Podcasts about brahms

Historical hoarding, prodigious pianists, and feeling old, oh my! Emily covers Marion Stokes, an activist who took channeled her hoarding into an archival project that took over her life and has yet to be rivaled. Then, Kelley tells the story of child prodigy Clara Schumann who was praised by the likes of Mozart and Beethoven, inspired Brahms, and was one of the most successful musicians and composers of her time. Grab your magic black rectangle and shove it into the bigger black rectangle, because we're wining about herstory! Join the Funerary Cult: https://www.patreon.com/winingaboutherstory Sponsor a Glass of Wine: https://buymeacoffee.com/wahpod Get Merch: https://wining-about-herstory.myspreadshop.com/  

Jan Swafford is a distinguished American author and composer, known for his insightful biographies of great composers like Charles Ives, Ludwig van Beethoven, and Wolfgang Amadeus Mozart. With degrees from Harvard and Yale, he's made significant contributions to classical music literature. His works, including the Vintage Guide to Classical Music and "Language of the Spirit," reveal the rich narratives behind the music we love. His unique insights and deep understanding of these composers illuminate their artistic journeys in a way that resonates with both music lovers and scholars alike.In our conversation, we explore the fascinating lives of Haydn and Mozart, delving into their prolific output and the support systems that fueled their creativity. Jan highlights how Haydn composed to commission, leading to his astonishing catalog of works, while debunking myths about Mozart's talent and lifestyle. “He worked himself to death because his body couldn't handle it anymore,” Jan reflects on Mozart's relentless pursuit of excellence.[Subscriber Content] In the subscriber section, Jan shares his thoughts on Tchaikovsky and Brahms, revealing personal preferences and insights about their contrasting styles. He also reflects on the evolution of music through the lens of history, discussing how composers like Schoenberg and Stravinsky marked a shift in musical innovation. Jan emphasizes the importance of authenticity in composition, stating, "It has to come from your core; otherwise, it's no good." Prepare for a warm exploration of music's profound connections to the human experience, as Jan shares his unique perspective on these influential figures.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

If the exceptional Illinois-born contralto Carol Smith (20 February 1926 – 06 June 2021) has previously escaped your notice, now is the perfect opportunity to get to know her better. She began her career singing the music of Bach with the legendary Bach Aria Group, founded in 1946 by philanthropist, scholar, and collector William H. Scheide. Smith then went on for further vocal training in Italy, making her operatic stage debut in 1961 in Napoli. There followed a glorious operatic career as one of the world's leading dramatic mezzo-sopranos, with performances throughout Italy and Germany as well as with her home company in Zürich. She went on to become an esteemed and highly respected voice teacher on two continents. This episode digs deep into her recorded legacy, featuring cantata arias of Bach, Lieder of Brahms, arias by Gluck, Verdi, and Saint-Saëns, and scenes from Cavalleria rusticana, Roberto Devereux, and Penthesilea, a hidden early 20th-century masterpiece by Swiss composer Othmar Schoeck. No matter what repertoire Smith was singing, she was, by virtue of her chocolate-timbred voice, dramatic flair, and vocal glamour, power, and flexibility, a true Queen of Song. 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 journalist 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.

A cidade de Briançon, no coração dos Alpes franceses, se prepara para acolher a 20ª edição do Festival Violoncelles en Folie, que será realizada de 9 a 16 de agosto de 2025. Criado pelo violoncelista brasileiro Fernando Lima, o evento nasceu do desejo de oferecer um espaço dedicado ao encontro e à criação em torno do instrumento. Vinte anos depois, o evento tornou-se uma referência, reunindo artistas consagrados, jovens talentos e um público fiel que compartilha a paixão pelo violoncelo. “Esse ano o Violoncelles en Folie completa 20 anos. Ele nasceu nos Alpes, em torno de Briançon, como um pequeno encontro de violoncelistas”, recorda Fernando Lima. “Hoje, reúne cerca de 130 músicos e atrai mais de 4.000 espectadores. Tornou-se uma referência para o violoncelo na Europa”, completa. Segundo o idealizador, desde o início o objetivo foi cultivar a excelência artística em um ambiente de liberdade criativa e alegria. “Queríamos um espaço de expressão, onde a busca pela qualidade fosse acompanhada de leveza, de prazer em fazer música.” O Brasil ocupa um papel de destaque nessa trajetória. “Sempre teve um lugar especial no festival, porque tem um lugar especial para mim”, afirma Lima. “Ao longo desses 20 anos, cerca de 40 jovens músicos brasileiros passaram por residências em Briançon. Alguns ficaram e hoje são professores e artistas do festival.” Entre os nomes que construíram essa ponte cultural entre Brasil e França, estão o clarinetista Alison Pereira, os violoncelistas Diego Coutinho e Diego Cardoso, e o compositor Kali Akel, presidente no festival desde 2018. “Ele contribui de forma importante para enriquecer o repertório contemporâneo do violoncelo”, destaca. Para marcar a data, a programação de 2025 aposta em encontros musicais inspiradores. Ao lado de artistas franceses de prestígio — como o violoncelista Victor Julien-Laferrière e a violinista Manon Galy, vencedores do prêmio Victoires de la Musique — o festival receberá o virtuoso cavaquinista brasileiro Matheus Donato, em uma celebração da diversidade estética que marca o espírito do evento. “São concertos variados, com música clássica, jazz, música brasileira e sons do mundo inteiro. É um festival de encontros — e de muito amor pela música”, resume Lima. Entre os destaques da programação estão o Trio Zeliha, o duo formado por Julien-Laferrière e Théo Fouchenneret, o Tansman Cello Quartet, além de apresentações coletivas com artistas residentes que interpretarão repertórios que transitam de Schubert a Piazzolla, de Brahms ao tango contemporâneo. Uma experiência musical nas alturas Durante o dia, a Académie Violoncelles en Folie transforma Briançon e seus arredores em um laboratório vivo de formação musical. Crianças, jovens e adultos de diferentes níveis participam de aulas individuais, oficinas criativas, ensaios coletivos e projetos de música de câmara. No final da semana, os alunos dividem o palco com artistas consagrados. A experiência se desdobra entre 1.500 e 1.800 metros de altitude, integrando música, natureza e patrimônio arquitetônico local. O clarinetista Alison Pereira, um dos músicos brasileiros que passaram pela residência do festival e hoje atua como professor convidado, será protagonista de dois momentos especiais. Na programação oficial, participa de um trio ao lado do violoncelista Diego Coutinho e do acordeonista Jérémy Vannereau, com repertório que une Piazzolla, Chico Buarque e composições autorais de Vannereau. “Será um belo concerto, misturando estilos e timbres, do canto à música instrumental”, adianta. Pereira também assina o concerto de encerramento, no dia 16 de agosto, à frente de um grupo festivo criado especialmente para a ocasião. “É com muita felicidade que vejo chegar esse aniversário de 20 anos. O festival sempre contou com artistas brasileiros de renome e encanta o público com esse universo sonoro que traz à região. Agora é a nossa vez de contribuir com uma gota de alegria nesse grande vaso musical. Vamos fechar com festa: músicas dos anos 1980, Gilberto Gil e companhia, para todo mundo dançar”, celebra. O violoncelo e a voz humana O violoncelista Diego Cardoso participa das comemorações pelos 20 anos do festival, evento que acompanha sua trajetória artística desde 2007. Ao longo desses anos, Cardoso passou de aluno a professor, artista residente e convidado, consolidando uma relação duradoura com o festival. “Comecei como aluno e, com o tempo, retornei como professor, violoncelista em residência e artista convidado”, relata o músico. Entre os momentos marcantes de sua participação, destaca colaborações com o grupo Ansombro Nemesis, a equipe do Tempo de Brasil e o pianista César Birchner, além de outras experiências musicais e humanas que considera inesquecíveis. Cardoso também reflete sobre a natureza expressiva do violoncelo, instrumento que, segundo ele, se destaca por sua proximidade com a voz humana, tanto em tessitura quanto em timbre. “Quando a gente toca, ele vibra com o nosso corpo, e essa vibração cria uma conexão muito forte, como se os dois corpos, o do músico e o do instrumento, virassem um só”, explica. Para o músico, essa característica torna o violoncelo especialmente capaz de "transmitir emoções de forma direta e sensível ao público". Além de sua expressividade, o violoncelo é, segundo Cardoso, um instrumento versátil: “Pode cantar, acompanhar, fazer acordes, ser rítmico, até percussivo. É possível explorar muitos estilos e sons com ele”. Ainda assim, ele ressalta que a verdadeira magia do instrumento está na sua capacidade de "ressonar com quem toca e com quem escuta". Neste ano, sua participação no festival ganha um significado especial. Como artista residente, Cardoso está envolvido em diversas frentes: ensaios, aulas, concertos e interações com alunos e público. Um dos destaques será a estreia mundial de uma obra inédita do compositor Kali Akel, escrita especialmente para ele e para o festival. A peça, para violoncelo solista e orquestra de violoncelos, será apresentada pela primeira vez durante o evento. Acessibilidade e espírito comunitário Com ingressos a preços acessíveis — 20 €, com descontos para jovens e estudantes — o festival reafirma seu compromisso com a democratização do acesso à música de qualidade. Crianças de até 12 anos têm entrada gratuita, e há também a opção de passes semanais com tarifas sociais. A 20ª edição do Festival Violoncelles en Folie segue até 16 de agosto, em Briançon.

