Podcasts about brahms

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

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

Con Mario Mora y Ana Laura Iglesias | Desfile de voces por el pódcast de la Orquesta y Coro Nacionales de España, con Carlos Iribarren visitando el auditorio con un oyente que nunca lo había hecho, Antonio; Isabel Juarez poniendo la Lupa del Especialista en las Cantatas Tempranas de Bach (próximo 10 de noviembre, Auditorio Nacional) y una entrevistada de lujo: Paloma Friedhoff, soprano y participante como solista en dos conciertos este mes de diciembre, dentro de la programación de la OCNE. Además, Ana y Mario debaten sobre cuál es la obra del mes: ¿la Sinfonía Órgano de Saint-Saens o el Requiem Alemán de Brahms?

Conductor Devin Patrick Hughes sits down with author and USC musicology instructor Tim Greiving to dive into John Williams: A Composer's Life (OUP)—the first full-scale biography of the world's most beloved film composer. Greiving traces a lifelong fandom that began with a Jurassic Park cassette, then details the five-year journey of the book: 5:30 a.m. writing rituals, a year of archival research, and rare long-form conversations with Williams at the Amblin bungalow. Together they explore Williams' jazz and Great American Songbook roots, his Brahms-leaning aesthetic, and how he revived—and refined—the classic Hollywood symphonic tradition with Spielberg and Star Wars. You'll hear why Greiving calls Williams “closer to a church composer,” how the E.T. finale let the music lead picture, why the orchestra is truly timeless, and the astonishing revelation about Williams' grandfather, Thomas Nagel, a silent-era cinema music director. Close with a lightning round on favorite themes, underrated scores, and the one word that captures John Williams. Featured music: Star Wars Main Title • “Fascinatin' Rhythm” (arr. JW) • Jurassic Park Theme • “Baubles, Bangles, and Beads” (JW Trio) • “Hatikvah” from Munich • “Luke & Leia” • The Quiet Man Main Title • Seven Years in Tibet Main Theme (w/ Yo-Yo Ma) • Superman Main Theme • Schindler's List Theme (Itzhak Perlman) • Piano Concerto No. 1 (Ax/BSO) • Violin Concerto No. 2: II “Rounds” (Mutter/BSO) • “Harry's Wondrous World” • “Adventures on Earth” (VPO) • “Flight to Neverland” (VPO) • Close Encounters excerpts (VPO) • “Hedwig's Theme” • “Flying” (E.T.) • “Throne Room & Finale” (Berlin Phil)  

