Podcasts about breitkopf

Breitkopf, Martin www.deutschlandfunk.de, Informationen am Abend

Breitkopf, Martin www.deutschlandfunk.de, Informationen am Abend

Join DJ Bob as he sits down with actor Kyle Breitkopf, known for his roles in Wonder and Parental Guidance. In this episode, Kyle shares insights into his acting career, discussing his work on these heartwarming films. They delve into the topic of being typecast due to physical attributes, and how Kyle has navigated this common industry hurdle. We'll also take a moment to appreciate the often-overlooked brilliance of Cars 2. And, in a special surprise, DJ Bob has a message for Kyle from someone from his past. So tune in and hang out with Bob and Kyle for a conversation you won't wanna miss.

Breitkopf, Martin www.deutschlandfunkkultur.de, Studio 9

Podcasterin, Journalistin, PR-Expertin, Eventmanagerin – es gibt viele Substantive, die Julia (Yogi) Breitkopf (sie/ihr) beschreiben könnten und doch wird ihr keines gerecht.

Breitkopf, Martin www.deutschlandfunk.de, Informationen am Mittag

Michael Breitkopf ist Gitarrist und Gründungsmitglied der "Toten Hosen". Nach Jahrzehnten in einer der erfolgreichsten Punkbands Deutschlands hat er den Blick auf Themen abseits der Rockmusik nie verloren. Geschichte, Klima, Asylpolitik sind Beispiele für sein großes gesellschaftliches Interesse. Am 6. Februar 2024 wurde er 60 Jahre alt. 2014 war er zu Gast bei "Eins zu Eins. Der Talk".

Jana Breitkopf, Managing Director, Mercedes pay USA joined Grayson Brulte on The Road to Autonomy podcast to discuss how Mercedes pay is enabling the future of in-car experiences. The conversation begins with Jana discussing how Mercedes is approaching in-car payments. We want to make it as easy and as convenient as possible for our drivers to use services like parking, charging or fueling. – Jana BreitkopfMercedes began creating Mercedes pay over five years ago to meet the expectations of their drivers. As technology advances, in the future drivers and passengers will be able to say “Hey, Mercedes” order golf balls from Amazon. When this moment happens, the era of in-car commerce will be ushered in.This moment will overlap with the commercialization of personally owned autonomous vehicles as Mercedes pay will enable in-car experiences as it will be the payment layer that makes those experiences possible. Autonomous driving will leverage in-car commerce as a revenue channel. – Jana BreitkopfWhen autonomous vehicles are combined with a payment platform, a global commerce platform will be created. The future of in-car experiences will be built around apps and services that will create value for passengers. Unlocking this value creates new profitable revenue opportunities for Mercedes. Mercedes pay is available today in 44 markets around the world. In Germany, Mercedes pay has a partnership with Mastercard where customers can pay for fueling directly from their vehicle. This partnership eliminates the paying for gas friction in Germany, as there is no pay at the pump service. Instead motorists have to go into the store and pay, which can be inconvenient and frustrating at times. Over the coming years, new markets for Mercedes pay will be coming online. As new markets come online, Mercedes pay will adapt to the local markets customs, data compliance/security and regulatory requirements. Ensuring that the system just simply works with the tap of a button or a simple “Hey, Mercedes”. Wrapping up the conversation, Jana shares her vision for the future of Mercedes pay.Recorded on Friday, December 8, 2023--------About The Road to AutonomyThe Road to Autonomy® is a leading source of data, insight and commentary on autonomous vehicles/trucks and the emerging autonomy economy™.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

