Podcasts about Burgomaster

In this episode, we dive into the chilling mysteries of Barovia, following a group of adventurers led into the cursed land by ominous letters and sinister forces. Discover the horrors lurking beneath the Durst Manor, the haunting tale of Rose and Thorn, and the dark legacy of Count Strahd von Zarovich. Join us as we unravel the secrets of Barovia, where every shadow hides a threat, and each step brings our heroes closer to an inevitable confrontation with darkness itself. Introduction to Barovia: A brief overview of the mysterious land and the adventurers' journey that led them into its grasp. The Call for Help: The adventurers receive an invitation to Barovia, summoned by a letter from the Burgomaster pleading for aid. First Encounters in Barovia: Meeting the Vistani and hearing the legend of a cursed prince who became a tyrant. Durst Manor: Entering the haunted estate and meeting the ghostly children, Rose and Thorn, who warn of a monster lurking below. Exploring the Manor: Investigating hidden rooms, discovering ghostly presences, and finding a taunting letter from Strahd von Zarovich himself. Descending into Darkness: Journeying into the tunnels beneath Durst Manor, facing supernatural creatures, and uncovering crypts. Possession and Release: The spirits of Rose and Thorn possess two of the adventurers, revealing the tragic fate of the Durst family. The Influence of Strahd: The ominous chanting and pervasive darkness remind the adventurers that Strahd's power touches every corner of Barovia. Conclusion: Reflecting on the session's events and speculating about what horrors await the adventurers in Barovia. The podcast explores the adventurers' initial journey from Daggerford to the cursed land of Barovia, where they are summoned by a cryptic letter pleading for help. This summons leads them into the shadowed streets and ultimately to Durst Manor, where ghostly children reveal that a "monster" lurks in the basement. As the adventurers probe the manor's secrets, they confront specters, haunted relics, and traces of the Durst family's dark past. Below the manor, they navigate claustrophobic tunnels, encounter supernatural horrors, and realize the ever-present influence of Strahd von Zarovich. The episode highlights the chilling atmosphere of Barovia, where no one is ever truly safe. The letters from the Burgomaster serve as compelling plot devices, weaving a tale of despair and helplessness under Strahd's rule. The haunting interactions with Rose and Thorn emphasize Barovia's tragic undertones, where innocence is twisted by corruption. Strahd's mocking letter found within the manor encapsulates his contempt for both the people of Barovia and the adventurers who dare to challenge him. The Durst Manor becomes a symbolic introduction to the themes of isolation, betrayal, and the unrelenting grip of darkness that the adventurers must face. Barovia: A cursed land ruled by the vampire Count Strahd von Zarovich, where dark magic prevents inhabitants from leaving. Strahd von Zarovich: The vampire lord of Barovia, a tragic and tyrannical figure whose power shapes the land. Durst Manor: The estate belonging to the Durst family, haunted by the ghosts of Rose and Thorn and hiding dark secrets in its depths. Vistani: Nomadic people who serve as guides within Barovia. They share a complicated allegiance with Strahd. Rose and Thorn: The ghostly children of the Durst family, who are trapped within the manor by their tragic deaths. Burgomaster: The local leader of Barovia, who initially calls the adventurers for help but is later revealed to be a pawn in Strahd's game. Possession: When a spirit overtakes the body of a living person, as Rose and Thorn do with two adventurers, revealing their own unresolved fears and emotions. Crystal Orb: An object held by Strahd's statue in the shrine room. Its dark aura and connection to Strahd lead to a deadly encounter with spectral shadows. --- Support this podcast: https://podcasters.spotify.com/pod/show/chrisabraham/support

The Adventures of Scarlett Hood Once upon a time, in a land far, far away, deep in the woods there is a city named Grimms Town. Where there's a great many people, some whom, it's seems, live a fairy tale existence. In this mysterious city is woman who goes by the name of Scarlett Hood and she's one real tough cookie. This time she meets a Ranger, fights more trolls, and dickers with a Burgomaster over a blanket. This podcast is powered by Pinecast.

The Mist-Fits must save Leilyn from the Hunter's Lodge based in the rebuilt mansion of the previous Burgomaster. With so much on the line, they must do this quick and quiet. Can they do it? Thank you for joining our Curse of Strahd campaign, Ravenloft Mist-Fits. Join us live on Twitch (https://www.twitch.tv/talkingxp ) at 7:30 PM PT to be part of the chat, give players inspiration, and when we do giveaways! Hope to see you there! Cast List:Jonny (he/him) as the DM: @ JonnyFlaucherZack (he/him) playing as Katya: @ ZF_MaskDevan: (she/her) playing as Sorsha: @ Sweet_MolasseyEllen: (she/her) playing as Beatrice: @ Ellen_BoenerBecca: (any/all) playing as Von: @ CoolArmadill0Mika (he/him) playing as Citron: @ Mika_McIntoshJayden (any/all) playing as Lumaria: @ ItsJaydenKingArt by Sabrina (she/her): @ ArtByStabby and Maria (she/her): @ MariaOglesbyArtEdited by Jonny and Hamiz: @ hamizmuzaffar If you are willing to help, check out the link to donate to the Trevor Project! (https://streamlabscharity.com/@talkingxp /mist-fits-for-pride) 100% of the proceeds go directly to The Trevor Project, so share it with your friends! We want to make as big of a difference as we can!

Our heroes arrive in the strange land of Barovia, meet up with a vengeful scarecrow, and are introduced to the town's Burgomaster... who has a request for them. Featuring: Joseph as the DM Mark as the Reborn Warlock "Vogelsuch" Bun as the Elf Bard "Vio" Sam as Orc Druid "Grude" Steph as the Human Artificer "Minerva" Jess (Nemir) as the Tiefling Sorcerer "Romaia" Please note: While the FrogCast often aims for a "PG-13" rating, this module contains elements of horror and mature themes that might be uncomfortable to some. Elements of body horror, implied mistreatment of children (such as child ghosts), and mature themes commonly associated with vampires and gothic settings will be present throughout the adventure. This adventure is based off of "Curse of Strahd Reloaded" by "DragnaCarta" https://www.patreon.com/DragnaCarta/posts Character art by: https://linktr.ee/melthehoneybee Enjoy! Podcast: https://anchor.fm/lfrogdnd YouTube: https://www.youtube.com/josephblanchette Twitter: https://twitter.com/FrogCAdventures Patreon: https://www.patreon.com/legendaryfrog

We welcome back an old (and best) friend to the program as Mike Burgomaster from the Auburn Tigers was kind enough to come through. Truly one of the best dudes that is currently on a college basketball sideline. We discuss his tremendous promotion from Director of Ops to Assistant Coach and all of the new responsibilities that come with it. We also talk about Auburn's win streak and the key personnel that is contributing to that. The leadership of KD Johnson, the youthful talent of Aden Holloway and the dynamic approach of Chad Baker-Mazara have been incredible to witness. We also talk about the SEC as a whole and see if there's any similarities or differences between this Auburn team and the Final 4 team. Thanks again to Burgo for jumping on! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Horror Project Podcast. Join hosts Phil and Laura as they review Bride of Frankenstein (1935).We tackle another classic universal monster movie and look at two of the most indelible character's of all time, in the Monster and his Bride.We discuss a film which is jam packed with arrogant ego-maniacs, with Henry Frankenstein, Doctor Septimus Pretorius and the Burgomaster all vying for the position of being top arsehole!With one of the strangest moments in cinema with the introduction of Pretorius' collection of small human beings, including his own pet mermaid?!?Plus we shall be finding a place on the leaderboard for the movie during our Ranking.We hope you enjoy the show, thanks for listening!