Title: “Not An Empty Visit” Part 1 Text: 1 Thessalonians 2:1-6 FCF: We often struggle boldly giving the gospel without allowing in worldly influence. Prop: Because the gospel is God's power unto salvation, we must boldly give the unaltered gospel of God. Scripture Intro: CSB [Slide 1] Turn in your bible to 1 Thessalonians chapter 2. In a moment we'll read from the Christian Standard Bible starting in verse 1. You can follow along in the pew bible or in whatever version you prefer. I realize that it has been over two years since we have studied a New Testament letter. When we study this genre, it usually consists of 2 or 3 thoughts that are being conveyed, not in story, but in logical exposition. This requires us to simultaneously zoom in to individual thoughts while continuing to keep the broader picture in mind. So, with that being said – let's review what Chapter one talked about before we move into chapter two. Chapter 1 began with a greeting to the Thessalonian church and then immediately Paul expressed his and his companions' thankfulness to God for them – and for the cardinal Christian graces that they continue to demonstrate. Of course, the reason that they are thankful for the Thessalonian church is because the evangelists know that they are God's elect. How do they know that? First, because of the way the gospel came to them in the power of the Spirit. Second, because they have observed how the Thessalonian church has become imitators of Christ and are setting a good example for all believes both in how they receive the Word in joy amid persecution and how they shared their testimony. Paul will now turn his attention to the evangelists' example when they were among them. So, let's read Paul's next thought, starting in verse 1 and going to verse 12 of chapter 2. Please stand with me to give honor to and to focus on the Word of God as it is read. Invocation: All Powerful God, we come to you today to revel in what You have done. You have rescued us from Your Holy Justice. You have placed on Christ our just reward for our sin. You have given us His righteousness by which we can, by faith, walk worthy of our holy calling. I pray that You would use Your Spirit to open our eyes to what we must be for Your glory. And Lord, give new hearts to those who need them so they too can respond to the gospel of light and life. We pray this in Jesus' name, amen. Transition: [Slide 2] “We do not evangelize because we expect results. We evangelize because we are sent men.” Joe Blinco “Every single believer is a God-ordained agent of evangelism.” R.B. Kuiper “Every Christian is either a missionary or an imposter.” C.H. Spurgeon Let these ideas roll over you as we set into the text this morning. I.) The gospel is God's power unto salvation, so we must boldly preach the gospel of God in spite of opposition. (1-2) a. [Slide 3] 1 - For you yourselves know, brothers and sisters, that our visit with you was not without result. i. The word “for” obviously beckons us to look backward. 1. This conjunction explains something mentioned previously. 2. Since Paul goes on to explain how he and his companions came to Thessalonica and how they were received, we should see this entire section as an explanation of the statement from verse 9. 3. Which itself is a further result from what was stated in verse 5, how the Thessalonians knew what kind of men the evangelists were by how they conducted themselves in Thessalonica. 4. Verses 1-16 of chapter 2 is an explanation or an elaboration from the evangelists' point of view on those same events. 5. The more perplexing question is, why is Paul reviewing this content if the Thessalonians got it right? If they accurately remembered all of this information – why say it again? a. Some scholars believe that Paul is explaining how they were different from other traveling teachers and their sordid practices. b. Some scholars insist that Paul is merely reemphasizing their example to the Thessalonians so that they and their leaders could continue to imitate them. c. Still others think that Paul is addressing accusations against the evangelists raised by unbelieving people in Thessalonica, in an attempt to dissuade the Thessalonian church from abandoning their lifestyles. 6. It is my point of view that all of these can be true all at once. And most likely – they probably are all true to some degree. ii. Paul again uses the word “know” and Paul again says they know. They know what? iii. Specifically, Paul says that they know that it was not without result. 1. The words “without result” is also much debated. 2. If you want a full explanation on all the options, you should come to Thursday Night Bible Study where we always take a behind the sermon look at the text. 3. But it seems best to me to think that Paul is saying that their time with the Thessalonians did not prove to be without fruit. iv. So how was their ministry there fruitful? b. [Slide 4] 2 - On the contrary, after we had previously suffered and were treated outrageously in Philippi, as you know, i. Part of the proof of the fruitfulness of the mission was is in the humble and tumultuous beginnings of the Thessalonian mission. ii. Paul and his companions didn't ride into Thessalonica with groupies and with pomp and fanfare. iii. They didn't come into the city having grown accustomed to overwhelmingly positive responses to their presence. iv. In other words – they know a poor reception when they see one. v. And it doesn't get much poorer of a reception as it did in Philippi. vi. As a reminder to us – what happened in Phillipi? 1. While going down to the river to pray, a demon possessed girl who was being used by men for the spirits' fortune telling capabilities, came against the apostles. The spirit did so, so frequently, and so obnoxiously, that Paul eventually grew irritated and cast the demon out. 2. The men who prostituted her for her sad condition were furious because their source of income had dried up. 3. They brought Paul and Silas before the city magistrates. They were beaten and thrown in prison without a trial. 4. Of course, God freed them from the jail, which led to the conversion of the Philippian jailer. But eventually they were forced to leave. vii. Paul, to the Thessalonians confesses that this treatment was outrageous, even by gentile standards. viii. So, the Thessalonian mission did not begin with an expectation of the evangelists to be received well. ix. But what did happen that made sure their entrance was not in vain? That it produced results? c. [Slide 5] we were emboldened by our God to speak the gospel of God to you in spite of great opposition. i. After they arrived from Philippi, they did not come in gun shy. ii. They didn't come timidly. iii. They came emboldened by God. They were given courage by God to speak His gospel to them. iv. Now what might Paul mean “in spite of great opposition?” v. This is most certainly referencing the opposition in Thessalonica itself. vi. We know that only 3 weeks into the mission in Thessalonica, Paul had to abandon his teaching in the synagogue, since the Jews had, for the most part, rejected the message of the gospel. vii. Over the next few weeks, the Jews became increasingly more and more jealous of the success of the gospel to persuade many gentiles to receive Christ. This is when they raised up a mob. viii. In spite of this, the evangelists were given boldness by God to preach His message and because of God, the results bore much fruit. d. [Slide 6] Summary of the Point: In these first two verses Paul demonstrates quite clearly that the courage to preach the gospel, the message of the gospel, and the results of the gospel are always sourced in God Himself. In the book of Romans, Paul puts this succinctly when he says that the gospel is the power of God unto salvation. And let's imagine that these evangelists are humans like you and I. Do you think the evangelists, in their flesh, arrived in Thessalonica and were a little hesitant about preaching the gospel? Do you think they'd rather teach something else or at least do it quietly at first to make sure they weren't immediately booted out of Thessalonica too? Do you think they were tempted to use the gospel to serve themselves and care for themselves? Most likely they arrived in Thessalonica still bearing bruises and cuts from their beatings in Philippi. Do you think they were not tempted to keep a low profile or even to alter their message so it wasn't as offensive? Maybe they should focus on befriending everyone first and then worry about preaching the gospel. Instead, Paul says that the courage, the message, and the results are all of God. So, like the apostles, we too must boldly preach the gospel of God in spite of opposition. Transition: [Slide 7 (blank)] So, we see the positive side of why their mission was not vain, empty, or fruitless. It was emboldened by God, with His message and therefore He produced the results. But if you are thinking, ok, what was there to succumb to? What were the apostles tempted to replace the boldness and message of God with? What would have rendered their mission there, empty? In the next four verses, Paul identifies 6 fleshly motives they did not bring with them to preach to the Thessalonians. These 6 motives would have rendered their mission there fruitless and in vain. So, what are they? II.) The gospel is God's power unto salvation, so we must preach the gospel in accordance with His will. (3-6) a. [Slide 8] 3 - For our exhortation didn't come from error or impurity or an intent to deceive. i. This word “for” is again an explanatory conjunction. ii. But what is it explaining? iii. It is explaining how they know that God emboldened them to preach his message in spite of persecution. And the evidence is in what they did not do. iv. Paul doesn't tell them what they already know happened. He tells them what they know DIDN”T happen. Which is probably to counter things that are being spoken against the evangelists. v. So what are Paul, Silas, and Timothy being accused of? 1. Paul says that their exhortation, their appeal, their plea for them to receive the gospel, did not come from error. 2. Error here carries with it the idea of unintentional ignorance. Paul and his companions did not come, begging them to receive Christ, because they were delusional or ill-informed or doctrinally imprecise. 3. Paul says they did not make their appeal from impurity either. 4. Impurity is often used to describe sexual sins, but here in the context it seems that this isn't what Paul intends. 5. More likely Paul means the more general idea that is to mix something pure with something impure. 6. And so Paul is saying that their gospel appeal was not made with their mouths while they had ulterior motives in their hearts. It isn't a bait and switch. It wasn't given to them in order to accomplish some selfish goal. 7. Finally, Paul says they did not make their appeal by way of deceit or as the CSB translates it, with intent to deceive. 8. The CSB helps us here to understand that this is by far the most egregious accusation. That the evangelists came with skillful treachery to intentionally lead them astray. vi. Paul denies all these claims and goes back to his original point. b. [Slide 9] 4 - Instead, just as we have been approved by God to be entrusted with the gospel, so we speak, not to please people, but rather God, who examines our hearts. i. The source of their message and even their commissioning is God Himself. ii. God approved them for this work and entrusted them with the gospel. This word entrusted is the same word we use when we talk about belief or faith. God trusted them, His apostles, and by extension, His church, with His gospel message. iii. Therefore, they don't have the low aspiration with their appeal to woo people to themselves or to tell people what they want to hear. iv. Paul even warns in a later letter that in the last days people will gather to themselves preachers who tickle their ears. Who tell them what they want to hear. v. Indeed, part of the reason such preachers are popular is because they'd never be caught teaching anything that might offend someone. 