SynopsisOn today's date in 1806, Ludwig van Beethoven offered his publisher Breitkopf and Härtel three new string quartets—works we know today as the three Razumovsky Quartets, that were eventually issued as Beethoven's Opus 59.In Beethoven's day, Vienna was swarming with Russian, Polish, and Hungarian aristocrats with a taste for music. Among them was Count Andreas Kyrilovich Razumovsky, the Russian ambassador to Vienna. The count was an amateur violinist who occasionally played in a string quartet he maintained at his own expense.The count commissioned Beethoven to write three string quartets, stipulating that they should incorporate Russian melodies, real or imitated. The most recognizable of the Russian tunes, Beethoven employed occurs in the scherzo of the second quartet: It's the same theme that was later quoted by Mussorgsky in the coronation scene of his opera “Boris Godunov.”When these Razumovsky Quartets were premiered in Vienna in 1807, one contemporary review noted, “These very long and difficult quartets… are profoundly thought-through and composed with enormous skill, but will not be intelligible to everyone.”When one Italian violinist confessed to Beethoven that he found them incomprehensible, Beethoven retorted: ‘Oh, they are not for you, but for a later age.'Music Played in Today's ProgramLudwiv van Beethoven (1770 - 1827) Razumovsky Quartet, Op. 59, no. 2 Emerson String Quartet DG 479 1432

SynopsisThese days, when “Modern Music” is on the program, a sizeable chunk of the concert hall audience might start nervously looking for the nearest exit—but that wasn't always the case.On today's date in 1882, a 21-year old American composer and pianist named Edward MacDowell took the stage in Zurich, Switzerland, to perform his “Modern Suite” for piano at the 19th annual conference of the General Society of German Musicians, a showcase for new music whose programs were arranged by none other than Franz Liszt.Liszt had met MacDowell earlier that year, and when MacDowell sent him the music for his “Modern Suite” for solo piano, Liszt asked the young composer to play it himself at the Society's conference in Zurich.The success of his First “Modern Suite” lead to the creation of a Second, and both were published a year later by the Leipzig firm of Breitkopf & Hærtel. These two suites were the first works of MacDowell to appear in print, and launched his career as one of the major American composers of the late 19th century.Music Played in Today's ProgramEdward MacDowell (1860 - 1908) First Modern Suite, Op. 10 James Barbagallo, piano Naxos 8.559011On This DayBirths1836 - Brazilian opera composer Antonio Carlo Gomes, in CampinasDeaths1937 - American composer George Gershwin, age 38, in Hollywood, following an operation on a cystic brain tumorPremieres1882 - MacDowell: "Modern Suite" No. 1 for Piano, in Zurich, with composer as soloist1921 - Gershwin: musical revue, "George White's Scandals of 1921," at the Liberty Theater in New York City1996 - James MacMillan: "The World's Ransoming" (English horn Concerto), at the Barbican in London, by soloist Christine Pendrill with the London Symphony, Kent Nagano conducting2003 - Peter Maxwell Davies: "Naxos Quartet" No. 2, at the Pittville Pump Room, Cheltenham (UK), as part of the Cheltenham International Festival by the Maggini Quartet;Others1798 - In the nation's capital of Philadelphia, President John Adams signed an Act of Congress establishing the United States Marine Band (The original "32 drummers and fifers" assisted in recruiting and entertained residents)1885 - First concert of the Boston "Promenade" Orchestra (later dubbed the Boston "Pops") at the old Music Hall in Boston; Adolf Neuendorff conducts;1922 - Opening concert of the Hollywood Bowl, with German conductor Alfred Hertz at the podium1940 - Leonard Bernstein's first appearance as conductor of a professional orchestra, leading a performance of Wagner's Act I Prelude to "Die Meistersinger" with the Boston Pops at an open-air Esplanade Concert1998 - "The President's Own" U.S. Marine Band, America's oldest professional musical organization, marks its 200th anniversary Links and Resources On composer Edward MacDowell On the MacDowell Colony