The Burgomaster's Wife — Complete

We had a great time talking ball with Auburn Basketball's Recruiting Coordinator and Assistant to the Head Coach Mike Burgomaster about scouting, scheduling, his unique role on this coaching staff, and this year's Auburn team. Enjoy the interview!

A fresh batch of pies wrapped snuggly in their packs, the trio of outsiders make their way toward Vallaki. Still contemplating the recent dream, and with the prospect of a budding new business, hopes are high and the road is clear... for now. Will they reconvene with Irena and Vasily in town? How will the Burgomaster react when he hears of the troubles of Barovia? Will Casariel find more information regarding her lost family members? If you'd like to see us live, technical glitches and all, check us out at https://www.twitch.tv/thegildedflask on Saturdays at 5:30 PM EST Follow us there for game nights, our podcasts, one-shots and more! Find your way into the Gilded Flask Tavern - https://discord.gg/XVpusCtw8 For more information about the Gilded Flask, check out our socials - http://thegildedflask.com/ Follow us for weekly episodes of our playthrough of The Curse of Strahd, the biggest Gothic Horror adventure of Dungeons and Dragons! If you like our little adventure, please consider sharing the show with your friends. Thank you, and we'll see you at the usual table!

The party pulls out all of the stops to hold out against insurmountable odds, while Lady Wachter and her undead army continue to batter the Burgomaster's Mansion. With the walls not only closing in but crumbling down around them, how long can our heroes keep going?Thank you to our sponsors!Modern Artifice: https://www.etsy.com/shop/ModernArtificeUse our discount code GOON10 at checkout for 10% off your order!C4Labs: https://www.c4labs.com/Use our discount code GOON15 at checkout for 15% off your order!Trevor William Fayle as The DMDaniel Ison as Callister (Aasimar Rogue)Tyler Kanter as Artemis Silverbow (Half-Elf Ranger w/black panther Sasha)Kay Devine-Jones as Kasle Othro (Half-Orc Barbarian)Ned Pryce as Drogar Stonebreath (Dragonborn Cleric, Life Domain)Campbell O'Hare as Winnie Winchester (Halfling Cleric, Peace Domain)The podcast is edited by Kay Devine-Jones and designed by Daniel Ison.For hours of bonus content, fan art, secret backstories and behind-the-scenes clips, subscribe to our Patreon at https://www.patreon.com/criticalfayledm or check out our merch at https://www.etsy.com/shop/criticalfayledm!Twitter: https://twitter.com/CriticalFayleDMTikTok: https://www.tiktok.com/@criticalfayledmInstagram: https://www.instagram.com/criticalfayledm/YouTube: https://www.youtube.com/criticalfayledmMusic:"Run" by Ross Bugden Artist Link - https://www.youtube.com/channel/UCQKG Provided By Notchback Music (NBM) https://www.youtube.com/c/NotchbackMusicSupport the show

Lady Wachter and her army of undead descend upon the Burgomaster's Mansion. Will help arrive, and can the party hold out until it does?Thank you to our sponsors!Modern Artifice: https://www.etsy.com/shop/ModernArtificeUse our discount code GOON10 at checkout for 10% off your order!C4Labs: https://www.c4labs.com/Use our discount code GOON15 at checkout for 15% off your order!Trevor William Fayle as The DMDaniel Ison as Callister (Aasimar Rogue)Tyler Kanter as Artemis Silverbow (Half-Elf Ranger w/black panther Sasha)Kay Devine-Jones as Kasle Othro (Half-Orc Barbarian)Ned Pryce as Drogar Stonebreath (Dragonborn Cleric, Life Domain)Campbell O'Hare as Winnie Winchester (Halfling Cleric, Peace Domain)The podcast is edited by Kay Devine-Jones and designed by Daniel Ison.For hours of bonus content, fan art, secret backstories and behind-the-scenes clips, subscribe to our Patreon at https://www.patreon.com/criticalfayledm or check out our merch at https://www.etsy.com/shop/criticalfayledm!Twitter: https://twitter.com/CriticalFayleDMTikTok: https://www.tiktok.com/@criticalfayledmInstagram: https://www.instagram.com/criticalfayledm/YouTube: https://www.youtube.com/criticalfayledmSupport the show

Matt traveled to New York to go to the NBA Draft with Jackson, who lives in Brooklyn. The first few minutes of this episode were recorded outside Barclays Center following the first round of the draft. At 8:03, you can hear our interview with assistant coaches Chad Prewitt and Mike Burgomaster at a gathering of the NYC Auburn Club.

The adventurers investigate the Burgomaster's house again, and this time find something that leads them to the very place they've been trying to reach.

After Kasimir feared dead, and a brush with Needle, the crew find themselves back in Vallaki. Tearful reunions, shocking revelations, and a mystery circle revealed back at the Burgomaster's mansion. We turn the first page of the final chapter.

While Velcar and Kodiak are away, Daetu has a mysterious visitor.  The following day, the party finds a celebration in the Blue Water Inn. The party finds that magic can be unpredictable in Barovia as well as makes a grizzly discovery in the Burgomaster's Mansion. About Royally Screwed   Royally Screwed is a campaign featuring our group of idiots.  We apologize ahead of time for the goofiness of our players and the idiotic comments that arise during our play.  While we hope to entertain you, our first goal is to laugh and be entertained ourselves.  We are far from being a professional group.  We are simply players with a couple of mics having fun playing DnD as friends.   Our Cast of Characters: Velcar Deverell - Dhampire Fighter   Anet - Male Owl Aarakocra Ranger Thixian Envarius (Lord Envarius, Duke of Hetherford) - Male Half Elf Bard HALO (John Tracker) - Male Warforged Barbarian Kodiac the Killer - Male Eladrin Ranger Dautu - Male High Elf Wizard Arlo - Changeling Cleric Cassandra - Human Cleric   Breaga Magesblood - The Dungeon Master  You can find your hick voiced host at on Twitter     Music Credits: Opening Music :  Epic Music by Soundbay  (used with permission via AdobeStock)   "Halls of the Undead", "Magic Forest" by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Track has been modified for length   "Haven", "Terror in the Woods", "The Hearth Inn" and "Victorian Slums" from TableTop Audio  https://tabletopaudio.com Licensed under Creative Commons: By Attribution 4.0 License Track has been modified for length.