1. Joel Osteen was on a Larry King once with John MacArthur. The question was raised concerning homosexuality. 2. Of course, John MacArthur articulated well the ancient teaching of the scriptures regarding the sinfulness of the lifestyle. 3. But Osteen, who today has a church attendance of around 52,000 people on average, did all he could to avoid taking any stand at all on the issue. He bumbled his way through trying desperately to say nothing at all. 4. Why? 5. He is an ear tickler. He tells people what they already think. He tells them what they want to hear. And if he wants to keep the 52,000 congregation… he'll continue to do just that. vi. The evangelists did not try to tickle the ears of the Thessalonians and preach something that would please them or confirm what they already thought. vii. Why? viii. Because the evangelists will not stand before the Thessalonians someday to give an account for how they handled the Word of God and the Gospel of Jesus Christ. Instead, they will stand before God Himself. ix. Why? x. Because the gospel is GOD'S! It is God's power to salvation. It's message and Its effect all belong to HIM. And Him alone. We do not have the liberty to alter it or use it for selfish ends. xi. And here is the great warning to us… xii. God EXAMINES the thoughts and intentions of the hearts of every evangelist. Despite our best efforts to hide, if we have these motives, God would see right through us. xiii. Instead, the Evangelists endeavor to please God and fulfill the commission that He has given them. c. [Slide 10] 5 - For we never used flattering speech, as you know, or had greedy motives—God is our witness— i. So, the evangelists did not make their appeal to them because they were ill-informed, had ulterior motives, wished to deceive them or wished to please them and gain popularity. ii. They also NEVER wished to flatter them in order to extort them. iii. We should see this flattery of speech and greedy motives as connected and not two separate things. iv. They never used buttery language set in honey to fleece them. v. It was quite common for traveling preachers to pop into a city for a short time and sell their snake oil. vi. Cults continue to make unseemly amounts of money off of people primarily by crafting their message around what people want to hear and flattering them with only positive language. vii. Before you know it, you are writing checks for the ministry. Big checks too. Why? viii. Because big gifts = big rewards. ix. But the evangelists never wished to get anything from the Thessalonians. They didn't peddle the gospel for money. Paul worked hard as a tentmaker to ensure that his expenses were paid so that he did not have to live by those who received the gospel. x. As he mentioned earlier – God sees their hearts… so God can bear witness to the fact that they did not do this to make money. xi. How else did the evangelists NOT come to Thessalonica? d. [Slide 11] 6 - and we didn't seek glory from people, either from you or from others. i. Sometimes traveling teachers would not come in for money, or for popularity, but in order that they would make a name for themselves. ii. That they would be renowned as an excellent speaker. iii. But Paul assures the Thessalonians – that isn't us. iv. May Christ increase and we decrease was their motto. v. They wished to spread the fame of Jesus' name – but not their own. vi. Paul, Silas, and Timothy, were blameless in their giving of the gospel. Because they wanted nothing from the Thessalonians other than for them to hear about God and His Christ who died to save sinners from the wrath to come. vii. They preached this message boldly, not for their hearer's sake, but primarily to please God who had approved of them and entrusted them with the gospel. e. [Slide 12] Summary of the Point: Paul once again, in different words, makes the same point. He says in no uncertain terms that God approved and entrusted the gospel to these evangelists. And God continued to examine their hearts too as they took His gospel wherever they went. By extension we can say that God approves and entrusts His church with His gospel as well, and continues to examine our hearts as we take it to the nations. What does this mean? Essentially it is the same point as before. The gospel is God's power unto salvation. What does that mean we must do? It means that we must not appropriate the gospel for selfish ends, and we must not alter the gospel or dilute the gospel to please those to whom we preach it. Since it is God's gospel and His power and His results which He entrusts to us, we should be very careful that our message, methods, and motives all align with His will. And we would do well to recognize that He sees our motives all the time. Conclusion: So CBC, what basic concepts have we learned today that informs and corrects our faith and shapes and guides our practice? Basics of Faith and Practice: [Slide 13] The Gospel belongs to God. It is His. Its message, its power, its effect, its calling, its distribution all belong to God. It is His power unto salvation for the Jew first and also for the Gentile. Because, beginning to end it all belongs to God, full stop. Because of this, we have some explicit warnings in this passage that we would do well to heed. First, we should preach it with confidence, even in the midst of great opposition. He will give us boldness to preach His message. Why? Because it belongs to Him. And so, by the way, do we. We are not given the luxury of preaching the gospel only when it is convenient, comfortable, or pleasant. A second application we can draw from the fact that the gospel belongs to God is that we must be abundantly careful that we do not succumb to the temptation to dilute the gospel's message and/or use worldly methods to preach it, in order to pursue selfish motives. But let me rail on this a little. Because if you think that American Christianity doesn't have a problem with this – you have been living under a rock. 1.) [Slide 14] Mind Transformation: “What truth must we believe from this text?” or “What might we not naturally believe that we must believe because of what this text has said?” We must affirm that the Gospel is God's power unto salvation. a. In 1741 in Enfield Massachusetts, Jonathan Edwards preached a sermon titled “Sinners in the Hands of an Angry God.” b. Enfield was known as a fairly sinful community and was at this time host to various preachers coming for the week. c. It is said that during his sermon people interrupted him several times. But the interruptions were not rude or antagonistic. Instead, they were weeping, rolling on the ground, grabbing hold of the pillars of the church building, crying out to God for mercy and to spare them His wrath. d. This sermon became famous for officially beginning the Great Awakening in the American Colonies. e. Now if you hear this Historical record and your first thought is that Jonathan Edwards must have been a very powerful speaker. Well, there are two things wrong with you. First, you haven't listened to the sermon up to this point and second you know nothing of Jonathan Edwards. f. Jonathan Edwards had somewhat of a weak voice. He read/memorized his sermon. He was not a boring man but he was by no means an entertainer or an exceptionally gifted speaker. g. And perhaps you think – well perhaps he wasn't an especially gifted speaker but gifted writing even in the hands of poor speakers can still have great impact. h. Ahh, two problems again. First, you haven't listened to the sermon up to this point. Second, This wasn't the first time and it wouldn't be the last time Jonathan Edwards would preach this sermon. i. If it were an especially excellent homiletical work, we might expect it to render results on everyone who sees it or hears it. Afterall, especially gifted pieces of art fascinate most from the connoisseur to the ignorant. Though you know nothing of musical composition, to sit and listen to Brahms, Beethoven, Bach, or Vivaldi, you cannot help but be in awe of the way the notes weave themselves together. j. And yet, history records for us that although others responded to the same sermon, it was never as powerful as it had been that day in Enfield. k. All this proves the point which Paul so masterfully drives home. l. The gospel is God's message. He gives it power and persuasion as He brings its truths to bear upon the hearers. He also gives His preachers the boldness to preach such a message. He approves and entrusts the gospel message to them while examining their hearts to be sure they are empty of self. m. The gospel is God's power unto salvation. n. Not only should men not take and meddle with it – ultimately, they cannot. o. The real power of the real gospel belongs exclusively to God. p. What does this mean for us? q. Well positively we must conclude that.. 2.) [Slide 15] Exhortation: “What actions should we take?” or “What is this passage specifically commanding us to do that we don't naturally do or aren't currently doing?” We must preach the gospel boldly even amid great opposition. a. Now think about this. If the gospel's power relies on our power of persuasion. If we are responsible for convincing and drawing and wooing men to the gospel… b. How might opposition and severe persecution hinder the gospel? c. If God has entrusted the gospel to us, to the extent that the conversion of every person relies on our excellence in preaching the gospel… d. Then my friends – we are sunk. e. You might say – No Chris! I'm not afraid of persecution! They can do anything they want to me. I'll still preach the gospel with the same power and vigor. f. My friend, you are either a fool or a liar. g. In your flesh, you would crumble and succumb. Were it not for the emboldening of God, Paul, Silas, and Timothy would not have preached the gospel in Thessalonica. h. But the message of the gospel, the power of the gospel, the boldness to share the gospel, the results of the gospel, the commissioning of the gospel, the entrusting of the gospel, the examination of the gospel… is all from the Eternal and Omnipotent God of the Universe. i. Oftentimes our spirit is willing but our flesh is weak. But the Lord has approved us and entrusted us with the gospel. He has sent us into this world to be His representatives. To take His gospel to the nations. To make disciples. j. We can go and do this with confidence – not trusting in our own resolve or ability to stay cool under pressure or amid threats against us – but rather trusting in His strength to sustain us and to equip us. k. Despite having just come from terrible persecution and stepping into more – Paul, Silas, and Timothy boldly shared the gospel in the strength and power of God. l. We too must do this. m. But what negative application does this truth have on us? 3.) [Slide 16] De-Exhortation: “What actions should we stop doing” or “What behaviors do we naturally practice that this passage tells us to stop doing?” We must stop preaching the gospel with a diluted message, worldly methods, and selfish motives. a. If the gospel is God's message, and He gives us boldness to speak it, infuses it with power so it renders results upon those whom He is calling to repentance and faith, and He entrusts us with it while examining our hearts as we take it to others… b. What makes us think that we can be innovative in how we share His gospel? c. Imagine you have a desk job. You have your own cubicle and computer with which you do your job every day. Or perhaps you work in a shop and you have your own station with your own tools which you come into every day to accomplish your tasks. d. But you go on vacation. And you approve and entrust your work station and your work to another person at your workplace. e. Now imagine when you return to your