shadows and tremors that go way beyond simple sadness and happiness, and that these shadows and tremors leave a mark that can't be ignored.  I tend to believe in the second theory, but we're going to discuss this symphony with this framework in mind; whether this piece is as sunny as some people would have you believe, or if the shadows are the lasting impression we get as we walk away from the concert hall. We'll also discuss Brahms' innovations with form, and his evergreen ability to write some of the most stunning melodies on the planet. Join us!

BRAHMS: Sinfonía nº 4 en Mi menor, Op. 98 (39.25). Orq. Fil. de Berlín. Dir.: N. Harnoncourt. BACH: Preludio (Suite para violoncello solo nº 3 BWV 1009) (3.16). N. Harnoncourt (vc.).Escuchar audio

durée : 01:28:42 - invité : Fabrizio Chiovetta, pianiste - par : Aurélie Moreau - Interprète renommé pour son engagement total et la beauté de sa sonorité, Fabrizio Chiovetta nous parle entre autres des dernières pages pour le piano de Brahms (op 116 à 119), œuvres tardives au programme de son nouveau disque paru chez Aparté. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Brahms machte sich 1869 daran, eine erste Sammlung aus Ungarischen Tänzen zu komponieren, denen er weitere folgen ließ. BR-KLASSIK stellt sie mit dem Pianisten Andreas Groethuysen vor.

Con Mario Mora y Ana Laura Iglesias | El organista y colaborador de la Orquesta Nacional Daniel Oyarzabal tiene una importante cita este viernes: hacerse cargo del armonio, un particular instrumento, en la Pequeña Misa Solemnis de G. Rossini. Con él hemos charlado sobre esta cita, sobre instrumentos de teclado, repertorio, Bach y mucho más. Antes de ello, la visita obligada al Auditorio Nacional con Carlos Iribarren y la obra del mes: ¿el Concierto para Violín de Brahms o Así Habló Zaratustra de Strauss? ¡Tú eliges! Branded pódcast de la Orquesta y Coro Nacionales de España

Featured on Brahms: Mad Hatter Futurologist - by J. S. O'Keefe - narrated by Ed Errington The First Day of Law School - by Tony Meacham - narrated by Alistair Lloyd MEMVID 2047 - by Robert Howling Our Audio License AntipodeanSF Radio Show by Ion Newcombe is licensed under CC BY-NC-ND 4.0 Featured Music Johannes Brahms "Hungarian Dance Number 1" - Public Domain - Wikimedia Commons Funeral Brahms by Polka Madre is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License. Burn me Alive by Plastic Robot is licensed under a Attribution License. Radio Memory by dadala is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License.   Intro & Outro Music Celestial Navigation by Blue Dot Sessions is licensed under a Attribution-NonCommercial License

durée : 00:20:24 - Disques de légende du vendredi 13 février 2026 - Parmi les trois intégrales des Symphonies de Johannes Brahms gravées par Herbert von Karajan avec le Philharmonique de Berlin, celle de 1978 demeure la plus équilibrée. Un enregistrement légendaire qui témoigne d'une compréhension totale de cette musique par le chef et son orchestre. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:16 - En pistes ! du jeudi 05 février 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le pianiste et compositeur Hayato Sumino imagine un dialogue entre les œuvres de Chopin et ses propres compositions. De son coté, Viktor Soos, vainqueur du concours Robert Schumann en 2021, organise la rencontre entre les pièces pour piano des Schumann et celles de Brahms. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:16 - En pistes ! du jeudi 05 février 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le pianiste et compositeur Hayato Sumino imagine un dialogue entre les œuvres de Chopin et ses propres compositions. De son coté, Viktor Soos, vainqueur du concours Robert Schumann en 2021, organise la rencontre entre les pièces pour piano des Schumann et celles de Brahms. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:05 - Jakub Hruša, la fougue et la rigueur - par : Aurélie Moreau - Jakub Hrůša, entre autres directeur musical de l'Opéra royal de Covent Garden et à partir de 2028, de l'Orchestre Philharmonique Tchèque, est réputé pour sa direction énergique, précise et nuancée. Aujourd'hui: Suk, Dvořák, Brahms, Mahler, Bruckner… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