On the next Tuesday Concert with Sarasota Orchestra, pianist Jon Kimura Parker performs Beethoven's bold and expressive Third Piano Concerto and conductor Earl Lee leads the orchestra in Brahms' timeless Symphony No. 4 – all on a concert from this past April.

Johannes Brahms (1833-1897) - Fünf Lieder, Op. 71 1.       Es liebt sich so lieblich im Lenze!2.       An den Mond - 1:573.       Geheimnis - 4:484.       Willst du, daß ich geh'? - 7:045.       Minnelied - 9:27 Fischer-Dieskau, baritonoDaniel Barenboim, pianoforte

Stephen Kovacevich is one of the  most celebrated concert pianists of his generation. Since his Wigmore Hall debut in 1961 he has been known for his interpretations of Beethoven, Brahms, Mozart and Schubert. Stephen and I look back over his career and discuss his experiences as a soloist, chamber musician, recording artist and conductor, collaborating with many of the world's leading performers and orchestras. He and pianist Martha Argerich will be performing at the Wigmore Hall in October 2025 in a concert to celebrate his 85th birthday.

Rund 50 Minuten lang ist dieses berückend schöne Riesenwerk, es ist zugleich das am wenigsten bekannte der drei Klavierquartette von Brahms. Unter anderem mit diesem Stück stellte sich der Komponist dem Wiener Publikum vor, er selbst spielte die Uraufführung am 29. November 1862 im Musikvereinssaal, zusammen mit Mitgliedern des Hellmesberger Quartetts aus Wien. Bis kurz davor feilte Brahms an dieser Komposition und änderte manche Stellen erheblich: Er passte etwa die Verteilung von Begleitfiguren im ersten und zweiten Satz an, was im Autograf deutlich zu erkennen ist. Dieses Quartett steht in der lichten Tonart A-Dur. Es ist insgesamt eher im lyrischen und innigen Ton gehalten, aber in diesem bisweilen idyllischen Stimmungs-Kaleidoskop tun sich auch immer wieder tiefe und dramatische Abgründe auf. So etwa im langsamen zweiten Satz, in welchem Brahms das Lied «Die Stadt» von Franz Schubert zitiert. Das Finale schliesslich ist ein freudig-tänzerisches Rondo «all'ongarese». Es ist eines der umfangreichsten Kammermusikwerke des Repertoires überhaupt und stellt grosse Anforderungen an alle Spielenden, sowohl in kleinen Details wie auch in der Gestaltung der sehr gross angelegten Form. Gäste von Moritz Weber sind die Cellistin und Nationalrätin für den Kanton Genf Estelle Revaz und der Pianist Benjamin Engeli. Erstausstrahlung: 08.04.2024

In 2016; a horror movie called “The Boy” was released.  It's about a young woman named Greta, who was hired as a nanny for who she thinks is a little boy.  In reality, Greta's employers want her to care for a life sized porcelain doll named Brahms.  This doll was a replacement for the couple's real child, who died in a fire years before.  Soon strange things start occurring; and at the film's climax, the viewer learns that the real life Brahms did not die at all.  He escaped the fire, and he was living inside the walls of his parent's home for years.  And then…well…you need to watch this movie to find out. This movie makes for a good scare, but imagine for a moment that you discovered someone hiding behind the walls of your house.  For one family, this was a terrifying reality. So close your windows, and lock your doors my spooky friends.  You are about to hear a story that will make you wonder if you are really safe in your own home.  But before we get started, I want to give you all a heads up.  Today, we will be talking about child abuse, sexual assault, and the murder of children and adults.  Listener discretion is advised. Our website is the one stop spot for everything spooky!  Go to https://horrifying-history-shop.fourthwall.com to watch our history videos, find our social media links, read our spooky blog, get yourself some great creepy merch, and to join our fan club! If you are a member of our fan club – you will receive a permanent discount in our store while you are a fan club member.    