job you find that all your desktop icons have been moved and some of them are no longer there. There are programs missing from your computer. The computer has been moved next to the coffee maker and now shares the outlet with it. In the shop, your tools are rearranged and some of them are missing. Some tools have been modified, with portions filed off for some unknown reason. f. Would it be safe to say that you might be a little angry about this? g. What was your expectation? Is it reasonable that your expectation would be that they would change nothing and simply do the job to the best of their ability but in the same manner with the same tools that you did the job? h. I think it is abundantly reasonable to expect exactly that. i. How ludicrous is it then that the God of the universe has given us His message of the gospel of Jesus Christ, has entrusted it to us, and promised to give us boldness to preach it, promising that He will empower it to render the results He desires… and then we change it. j. We think – well, it isn't exactly popular for people to hear that they are sinners, that their prized habits and pastimes, identities and orientations are wickedness before God. And that these sins will condemn them to suffer the eternal wrath of God. i. So why don't we just chop off that part of the gospel? ii. Let's just talk about how God loves everyone and has a wonderful plan for their life. iii. Let's just talk about how He sent Jesus to start a relationship with each of us. iv. God sent His most prized possession because we were worth it! v. That is much less offensive. vi. That actually makes people feel good. vii. We should preach that instead. k. Or we think - It isn't exactly pleasant to hear that we are condemned before God and there is literally nothing we can do, say, or think that will change that. i. So, let's preach that we can do something. ii. Let's preach that we can get baptized, go to church, take communion, give to the poor, confess our sins, pray a prayer, invite Jesus into our hearts – and at the end of the day one of these things is bound to save us. iii. Or because God says that salvation is by faith that must mean that we all have some pretty remarkable faith inside us and if we'd just use it God would give us salvation. iv. That is much better for us! We aren't completely hopeless. We have our human gumption and innate faithfulness that will get us there. l. Or we observe that It isn't exactly pleasant to hear that in salvation Christ not only rescues us from the wrath of God on sin, but He also cleanses us from unrighteousness and makes us into the righteousness of God whereby we become slaves to righteousness and live holy lives in order to see God. i. So, let's just preach that all you have to do is make 1 choice to believe a list of things about Jesus and then you'll go to heaven. ii. Don't want to go to church often? No problem. You decided Jesus was real. That's all that really matters. You probably don't need other people around you who did the same. And they certainly don't need you. All you need is Jesus right? Maybe you can just attend online. Or maybe you can just come for the children's church. That should be enough. iii. Don't want to love your neighbor? Sure… that's ok, I don't either. Remember – God loves YOU. That's what is important. iv. Don't want to turn from sleeping with someone who isn't your spouse? I get it! Don't worry about it. God will forgive you! v. Don't want to submit to your authorities in the church, the home, or the government? No problem. You are just fiercely independent. Jesus was a rebel too. vi. Don't want to be part of a church in order to serve other believers? That's totally fine. After all – what about your needs right? You are special after all. At least that is what mommy told you. m. Or we notice that It is very difficult to warn people that there is a cost to following Christ. That they may be hated and maligned for it. That the world will reject them just like they rejected Jesus. i. So instead, why don't we tell them that God wants them to be wealthy and healthy. ii. God always desires to heal and bless. iii. And when they come to Jesus their life will be great. iv. We can even tell them all the celebrities that have claimed to be Christians. v. Don't you want to be just like Chris Pratt and Kanye West and Kat Von D? vi. Man, that will really get them excited. They can join the club that these folks are in! Awesome! n. Or we lament that It isn't exactly compelling to hear that we need to go preach the gospel to please God. God is invisible and it is tough to be highly motivated to go out and preach the Word primarily for His glory. Especially when we see little results. i. So why don't we talk about how everyday people are going to hell? ii. Yeah, that is a great motivator – guilt. iii. Let's really lay it on thick and tell people that the only reason that people go to hell is because we never shared the gospel with them. iv. This goes perfectly with our gospel message that never mentions sin. v. Let's tell them that the fate of their friend's souls rests on whether or not they share the gospel with them. vi. That will really light the fire under them. vii. Afterall, the only thing stopping people from receiving the gospel is that they have never heard it… right? o. Do you see what happens my friends. When we meddle with the gospel: its message, or our own methods and motives in preaching it? What happens? We no longer have the gospel. Just like you no longer had your work station. It has become something else entirely. p. The gospel is the power of God. He emboldens us to speak it. He gives it power. He produces results through it. He has entrusted us with it and He will continue to examine our hearts as we preach it. q. It is best to not tamper with what isn't ours. r. But as a believer perhaps you are quite upset by this. Perhaps you are afraid that you are going to mess it up inadvertently. Maybe you'd never do it on purpose – but what if you mess up God's gospel on accident? 4.) [Slide 17] Comfort: “What comfort can we find here?” or “What peace does the Lord promise us in light of this passage of scripture?” God makes the gospel fruitful, sometimes in spite of us. a. Despite all these philosophies of evangelism and these truncated and bastardized versions of the gospel floating around today… b. People are still, by the grace of God, coming to Christ. People are still sharing the gospel to save people from hell rather than to please God. It is a great humanitarian effort rather than an act of worship and obedience. c. They still take the message of praying a magic prayer and that somehow changing you. And yet – people still come to Christ through that. d. Is that proof that Paul is wrong in this passage? e. No my friends. That is proof that God is abundantly gracious. f. In Philippians Paul comments on a group of preachers who are going around and accurately preaching the gospel of Jesus Christ. But they are doing it to make money, gain popularity, and steal popularity from Paul. g. Do you know what Paul's comments are on this? h. He praises God that the gospel still goes out despite these wicked motives. i. How can this be? How can the message get garbled, the methods be odious, and the motives be wicked and people still receive Christ? j. Friends have we forgotten already? k. Answer me these questions so I know you haven't forgotten! l. Who does the gospel belong to? And whose power is in the gospel? Who gives the results of the gospel? m. Yes… God alone. n. If God can use disobedient and delinquent preachers to call His people to Himself… I'm sure He can use your bumbling words to save His own too. o. It doesn't give us an excuse to not be as zealous and accurate as we can be… but it does give us comfort that we can't prevent, by our weakness, who God is drawing to Himself in His strength. It doesn't work that way. p. And finally – we've talked a lot about the gospel this morning. Around it mostly. What does this text teach us about the gospel message? 5.) [Slide 18] Evangelism: “What about this text points us to Jesus Christ, the gospel, and how we are restored?” The gospel is not a talking point of which you need to be convinced. The gospel is the power of God to take something dead and make it alive. a. The definition of what is a Christian is a fairly muddled mess today. b. Many people simply assign it to a particular religious affiliation. c. It is an organization. It is an identity. d. It is interesting to me that some who would complain about a woman identifying as a man yet looking nothing like a man, have no problem identifying as a Christian yet looking nothing like Christ. e. We see Christianity as another religion in a long list of religions. Even if it is the one that makes the most sense or lines up with our values – when we do this, the gospel is little more than the elevator pitch to join the movement. f. It is the marketing mechanism to get butts into the pews. g. It is the talking point to join at the grass roots. h. Because the gospel is misunderstood or misarticulated in this way, it is possible to convince people in their heads of the truth of the gospel without them actually getting a new heart from God and receiving the gospel of Jesus Christ. i. My friends the gospel of Jesus Christ crucified for sinners, risen, and coming again is not a sales pitch. It isn't a talking point. It isn't the path to getting in on the ground floor. j. In fact, it isn't a mechanism that you can access by any human means. k. The gospel is something that happens to you more than it is something that you do. You don't go and get the gospel… it falls in your lap and you receive it. l. You can intellectually understand the Jesus died on a cross for sinners and rose again the third day and is coming again. But until God closes the loop for you and you realize that i. YOU are the sinner who rebelled against a Holy God ii. You are the one Christ came and was tortured, bloodied, bruised, ripped open, spilled out, hung up and asphyxiated for. iii. YOUR Sins are the ones that Christ endured the cup of wrath from God for iv. You are the dead one that Christ's resurrection promises life for v. You are the one He has entrusted His Work to. vi. You are the one who will suffer for His name vii. You are the one that will live a holy life viii. You are the one who will be saved one day by His return ix. You are the one who will reign with him in the New Kingdom... m. Until GOD DOES THIS IN YOU… you are still dead in your sins. n. In short, there is a difference between knowing the facts of the gospel… and experiencing them. o. So, has God made you experience these truths this morning? Then I'd invite you to repent of your wickedness before Him. And trust that He has done this… For you. p. And would you tell an Elder, myself or another, that you have experienced His gospel today? We'd love to rejoice with you and guide you on your next steps. [Slide 19 (end)] Let me close with a prayer from the Puritan Joseph Alleine. For those who do not know you yet, Lord, grab on to them now, and do your work. Take them by the heart, overcome them, and persuade them, until they say, "You have won. You are stronger than I." Lord, did you not make me a fisher of men? We have worked all this time and caught nothing. Have we spent our strength for nothing? We will cast our net one more time. Lord Jesus, stand on the shore and show us how and where to spread our net. Give us the words to enclose the souls YOU seek, that they will have no way out. Now, Lord, for a multitude of souls. Now for a full portion. Lord God, remember us, we pray, and strengthen us, O God. Amen. Benediction: May the One who sent His Son with power to save From guilt, and darkness and the grave, Whose ways are mercy and truth; May He never stop doing you good; May He inspire you to fear Him so that you will never turn aside from Him. Until we meet again, go in peace.