Franz Schubert's Symphony No. 8 in B minor, D. 759 (sometimes renumbered as Symphony No. 7, in accordance with the revised Deutsch catalog and the Neue Schubert-Ausgabe), commonly known as the Unfinished Symphony, is a musical composition that Schubert started in 1822 but left with only two movements—though he lived for another six years. A scherzo, nearly completed in piano score but with only two pages orchestrated, also survives.The Symphony No. 9 in C major, D 944, known as The Great, is the final symphony completed by Franz Schubert. It was first published by Breitkopf & Härtel in 1849 as "Symphonie / C Dur / für großes Orchester" and listed as Symphony No. 8 in the New Schubert Edition. Originally called The Great C Major to distinguish it from his Symphony No. 6, the Little C Major, the subtitle is now usually taken as a reference to the symphony's majesty. Unusually long for a symphony of its time, a typical performance of The Great lasts an hour when all repeats indicated in the score are taken. The symphony was not professionally performed until a decade after Schubert's death.Gertrude Heinz, conductorCMD German Opera Company of BerlinHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

Mitten in den Kriegswirren schwebt ein roter Luftballon über die zerstörte Stadt.

Shasta Breitkopf has been part of the Window coverings industry for quite some time and I was so happy to be able to hear more about her story! Shasta has worked for various companies and also as an independent representative of some of those companies.  Her company, Unique Expressions was developed to assist workrooms with products that help with productivity as well as fabrication. Links and Resources; ( I do occasionally use affiliate links for Amazon and can earn some money if you choose to use them) Workroom Tech Custom Workroom Conference Joy Wilbur's YouTube Method Share on The Workroom Channel Becoming by Michelle Obama Hell and Other Destinations an Autobiography of Madeline Albright Books by Wayne Dyer   The Sew Much More Podcast is sponsored by;   The Workroom Channel   Scarlet Thread Consulting   The WCAA   The Curtains and Soft Furnishings Resource Library   Merril Y Landis, LTD   Angel's Distributing, LLC   National Upholstery Association

Breitkopf, Martinwww.deutschlandfunk.de, Deutschland heuteDirekter Link zur Audiodatei

Im Mai 2022 feiern „Die Toten Hosen“ ihr 40-jähriges Bestehen. Die Punkrocker aus Düsseldorf sind nicht nur eine der erfolgreichsten deutschen Bands überhaupt, sondern haben sich auch immer politisch und gesellschaftlich engagiert, zum Beispiel für Oxfam, Pro Asyl und gegen Rechtsextremismus. In der langen Geschichte der Toten Hosen gab es nur sehr wenige Besetzungswechsel. Gitarrist Michael „Breiti“ Breitkopf erklärt das damit, dass sich die Band aus Freundschaft und Musikbegeisterung heraus gegründet habe und nicht mit dem Willen, erfolgreich zu werden.

Julia Breitkopf sorgt für Furore by Radio Radieschen

Klara liegt im Krankenhaus. Jeden Abend bekommt sie Besuch von gefiederten Freunden, die ihr helfen wollen.

Synopsis On today's date in 1853, expectations both on stage and off must have been pretty high when a 20-year-old German pianist and composer named Johannes Brahms made his public debut in Leipzig. Just two months earlier, the older composer Robert Schumann had published a glowing prediction that young Mr. Brahms was going to turn out to be the bright hope for the future of German music. Brahms played his big Piano Sonata in C, his Opus 1, no. 1, at the Leipzig Gewandhaus. Brahms also met the great French composer Hector Berlioz, who wrote: “Brahms has had a great success here and made a deep impression on me... this diffident, audacious young man who has taken into his head to make a new music.” When his Piano Sonata No. 1 was first published by Breitkopf & Haertel, along with some early songs, Brahms immediately sent copies off to Schumann, with this note: “I take the liberty of sending you your first foster children (who owe to you their citizenship of the world). In their new garb they seem to me too prim and embarrassed – I still cannot accustom myself to seeing these guileless children of nature in their smart new clothes!” Music Played in Today's Program Johannes Brahms (1833–1897) — Piano Sonata No. 1, Op. 1 (Sviatoslav Richter, piano) Philips 438 477

“Mistakes, mistakes, mistakes. You yourselves are a mistake!” wrote Beethoven to publisher Breitkopf und Härtel. Beethoven cared deeply about how his music would be interpreted by others, and how it would outlive him. Listen as acclaimed pianist Dr Robert Taub and historian Professor James Daybell animate Beethoven today in our world. Beethoven was a non-conforming troublemaker whose revolutionary music continues to withstand all tests of time. Join us throughout this five-part series to take a fresh look at musical topics including how we perceive music, how our range of hearing has evolved over time, and how and why Beethoven composed. Part of Beethoven: Innovator – a 250th celebration music festival, 30 September - 2 October 2021. Brought to you by The Arts Institute, University of Plymouth. Discover more about Beethoven: Innovator - the podcast Intro music: Beethoven Piano Sonata Op. 110, Moderato cantabile molto espressivo Robert Taub, pianist Recording used by permission.