Questa edizione è dedicata alla musica, alla cultura e alla meraviglia degli incontri inaspettati. Siamo in Val Calanca, dove ogni tre anni la musica diventa lingua universale e il paesaggio si trasforma in palcoscenico. Torna infatti il Festival Demenga, che nel 2025 raggiunge la sua settima edizione.Otto concerti, una mostra suggestiva, una visita guidata… ma soprattutto un filo rosso: l'intreccio tra musica popolare e musica classica. Due mondi che sembrano lontani, eppure – ascoltando bene – parlano la stessa lingua: quella della memoria, della terra, dell'emozione. Dalle danze slave di Dvořák ai ritmi ungheresi rielaborati da Brahms, la musica ci racconta che la tradizione popolare è stata – e resta – linfa per la grande arte.Dal 2 al 9 agosto, la Val Calanca risuonerà di suoni antichi e contemporanei, con artisti di fama internazionale e la direzione artistica della famiglia Demenga, anima di questo festival che ha saputo ritagliarsi un posto speciale nel panorama musicale svizzero.Il Festival Demenga è pronto a sorprendere ancora, intrecciando passato e presente, gesti e suoni, corpi e strumenti. Dal 2 al 9 agosto. Ricordiamo che il programma completo è disponibile sul sito ufficiale festivaldemenga.ch.

durée : 01:28:47 - Lawrence Power, un altiste éclectique et inspiré - par : Aurélie Moreau - Altiste de renommée internationale, Lawrence Power est célèbre pour la richesse de sa sonorité, sa maîtrise technique et son engagement passionné en faveur de la musique nouvelle. Aujourd'hui : Brahms, Walton, Britten, Berlioz, Arthur Benjamin… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

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

This past April, my former voice teacher and treasured friend Joan Caplan died at the age of 92. A few weeks ago, family and friends organized a memorial gathering for which I produced a short audio tribute, which is heard at the beginning of this episode. Before the event, we heard a number of recordings of Joan in her prime that absolutely knocked me on my ear. I was kindly given copies of these recordings from which I have fashioned an expanded episode in her honor. Most of these recordings have simply never been heard before, but I know that Joan was very proud of the work that she did during her active singing career, before she dedicated herself wholeheartedly to her teaching. Her rare live recordings of arias by Handel, Verdi, Donizetti, Purcell, and Hasse display her magnificent technique, while excerpts from her song recitals, including music by Brahms, Mahler, Montsalvatge, and Glanville-Hicks, display her versatility as well as her interpretive insight. I also share personal insights and reminiscences of Joan which will, I hope, reveal the special relationship that I shared with her, which many of her students, friends, and chosen family also experienced. When I last visited Joan, I promised her that I would do what I could to ensure that she would be properly remembered. With this episode, I do my part, to the best of my ability, to keep that promise. 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 journalist 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.

Why might a symphony night pair just as well with your wine as a heavy metal ballad? What is “sonic seasoning” and how can music impact the way we experience the taste of wine? How are sensory experiences like music, taste, and atmosphere all connected? In this episode of the Unreserved Wine Talk podcast, I'm chatting with Susan Lin, a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology. You can find the wines we discussed at https://www.nataliemaclean.com/winepicks   Highlights What did Susan's grandfather teach her about fine beverages and hospitality? How did playing piano in hotels as a child shape Susan's perspective on the holistic nature of our sensory experiences? Is there a connection between Susan's backgrounds in tech, music, and wine? When did Susan decide she wanted to dive deeper into the intersection between music and wine? What makes a wine "musical"? How do cross-modal correspondences impact wine tasting? Why was Brut Non-Vintage Champagne Susan's choice for her research paper? What is "sonic seasoning" in the context of wine and music? What was Susan's most memorable wine and music pairing event? What might surprise you about the intersection between classical music and heavy metal? How did Susan set up her experiment to observe how music affected participants' perceptions of the wine they were tasting?   Key Takeaways Susan says she was always encouraging a Bach goth night at the symphony to bring people together. I like to say, whether my Brahms is your Metallica or vice versa, music can make such a difference in what you're feeling. Hence, if you got a glass of wine, what you're tasting in that glass, right? I've actually done a few experiments with heavy metal. People feel a lot of things, and there are ballads in metal. It's not just your typical really assertive sound all the time. It can be really soulful too and I noticed a lot of use of medieval melodies and folk songs in the ballads that are really nice. So not too far of a distance between Brahms and Metallica in that sense. Susan explains that if you're listening to something that might add a little bit of pizzazz here or there to your wine, like seasoning can do. It's more of a fun term, not a scientific term. All classical composers experienced all the emotions and all the feelings that we all do and it comes through in their music. Maybe they can be feeling joyful or melancholy or longing or frustrated or upset, and everything in between. So the nature of the seasoning is that it can run in many, many different ways. Susan observed during her performances how moods of the guests changed depending on what she played. Everything in the sensory world, all of our experiences, are really taken in holistically, right? It's not like, oh, we're just listening to this one thing and that's isolated. Oh, and we're tasting this one thing, we're smelling this one thing, and we're seeing something. It's all together. I knew that it was something special, and knew that it was something that I wanted to learn more about, or just somehow be a part of. And playing the piano in those situations actually was a great way for me to be a part of it.   About Susan R. Lin Susan R. Lin is a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology.         To learn more, visit https://www.nataliemaclean.com/346. Susan's MW research paper ‘Influences of Classical Music on the Sensory Perception of a Brut Non-Vintage Champagne' and subsequent work on the interaction of music and wine have been featured in Decanter, Food & Wine, GuildSomm, and others. Each of Susan's creations is rooted in academic research and inspired by a deep respect for the essence of wine and music.