DescriptionTheme and Variations: Order vs. Imagination in 60 Seconds. Take a minute to get the scoop!Fun FactSome variation sets were written as showpieces to prove compositional skill. Brahms once joked that anyone could write a good theme, but only a real composer could write convincing variations. Beethoven agreed—he used the form repeatedly when he wanted to demonstrate both discipline and daring in equal measure.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.Support the show

durée : 01:27:49 - En pistes ! du lundi 02 février 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On débute la semaine avec le maître du romantisme allemand : sonates et lieder sont au coeur des albums des altistes Mihai Cocea et Arnaud Thorette. Vous entendrez aussi l'album du pianiste irlandais Finghin Collins entièrement enregistré sur un piano Pleyel 280 de 1937. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:27:49 - En pistes ! du lundi 02 février 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On débute la semaine avec le maître du romantisme allemand : sonates et lieder sont au coeur des albums des altistes Mihai Cocea et Arnaud Thorette. Vous entendrez aussi l'album du pianiste irlandais Finghin Collins entièrement enregistré sur un piano Pleyel 280 de 1937. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Kenneth Hamilton picks his favourite of Brahms's Paganini Variations.

The botanist Dr Sandra Knapp is a senior researcher at the Natural History Museum - but that title doesn't convey the sheer adventure of her work. She's a kind of Indiana Jones of the plant world, travelling to remote regions of Central and Southern America and beyond. Her speciality is the Solanum genus, which includes potatoes, tomatoes and aubergines – and she has found and named more than a hundred new varieties. The rainforests, where she has worked for more than 40 years, are a long way from the dry rural deserts of New Mexico, where she was born. Her music choices include works by Mozart, Brahms, Hindemith and Holst, as well as music inspired by the biodata of some of her beloved plants. Presenter Michael Berkeley Producer Katy Hickman

B wie bekannte Komponisten: Bach, Beethoven, Brahms oder die Beatles beruhigen Dich und bringen Dich behaglich ins Bett.Diese Stücke hast Du in der Folge gehört:Bach, Johann Sebastian - "Klavierkonzert f-Moll (Largo)" //Bear's Den - "Gabriel" //Beethoven, Ludwig van - "Klavierkonzert 5 (2. Satz)" //Brahms, Johannes - "Intermezzo Es-Dur" //Beatles - "Let it be" //Den Podcast "Bergfreundinnen" vom BR findest Du hier:https://1.ard.de/BergfreundinnenWenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib ihm eine Mail: playlist@ndr.de

durée : 00:13:24 - Le Disque classique du jour du mardi 27 janvier 2026 - Dans son nouvel album, le pianiste Kenji Miura explore la «Heimat», ce mot allemand qui définit l'idée du « chez-soi ». Lauréat du Concours Long-Thibaud-Crespin et installé à Berlin après un parcours international, le musicien propose un programme où se mêlent intensité, tendresse et réflexion. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:13:24 - Le Disque classique du jour du mardi 27 janvier 2026 - Dans son nouvel album, le pianiste Kenji Miura explore la «Heimat», ce mot allemand qui définit l'idée du « chez-soi ». Lauréat du Concours Long-Thibaud-Crespin et installé à Berlin après un parcours international, le musicien propose un programme où se mêlent intensité, tendresse et réflexion. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