As the day of The Festival of the Blazing Sun arrives, Velcar finds himself once again staring into the eyes of the Lord of Barovia.   As violence erupts in the streets, a coup d'etat results in a new Burgomaster of Vallaki. Seeking safety, the Motley Fools bring Ireena to the Chapel of St. Andral, but safety might not be in their reach. About Royally Screwed   Royally Screwed is a campaign featuring our group of idiots.  We apologize ahead of time for the goofiness of our players and the idiotic comments that arise during our play.  While we hope to entertain you, our first goal is to laugh and be entertained ourselves.  We are far from being a professional group.  We are simply players with a couple of mics having fun playing DnD as friends.   Our Cast of Characters: Velcar Deverell - Dhampire Fighter   Anet - Male Owl Aarakocra Ranger Thixian Envarius (Lord Envarius, Duke of Hetherford) - Male Half Elf Bard HALO (John Tracker) - Male Warforged Barbarian Kodiac the Killer - Male Eladrin Ranger Dautu - Male High Elf Wizard Arlo - Changeling Cleric Cassandra - Human Cleric   Breaga Magesblood - The Dungeon Master  You can find your hick voiced host at https://www.instagram.com/the_dungeon_master_darling/ Music Credits:   Music Credits: Opening Music :  Epic Music by Soundbay  (used with permission via AdobeStock) Mourning (Full Version) by Christopher Bennett  (used with permission via AdobeStock)   "Lux Tenebras", "Grand Hall", "Back Hall" and "Brennenburg Theme" - Amnesia: Dark Descent OST Music by Mikko Tarmia and Frictional Games, used under Fair Use Tracks has been modified for length.   "Halls of the Undead", "Night Vigil", "Past the Edge" and "Thunderbird" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Track has been modified for length  

With three orphans on their hands, the Motley Crew heads back to the Vistani camp in hopes to pawn their problems off on them, only to find themselves taking yet another Vistani problem into their party.  A mysterious dinner invite arrives and the party finds things are not as they appear at the Burgomaster's home.  About Royally Screwed   Royally Screwed is a campaign featuring our group of idiots.  We apologize ahead of time for the goofiness of our players and the idiotic comments that arise during our play.  While we hope to entertain you, our first goal is to laugh and be entertained ourselves.  We are far from being a professional group.  We are simply players with a couple of mics having fun playing DnD as friends.   Our Cast of Characters: Velcar Deverell - Dhampire Fighter   Anet - Male Owl Aarakocra Ranger Thixian Envarius (Lord Envarius, Duke of Hetherford) - Male Half Elf Bard HALO (John Tracker) - Male Warforged Barbarian Kodiac the Killer - Male Eladrin Ranger Dautu - Male High Elf Wizard Arlo - Changeling Cleric Cassandra - Human Cleric   Breaga Magesblood - The Dungeon Master  You can find your hick voiced host at https://www.instagram.com/the_dungeon_master_darling/   Music Credits: Opening Music :  Epic Music by Soundbay  (used with permission via AdobeStock)   "Thunderbird" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Track has been modified for length   "The Summoning", "Solace" and "Borealis" -  Music by Scott Buckley – www.scottbuckley.com.au  Licensed under Creative Commons BY 4.0 https://creativecommons.org/licenses/by/4.0/   Track has been modified for length.    

Auburn is #2 in the country. Tied for the school's best ranking EVER. So naturally we had to get our A1 Day 1 amigo, Mike Burgomaster, on the pod to discuss this season. We chat about everything from Jabari Smith, to the Kiss of TICH to Burgo's Thanksgiving "Vacation" in Atlantis. We also talk about Taylor's finger injury as well as a recap on bets and Hugs. No Shark today after going 1-2 on bets last week. Something is rotten in the state of TICHmark. That's Hamlet. Culture yourself.

Mairi has a conversation with the Burgomaster & Burogmistress of Vallaki, then a conversation with the Captain of the Guard, then a conversation with A Lowborn Man, then a conversation with A Noble Woman, then a conversation with some Bird People. It's a talky episode. But it's all good talky, we swear!This episode was inspired in part by Curse of Strahd1PDnD is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards. Portions of the materials used are property of Wizards of the Coast. ©Wizards of the Coast LLC

Episode 22: I6 Ravenloft A messenger arrives to tell you there is great treasure awaiting you and your party if only you will come to Barovia and speak to the Burgomaster. Sounds like an adventure! Josh and Oldman swoon over the legendary Strahd von Zarovich as we dissect what makes this fantasy horror module for AD&D an instant classic. Ravenloft is one of the most popular adventures of all time and even spawned its own campaign setting. Come listen and find out why. Visit our website for more: https://bitcritics.wordpress.com Follow us on Twitter @bitcritics Out of print. Available in pdf at DriveThruRPG https://www.drivethrurpg.com/product/17527/I6-Ravenloft-1e starfrosch - Deadfro5h Remix Kit by starfrosch (c) copyright 2019 Licensed under a Creative Commons Attribution (3.0) license. http://dig.ccmixter.org/files/starfrosch/60781 Tomorrow Belongs to Cats by Doxent Zsigmond (c) copyright 2020 Licensed under a Creative Commons Attribution (3.0) license. http://dig.ccmixter.org/files/doxent/61796 Dungeons & Dragons, Greyhawk, and other terms are registered trademarks of Wizards of the Coast and are used in this podcast under the fair use doctrine of the copyright code. http://www.copyright.gov/title17/92chap1.html#107

A recounting of my solo game of Ironsworn, playing the original Ravenloft AD&D module, I6.

Season 2 - Episode 5 - Player 4 Has Entered The Game The group go headhunting for a lovely venue to host the Burgomaster funeral. They have heard there is a gorgeous little church just up the road. Find out what happens on this weeks episode of 'Don't Tell The Burgomaster' ...Johnny 5 cameos. ------------------------------------------------ This episode is sponsored by Langden Games. Use the code: Dice&Die to get 15% off of all D&D related products! Don't miss out, visit: www.langdengames.co.uk You can follow us on: Twitter: @showdnd Facebook: @showdnd Instagram: @diceanddie. Want to chat to us and other fans of the show? Why not join our discord server https://discord.gg/hJFpNRC Lastly, from all of us here at The Dice ‘n' Die Show, thank YOU for downloading this podcast, you're amazing! ____________________________________________ ***DISCLAIMER*** The Dice & Die is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards. Portions of the materials used are property of Wizards of the Coast. ©Wizards of the Coast LLC. The Dice & Die would like to thank our very own James Bligh and Shaun Lee. James created the orchestral arrangement of our theme tune and wrote/produced some of the other music used in our podcast. Shaun for all of our artwork and podcast editing needs. For all your content creation needs (Video, Graphic Design, Animation and Audio Production) visit: www.shaunleefilms.co.uk Instagram: @shaunlee_films Support this podcast at — https://redcircle.com/the-dnd-show/donations

With few friends to turn to in this strange new land of Barovia Mairi agreed to help escort a stranger's sister to a nearby town. But first, the two are obligated to carry out the funeral rights for their father, the late Burgomaster. Mairi expects trouble at the funeral, but weapons are in short supply in the town. But there might be one in that old abandoned manor...1PDnD is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards. Portions of the materials used are property of Wizards of the Coast. ©Wizards of the Coast LLCShouts out to u/MandyMod of reddit for the "Fleshing Out Curse of Strahd" guide!