durée : 01:28:52 - Grigory Sokolov, la puissance et la rigueur - par : Aurélie Moreau - Pour Grigory Sokolov, immense pianiste, « l'essence de l'interprétation, c'est l'amour profond que l'on porte à une pièce, assorti à la liberté intérieure de l'interprète. » (L'Humanité). Aujourd'hui : Brahms, Haydn, Mozart, Rachmaninov, Schubert… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Check out my newsletter at TKOPOD.com and join my new community at TKOwners.comI sat down with Daniel Cronauer again and we talked all things service & local business. We got into how he's opening his third gym right next to competitors and stealing their customers with simple tactics that actually work. We also talked about finding marketing shortcuts that cost almost nothing but drive real leads, how to use Facebook groups the smart way, and why most home service businesses never scale past two trucks. We even got into personal stuff like gratitude, childhood money trauma, and how those shape your mindset as a business owner.If you've ever gotten a newsletter from me, it was powered by Beehiiv. Built by the team behind Morning Brew, it's the only platform I've found that actually moves the needle. Go to beehiiv.com/chris and use code chris30 to get 30% off your first three months.You can find Daniel on Twitter at x.com/DanielCronauer and on LinkedIn.Timestamps below. Enjoy!---Watch this on YouTube instead here: tkopod.co/p-ytAsk me a question on or off the show here: http://tkopod.co/p-askLearn more about me: http://tkopod.co/p-cjkLearn about my company: http://tkopod.co/p-cofFollow me on Twitter here: http://tkopod.co/p-xFree weekly business ideas newsletter: http://tkopod.co/p-nlShare this podcast: http://tkopod.co/p-allScrape small business data: http://tkopod.co/p-os---00:00 Turning Ideas into Cash Flow03:03 Optimism and Market Strategy05:53 Marketing Tactics and Community Engagement09:06 The Importance of Action and Research12:01 Building a Business with Intent14:49 Curiosity and Gratitude as Business Drivers18:05 Navigating Business Challenges20:52 Franchises vs. Entrepreneurship24:06 The Future of Business in a Competitive Market32:00 Brahms vs. Coldstone: The Cost of Vertical Integration34:22 Franchising: The Good, The Bad, and The Fit36:45 Scaling Home Service Businesses: The Key to Growth39:40 The Importance of Systems and Employee Empowerment41:33 Mission Statements: Purpose in Business43:28 The Employee-Employer Dynamic: Who Works for Whom?45:21 Creating a Positive Work Environment46:45 The Psychology of Business: Understanding Employee Needs48:40 Avoiding Time and Money Wasters in Business50:38 Investing in Real Estate: A Personal Journey52:54 Defining Success: Time vs. Money54:48 Diversification: The Value of Multiple Ventures56:15 The Launch Playbook: From Truck to Cash Flow

Der gebürtige Wiener Stephan Koncz ist ein Multitalent: Hauptberuflich Cellist bei den Berliner Philharmonikern, dirigiert und komponiert er auch. Jetzt hat Koncz für Daniel Ottensamer die beiden Klarinettensonaten von Johannes Brahms orchestriert und als Dirigent mit dem Deutschen Symphonie-Orchester Berlin eingespielt. Brahms neu gehört - das Album macht's möglich.

Interpreten: Anna ReichertLabel: Prospero ClassicalEAN: 4262353970638Johann Carl Eschmann – ein Name, der selbst eingefleischten Klassikliebhabern kaum geläufig sein dürfte. Und doch war der Schweizer Komponist ein hochgeschätzter Zeitgenosse von Mendelssohn und Brahms, letzterer empfahl ihn sogar persönlich seinem Verleger. Klaviermusik aus seiner Feder gibt es auf der jüngsten CD der Pianistin Anna Reichert kennenzulernen, die auch heute wieder Michael Gmasz näher vorstellt.Geboren in Winterthur, stammte Johann Carl Eschmann aus einer musikalischen Familie. Studiert hat er am renommierten Leipziger Konservatorium, unter anderem bei Felix Mendelssohn-Bartholdy und Ignaz Moscheles. Darüber hinaus pflegte Eschmann enge Kontakte zu bedeutenden Musikern seiner Zeit – darunter Richard Wagner, der ihm eine Serenade widmete, und Johannes Brahms, der ihn geschätzt und sogar seinem Verleger Simrock empfohlen hat. Und doch ist es ihm ähnlich ergangen, wie so vielen anderen auch. Er ist mehr oder weniger in Vergessenheit geraten. Seine Musik? Fein ziseliert, lyrisch, zurückhaltend – beeinflusst von Robert Schumann und seinem Lehrer Mendelssohn-Bartholdy. Seiner Wiederentdeckung hat sich nun die junge Schweizer Pianistin Anna Reichert verschrieben.Auf ihrem neuen Album „Licht und Schatten“ präsentiert Reichert eine Auswahl von Eschmanns Klavierwerken. Und das tut sie mit einer Hingabe, die berührt: charmant, nuancenreich, mit spürbarer Vertrautheit zur Musik. Jeder Ton wirkt durchdacht, jeder Phrasierungsbogen liebevoll gestaltet. Besonders hervorzuheben ist die Suite Licht und Schatten op. 62, die mit poetischen Titeln wie Sommernacht in der Veranda (am Zürichersee), Durch Wald und Flur oder Phantome eine fast bildhafte Klangwelt eröffnet. Auch die Werke aus den Zyklen Grillenfang, Trösteinsamkeit und Frühlingsblüten zeigen Eschmanns Gespür für Stimmungen und musikalische Miniaturen. Ihre intensive Beschäftigung mit ihrem Landsmann Eschmann drückt Anna Reichert auch im selbstverfassten Beihefttext aus, in dem sie uns den Komponisten auch persönlich ein wenig näherbringt. Wer also Lust hat, einen Komponisten neu zu entdecken, der einst von den Großen geschätzt wurde, sollte unbedingt reinhören. (mg)

Teagan Faran is a remarkable violinist known for her versatility as a performer, composer, and improviser. In this episode, you'll hear selections from her album Middle Child—a compelling and genre-spanning musical journey featuring works by acclaimed contemporary composers, as well as Tegan's own reimagining of Brahms' beloved Intermezzo.A Fulbright grant recipient, Tegan spent nine months in Argentina delving into the rich traditions of tango and regional folk music. She shared insights about her time there, along with stories of collaboration and mentorship, including her work with the Grammy-nominated ensemble Palaver Strings and the electroacoustic duo Persephone & the Phoenix.Tegan has also built a dynamic career as an educator and has studied under renowned teachers like Danielle Belen. In our conversation, we touched on her diverse teaching experiences, the importance of injury prevention, and her parallel path as a certified personal trainer. My website link takes you to the video and transcript.Teagan Faran WebsiteBuy me a coffee? Podcast merchOther episodes you may enjoy: Julie Lyonn LiebermanMeg OkuraMartha Mooke, bad snacks, and Margaret Maria among so many!photo: Naomi VandTimestamps:(00:00) Intro(01:53) album Middle Child with clip of Brahms Intermezzo(05:42) Davis West, with clip of Outermezzo, Deedee Bridgewater(08:44) Palaver Strings(15:58) FARAHMS Misha Vayman with clip(17:59) Persephone & the Phoenix Duo Nicole Brancato(22:51) Casimiro by Julián Granciano with clip, tango, learning in Argentina(28:31) Little Things album, sheet music with clip of El Silbador(34:22) other linked episodes and ways to support this series(35:11) stir crazy by Carlos Simon with clip, Leo Sussman(37:01) mentor Matt Albert(40:41) musical and personal identity(44:24) mentor Danielle Belen, concert presentation, teaching, Ithica, Sphinx(53:06) career advice, exploring instruments(56:29) Temptress Jens Ibsen with clip(59:37) personal trainer, avoiding injury