I'm sure many of you balked when you saw the title of this episode: “But Daniel: Schubert wrote no orchestral songs!” And of course you would be correct. And yet, what about when other composers orchestrate his songs? Therein lies the content of today's episode. Historical evidence from some of Schubert's contemporaries and closest associates indicate that he was strict in both tempo and affect in the performance of his Lieder. And yet, in the later 19th century (and beyond) many of his songs were orchestrated by such masters of orchestral color as Reger, Berlioz, Brahms, Liszt, Weingartner, and Mottl. In the twentieth century, individual songs have been orchestrated by such unexpected composers as Britten and Webern. In the late 1970s, Hermann Prey and conductor Gary Bertini made two LPs of the first recordings of these orchestrations and they make for fascinating listening, as these songs are transformed from the distinct genre of Klavierlieder to that of Orchesterlieder. These two records are supplemented by excerpts of  a recording of a live performance by Hermann Prey of the world premiere of an orchestrated version of Winterreise by Japanese composer Yukikazu Suzuki. Even less than a year before his death, Prey's connection to the music of Schubert remains palpable, and the slight vocal vulnerabilities from that performance serve only to intensify and deepen Prey's interpretation. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

durée : 01:29:04 - Relax ! du lundi 19 janvier 2026 - par : Lionel Esparza - 1868 est un grand millésime pour la musique romantique. De Munich à Paris, les salles de concert vibrent au rythme de créations majeures : le triomphal Requiem allemand de Brahms, l'éclatante première des Maîtres Chanteurs de Wagner, la 1ère Symphonie de Bruckner et le Concerto n°2 de Saint-Saëns. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:05:03 - Classic & Co - par : Anna Sigalevitch - Présentation par Anna Sigalevitch des pièces tardives pour piano de Brahms par Piotr Anderszevski, un disque qui vient de paraître chez Warner Classics, et il sera en récital avec ce programme le 2 février à la Philharmonie de Paris. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Die späten Klavierstücke von Johannes Brahms - Musik von unendlicher Poesie und Schönheit. Genau das Richtige für einen so skrupulösen Künstler wie den polnischen Pianisten Piotr Anderszewski. Ein wunderbares Album!

durée : 01:28:12 - En pistes ! du vendredi 16 janvier 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme : un disque Brahms pour le Philharmonique de Berlin sous la baguette de Kirill Petrenko, le premier album du jeune pianiste Alexander Malofeev et une intégrale de la musique de chambre de Ravel qui poursuit les festivités du centenaire de sa disparition. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:12 - En pistes ! du vendredi 16 janvier 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme : un disque Brahms pour le Philharmonique de Berlin sous la baguette de Kirill Petrenko, le premier album du jeune pianiste Alexander Malofeev et une intégrale de la musique de chambre de Ravel qui poursuit les festivités du centenaire de sa disparition. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This week it's time to hang out with Brahms in The Boy (20216) with The Hanna's! Jamie and Nikisha are joined by Hanna and Matt from Horror hour with the Hannah's to talk big swing twists, coping with loss, arrested development, female horror tropes, hunky grocery men, poorly timed letters, and, of course, being a pro-Brahms podcast. Watch us on YouTube! Follow us on Instagram | Twitter | TikTok: @TalkHorrorPod Check out Horror Hour with the Hanna's on YouTube | TikTok | Instagram | Apple

durée : 01:27:59 - En pistes ! du mercredi 14 janvier 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le jeune ensemble Prattica di Musica et son chef Andrea Gavagnin nous font découvrir les premiers madrigaux, compilés dans le Premier Livre de la Sirène publié en 1530. Le répertoire pour piano sera aussi de la partie, avec le Concerto de Théodore Dubois et un album Brahms par Piotr Anderszewski. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:27:59 - En pistes ! du mercredi 14 janvier 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le jeune ensemble Prattica di Musica et son chef Andrea Gavagnin nous font découvrir les premiers madrigaux, compilés dans le Premier Livre de la Sirène publié en 1530. Le répertoire pour piano sera aussi de la partie, avec le Concerto de Théodore Dubois et un album Brahms par Piotr Anderszewski. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