Season 2 - Episode 4 - Our Souls The party venture deeper into Barovia in search of the Burgomaster's house and learn the true nature of their new home. ----------------------------------------------- This episode is sponsored by Langden Games. Use the code: Dice&Die to get 15% off of all D&D related products! Don't miss out, visit: www.langdengames.co.uk You can follow us on: Twitter: @showdnd Facebook: @showdnd Instagram: @diceanddie. Want to chat to us and other fans of the show? Why not join our discord server https://discord.gg/hJFpNRC Lastly, from all of us here at The Dice ‘n' Die Show, thank YOU for downloading this podcast, you're amazing! ________________________________________________ ***DISCLAIMER*** The Dice & Die is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards. Portions of the materials used are property of Wizards of the Coast. ©Wizards of the Coast LLC. The Dice & Die would like to thank our very own James Bligh and Shaun Lee. James created the orchestral arrangement of our theme tune and wrote/produced some of the other music used in our podcast. Shaun for all of our artwork and podcast editing needs. For all your content creation needs (Video, Graphic Design, Animation and Audio Production) visit: www.shaunleefilms.co.uk Instagram: @shaunlee_films Support this podcast at — https://redcircle.com/the-dnd-show/donations

First episode of the offseason so we had to welcome back our best friend of the program: Auburn coach, Mike Burgomaster. We talk everything from last year's season, the transfer portal, the future of the team and Terrence Clarke. Listen to this episode before you become a slug all weekend watching the NFL draft.

The last episode of February kicks off with some deep college basketball discussion from Thoma, Sundock, and Kipp, plus some viral videos involving a fight in Oklahoma and an argument between Cam Newton and one of his campers. We give out our weekly awards (sorry Mariners fans), 'Doinks and Dingers', and are joined by our first guest: Assistant Director of Basketball Operations for Auburn University, Michael Burgomaster. And finally, the boys introduce 'The People's Parlay.' Be sure to follow us on Twitter and Instagram!

In a village of the Bavarian Alps, a young scientist named Henry Frankenstein and his assistant Fritz, a hunchback, piece together a human body.  Frankenstein desires to create a human, giving this body life through electrical devices he has perfected. But he still needs a brain for his creation. Henry's fiancée Elizabeth speaks with their friend Victor Moritz about the scientist's increasingly peculiar actions and how he secludes himself. Elizabeth and Victor ask Dr. Waldman for help in understanding Henry's new behavior and Waldman reveals he is aware Dr. Frankenstein wishes to create life. Concerned for Henry, they arrive at the lab just as the scientist makes his final preparations. With a pulley system, Frankenstein and Fritz raise the operating table high in the room, moving it toward an opening at the top of the tower. The creature and Frankenstein's equipment are exposed to the lightning storm and empowered. The hand of Frankenstein's creature begins to move. The scientist triumphantly shouts, 'It's alive!'Frankenstein's Monster, despite its grotesque form, seems to be an innocent, childlike creation. Dr. Frankenstein welcomes it into his laboratory and asks his creation to sit, which it does. Thinking that it is not fit for society and will wreak havoc at any chance, they leave the Monster locked up, where Fritz antagonizes it with a torch. As Henry and Waldman consider the Monster's fate, they hear a shriek from the dungeon. Frankenstein and Waldman run down and find that the Monster has strangled Fritz. The Monster lunges at the two but they escape, locking the Monster inside. Realizing that the Monster must be destroyed, Henry prepares an injection of a powerful drug and the two conspire to release the Monster and inject it as it attacks. When the door is unlocked the Monster lunges at Frankenstein as Waldman injects the drug into the Monster's back. The Monster falls to the floor unconscious.Henry collapses from exhaustion, and Elizabeth and Henry's father arrive and take him home. Henry is worried about the Monster but Waldman reassures him that he will destroy it.With preparations for the wedding completed, Henry is serenely happy with Elizabeth. They are to marry as soon as Waldman arrives. However, Victor rushes in, saying that Doctor Waldman has been found strangled. Henry suspects the Monster. Meanwhile, the Monster enters Elizabeth's room, causing her to scream. When the searchers arrive, they find Elizabeth unconscious on the bed. The Monster has escaped.Maria's father arrives, carrying his drowned daughter's body. He says she was murdered, and the villagers form a search party to capture the Monster and bring it to justice, dead or alive. In order to search the whole country for the Monster, they split into three groups: Ludwig leads the first group into the woods, Henry leads the second group into the mountains, and the Burgomaster leads the third group by the lake. During the search, Henry becomes separated from the group and is discovered by the Monster, who attacks him. The Monster knocks Henry unconscious and carries him off to an old mill. The peasants hear his cries and they regroup to follow. They find the Monster has climbed to the top, dragging Henry with him. The Monster hurls the scientist to the ground. His fall is broken by the vanes of the windmill, saving his life. Some of the villagers hurry him to his home while the rest of the mob set the windmill ablaze, with the Monster trapped inside.At Castle Frankenstein, Frankenstein's father, Baron Frankenstein, celebrates the wedding of his recovered son with a toast to a future grandchild.

Upon following the newfound individual known as Izmark in the tavern, he agrees to lead them to the home of the Burgomaster.  It's there that they meet Ireena, the one mentioned in the letter found on the body outside of town on the road.  It's here they soon have a task asked of them, a personal one... there's been a death in the family.  This group of heroes may be untested and inexperienced, but they are ready to prove their mettle and forge a new path. What they lack in experience they make up with uncanny humor, an advantage on sarcasm, and attacks of wit. They are ready to fight through the tempestuous storms that will arise. They are ready to face the CritStorm! Thanks to Jonathan Howell for our intro & outro. Check him out on Twitter @minimpossible Special thanks to Darren Curtis at www.darrencurtismusic.com Check us out on social media:FacebookTwitterInstagramJoin us on Discord  Or email us at: CritstormCast@gmail.com

This week, things get a bit intense in Throwing Bones: Memori Mento. Xal, Fig, and Jun finish up their investigations at the Burgomaster's house, only to find more mysteries awaiting them. Just when it seems it's time to cut and run, the gang makes an earth-shattering discovery that will leave you asking... Who is Juniper?Support the show (https://www.patreon.com/Throwingbones)

Ismark and the party take the body of the deceased Burgomaster of the village to the local church to be buried, but the priest has other ideas. Another Special THANK YOU to Brady Spruance for joining us yet again as our first cameo on the podcast. Be sure to tune in to his Twitch stream "Flagon Slayers" every Sunday at 6:30 pm CST!

Welcome to the fortieth episode of Curse of Strahd with Infinity & Beyond, broadcast live on Arvan Eleron’s Twitch channel. In this episode, the party meets with the Burgomaster of Vallaki and launches an investigation into a strange and potentially devastating theft. If you like what you hear, please spread the word, and check out […]

If there's anything we know, it's Fair Use. Ismark the Lesser reads two letters. Arik the barkeep cleans a glass. Ken takes Tinok to church. A handsome man carries a spider. At the Burgomaster's mansion, Ismark introduces Ireena and his father to Buffy, who takes precautions against the undead. The Wiz advises Ken on fashion. Next stop: the Abbey of Krezk. Watch video for this episode on YouTube: https://youtu.be/tOjLx5l8nBA. This is a Wet Maynard production. Additional artwork in cover image by Loran DeSore, kindly used with permission.

Great show today as we sit down with friend of the program and Assistant Director of Operations for Auburn men's basketball, Mike Burgomaster. We also discuss Jon Rothstein's new show titled "Stuffed." We think it's just him eating, watching film, talking to coaches and spewing his hilarious one liners so yeah... it's must watch theater. We reminisce on some of our fondest Duke/UNC memories because this upcoming game has the potential to be a real stinker. Finally we end the program with Where Am I? and Hugs.