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!

Ils «Fränzlis da Tschlin» n'han betg mo tocs populars preferids, dentant era ina u l'autra chanzun da chor che als plascha. Ils giavischs da la furmaziun populara mussan quant varià che chant da chor sa esser. Da tuns or dal «Deutsches Requiem» da Brahms, ina u l'autra chanzun populara rumantscha enfin tar chant tradiziunal da la Bulgaria porscha quest'ura chantica in pau da tut.

Was sind die größten Hits der klassischen Chormusik? Sie haben abgestimmt - nun stehen die Ergebnisse fest: von Bachs "Weihnachtsoratorium" bis Mendelssohn Bartholdys "Lobgesang". Hier können Sie Ihre Top Ten anhören.

In deze aflevering van Kalm met Klassiek ga je wederom luisteren naar een instrumentale versie van gezongen muziek. Dit keer geeft presentator Ab Nieuwdorp je een vertaling van de oorspronkelijke tekst mee. Zo kun je ervaren wat dat doet, terwijl je luistert naar de instrumentale interpretatie. 'Gestillte Sehnsucht' heet het lied van vandaag, en het is geschreven door Johannes Brahms. De bezetting hier: klarinet, altviool en piano. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/thema/kalm-met-klassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=be36463468d84e37). 

Hoy en Km0, tras repasar la actualidad informativa y deportiva, profundizamos en los siguientes asuntos: Viena en Madrid y Alba LaMerced. Hoy en Km0, tras repasar la actualidad informativa y deportiva, profundizamos en los siguientes asuntos: Viena en Madrid Comienza la 5ª temporada del tradicional ciclo de conciertos VIENA EN MADRID en el Auditorio Nacional de Música (c/ Príncipe de Vergara, 146. Madrid). Este año aúna sus citas bajo el lema "Grandes conciertos y grandes maestros para un gran público." Se trata de una de los programaciones clásicas más destacadas de España, con su distintivo enfoque que une la tradición vienesa con los grandes clásicos universales. Desde este mes de noviembre hasta mayo de 2026, engloba siete conciertos que correrán a cargo de renombradas orquestas internacionales, integrantes de la Filarmónica de Viena, solistas de prestigio y conjuntos de referencia en el cuidado de la interpretación histórica. Una programación diversa y de altísima calidad artística que va desde la música de cámara hasta la gran sinfonía, en el que figuran obras de los más grandes compositores: Mozart, Beethoven, Paganini, Saint-Saëns, Arvo Pärt, Tchaikovsky, Brahms, Kachaturián y Johann y Josef Strauss. Entrevistamos al director y fundador de Hispania Conciertos y creador del ciclo Viena en Madrid, Labinot Elshani. Alba LaMerced La malagueña Alba LaMerced y el montevideano Gonzalo Brancciari protagonizan Interautor Música 2025 con un recital conjunto en la Sala Berlanga este sábado 22 de noviembre. La iniciativa forma parte del programa de intercambio transatlántico que impulsan Fundación SGAE y la Asociación General de Autores del Uruguay (AGADU) para internacionalizar el repertorio de autores de España y Uruguay. Entrevistamos a la talentosa pianista, cantante y guitarrista, Alba LaMerced. Sección lingüística "Dicho Queda" Carlota Izquierdo Gil (Instagram: @cigservicioslinguisticos) hoy nos habla sobre la etimología e historia de la palabra macarrón.