Synopsis On today's date in 1806, Ludwig van Beethoven wrote to his publishers Breitkopf and Härtel:  “you may have at once three new string quartets.” These were three new works Beethoven had written on commission from the wealthy Russian ambassador to Vienna, Count Andrey Kirillovich Razumovsky. Beethoven was stretching the truth a bit when he told his publisher they could have the quartets “at once,” since as per the Count's commission, Razumovsky had exclusive rights to the music for a full year. But then, Beethoven had also promised the Count that he'd weave authentic Russian melodies in all three quartets but ended up doing so in just two of them.  Today, these “Razumovsky” Quartets rank among Beethoven's most popular chamber works, but initially they were NOT well received. When shown the music prior to publication, a professional Viennese quartet assumed Beethoven was playing a practical joke on them.  The second movement of the first quartet, with its cello solo on just one note, provoked particular disdain. Muzio Clementi, who had seen these quartets in manuscript, remarked to Beethoven “Surely you don't consider these works to be music!” To which Beethoven replied: “Oh, they are not for you, but for a later age.” Music Played in Today's Program Ludwig van Beethoven (1770 – 1827): String Quartet in F, Op. 59, No. 1 (Orford Quartet) CBC 2020

Synopsis On today's date in 1826, Franz Schubert completed what would be his last String Quartet, in G Major, published posthumously as his Op. 161. 1826 was a rather frustrating year for Schubert. Prospects for commissions didn't pan out, and he wrote the following note to the oldest publishing house in Germany, Breitkopf & Härtel: “In the hope that my name is not wholly unknown to you, I am venturing to ask whether you would be disposed to take over at a moderate price some of my compositions, for I very much want to become as well-known as possible in Germany.  Your selection could be made from the following: songs, strings quartets, piano sonatas, etc. etc.” Signed “Franz Schubert, Auf der Wieden #100, in Frühwirth's house, 5th staircase, 2nd floor – Vienna” The publishing firm responded with a proposal to try out one or two of Schubert's piano pieces, but as payment only offered him free copies of the printed music.   Schubert was definitely not “as well-known as possible” in Germany, and nine years earlier, when he submitted his now famous setting of Goethe's poem, “The Erl King” to Breitkopf and Härtel, they confused him with another composer named Franz Schubert who lived in Dresden. Music Played in Today's Program Franz Schubert (1795 - 1828): String Quartet in G, D. 887 (Emerson String Quartet) DG 459 151

Synopsis On today's date in 1826, Franz Schubert completed what would be his last String Quartet, in G Major, published posthumously as his Op. 161. 1826 was a rather frustrating year for Schubert. Prospects for commissions didn't pan out, and he wrote the following note to the oldest publishing house in Germany, Breitkopf & Härtel: “In the hope that my name is not wholly unknown to you, I am venturing to ask whether you would be disposed to take over at a moderate price some of my compositions, for I very much want to become as well-known as possible in Germany.  Your selection could be made from the following: songs, strings quartets, piano sonatas, etc. etc.” Signed “Franz Schubert, Auf der Wieden #100, in Frühwirth's house, 5th staircase, 2nd floor – Vienna” The publishing firm responded with a proposal to try out one or two of Schubert's piano pieces, but as payment only offered him free copies of the printed music.   Schubert was definitely not “as well-known as possible” in Germany, and nine years earlier, when he submitted his now famous setting of Goethe's poem, “The Erl King” to Breitkopf and Härtel, they confused him with another composer named Franz Schubert who lived in Dresden. Music Played in Today's Program Franz Schubert (1795 - 1828): String Quartet in G, D. 887 (Emerson String Quartet) DG 459 151