In deze aflevering, visueel ontwerper enanimator Cristina Garcia Martin. Ze vertelt over haar eerste crowdfund campagne voor een bijzonder project met animaties van haar hand, gebaseerd op de fresco's van Giotto (di Bondone), die inmiddels succesvol is afgesloten!De opname vond plaats in het Wereldmuseum in Amsterdam, in de keuken van de semipermanentetentoonstelling 'Raad van de Raaf', waar Cristina een groot aantal tekeningen en animaties voor leverde. Een doe-tentoonstelling voor klimaathelden, waar kinderen vanaf 6 'ideeën kunnen verzamelen voor een betere wereld'. Cristina werkt vooral met de hand, maar daarna kost het nog vele uren op de computer om het met de hand getekende werk te transformeren in een animatie die toch een analoge uitstraling heeft. Ze vertelt verder over animaties voor een concert van Brahms, gecombineerd met een vertelling, voor een voorstelling in onder meer het Amerikaanse Philadelphia. Cristina heeft sowieso veel verschillende opdrachtgevers, zoals een landgoed hotel en een wijnmaker. Een van haar favoriete opdrachten waren de animaties voor het klassieke sprookje Peter en de Wolf, voor een app van het Concertgebouw Orkest met digitale uitgeverij Follow a Muse, waarvoor zij ook een prijs ontving: De gouden apenstaart, toegekend door een kinderjury voor digitale producten. Naast animaties maakt zij ook af en toe illustraties, zoals voor Het Parool en voor een aantal boeken met Micha Wertheim. Een boek heeft een andere levensduur dan een animatie of een ander vluchtig medium, aldus Cristina. Een van haar eerste opdrachtgevers was, naastde VPRO, uitgeverij Plint, waarvoor zij verschillende illustraties maakte van dieren. Het dierenrijk, flora en fauna, dat zijn onderwerpen waar zij erg graag mee werkt en veel plezier uithaalt. Veel mensen waren ook onder de indruk van de animaties die zij maakte voor Maartje Duin; een ode aan Duin's vader, die sterrenwachter was en al jong Alzheimer kreeg. Gelukkig wordt zij van dingen maken, dagelijks kleine uitdagingen aangaan die niet verder reiken dan haar tekentafel en die lukken. Ga als mens de uitdaging aan, verleg steeds een beetje je grens en het gevoel dat volgt na zo een succesmoment, is waar Cristina gelukkig van wordt. En is tevens en mooie levensles voor iedereen natuurlijk! Benieuwd naar het werk van Cristina? Surf dan snel naar allthingsmoving.com voor een ware schatkamer aan illustraties en animaties en een overzicht vanhaar vele projecten.

We would love to hear from you, wherever you are!perfectpitchpod.comhttps://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

Geri Dönüyoruz'un 89. bölümünde Mahir Ünsal Eriş ve Töre Sivrioğlu'nun konuğu Memet Ali Alabora. Müzik Larousse serisinin yeni bölümü için bir araya gelen üçlü, Johann Sebastian Bach'ın oğullarından başlayan sohbette, Boccherini, Brahms, Bizet ve Brucker'e uğrayıp Borodin'e kadar ilerliyor.

Geri Dönüyoruz'un 89. bölümünde Mahir Ünsal Eriş ve Töre Sivrioğlu'nun konuğu Memet Ali Alabora. Müzik Larousse serisinin yeni bölümü için bir araya gelen üçlü, Johann Sebastian Bach'ın oğullarından başlayan sohbette, Boccherini, Brahms, Bizet ve Brucker'e uğrayıp Borodin'e kadar ilerliyor.

Consider making a donation to The Piano Maven podcast by subscribing to our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenLink to purchase recording - https://www.prestomusic.com/classical/products/9735901--kate-liu-plays-beethoven-brahmsLink to video of Kate Liu playing Brahms' Piano Sonata No. 3 - https://www.youtube.com/watch?v=-OwW0T1PvZMLink to Kate Liu 2022 Van Cliburn International Competition Quarterfinal Recital - https://www.youtube.com/watch?v=nliha96TliY

durée : 01:28:16 - Maxim Vengerov, éloquence et perfection instrumentale - par : Aurélie Moreau - Violoniste de légende, Maxim Vengerov est profondément enraciné dans la tradition des écoles de violon franco-belge et russe. La direction d'orchestre lui permet d'élargir ses horizons musicaux. Aujourd'hui : Glazounov, Brahms, Paganini, Mozart… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:53 - Le Quatuor de Jérusalem, la tradition de l'excellence - par : Aurélie Moreau - 2025 marque les 30 ans du Quatuor de Jérusalem qui a très vite acquis une renommée mondiale, jouant avec passion, précision et chaleur un large répertoire. Aujourd'hui : Chostakovitch, Brahms, Haydn, Dvořák, Schubert, Debussy, Schumann et Korngold. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Today we hear from a CMPI fellow and student at Midwest Conservatory in Schaumburg. Lily plays Brahms, Bach and Wieniawski; plus the Fantasy No. 1 of Japanese composer Ikuma Dan. The post Lily Yoshihara, 18, violin appeared first on WFMT.

Andrés Amorós dedica un cuarto programa a este pianista ruso muy respetuoso con la labor de los compositores. Andrés Amorós dedica este programa a las interpretaciones que Sviatoslav Richter realizó de Brahms y Debussy. Se subraya la filosofía del pianista ruso, que se consideraba a sí mismo un mero ejecutor al servicio de la obra, mostrando un respeto absoluto por la partitura y el compositor, por encima de cualquier lucimiento personal. Esta actitud le diferencia de otros virtuosos y define su enfoque artístico. En su acercamiento a Johannes Brahms, Richter exhibía una afinidad particular, prefiriéndolo incluso a Schumann. Su interpretación del Scherzo del Concierto para piano nº 2 es un ejemplo de su fuerza controlada y su renuncia al sentimentalismo. Richter aborda a Brahms con la potencia y la hondura requeridas, pero siempre manteniendo una sobriedad y una fidelidad extremas al texto musical. La selección de Claude Debussy demuestra la enorme versatilidad del pianista. Richter era capaz de adaptarse a estilos muy diferentes, recreando las atmósferas y el color del impresionismo francés. Se escuchan fragmentos de Cloches à travers les feuilles y L'Isle Joyeuse, piezas en las que el pianista logra evocar el misterio y la alegría jubilosa con una claridad y una técnica prodigiosas, sin perder la esencia etérea de la música. Finalmente, se destaca la figura de Richter como un artista único y enigmático, alejado de los circuitos comerciales y de la autopromoción. Su dedicación a la música por encima de todo queda reflejada en anécdotas como la creación de su propio festival en un granero en Francia, buscando la acústica y el ambiente perfectos. Se le recuerda como un intérprete puro más que como una estrella del piano.