We speak with David Anderson, artistic director of the Lake Geneva Symphony Orchestra, about the LGSO's next concert- featuring music of Glinka, Brahms, and Dawson. The group is in the midst of its 25th Anniversary season.

C'est autour de Brahms, de ses deux sublimes sonates opus 120, que Paul Zientara et Arthur Hinnewinkel sont réunis au disque pour la première fois. Brahms, un compositeur dont la musique incarne justement l'amitié, possède cette dimension enveloppante qui encourage ainsi le partage et l'échange. Il est d'ailleurs l'un des premiers compositeurs que nos deux jeunes musiciens ont joués ensemble, alors qu'ils étaient encore étudiants au conservatoire de Paris. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Help your baby fall asleep faster and stay asleep longer with 3 hours of soothing classical music. This peaceful playlist features the gentle melodies of Mozart and Brahms, two composers proven to promote relaxation, calmness, and deep sleep for babies and toddlers.Perfect for bedtime, naptime, or creating a calming nursery atmosphere, this long-play collection includes soft lullabies, slow movements, and comforting harmonies that ease fussiness and help your baby feel safe and settled.Whether you're searching for baby sleep music, Mozart for babies, Brahms lullabies, or relaxing classical music for kids, this video is designed to appear in all the right searches so parents can find exactly what they need: a serene, restful environment for their little one.Let the timeless beauty of classical music bring peace to your home and sweet sleep to your baby.

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 berühmten Hagen-Quartett das Cello gestrichen. Mittlerweile ist Julia Hagen (*1995) zum Cello-Shootingstar avanciert und tritt selbst mit Papas Quartett 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).

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

Jeder Flügel hat seine eigene Charakteristik. Manche klingen weicher, manche härter. Weich passt zu Brahms, hart zu Schostakowitsch. Für die richtige Intonation sorgt Frank Preiss, Intoneur bei Steinway & Sons. Wie man zu dem Beruf kommt und wie lange es dauert, bis man guter Intoneur ist, erzählt er in SWR Kultur.

“My job is to make people love choral music as much as I do, and that's a lot. I really love choral music. My job is to say ‘you should care about this.' You might care about it because it's ravishingly beautiful or because it has a story to tell you. Even if you're not a person who relates to choral music, you can relate to stories. We're going to weave some sort of through-line through this program that tells you something about life that we hope resonates with you whether you're a musician or not.”Joshua Habermann is in his seventeenth season as Artistic Director of the Santa Fe Desert Chorale, one of the nation's premiere professional chamber choirs. Since joining the ensemble, he has broadened its repertoire to include choral-orchestral masterworks and unique concert experiences ranging from early music to new commissions. Under his leadership, the Desert Chorale has been featured at regional and national conferences of the American Choral Directors Association, and its summer and winter festivals are among America's largest choral events.Habermann's experience with symphonic choruses spans over three decades, encompassing the full range of the choral-orchestral repertoire. From 2011 to 2022 he was director of the Dallas Symphony Chorus, where highlights included Bach's St. Matthew Passion, the Requiem Masses of Mozart, Brahms, and Verdi, Elgar's Dream of Gerontius, Bernstein's Kaddish Symphony, Rachmaninov's The Bells, and Vaughan-Williams' Sea Symphony. He is a frequent guest conductor, and in 2022-2023 prepared Handel's Messiah, Ravel's Daphnis and Chloe, and Benjamin Britten's War Requiem for the San Francisco Symphony.A passionate advocate for music education, Joshua Habermann is a regular clinician for state and national events and has led honor choirs and choral festivals in North America, Europe, Asia, and Latin America. In 2024, he conducted Cantatas 72, 73 and 92 for Bach Santiago (Chile), a concert series dedicated to the first full cycle of Bach Cantatas in South America. He currently teaches choral literature at the University of North Texas.As a singer (tenor), Habermann has performed with the Oregon Bach Festival Chorus under Helmuth Rilling and Conspirare under Craig Hella Johnson. Recording credits include Requiem and Threshold of Night, both GRAMMY® nominees for best choral recording. Recordings as a conductor include The Road Home and Rachmaninov's All Night Vigil with the Desert Chorale.To get in touch with Joshua, you can find him on Facebook (@joshua.habermann) or visit the Santa Fe Desert Chorale website, desertchorale.org.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

durée : 01:28:28 - Le légendaire Quatuor à cordes Juilliard, de 1956 à 1993 - par : Aurélie Moreau - Au cœur du répertoire du Quatuor Juilliard : Beethoven qui "par la puissance de sa conception artistique a littéralement nourri tous les compositeurs qui sont venus après lui". (Diapason). Aujourd'hui: Schubert, Brahms, Schumann, Debussy, Beethoven… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

1. Inspiration Beyond the BrainThe book challenges the materialist view that creativity is a left-brain, analytical function. Instead, it presents music as a right-brain, paranormal process. Many iconic songs are received through instantaneous “downloads” or vivid dreams. Keith Richards famously dreamt the riff for “(I Can't Get No) Satisfaction,” even recording his snoring afterward. These dream-sourced compositions often arrive fully formed, with clarity unlike typical dream content.2. Musicians as ChannelsMany legendary artists describe themselves as vessels rather than creators. John Lennon said he was “just the channel” for the “music of the spheres.” Michael Jackson believed his best songs were “works of God” that dropped into his lap. Notably, Elvis Presley, The Beatles, and Jimi Hendrix couldn't read or write music—suggesting that genius may bypass formal training and arise from external sources.3. A Historical PatternThis phenomenon isn't limited to rock and pop. Classical composers also reported receiving music from beyond. Mozart described his compositions as arriving “almost complete” in dreams. Brahms spoke of entering a trance-like state where ideas flowed “directly from God.” Such accounts suggest a long-standing tradition of non-local inspiration.4. UFOs and MusiciansThe book documents a striking number of UFO encounters among musicians. If cataloged, the list would include hundreds of high-profile names. John Lennon had a daylight sighting in 1974; Mick Jagger saw a UFO over the crowd at the 1969 Altamont concert. 5. Alien OriginsSome musicians believe they are extraterrestrial in origin. John Denver referenced the constellation Lyra as his home. Elvis Presley claimed he came from Orion, saying, “I am not of this world.” Lee Scratch Perry declared, “I am an alien from outer space… from Krypton.” Kurt Cobain expressed a lifelong feeling of being “homesick,” imagining himself as an alien baby found in a spaceship.6. Messages of Oneness and LoveThe themes expressed in music often mirror those reported by UFO experiencers. The central message is Oneness—the idea that all existence is interconnected. Lennon's lyric “I am he as you are he as you are me…” reflects this unity. His slogan “Love is the Answer. What was the Question?” and the anthem “All You Need is Love” serve as spiritual propaganda for this shift from fear to love.7. Environmental and Nuclear WarningsA recurring theme is planetary survival. Musicians often channel messages warning of ecological collapse and nuclear danger. Neil Young's “After the Gold Rush” describes “silver spaceships” rescuing the chosen ones.8. Targeting YouthMusicians are seen as strategic messengers to reach younger generations—the “ultimate swing voters.” Youth are more open to ideas that transcend traditional structures like religion and politics. Carlos Santana reported that the entity Metatron told him he'd be tuned into a “radio airwave frequency” to deliver a “new menu” of existence, helping students realize they are “multi-dimensional spirits.”9. Dreams and Altered StatesSongs often arrive during altered states—dreams, meditation, or automatic writing. Sting received “Every Breath You Take” in 15 minutes through automatic writing. Billy Joel dreamt many of his songs fully formed. Music heard during near-death experiences is described as “floating,” ethereal, and profoundly beautiful—often called the “music of the spheres.”10. Music and Quantum ConsciousnessThe book concludes by challenging the materialist worldview. It suggests that the universe operates through a quantum reality where consciousness is primary. Musicians report accessing a non-local field of awareness, consistent with quantum experiments showing that consciousness precedes matter. In this view, the brain doesn't create consciousness—consciousness creates the brain. Music becomes a delivery system for awakening, love, and planetary stewardship.