Greetings, brave wanderers! We continue our third season of Bourbon & Barbarians! Herein our adventurers visit the Burgomaster, and prepare themselves to enter the proper, actual, for-real-this-time classic AD&D module, I6: Ravenloft! Our episode is freely available on archive.org and is licensed under Creative Commons: By Attribution 3.0. "Gnarled Situation" by Kevin MacLeod (incompetech.com

Silme reveals the contents of a letter most concerning before our heroes make their way back to Vallaki to check in on an old friend, and investigate the turmoil of a town deciding upon it's new Burgomaster. Come join us on Discord: https://discord.gg/FGeegf Consider supporting us on Patreon! https://www.patreon.com/IndoorAdventures Merch: http://bit.ly/adventuremerch

Finally escaping the town of Vallaki before having to attend the festival of the Burgomaster, our heroes make their way to Lake Baratok on the promise of a powerful magic item that will help them defeat Strahd. But can they find their way into the wizards tower before lightning strikes twice? Consider supporting us on Patreon! https://www.patreon.com/IndoorAdventures Merch: http://bit.ly/adventuremerch

After finishing their dinner with the Petrovich family, our heroes discover the truth behind Izek's dolls and learn of his new fiendish capabilities. Now, with the fear of Izek and the Burgomaster's invitation to a heroes feast, our heroes are faced with a new set of difficult choices. Consider supporting us on Patreon! https://www.patreon.com/IndoorAdventures Merch: http://bit.ly/adventuremerch

Previously on Dice & Dreary, Crethan, Sprocket, and Ireena made it to Vallaki and found everyone unnervingly happy as required by law. After Sprocket spoke with Blinsky the toy maker, they party found rooms at the Blue Water in where they met a strange man Rictavio who wished to speak with them privately. Cast Crethan - Human Ranger Sprocket - Gnome Artificer Ireena - Victim of Strahd, Daughter of the Burgomaster of Barovia Gizmo - The dog If you enjoyed the show please leave review on Apple Podcasts or wherever you get your podcasts. Visit us on the web https://www.diceanddreary.com https://twitter.com/DiceDreary Music The TechnoFunkBoy http://technofunkboy.com/ Sound Effects SyrinScape https://syrinscape.com/ Jeff Toner https://twitter.com/Jeff_Atom

Thanks for listening if you enjoyed the show please leave us a review on apple podcasts. You can also help fund the show by becoming a patron. For more info check out https://www.patreon.com/diceanddreary or https://www.diceanddreary.com/ Thanks to Alexander Mark for editing this episode you can check out more of his work at alexandermarkmusic.com and thanks to TheTechnoFunkBoy for the music in this episode. Cast Crethan - Human Ranger Sprocket - Gnome Artificer Ireena - Daughter of the Burgomaster of Barovia Gizmo - The dog Visit us on the web https://www.diceanddreary.com https://twitter.com/DiceDreary Editing Alexander Mark https://alexandermarkmusic.com/ Music The TechnoFunkBoy http://technofunkboy.com/ Sound Effects Jeff Toner https://twitter.com/Jeff_Atom

Having received a hero's welcome at the Festival of the Blazing Sun, our team begins to find out more about their host...