The Opportunity Thinking Series of the  Sew Much More Podcast is sponsored by The Curtains & Soft Furnishings Resource Library   Shasta Breitkopf has been part of the Window coverings industry for quite some time and I was so happy to be able to hear more about her story! Shasta has worked for various companies and also as an independent representative of some of those companies.  Her company, Unique Expressions was developed to assist workrooms with products that help with productivity as well as fabrication. Links and Resources; ( I do occasionally use affiliate links for Amazon and can earn some money if you choose to use them) Workroom Tech Custom Workroom Conference Joy Wilbur's YouTube Method Share on The Workroom Channel Becoming by Michelle Obama Hell and Other Destinations an Autobiography of Madeline Albright Books by Wayne Dyer  

On this week's show, I welcome Joel Breitkopf, Principal at Alchemy Properties, one of the most active residential developers in New York City. Joel shares with us his story of getting started in real estate nearly 25 years ago by starting a commercial mortgage brokerage company. He shares with us his time working early on with a past guest of the show, Ken Horne, and how they first went into business with each other over a lunch in 1993. Joel also shares with us some amazing guidance on anyone looking to get into the business by providing some great insight into resumes and cover letters, as well as how to market yourself. He also dives into some of the deals he's worked on in the past and how he has dealt with downturns and a top market over his 20+ year career!

Das neu erschienene Arbeitsbuch von Barbara Hoos de Jokisch ist eine systematische Zusammenstellung der Gesangsübungen von Franziska Martienßen-Lohmann, die als Grande Dame der deutschen Gesangspädagogik gilt. Ihre bisher nicht zugänglichen Gesangsübungen stehen mit diesem kompakten Arbeitsbuch erstmals systematisch und strukturiert allen interessierten SängerInnen und GesangspädagogInnen zum selbständigen Üben zur Verfügung. Logopädin Annette Mangold stellt das Buch vor. Redaktion: Annette Mangold Moderation: Katrin Heimsch

On today’s date in 1806, Ludwig van Beethoven offered his publisher Breitkopf and Härtel three new string quartets—works we know today as the three “Razumovsky” Quartets, that were eventually issued as Beethoven’s Opus 59. In Beethoven’s day, Vienna was swarming with Russian, Polish, and Hungarian aristocrats with a taste for music. Among them was Count Andreas Kyrilovich Razumovsky, the Russian ambassador to Vienna. The count was an amateur violinist who occasionally played in a string quartet he maintained at his own expense. The count commissioned Beethoven to write three string quartets, stipulating that they should incorporate Russian melodies, real or imitated. The most recognizable of the Russian tunes, Beethoven employed occurs in the scherzo of the second quartet: It’s the same theme that was later quoted by Mussorgsky in the coronation scene of his opera “Boris Godunov.” When these “Razumovsky” Quartets were premiered in Vienna in 1807, one contemporary review noted, “These very long and difficult quartets… are profoundly thought-through and composed with enormous skill, but will not be intelligible to everyone.” When one Italian violinist confessed to Beethoven that he found them incomprehensible, Beethoven retorted: ‘Oh, they are not for you, but for a later age.’

On today’s date in 1806, Ludwig van Beethoven offered his publisher Breitkopf and Härtel three new string quartets—works we know today as the three “Razumovsky” Quartets, that were eventually issued as Beethoven’s Opus 59. In Beethoven’s day, Vienna was swarming with Russian, Polish, and Hungarian aristocrats with a taste for music. Among them was Count Andreas Kyrilovich Razumovsky, the Russian ambassador to Vienna. The count was an amateur violinist who occasionally played in a string quartet he maintained at his own expense. The count commissioned Beethoven to write three string quartets, stipulating that they should incorporate Russian melodies, real or imitated. The most recognizable of the Russian tunes, Beethoven employed occurs in the scherzo of the second quartet: It’s the same theme that was later quoted by Mussorgsky in the coronation scene of his opera “Boris Godunov.” When these “Razumovsky” Quartets were premiered in Vienna in 1807, one contemporary review noted, “These very long and difficult quartets… are profoundly thought-through and composed with enormous skill, but will not be intelligible to everyone.” When one Italian violinist confessed to Beethoven that he found them incomprehensible, Beethoven retorted: ‘Oh, they are not for you, but for a later age.’