Diese ungemein detail- und farbenreiche Aufnahme führt uns die Kammermusik von Johannes Brahms eindringlich vor Ohren.

durée : 00:16:14 - Le Disque classique du jour du vendredi 07 novembre 2025 - Tous deux passionnés par le romantisme allemand, Raphaël Sévère et Adam Laloum ont décidé de nous faire voyager à leur manière sur les ailes du chant. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:16:14 - Le Disque classique du jour du vendredi 07 novembre 2025 - Tous deux passionnés par le romantisme allemand, Raphaël Sévère et Adam Laloum ont décidé de nous faire voyager à leur manière sur les ailes du chant. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:16:10 - Disques de légende du jeudi 06 novembre 2025 - Le 27 octobre 1951, Wilhelm Furtwängler et l'Orchestre symphonique de la NDR offrent au public de la Musikhalle de Hambourg une prestation de la Symphonie n° 1 de Brahms, une version captée en live qui domine tous les autres enregistrements de cette œuvre par le maestro allemand. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:07 - Relax ! du mardi 04 novembre 2025 - par : Lionel Esparza - En 1870, la France et l'Allemagne s'affrontent militairement et les questions identitaires enflamment le monde musical. C'est aussi une année riche en créations, avec notamment "La Walkyrie" de Richard Wagner, "Roméo et Juliette" de Tchaïkovski, ou encore la Rhapsodie pour alto de Brahms. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Achtung, Dauerbaustelle: Brahms schreibt sein Klavierquintett erst für Streicher, dann für zwei Klaviere – und verwirft beides wieder. Warum ringt er so mit der Form? Von Ben Süverkrüp.

durée : 01:28:49 - Garrick Ohlsson, une riche inspiration et une sonorité exceptionnelle - par : Aurélie Moreau - Vainqueur du Concours Chopin en 1970, Garrick Ohlsson en préside le jury en 2025. Pianiste d'une expressivité puissante et à la technique impressionnante, il interprète avec maestria un très large répertoire. Aujourd'hui : Brahms, Chopin, Scriabine… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

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

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

William Mival with his personal choice of the best recording of Brahms' Symphony no.4.

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

durée : 01:29:13 - En pistes ! du jeudi 23 octobre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme ce matin : Le Requiem allemand de Brahms et Les Variations Goldberg de Jean-Sébastien Bach côtoient le répertoire pour violon de Maurice Ravel, Mel Bonis, Dmitri Chostakovitch et Henriëtte Bosmans. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:29:13 - En pistes ! du jeudi 23 octobre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme ce matin : Le Requiem allemand de Brahms et Les Variations Goldberg de Jean-Sébastien Bach côtoient le répertoire pour violon de Maurice Ravel, Mel Bonis, Dmitri Chostakovitch et Henriëtte Bosmans. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Just Sarah and Jane today—two “small mediums at large”—jamming on what they call the frequency of love: how to attune to it, why it's a reliable “operator line” to Spirit, and what it looks like in ordinary life (yes, even at Costco

A brand-new episode today inaugurating a series of episodes belatedly celebrating my birthday that will see us through to the end of the month. I have so many singers, composers, and topics in which I am interested and hope to devote full episodes to in the near future. This is the first of two episodes focusing on baritones (and a few bass-baritones) who have not yet received full Countermelody treatment. Among the singers included: Josef Metternich, Tom Krause, Walter Berry, Theodor Uppman (pictured), Erich Kunz, Charles Panzéra, Roland Hermann, Aubrey Pankey, Kostas Paskalis, Pavel Lisitsian, Gianni Maffeo, John Shirley-Quirk, and exemplary pop singers Scott Walker and David Allyn singing a wide range of music from art songs of Sibelius, Rachmaninov, Griffes, Diepenbrock, and Vaughan Williams, to mélodies by Ravel, Debussy, and Hahn, to Lieder by Schubert and Brahms, to operetta arias to opera scenes and arias by Leoncavallo, Verdi, and Manfred Gurlitt; to pop songs by Randy Newman and Rodgers and Hart. And that's just the tip of the iceberg: also teased are forthcoming episodes on arie antiche and the Polish-Swiss composer Constantin Regamey. Come to think of it, today's is an excellent introduction to the Countermelody podcast in all its range and scope. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Presenting: A mistake. The sequel to "The Boy" makes so many strange choices that we needed quite a while to talk about them. Also: The reason "Chucky" was canceled...revealed!

When the leaves begin to turn and shifting clouds reveal brief bursts of autumn light, music like that on pianist Aïda Lahlou's new album Mirrors and Echoes seems to meet the moment — even if you didn't know there was one waiting to be met.The Casablanca-born pianist, winner of the 2024 Royal Overseas League Award, has assembled a beguiling selection of piano works by Beethoven, Brahms, and Ravel, alongside a handful of lesser-known names she makes a compelling case for in this short interview.More than a conversation about repertoire, this is an introduction to a performer who thinks deeply about connection — between body and mind, performer and audience, sound and silence.