There's a moment in Mel Brooks' “History of the World Part 1” where we're told that shortly after the first artists came the first art critics…..I'll leave you to determine what happens…. The music world is certainly not short of people with opinions in regards to others' ability to perform and provide nuance to the work they present for us as music lovers to listen to. In the classical world, interpretation of the canon of baroque, classical, romantic and modernist music can be a mystery to some of us who are not classically trained musicians.  There's no shortage of classical soloists who've captured the wider public's imagination, yet have their critics as well. Welcome to episode 128 of See Hear Podcast. Glenn Gould is regarded as one of the great pianists of the 20th century, known in particular for his love of and heavy focus on the composition of J.S. Bach. However, he wasn't unanimously revered. Pianist Alfred Brendel was vocally not a fan. Even Leonard Bernstein who did love Gould's approach  covered himself before a TV broadcast of a Brahms piano concerto by saying Gould's approach was not going to be for everybody. Therein lies the heart of the matter – when you depart from an accepted orthodox style of playing of the canon, you're going to upset people. Glenn Gould upset some people. BUT….the reason he is still being talked about was for what he DID, not what he didn't do. He's most famous for his first and last released recordings, Bach's Goldberg Variations (1955 and 1981). Even there his recordings are wildly different, and the latter upset some who championed the earlier recording. He's also remembered for his intellect and could discuss may other issues outside of music – something he did on radio and TV specials. In 1993, film director Francois Girard released a brilliant biopic / documentary called “Thirty Two Short Films About Glenn Gould”. Like its subject, the film takes a wildly different approach from the accepted norm of musician biopic. As the name implies, the film comprises of 32 shorts featuring narratives, interviews, performance and experimentation that provide a strong sense of Gould's character. There is a 3 act structure, but not in the usual way that you get in a conventional musician biography. June 2025 sees the reissue of the film by Criterion, and I was thrilled to welcome Francois to the podcast to talk about this film and Gould in general. Unfortunately, we couldn't coordinate the timing to have Tim or Kerry available, but I still had a fascinating conversation with Francois that I hope you find illuminating. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at ⁠http://pantheonpodcasts.com⁠ Send us feedback via email at ⁠seehearpodcast@gmail.com⁠ Join the Facebook group at ⁠http://facebook.com/groups/seehearpodcast ⁠ You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

There's a moment in Mel Brooks' “History of the World Part 1” where we're told that shortly after the first artists came the first art critics…..I'll leave you to determine what happens…. The music world is certainly not short of people with opinions in regards to others' ability to perform and provide nuance to the work they present for us as music lovers to listen to. In the classical world, interpretation of the canon of baroque, classical, romantic and modernist music can be a mystery to some of us who are not classically trained musicians.  There's no shortage of classical soloists who've captured the wider public's imagination, yet have their critics as well. Welcome to episode 128 of See Hear Podcast. Glenn Gould is regarded as one of the great pianists of the 20th century, known in particular for his love of and heavy focus on the composition of J.S. Bach. However, he wasn't unanimously revered. Pianist Alfred Brendel was vocally not a fan. Even Leonard Bernstein who did love Gould's approach  covered himself before a TV broadcast of a Brahms piano concerto by saying Gould's approach was not going to be for everybody. Therein lies the heart of the matter – when you depart from an accepted orthodox style of playing of the canon, you're going to upset people. Glenn Gould upset some people. BUT….the reason he is still being talked about was for what he DID, not what he didn't do. He's most famous for his first and last released recordings, Bach's Goldberg Variations (1955 and 1981). Even there his recordings are wildly different, and the latter upset some who championed the earlier recording. He's also remembered for his intellect and could discuss may other issues outside of music – something he did on radio and TV specials. In 1993, film director Francois Girard released a brilliant biopic / documentary called “Thirty Two Short Films About Glenn Gould”. Like its subject, the film takes a wildly different approach from the accepted norm of musician biopic. As the name implies, the film comprises of 32 shorts featuring narratives, interviews, performance and experimentation that provide a strong sense of Gould's character. There is a 3 act structure, but not in the usual way that you get in a conventional musician biography. June 2025 sees the reissue of the film by Criterion, and I was thrilled to welcome Francois to the podcast to talk about this film and Gould in general. Unfortunately, we couldn't coordinate the timing to have Tim or Kerry available, but I still had a fascinating conversation with Francois that I hope you find illuminating. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans la prestigieuse salle du Musikverein, à Vienne, en Autriche, temple de la musique classique connu des mélomanes du monde entier, se déroulent des concerts pas comme les autres. Des concerts Souvenir qui s'adressent aux personnes atteintes de démence. Le but est de réveiller leur mémoire, à travers la musique et ses émotions.  Cet après-midi, la magnifique salle Brahms du Musikverein de Vienne, en Autriche, accueille un concert un peu particulier, Souvenir, destiné aux personnes atteintes de démence et leurs accompagnants. Ils sont plusieurs dizaines à s'installer lorsqu'un trio de jeunes musiciens commence à jouer un programme spécialement conçu pour eux. Mélange de classiques et de variétés du 20e siècle. Une animatrice introduit chaque morceau et encourage même les spectateurs à chanter. On voit des mains en attraper d'autres, des têtes qui se posent sur l'épaule du voisin. C'est le but de ces concerts : réveiller les émotions et la mémoire des spectateurs. Pari réussi pour Elfriede, 84 ans, qui a quitté sa maison de retraite avec son accompagnant Walter. « J'ai toujours aimé me rendre à des concerts et celui-ci était beau, magnifique. J'ai aimé toutes les chansons. C'est toujours un plaisir et quelque chose de spécial au Musikverein. Je crois que je pourrais y aller tous les jours », confie-t-elle. « Par la musique, on peut toucher les personnes atteintes de démence au niveau émotionnel. Ces concerts permettent de bien travailler sur leur mémoire, car après, on en reparle. On leur demande de quoi ils se souviennent. Alors, on chante à nouveau ensemble certains morceaux du programme », abonde son accompagnant. Organisés depuis 2022, ces concerts sont bien fréquentés et pas uniquement par des personnes atteintes de démence. Peter, par exemple, accompagne son fils autiste, Alex. « Mon fils écoute des concerts sur YouTube toute la journée. C'est ce qui le calme. Certains autistes ne peuvent pas supporter quand il y a trop de bruit ou trop de personnes dans une salle. C'est pourquoi les gros concerts sont difficiles. Les personnes ayant des besoins particuliers ne sont malheureusement toujours pas intégrés correctement dans la société. Mais ici, on rencontre d'autres familles avec des enfants handicapés et de nombreuses amitiés se sont déjà nouées », témoigne-t-il. Pour les musiciens aussi, cette expérience est remplie d'émotions, comme l'explique le pianiste Shimon Krizek et la violoniste Susanna Budzinski, tous deux polonais : « Je me souviens que lors d'un concert au cours duquel j'ai joué une aria. Un spectateur, probablement un ancien chanteur, a tenu la dernière note aussi longtemps que cela est possible. J'ai donc dû moi-même tenir cette dernière note. Parfois, j'ai l'impression que je vais me mettre à pleurer. C'est vraiment fantastique », explique, ému, le pianiste. « Habituellement, le public reste assis à apprécier la musique, mais ici, certains se mettent à chanter ou à danser. Ils nous envoient une grande énergie. C'est une expérience très enrichissante, non seulement pour les artistes, mais aussi pour le public, car il est scientifiquement prouvé que la musique aide les personnes atteintes de démence », abonde la violoniste. En Autriche, environ 170 000 personnes sont actuellement atteintes de démence. À lire aussi«Expériences vibratoires»: un cycle d'ateliers pour initier les personnes sourdes à la musique