The English contralto Alfreda Hodgson (07 June 1940 – 16 April 1992) has been featured numerous times on Countermelody and when I recently acquired a copy of her 1980 solo recital recording originally released on Pearl Records, I decided that the time was right to do a full episode on this rich-voiced, profoundly musical singer. Though she was equally superb in Bach, Mahler, Handel, and Elgar, I have chosen to focus on her performances of the music of Johannes Brahms, including superb recordings of the Alto Rhapsody, the Songs for Alto and Viola, the Vier ernste Gesänge, and a posthumously-assembled collection of his Lieder published under the title Mädchenlieder. Artists accompanying Hodgson include Bernard Haitink, Edward Downes, violist Ludmila Navrath, and her long-standing pianist, the late Keith Swallow. I begin the episode with brief examples of Hodgson singing (in English) the music of her countrymen Lennox Berkeley, Edward Elgar, and John Ireland in the company of Peter Pears, Gennady Rozhdestvensky, Steuart Bedford, and Alan Rowlands. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Links: Join our Word-of-the-year Art Party (or watch the replay!) Join the next Artist's Way Creative Cluster Pre-order Art Is How God Loves Us Original show notes:  Any other artists out there tired of thinking/talking/obsessing about marketing? This week, Merideth shares the first of a three-part series based on her words of the year. The first word—anti-hustle—calls her to a simpler, quieter, more harmonious way of life. She also answers a question about morning pages, all to the beautiful music of Debussy, Beethoven, and Brahms performed by Marnie Laird of Brooklyn Classical.  Leave us a question via email Join the FREE Artist's Way Creative Cluster Podcast Transcript

NEW YEAR RE-RELEASE ✨ Looking for creative inspiration as you step into a brand-new year? This episode is the perfect way to kick things off. Originally released as Episode 12, this conversation explores divine inspiration, creativity, intuition, and co-creation—powerful themes for anyone setting intentions, starting new projects, or opening themselves to what wants to come through next. Is divine inspiration real? Is creativity something the human brain generates—or something we channel from beyond ourselves? Join Jane and Sarah for a soulful, hilarious, and deeply moving conversation with Adam Barr, Emmy Award–winning writer and executive TV producer. Adam was nominated four times and won an Emmy for his work on Will & Grace, and has been a creative force behind many beloved television projects. Together, the trio dives into the magic of creativity and co-creation, exploring channeling in the arts, divine inspiration, and what it really means to collaborate with something greater than ourselves. Along the way, Adam and Sarah discover a shared love of legendary classical composers—cue chills, chicken skin, and full-body resonance—as Brahms and Schumann clearly make their presence known. The conversation also explores the emotional and energetic power of music and art, the importance of grounding and protecting your energy as a creative, and how to stay balanced while making meaningful work. This episode is packed with practical tips for creativity and intuition, psychic games to play with kids (and adults), and ways to test and strengthen your own intuitive abilities. As always, we land on a truth we love: whatever you're creating this year, you're not doing it alone. We are constantly, magically, and most definitely being supported from the other side. ✨ Memorable Quotes “Guide me, show me the way. Let's co-create. Let's make something great together.” — Adam “Just seeing it would blow up my whole spirit and tears would spring out of my face.” — Jane