Estudios por orden según los nombro: https://www.ncbi.nlm.nih.gov/pubmed/8897392 https://www.ncbi.nlm.nih.gov/pubmed/26121248 https://www.ncbi.nlm.nih.gov/pubmed/17991697 https://www.ncbi.nlm.nih.gov/pubmed/16825308 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2991639/ https://www.ncbi.nlm.nih.gov/pubmed/12960015 https://www.ncbi.nlm.nih.gov/pubmed/19268526 Lo que tu sientes no importa. Lo que te quiero decir es que tu sensación subjetiva de lo duro que es un entrenamiento no vale para nada. Lo que importa es lo que la ciencia tiene que decir de forma objetiva sobre el entrenamiento y el cambio en la composición corporal. El entrenamiento HIIT deja a las personas tiradas en el suelo en un charco de sudor con la sensación de que si dura un `poco más hubieran muerto. En este artículo, propongo una forma más inteligente de entrenamiento, que debería tener un mayor efecto sobre la resistencia y los efectos de la composición corporal a largo plazo. Este entrenamiento de repetición de alta intensidad (HIRT) puede no "sentirse" tan bien, pero tus sentimientos no importan. Historia de HIIT El entrenamiento por intervalos con intensidades altas ha existido desde hace muchos años. El punto de inflexión del HIIT parece haber venido con la investigación del Dr. Izumi Tabata. ¿Te suena de algo el apellido del japonés? Pues a principios de la década de los 90’, colaboró ??con Irisawa Koichi, el entrenador del equipo japonés de patinaje de velocidad que había desarrollado un protocolo de ráfagas cortas y máximas de sprints seguidas de cortos períodos de descanso. Esta ráfaga máxima corta mejoró y mantuvo el rendimiento máximo en atletas de élite de patinaje de velocidad. Tabata quería probar el protocolo con atletas de diferentes niveles. El documento inicial de Tabata de 1996 examinó dos grupos de hombres atléticos aficionados de veintitantos años: El primer grupo remó en un ergómetro (que es el nombre técnico de las máquinas de remo) durante sesenta minutos a intensidad moderada (70% del VO2 máx). Similar a una sesión de carrera contínua o lo que se ha denominado trabajo de larga distancia lenta (LIIS). O Low Intensity Steady State. O correr al trote cochinero. El segundo grupo remó durante 20 segundos, seguido de 10 segundos de descanso, durante 4 minutos (completando 8 series en total) al máximo esfuerzo. La clave es el esfuerzo máximo, ya que se esperaba que cada intervalo fuera un sprint. Si el atletas no podía mantener los requisitos de velocidad, se para en la 7ª serie.. Ambos grupos entrenaron durante 5 días a la semana por un total de 5 horas a la semana o 20 minutos. El protocolo duró 6 semanas. HIIT versus HIRT - Fitness, VO2 Max, HIIT, entrenamiento de intervalos de alta intensidad, atp, HIRT, tabata, entrenamiento de alta intensidad, Intervalos Burgomaster y Gibala, ADP Como se esperaba, el grupo de Sprint de estilo Tabata mejoró su rendimiento mientras que el grupo de larga duración no lo hizo. Estos resultados tienen sentido dado que los sprints usan muchos más procesos anaeróbicos. Los resultados del consumo de oxígeno, que es una medida de la eficiencia de las personas en las actividades aeróbicas (cuanto más oxígeno podamos captar, más eficientes serán nuestros procesos aeróbicos). Ambos grupos mejoraron en esta medida de manera similar. Este resultado se esperaba para el grupo de larga duración ya que estaban entrenando específicamente para este objetivo. El resultado para el grupo que hizo sprints es lo que sorprendió, ya que mejoraron de manera similar. Por lo tanto, parece que un entrenamiento Tabata de intensidad máxima de cuatro minutos tiene los mismos beneficios aeróbicos que un entrenamiento de intensidad moderada de sesenta minutos. Esta noticia fue bastante impactante en cuanto a que podría obtener beneficios de dos en uno solo con un entrenamiento de cuatro minutos. Aquí es donde empieza la revolución del HIIT. Posibles problemas con HIIT Los sprints de máximo esfuerzo son un componente clave para los entrenamientos de Tabata. Muchas personas tienen dificultades para mantener el máximo esfuerzo durante 20 segundos en 8 series. Por lo que muy pocas personas realmente hacen un entrenamiento de estilo Tabata. Hay muchos entrenamientos "inspirados por Tabata" que duran de 20 minutos a 60 minutos. Estas mutaciones de los protocolos de Tabata siempre llevan a un menor esfuerzo en cada intervalo. Los protocolos de estilo Tabata han demostrado ser beneficiosos a corto plazo. El alto estrés en el cuerpo puede hacer que se adapte al deshacerse de las mitocondrias que funcionan mal y reemplazarlas. Esto es la mitofagia. Los problemas vienen cuando lo haces por largos períodos de tiempo. El alto estrés de estos entrenamientos puede tener efectos perjudiciales a largo plazo como la degradación de las mitocondrias. Demasiado de algo bueno se convierte en algo malo (Ramos-Filho 2015). Intervalos Burgomaster y Gibala Kirsten Burgomaster y Martin Gibala han modificado los protocolos de esfuerzo máximo de Tabata. La gran diferencia en sus protocolos de Tabata es que permiten un descanso más largo (4 minutos), pero también intervalos de trabajo más largos (30 segundos de esfuerzo máximo). Parece que son solo 10 segundos más. Pero primero es un 50%. Y segundo 30 segundos a intensidad máxima “real”, pero real de verdad, es mucha tela. Igual que la investigación original de Tabata, Burgomaster y Gibala han encontrado beneficios para los sistemas aeróbicos y anaeróbicos. Otros han encontrado beneficios en la pérdida de grasa. Aquí hay un artículo donde dice que: Cuatro minutos de descanso permiten que se recupere más nuestro sistema de ATP y fosfato de creatina y pueden proporcionar un mejor rendimiento en los intentos de esfuerzo máximo. Un beneficio importante de los intervalos Burgomaster y Gibala es que activa la vía AMPK que es responsable de la mejora mitocondrial. En pocas palabras, cuando agotamos rápidamente nuestras reservas de ATP (adenosin trifosfato), creamos ADP (adenosín difosfato) y después AMP (adenosín monofosfato) Cada iteración tiene una molécula menos de fosfato, desde trifosfato a difosfato. Y de difosfato a monofosfato. Nuestro cuerpo usa la relación ATP / AMP para señalizar AMPK, que luego conduce a más mitocondrias para procesar las demandas extremas de energía El estudio donde lo dice. ATP -> ADP + energía -> AMP + energía Un solo sprint de 30 segundos aumenta la relación AMP / ATP en hasta 21 veces. Sin embargo, estamos a un paso entre el crecimiento mitocondrial y desgarrando el marco de nuestro sistema de energía. Una vez que llegamos a AMP, podemos arrancar el último fosfato y toda la estructura se rompe. Ya no tenemos una estructura para agregar fosfatos. Algunos de los mayores daños de un ataque al corazón se producen después de que el oxígeno regresa al corazón Te dejo un estudio. El corazón ha usado todo el fosfato y las mitocondrias comienzan a producir radicales libres, ya que no hay suficientes marcos de adenosina ribosa para aceptar moléculas de fosfato. Con demasiado tiempo de entrenamiento intenso, realmente comenzamos a producir amoníaco a medida que la molécula de AMP se descompone. Así que el tiempo es importante. El descanso más largo de los protocolos de Gibala y Brugomaster es bueno. Pero para algunos atletas, podría estar causando demasiado daño a las moléculas de adenosina en intervalos de 30 segundos. Se podría mejorar estos protocolos acortando los intervalos de trabajo, lo que permite recuperarnos más rápido y tanta cantidad de ácido láctico. Entrenamiento de repetición de alta intensidad (HIRT) El entrenamiento por intervalos se diferencia del entreno por repeticiones en cuando ocurre la recuperación. En el HIIT, la recuperación es incompleta, por lo que el próximo intervalo comienza cuando ya estás fatigado. Esta recuperación incompleta conduce a una disminución en el rendimiento después de cada intervalo. El entrenamiento HIRT permiten mantener la intensidad máxima durante todos y cada uno de los intervalos. HIRT reduce el estrés a largo plazo en el cuerpo que tiene el entrenamiento HIIT. El componente clave de HIRT es mantener el esfuerzo y la intensidad en cada intervalo. Charlie Francis, entrenador de muchos velocistas olímpicos de récord mundial, era conocido por maximizar los intervalos de descanso, por lo que cada sprint podría ser mejor o al menos igual al sprint anterior. El descanso era vital para que la gente pudiera "repetir" su actuación, y no ver cómo se degradan. Pavel Tsatsouline, quien popularizó el uso de las kettlebells en Occidente. Es conocido por su entrenamiento de fuerza, pero su trabajo reciente sobre resistencia ha tenido algunos descubrimientos interesantes. El trabajo reciente de Pavel en fuerza-resistencia modifica los intervalos de descanso y las duraciones de trabajo para maximizar los efectos del trabajo de alta intensidad. Los participantes pueden mantener la intensidad durante la duración de la sesión en sus protocolos. En la mayoría de sus protocolos, mantiene el trabajo en alrededor de 10 segundos o menos, por lo que la recuperación puede ocurrir mucho más rápido. Un ejemplo es el EMOM de Crossfit. EMOM: every minute on a minute. Sería hacer diez swing con Kettlebells cada minuto durante unos 10 minutos. Por poner algo con kettlebells La clave es tener la máxima en cada serie. En resumen clave para HIRT: La persona debe ser capaz de repetir el rendimiento de alta intensidad. Si no se puede repetir, la sesión de entrenamiento debe finalizar o se necesita más descanso. La intensidad es la clave. El objetivo es practicar los ejercicios con intensidad máxima durante un período corto de tiempo. No te preocupe por tus sentimientos de culpa por no entrenar más tiempo. Hacer más series de las marcadas no te ayudará en el largo plazo. La duración del trabajo debe ser de entre 5 a 15 segundos. Los intervalos de tiempo más largos llevarán a una disminución del rendimiento y la necesidad de un descanso más prolongado Gibala necesita 4 minutos de descanso durante 30 segundos de trabajo. Mantener el tiempo de trabajo corto permite un esfuerzo máximo y un rendimiento Mayor. Se necesitan generosos intervalos de descanso. Durante 10 segundos de trabajo, debe haber aproximadamente 45 segundos de descanso como mínimo. Elije ejercicios con poco riesgo de lesión y con capacidad de mantener la intensidad máxima. Sprint es una dificultad para muchas personas. Además, la potencia en un sprint solo se puede maximizar durante los primeros segundos del sprint. Una bicicleta estática es mejor y probablemente más seguro para un principiante. Los remeros o la natación también son buenas alternativas. Para los avanzados con buena técnica para hacer movimientos olímpicos o como poco swings con kettlebell también funciona muy bien. La clave es la capacidad de hacerlo con la máxima potencia. El volumen varía según los objetivos. Si tu objetivo es la fuerza máxima, entonces hacer ejercicio HIRT una o dos veces a la semana puede ser lo mejor. Si tu objetivo es construir una mayor resistencia, entonces de cuatro a cinco días a la semana es lo que necesitas.. No piense en HIRT como una forma de desarrollar fuerza. Debes ser fuerte primero. Y luego aplicar estos protocolos. Un protocolo de muestra Esprinta durante 8 segundos lo máximo posible. Mide la distancia que has recorrido. Tienes que mantener esa distancia en cada sprint. Haz un sprint cada minuto durante4 a 10 minutos. Si no puede mantener la distancia, la sesión de entrenamiento está completa y necesitas descansos más largos la próxima sesión de entrenamiento. Varía el volumen de cada sesión haciendo días de volumen medio, alto y bajo.