Pianist Henrik Kilhamn goes through Brahms Intermezzo in E major, no. 6 from Op. 116, with discussions of meter dispacement, structural reconfiguration and emotional transformation throughout the piece.Video: https://youtu.be/Xjlvl5b4ayo

durée : 01:28:43 - Krystian Zimerman, le perfectionnisme et l'audace - par : Aurélie Moreau - Le pianiste Krystian Zimerman est pour sa consœur Hélène Grimaud "un architecte des sons, de la forme et des émotions. Un idéal inégalable, l'un des rares génies en exercice." (Le Monde). Aujourd'hui : Brahms, Liszt, Beethoven, Chopin, Rachmaninov…

Johannes Brahms lässt sich Zeit mit seinem Violinkonzert. Vielleicht, weil er sich mit der Geige als Soloinstrument nur bedingt auskennt. 1878 macht er sich endlich an die Arbeit – und das Ergebnis gefällt nicht jedem Geiger ... Von Christoph Vratz.

In the words of The New Yorker, Charles Neidich “is an artist  of  uncommon merit -- a master of his instrument and, beyond that, an  interpreter  who keeps listeners hanging on each phrase.”        Charles is the artistic  director of the Wa Concert Series at  the Tenri Cultural Institute in New  York, which he founded with his wife, clarinetist Ayako Oshima, in September 2017. This concert series is inspired by the  Japanese concept “wa”—  meaning circle, but also harmony and completeness; each  performance is  thus paired with visual arts and offers a variety of culinary delicacies prepared by Ayako Oshima. In recent seasons, Charles has added conducting to his musical accomplishments. He has led the Cobb Symphony Orchestra and Georgia Symphony in performances of the Franck Symphony in D Minor and Mozart's Clarinet Concerto (also playing the solo clarinet part). Charles commands a repertoire of over 200 solo works, including pieces commissioned or inspired by him, as well as his own transcriptions of vocal and instrumental works. With a growing discography to his credit, he can be heard on the Chandos, Sony Classical, Sony Vivarte, Deutsche Grammophon, Musicmasters, Pantheon, and Bridge labels. His recorded repertoire ranges from familiar works by Mozart, Beethoven, Weber, and Brahms, to lesser-known compositions by Danzi, Reicha, Rossini, and Hummel, as well as music by Elliott Carter, Gyorgy Kurtag, and other contemporary masters. Although Charles became quite active in music at an early age, he opted against attending a music conservatory in favor of academic studies at Yale University, where he graduated with a Bachelor of Arts, cum laude, in Anthropology. In 1975 he became the first American to receive a Fulbright grant for study in the former Soviet Union, and he attended the Moscow Conservatory for three years where his teachers were Boris Dikov and Kirill Vinogradov. Charles Neidich has achieved recognition as a teacher in addition to his activities as a performer, and currently is a member of the artist faculties of The Juilliard School, the Manhattan School of Music, the Mannes College of Music. During the 1994-95 academic year he was a Visiting Professor at the Sibelius Academy in Finland where he taught, performed and conducted. Mr. Neidich is a long-time member of the renowned chamber ensemble Orpheus.

John Eliot Gardiner legt sein erstes Album nach seiner Auszeit vor: die vier Brahms-Symphonien mit dem Concertgebouw Orchestra Amsterdam.In keinem Takt klingt Gardiners Brahms bürgerlich behäbig oder selbstzufrieden. Immer wieder treibt er die Musik unerbittlich nach vorn. Dann ist alles Puls und Drama. Wer Brahms liebt, sollte das hören.

durée : 01:58:49 - Le pianiste américain Julius Katchen (1926-1969) - par : Philippe Cassard - Où l'on retrouve le célèbre pianiste américain (1926-1969) dans des interprétations “live” de Beethoven et de Brahms, ainsi qu'en duo avec clarinette et violon.  - réalisé par : Philippe Petit

durée : 01:28:47 - En pistes ! du vendredi 30 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme, de grands concertos : au piano avec Ravel ou au violon avec Bruch et Korngold. Nous partirons aussi à la découverte de Brahms et ses contemporains en compagnie de l'ensemble Kaléidoscope Collective, l'occasion d'entendre notamment la musique de Louise Héritte-Viardot...

durée : 01:28:47 - En pistes ! du vendredi 30 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme, de grands concertos : au piano avec Ravel ou au violon avec Bruch et Korngold. Nous partirons aussi à la découverte de Brahms et ses contemporains en compagnie de l'ensemble Kaléidoscope Collective, l'occasion d'entendre notamment la musique de Louise Héritte-Viardot...