durée : 01:58:42 - Concertos déconcertants - par : Christian Merlin - Point commun entre le Double Concerto de Brahms, le Triple de Beethoven, les Brandebourgeois de Bach, le Don Quichotte de Strauss, la Rhapsodie sur un thème de Paganini de Rachmaninov ? Ce sont des concertos atypiques qui dévient par rapport à la norme. Laissons-nous déconcerter ! - réalisé par : Marie Grout Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:28:40 - Concertos déconcertants (4/4) - par : Christian Merlin - Point commun entre le Double Concerto de Brahms, le Triple de Beethoven, les Brandebourgeois de Bach, le Don Quichotte de Strauss, la Rhapsodie sur un thème de Paganini de Rachmaninov ? Ce sont des concertos atypiques qui dévient par rapport à la norme. Laissons-nous déconcerter ! - réalisé par : Marie Grout Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:28:34 - Concertos déconcertants (3/4) - par : Christian Merlin - Point commun entre le Double Concerto de Brahms, le Triple de Beethoven, les Brandebourgeois de Bach, le Don Quichotte de Strauss, la Rhapsodie sur un thème de Paganini de Rachmaninov ? Ce sont des concertos atypiques qui dévient par rapport à la norme. Laissons-nous déconcerter ! - réalisé par : Marie Grout Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:28:46 - Concertos déconcertants (2/4) - par : Christian Merlin - Point commun entre le Double Concerto de Brahms, le Triple de Beethoven, les Brandebourgeois de Bach, le Don Quichotte de Strauss, la Rhapsodie sur un thème de Paganini de Rachmaninov ? Ce sont des concertos atypiques qui dévient par rapport à la norme. Laissons-nous déconcerter ! - réalisé par : Marie Grout Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Yes has been around for more than 55 years. They've made some of the world's best progressive rock music and even had some success on the pop charts. While The Wolf was living in London, he got to see Yes at Royal Albert Hall on the Close to the Edge 50 Tour which was a special night. It was there that he truly came to appreciate the talents of Jon Davison, the lead singer who is very close in age to your hosts. A friend of the late Taylor Hawkins, he does justice to classic Yes songs from throughout the catalog. After that show, The Wolf wanted to make sure he never missed his heroes again as long as Davison was fronting the band. On October 27, the boys came to his town and not only did he attend but he brought The Wolfcub, an aspiring guitar player, to see Steve Howe do his thing live. And they both loved the show (and The Wolfcub was handed an official Steve Howe guitar string!). They performed classics throughout the catalog and then after an intermission played Fragile in it's entirety straight-through, including big hits like Roundabout and Long Distance Runaround. But fan favorites like South Side of the Sky and Heart of the Sunrise really got the diehards on their feet! Steve Howe had his time in the sun on Mood for a Day and Geoff Downes had his spotlight doing the Rick Wakeman penned Cans and Brahms. Billy Sherwood showed why Chris Squire chose him to carry on his legacy, especially on The Fish and Jay Schellen kept them all in time. For those who wouldn't go because not enough original or heyday members are still in the band, we understand your argument. But this version of Yes fronted by Jon Davison delivers solid shows doing classics you love and the big screen behind them featuring Roger Dean artwork coming to life makes for a killer night out with Yes. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 1960s, Leonard Bernstein famously helped to popularize the music of a then relatively obscure composer, Gustav Mahler. His work, as well as the work of other conductors, made Mahler into a classical-music household name. Mahler's symphonies are played every year all over the world, and he is firmly ensconced in the so-called canon of standard orchestral repertoire. Would it surprise you to know that Franck's D Minor Symphony once had the same reputation? It was played almost every year by most major orchestras, it was recorded by all the great conductors, and it was a fixture of the canon just like a Brahms symphony. Nowadays you would be lucky if, outside of France and Belgium, you hear Franck's Symphony once every five years, if that. The truth is that, other than a short golden period for this symphony, it has either been controversial (around the time it was premiered) or ignored (nowadays), which is a real shame, since it is a glorious piece that I would argue is drastically underrated in our modern world. The symphony was radically innovative for its time, which probably explains some of the more virulent criticism it received, but even though those innovations now sound completely normal to our ears, they are still at the heart of what makes this symphony so profoundly satisfying to listen to. Ahead of my performances of the symphony in Lille this December, I wanted to dive in and explore this unfairly ignored masterpiece. In about 40 minutes of music in three grand movements, Franck pours his soul into this work. That phrase sounds a bit cliché, I know, but I really mean it; there is an earnestness about this music that I find deeply moving, and it is something we will explore together today. We will talk about Franck's late entry into the world of composition, his reputation as an organist, and the challenges he faced in finding acceptance as a composer. Along the way, we will discuss this gorgeous piece in all of its passion and intensity. Join us!