One of the most revered and prolific British classical musicians, Thomas Adès made his name with his 1995 opera Powder Her Face, written when he was just 24 years old. His orchestral composition Asyla was nominated for the Mercury Prize for album of the year in 1999. Recordings of his opera The Tempest and, more recently, his score for the ballet The Dante Project have both won Grammy Awards. His ten symphonic works, three operas and numerous chamber pieces are performed all round the world. In 2024 Adès was presented with the Royal Philharmonic Society's prestigious Gold Medal, previous recipients of which include Stravinsky, Brahms and Elgar.Thomas Adès talks to John Wilson about the influence of his family, including his art historian mother who is an expert in surrealism. Through her he was introduced to the surrealist artists, the films of Luis Buñuel and met the painter Francis Bacon. His grandmother introduced him to the work of T.S. Eliot as read by Sir Alec Guinness on a cassette recording, and it was some of these poems that he was to eventually set to music for his first ever composition. Adès also recalls getting to the semi-finals of the BBC's Young Musician of the Year in 1990, a watershed moment for him as it prompted him to pursue music as a composer rather than a pianist. He also cites going regularly to the English National Opera as a formative influence and talks about writing his own operas including Powder Her Face about the Duchess of Argyll, and The Exterminating Angel, based on the film by Luis Buñuel.Producer: Edwina Pitman

I sat down with Rob Woodall to talk all things peak bagging. After completing all the Munros, Corbetts and Grahams, Rob progressed to more obscure categories such as HuMPs (hundred metres of prominence) and TuMPs (thirty and upwards metres of prominence), via some long distance hill running rounds (The UK Big Three, the Rigby Round, and his Cuillin Round to name a few). Rob also devised the Trans Cuillin but never got to complete it - James Gibson doing this in 2023.From an early age Rob was interested in maps, and as one list led to another in 2016 he became the first person to visit all 6190 British Trig points - a huge feat which required negotiation with not a few landowners, and even special arrangements to visit trigs within military facilities. We chatted about his recent trips to Norway and Turkey, where he has been ascending P1000 mountains (mountains with a prominence of 1000m or more).In 2014 he became the first person to complete all 1556 Marilyns, UK peaks of P150m (150 metres prominence). The final crux of this endeavor were the 6 summits on the remote archipegalo of St Kilda, two of which - Stac an Armin and Stac Lee - are stacks rising vertically out of the Atlantic and requiring not only calm sea conditions and an approach between October and March to avoid gannet restrictions, but also careful landing stretegies and roped climbing techniques. Rob has always been a collector - he describes initially 'completing' classic symphonies eg by Brahms, Mahler and Sibelius, then also collecting logs of birds, plants, and long distance hill running rounds, as well as his astromonical number of peaks worldwide in a whole range of categories from TuMPs and HuMPs, right up the Ultras - which have 1500m prominence. I also mention a list of P4000m Peaks - but this is a worldwide list not a South American list as I state. Further information on these categories and more can be found at www.peakbagger.com, where Rob is ranked #1 worldwide for his P-Index (a calculation designed to indicate the number and quality of prominent peaks the person has climbed). Rob has even been involved in some work to relocate 'lost' trigpoints, and to find previously uncategorised hills. Many thanks to Rob for giving us a glimpse into his world of prominence and relative peaks.If you want to buy me a cuppa to help support the podcast, thank you and please do at: ⁠⁠⁠https://ko-fi.com/finlaywild⁠

Hier ist Raphaël Pichon ein großer Wurf gelungen. Er zeigt es, wie Brahms seine Aussage erreicht, indem er alle Stimmen auf gleichem Rang miteinander verflicht - und damit ein Gesamtkunstwerk geschaffen hat.

On October 24, we observe the 104th birthday of the nonpareil Croatian soprano Sena Jurinac. Like Hildegard Behrens, whose prowess as a purveyor of art song we explored a few weeks ago, Jurinac was best known as an opera singer, specializing (in her case) in Mozart and Strauss heroines, though she was also beautifully suited to the Lieder repertoire. Jurinac was a singer of enormous warmth, poise, and humanity gifted with a voice that combined warmth and ease. It was her directness and spontaneity which, alongside her peerless musicianship and rock-solid vocal technique, has made her a favorite of many generations of lovers of great singing. Central to this episode is a rare 1976 album of Lieder by Johannes Brahms, which displays, even more than thirty years after her operatic debut, all her most treasurable qualities. The Brahms is supplemented by her 1953 studio recording of Ottorino Respighi's extended vocal chamber work Il tramonto, a setting in Italian of Percy Bysshe Shelley's poem “The Sunset”; as well as a rare live 1961 recording of Richard Strauss's “Im Abendrot” from his Vier letzte Lieder, like the Respighi a meditation on two souls at the setting of the sun. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Carlos Iribarren | Arrancamos una nueva temporada con nuestro primer plato especial de la casa: una selección de piezas orquestales que cuentan con el sello de garantía de Clásica FM. Son obras compuestas por 7 autores tan dispares como Farrenc, Dvorak, Brahms, Boisvallée, Sibelius, Ireland y Mussorgsky pero todas tienen en común la capacidad de emocionarnos con pasajes orquestales de primer orden. Es música interpretada con pasión y maestría por orquestas de indudable prestigio y con las que queremos darte la bienvenida, tras unas merecidas vacaciones, a la nueva temporada de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

durée : 00:14:55 - Le Disque classique du jour du jeudi 02 octobre 2025 - Le premier album de l'altiste Paul Zientara, sur lequel le rejoint son ami et pianiste Arthur Hinnewinkel, s'immerge dans les deux sonates op.120 de Johannes Brahms écrites en 1894. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:14:55 - Le Disque classique du jour du jeudi 02 octobre 2025 - Le premier album de l'altiste Paul Zientara, sur lequel le rejoint son ami et pianiste Arthur Hinnewinkel, s'immerge dans les deux sonates op.120 de Johannes Brahms écrites en 1894. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:32 - En pistes ! du mardi 30 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Une matinée du piano à l'opéra avec l'impressionnant Deuxième concerto de Brahms par le pianiste Francesco Piemontesi, et l'opéra "Idoménée" de Mozart dirigé par Simon Rattle, avec les sopranos Elsa Dreisig et Sabine Devieilhe. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:32 - En pistes ! du mardi 30 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Une matinée du piano à l'opéra avec l'impressionnant Deuxième concerto de Brahms par le pianiste Francesco Piemontesi, et l'opéra "Idoménée" de Mozart dirigé par Simon Rattle, avec les sopranos Elsa Dreisig et Sabine Devieilhe. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

A teen violist treats us to a sweeping Brahms sonata. We meet a tuba player who shares how it feels to perform on the stage at Carnegie Hall and an 18-year-old clarinetist recalls how his parents influenced his musical pursuits.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Even before the continuing acts of gun violence in the US this week, I had chosen a theme that necessitated a rather sombre setlist: the artistry of Canadian-born singer George London in recital. Though London was one of the premier operatic bass-baritones in the 1950s, he also reserved a significant corner of his artistic endeavors for the recital stage. This episode focuses on London's live and studio recordings of this repertoire, which, in part simply by virtue of the dark color of his voluminous voice, tended toward the serious: Schubert's Heine settings, Brahms's Vier ernste Gesänge, Ibert's Don Quichotte songs, Duparc's sepia-toned melodies, Mahler's Kindertotenlieder, and his calling-card, Mussorgsky's Songs and Dances of Death. Examples of London singing all of this repertoire are included, accompanied by Paul Ulanowsky, Leo Taubman, Erik Werba, and John Newmark, among others. The episode is dedicated to the memory of all innocent victims in the epidemic of gun violence in the United States. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.