When classical music plays in a baby's nursery, does it really make a difference? For Moises Llanes, those early moments with Beethoven and Brahms symphonies resonating through his crib shaped a lifelong passion that would transform orchestral education in the Rio Grande Valley.This captivating conversation reveals how a businessman father with an eighth-grade education made a pivotal decision to expose his children to classical music and piano lessons, creating the foundation for Moises's remarkable 37-year teaching career. "I just feel at home listening and playing classical music," Llanes shares, reflecting on those formative experiences that gave him both purpose and direction from an astonishingly young age.Llanes takes us through his journey from student violinist to celebrated educator, highlighting a watershed moment when, as a high school student, he recognized a critical gap in orchestral education - the lack of music literacy. This insight became the cornerstone of his teaching philosophy, creating generations of independent musicians who could truly understand music rather than merely memorize finger positions. "You don't have to figure it out, you just have to read it," became his mantra, empowering students to explore music confidently on their own.The conversation delves into Llanes's collegiate years, cultural identity challenges, and the resilience that carried him through financial hardships when his father's business collapsed. Despite briefly retiring in 2022, his passion for music education drew him back to the classroom at Lorenzo de Zavala Middle School, where he continues making an impact. His parting wisdom for aspiring educators resonates powerfully: "If you're not going to do it 110%, especially teaching, don't do it at all."Subscribe now to hear more inspiring stories from the musical community of the Rio Grande Valley, where passion, perseverance, and cultural heritage create a unique symphony of experiences.

Pieces by Haydn, Beethoven, Mendelssohn, Brahms, Debussy, Dohnányi, Shostakovich & Casarrubios performed by groups from Merit School of Music and the Music Institute of Chicago Academy. The post Chamber music for strings: Spizella Quartet, Luscinia Trio, Vermilion String Quartet appeared first on WFMT.

Kaum ein Sänger-Pianisten-Duo wird so hochgeschätzt wie Christian Gerhaher und Gerold Huber. Nach einem intensiven Schumann-Projekt haben sie sich jetzt den Liedern von Johannes Brahms gewidmet, und speziell dem "Volkston" bei Brahms, der Zeit seines Lebens ein großer Sammler von Volksliedern war. Doch gerade auf diesen - bei Brahms auch immer sehr ungewöhnlichen Volkston - finden Gerhaher und Huber einen beinahe gesellschaftspolitischen Blick.

Ein Album von Christian Gerhaher - vorgestellt auf NDR Kultur.

On The Afternoon Drive with John Maytham, we turn to music, memory, and majesty as John is joined by a guest from the Cape Town Philharmonic Orchestra to preview the upcoming Winter Symphonies at the City Hall, opening on 12 June 2025. The concert features Brahms’ Violin Concerto and Symphony No. 4 in E minor, performed by celebrated violinist Andrey Baranov, winner of the 2012 Queen Elisabeth Violin Competition, with Thomas Sanderling making his CPO debut as conductor after a remarkable 50-year global career. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

It's entirely possible that we would not know the name of Johannes Brahms very well if Brahms hadn't met Joseph Joachim as a very young man. Joachim, who was one of the greatest violinists of all time, had already established himself as touring soloist and recitalist, and he happened to know the musical power couple of Robert and Clara Schumann quite well. Joachim encouraged Brahms to go to Dusseldorf to meet the Schumann's, and the rest is history. I've talked about the Brahms-Schumann relationship dozens of times on the show before, but to keep it very brief, Robert Schumann's rhapsodic article Neue Bahnen(new paths) launched Brahms' career, and until Schumann's deterioration from mental illness he acted as a valued friend and mentor for Brahms. Clara Schumann, as a performer, was a powerful advocate for Brahms' music as well as a devoted and loving friend throughout the rest of their lives. Almost constantly present in this relationship was the sound of Joseph Joachim's violin. Brahms did not have a huge circle of friends, but for the often difficult to get along with composer, Joachim was a musical and spiritual companion. Brahms' legendary violin concerto was written for him, and the two collaborated closely for the entire course of their musical lives, except for one significant break. Brahms and Joachim were estranged for 7 years, until Brahms reached out with a remarkable conciliatory gesture: a concerto for Violin and Cello and that would be dedicated to Joachim. Brahms and Joachim(as well as Brahms and Clara Schumann) had often resolved disputes through music, and this was no exception. Clara Schumann gleefully wrote in her diary after Joachim had read through the piece with cellist Robert Hausmann: "This concerto is a work of reconciliation - Joachim and Brahms have spoken to each other again for the first time in years.” One would expect that a work like this would be beloved, but the Double Concerto has had a checkered history, which we'll also get into later. Clara herself wrote that it lacked "the warmth and freshness which are so often found to be in his works,” It would turn out to be Brahms' last work for orchestra, and one of the few in his later style, which makes It fascinating to look at from a compositional perspective. Partly because of the cool reception it got in its first few performances, and the practical challenges of finding two spectacular soloists who can meet its challenges, the piece is not performed all that often, though I have always adored this piece and am very grateful to Avi who sponsored this week's show from my fundraiser last year before the US election. So let's dive into this gorgeous concerto, discussing the reasons for Joachim and Brahms' break, their reconciliation, the reception this piece got, and then of course, the music itself! Join us!

One can't miss the S.K. Pierce Mansion in Gardner, Massachusetts. This magnificent mansion is a huge Victorian that takes up the whole corner of West Broadway and Union Street. The grand exterior makes it very inviting, but the ghost stories connected to this place might just make you think twice before entering. There are those that claim this home is the second most haunted house in Massachusetts. Some owners have been chased out by spirits. There could be more than a dozen spirits here and one of them may be the furniture magnate for whom the house was built and named: S.K. Pierce. Join us for the history and hauntings of the S.K. Pierce Mansion. The Moment in Oddity features the Bone Collector Caterpillar and This Month in History features Brahms born.  Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2025/05/hgb-ep-585-sk-pierce-mansion.html   Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode:  Main Theme: Lurking in the Dark by Muse Music with Groove Studios (Moment in Oddity) "Vanishing" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ (This Month in History) "In Your Arms" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Outro Music: Happy Fun Punk by Muse Music with Groove Studios Other music used in this episode: Title: "The End" and "Mortician's Hat Trick" Artist: Tim Kulig (timkulig.com) Licensed under Creative Commons By Attribution 4.0 http://creativecommons.org/licenses/by/4.0/ IMDB: https://www.imdb.com/name/nm0997280/?ref_=fn_al_nm_1

And now I worry, as old people do, about the kids I see who are growing up in the dreadful clutter of American life, the gizmos and social media bullying, and can they find delight as I did in skating on the frozen Mississippi and discovering Liebling and Jenny found listening to Prokofiev and Brahms. I pray for our kids to be lighthearted. The darkness is out there, and Christmas becomes utterly beautiful, the circle of love and friendship, the lighted candles, the anticipation of the child, the radiant beams, the redeeming grace. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit garrisonkeillor.substack.com/subscribe