These days, when "Modern Music" is on the program, a sizeable chunk of the concert hall audience might start nervously looking for the nearest exit—but that wasn't always the case. On today's date in 1882, a 21-year old American composer and pianist named Edward MacDowell took the stage in Zurich, Switzerland, to perform his "Modern Suite" for piano at the 19th annual conference of the General Society of German Musicians, a showcase for new music whose programs were arranged by none other than Franz Liszt. Liszt had met MacDowell earlier that year, and when MacDowell sent him the music for his "Modern Suite" for solo piano, Liszt asked the young composer to play it himself at the Society's conference in Zurich. Now, in an era when piano virtuosos like Liszt always played from memory, MacDowell premiered his "Modern Suite" with his own manuscript score propped up in front of him at the piano. This struck contemporaries as rather odd, but MacDowell's explanation was (quote): "I had never realized that my compositions could be worth actual study or memorizing!" The success of his First "Modern Suite" lead to the creation of a Second, and both were published a year later by the Leipzig firm of Breitkopf and Hærtel. These two suites were the first works of MacDowell to appear in print, and launched his career as one of the major American composers of the late 19th century.

Auch wenn das Deutsche Chorfest verschoben wurde, ist rechtzeitig zum ursprünglich geplanten Start die Fertigstellung eines ganz besonderen Chorbuches gelungen. Ein Chorbuch, in der sich rund 500 Jahre Chormusik aus Mitteldeutschland, geistliche und weltliche Friedensmusik sowie klassische und moderne Volksliedarrangements auf rund 300 Seiten wiederfinden. Das Chorbuch ist in Kooperation des DCV mit den drei mitteldeutschen Verbänden (Sächsischer Chorverband, Chorverband Sachsen-Anhalt, Chorverband Thüringen). Prof. Andreas Göpfert, der die Werke zusammengestellt hat, spricht im Interview mit Holger Frank Heimsch über das Buch, seine Entstehung und warum es über das Chorfest hinaus ein Buch für die Chorlandschaft sein wird. Redaktion: Holger Frank Heimsch Moderation: Holger Frank Heimsch

Der Leipziger Verleger Nick Pfefferkorn übernahm 2017 die Leitung von Breitkopf & Härtel. Im Gespräch mit Carsten Tesch erzählt er vom 300. Jubiläum des Musikverlags und der Chronik, die zu diesem Anlass erstellt wurde.

Il 27 gennaio 1719 Bernhard Christoph Breitkopf fonda a Lipsia la casa editrice che in seguito diverrà "Breitkopf und Härtel". Guido Zaccagnini lo racconta a WikIMusic

Let’s start episode 308 of Secrets of Organ Playing Podcast. This question was sent by Jaco, and he writes: Dear Vidas Thank you for your daily posts - it is really an inspiration! I really like Bach's Toccata in d (Dorian). It is a piece that feels like it has perpetual motion - something always keeps moving in it. It is quite a difficult piece to master, but I decided to learn it. The edition I am playing from is the new 2012 urtext Breitkopf & Hartel edition. It indicates a trill in measure 29 on the top e in the RH (please see below). However, it does not indicate when this trill should stop. The note is held on for another 2 measures. When should that trill stop? I don't know how to play the RH in measure 30 if trill has to continue, since a lower voice starts with that hand halfway through measure 30. Another question - I know the piece has to be played articulate legato. However, it does sound quite nice if the first 2 semiquavers on the motive on beat 1 and 3 are slurred (played legato). I have heard it on some recordings as well. Would this be considered acceptable to do? Looking forward to your reply! Kind regards Jaco