Estudios por orden según los nombro: https://www.ncbi.nlm.nih.gov/pubmed/8897392 https://www.ncbi.nlm.nih.gov/pubmed/26121248 https://www.ncbi.nlm.nih.gov/pubmed/17991697 https://www.ncbi.nlm.nih.gov/pubmed/16825308 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2991639/ https://www.ncbi.nlm.nih.gov/pubmed/12960015 https://www.ncbi.nlm.nih.gov/pubmed/19268526 Lo que tu sientes no importa. Lo que te quiero decir es que tu sensación subjetiva de lo duro que es un entrenamiento no vale para nada. Lo que importa es lo que la ciencia tiene que decir de forma objetiva sobre el entrenamiento y el cambio en la composición corporal. El entrenamiento HIIT deja a las personas tiradas en el suelo en un charco de sudor con la sensación de que si dura un `poco más hubieran muerto. En este artículo, propongo una forma más inteligente de entrenamiento, que debería tener un mayor efecto sobre la resistencia y los efectos de la composición corporal a largo plazo. Este entrenamiento de repetición de alta intensidad (HIRT) puede no "sentirse" tan bien, pero tus sentimientos no importan. Historia de HIIT El entrenamiento por intervalos con intensidades altas ha existido desde hace muchos años. El punto de inflexión del HIIT parece haber venido con la investigación del Dr. Izumi Tabata. ¿Te suena de algo el apellido del japonés? Pues a principios de la década de los 90’, colaboró ??con Irisawa Koichi, el entrenador del equipo japonés de patinaje de velocidad que había desarrollado un protocolo de ráfagas cortas y máximas de sprints seguidas de cortos períodos de descanso. Esta ráfaga máxima corta mejoró y mantuvo el rendimiento máximo en atletas de élite de patinaje de velocidad. Tabata quería probar el protocolo con atletas de diferentes niveles. El documento inicial de Tabata de 1996 examinó dos grupos de hombres atléticos aficionados de veintitantos años: El primer grupo remó en un ergómetro (que es el nombre técnico de las máquinas de remo) durante sesenta minutos a intensidad moderada (70% del VO2 máx). Similar a una sesión de carrera contínua o lo que se ha denominado trabajo de larga distancia lenta (LIIS). O Low Intensity Steady State. O correr al trote cochinero. El segundo grupo remó durante 20 segundos, seguido de 10 segundos de descanso, durante 4 minutos (completando 8 series en total) al máximo esfuerzo. La clave es el esfuerzo máximo, ya que se esperaba que cada intervalo fuera un sprint. Si el atletas no podía mantener los requisitos de velocidad, se para en la 7ª serie.. Ambos grupos entrenaron durante 5 días a la semana por un total de 5 horas a la semana o 20 minutos. El protocolo duró 6 semanas. HIIT versus HIRT - Fitness, VO2 Max, HIIT, entrenamiento de intervalos de alta intensidad, atp, HIRT, tabata, entrenamiento de alta intensidad, Intervalos Burgomaster y Gibala, ADP Como se esperaba, el grupo de Sprint de estilo Tabata mejoró su rendimiento mientras que el grupo de larga duración no lo hizo. Estos resultados tienen sentido dado que los sprints usan muchos más procesos anaeróbicos. Los resultados del consumo de oxígeno, que es una medida de la eficiencia de las personas en las actividades aeróbicas (cuanto más oxígeno podamos captar, más eficientes serán nuestros procesos aeróbicos). Ambos grupos mejoraron en esta medida de manera similar. Este resultado se esperaba para el grupo de larga duración ya que estaban entrenando específicamente para este objetivo. El resultado para el grupo que hizo sprints es lo que sorprendió, ya que mejoraron de manera similar. Por lo tanto, parece que un entrenamiento Tabata de intensidad máxima de cuatro minutos tiene los mismos beneficios aeróbicos que un entrenamiento de intensidad moderada de sesenta minutos. Esta noticia fue bastante impactante en cuanto a que podría obtener beneficios de dos en uno solo con un entrenamiento de cuatro minutos. Aquí es donde empieza la revolución del HIIT. Posibles problemas con HIIT Los sprints de máximo esfuerzo son un componente clave para los entrenamientos de Tabata. Muchas personas tienen dificultades para mantener el máximo esfuerzo durante 20 segundos en 8 series. Por lo que muy pocas personas realmente hacen un entrenamiento de estilo Tabata. Hay muchos entrenamientos "inspirados por Tabata" que duran de 20 minutos a 60 minutos. Estas mutaciones de los protocolos de Tabata siempre llevan a un menor esfuerzo en cada intervalo. Los protocolos de estilo Tabata han demostrado ser beneficiosos a corto plazo. El alto estrés en el cuerpo puede hacer que se adapte al deshacerse de las mitocondrias que funcionan mal y reemplazarlas. Esto es la mitofagia. Los problemas vienen cuando lo haces por largos períodos de tiempo. El alto estrés de estos entrenamientos puede tener efectos perjudiciales a largo plazo como la degradación de las mitocondrias. Demasiado de algo bueno se convierte en algo malo (Ramos-Filho 2015). Intervalos Burgomaster y Gibala Kirsten Burgomaster y Martin Gibala han modificado los protocolos de esfuerzo máximo de Tabata. La gran diferencia en sus protocolos de Tabata es que permiten un descanso más largo (4 minutos), pero también intervalos de trabajo más largos (30 segundos de esfuerzo máximo). Parece que son solo 10 segundos más. Pero primero es un 50%. Y segundo 30 segundos a intensidad máxima “real”, pero real de verdad, es mucha tela. Igual que la investigación original de Tabata, Burgomaster y Gibala han encontrado beneficios para los sistemas aeróbicos y anaeróbicos. Otros han encontrado beneficios en la pérdida de grasa. Aquí hay un artículo donde dice que: Cuatro minutos de descanso permiten que se recupere más nuestro sistema de ATP y fosfato de creatina y pueden proporcionar un mejor rendimiento en los intentos de esfuerzo máximo. Un beneficio importante de los intervalos Burgomaster y Gibala es que activa la vía AMPK que es responsable de la mejora mitocondrial. En pocas palabras, cuando agotamos rápidamente nuestras reservas de ATP (adenosin trifosfato), creamos ADP (adenosín difosfato) y después AMP (adenosín monofosfato) Cada iteración tiene una molécula menos de fosfato, desde trifosfato a difosfato. Y de difosfato a monofosfato. Nuestro cuerpo usa la relación ATP / AMP para señalizar AMPK, que luego conduce a más mitocondrias para procesar las demandas extremas de energía El estudio donde lo dice. ATP -> ADP + energía -> AMP + energía Un solo sprint de 30 segundos aumenta la relación AMP / ATP en hasta 21 veces. Sin embargo, estamos a un paso entre el crecimiento mitocondrial y desgarrando el marco de nuestro sistema de energía. Una vez que llegamos a AMP, podemos arrancar el último fosfato y toda la estructura se rompe. Ya no tenemos una estructura para agregar fosfatos. Algunos de los mayores daños de un ataque al corazón se producen después de que el oxígeno regresa al corazón Te dejo un estudio. El corazón ha usado todo el fosfato y las mitocondrias comienzan a producir radicales libres, ya que no hay suficientes marcos de adenosina ribosa para aceptar moléculas de fosfato. Con demasiado tiempo de entrenamiento intenso, realmente comenzamos a producir amoníaco a medida que la molécula de AMP se descompone. Así que el tiempo es importante. El descanso más largo de los protocolos de Gibala y Brugomaster es bueno. Pero para algunos atletas, podría estar causando demasiado daño a las moléculas de adenosina en intervalos de 30 segundos. Se podría mejorar estos protocolos acortando los intervalos de trabajo, lo que permite recuperarnos más rápido y tanta cantidad de ácido láctico. Entrenamiento de repetición de alta intensidad (HIRT) El entrenamiento por intervalos se diferencia del entreno por repeticiones en cuando ocurre la recuperación. En el HIIT, la recuperación es incompleta, por lo que el próximo intervalo comienza cuando ya estás fatigado. Esta recuperación incompleta conduce a una disminución en el rendimiento después de cada intervalo. El entrenamiento HIRT permiten mantener la intensidad máxima durante todos y cada uno de los intervalos. HIRT reduce el estrés a largo plazo en el cuerpo que tiene el entrenamiento HIIT. El componente clave de HIRT es mantener el esfuerzo y la intensidad en cada intervalo. Charlie Francis, entrenador de muchos velocistas olímpicos de récord mundial, era conocido por maximizar los intervalos de descanso, por lo que cada sprint podría ser mejor o al menos igual al sprint anterior. El descanso era vital para que la gente pudiera "repetir" su actuación, y no ver cómo se degradan. Pavel Tsatsouline, quien popularizó el uso de las kettlebells en Occidente. Es conocido por su entrenamiento de fuerza, pero su trabajo reciente sobre resistencia ha tenido algunos descubrimientos interesantes. El trabajo reciente de Pavel en fuerza-resistencia modifica los intervalos de descanso y las duraciones de trabajo para maximizar los efectos del trabajo de alta intensidad. Los participantes pueden mantener la intensidad durante la duración de la sesión en sus protocolos. En la mayoría de sus protocolos, mantiene el trabajo en alrededor de 10 segundos o menos, por lo que la recuperación puede ocurrir mucho más rápido. Un ejemplo es el EMOM de Crossfit. EMOM: every minute on a minute. Sería hacer diez swing con Kettlebells cada minuto durante unos 10 minutos. Por poner algo con kettlebells La clave es tener la máxima en cada serie. En resumen clave para HIRT: La persona debe ser capaz de repetir el rendimiento de alta intensidad. Si no se puede repetir, la sesión de entrenamiento debe finalizar o se necesita más descanso. La intensidad es la clave. El objetivo es practicar los ejercicios con intensidad máxima durante un período corto de tiempo. No te preocupe por tus sentimientos de culpa por no entrenar más tiempo. Hacer más series de las marcadas no te ayudará en el largo plazo. La duración del trabajo debe ser de entre 5 a 15 segundos. Los intervalos de tiempo más largos llevarán a una disminución del rendimiento y la necesidad de un descanso más prolongado Gibala necesita 4 minutos de descanso durante 30 segundos de trabajo. Mantener el tiempo de trabajo corto permite un esfuerzo máximo y un rendimiento Mayor. Se necesitan generosos intervalos de descanso. Durante 10 segundos de trabajo, debe haber aproximadamente 45 segundos de descanso como mínimo. Elije ejercicios con poco riesgo de lesión y con capacidad de mantener la intensidad máxima. Sprint es una dificultad para muchas personas. Además, la potencia en un sprint solo se puede maximizar durante los primeros segundos del sprint. Una bicicleta estática es mejor y probablemente más seguro para un principiante. Los remeros o la natación también son buenas alternativas. Para los avanzados con buena técnica para hacer movimientos olímpicos o como poco swings con kettlebell también funciona muy bien. La clave es la capacidad de hacerlo con la máxima potencia. El volumen varía según los objetivos. Si tu objetivo es la fuerza máxima, entonces hacer ejercicio HIRT una o dos veces a la semana puede ser lo mejor. Si tu objetivo es construir una mayor resistencia, entonces de cuatro a cinco días a la semana es lo que necesitas.. No piense en HIRT como una forma de desarrollar fuerza. Debes ser fuerte primero. Y luego aplicar estos protocolos. Un protocolo de muestra Esprinta durante 8 segundos lo máximo posible. Mide la distancia que has recorrido. Tienes que mantener esa distancia en cada sprint. Haz un sprint cada minuto durante4 a 10 minutos. Si no puede mantener la distancia, la sesión de entrenamiento está completa y necesitas descansos más largos la próxima sesión de entrenamiento. Varía el volumen de cada sesión haciendo días de volumen medio, alto y bajo.

East India was besieged by an enemy who would not retire until he had received six hundred dollars. Then the townsfolk caused it to be proclaimed by beat of drum that whosoever was able to procure the money should be burgomaster. Now there was a poor fisherman who fished on the lake with his son, and the enemy came and took the son prisoner, and gave the father six hundred dollars for him. So the father went and gave them to the great men of the town, and the enemy departed, and the fisherman became burgomaster. Then it was proclaimed that whosoever did not say, “Mr. Burgomaster,” should be put to death on the gallows.

In this epsiode the party ventures forth into the town of Vallekai with Ireena in tow.  Upon their entree they discover a cast of characters: an old Elvin Bard, a mangled fire potent man, and a simple barkeep with a dark secret.  Listen as our group ventures forward, learns more about the townsfolk, and attempts to not get in the way of this town's Burgomaster!   As per the ususal; please like, share, subscribe and tell a friend.   Music: Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

We meet the Burgomaster of Vallaki, Vargas Vallakovich, and learn a few details of the area and it's history.  While saying our goodbyes one of us witness a sketchy glance shared between Vargas and one of his employees.   New episodes release every Monday. Make sure to subscribe in your favorite podcast application so you don't miss any of the action!   Feedback always welcome on twitter @FridayKnights or in a podcast review!

The Burgomaster's Mansion. A house of death. And murder. And dead people. And murdered people. Did this somehow turn into a game of Clue? Is Batthwack really Mrs. Peacock? How long before one of the party finds a wrench or a lead pipe? Music by AbBowie Cross and by audionautix.com.

  After finding nothing of note in Argynvostholt, the party returns to Vallaki for the first time since dethroning the Burgomaster.  Will the town be changed much because of the players' actions?  Find out as we continue playing Curse of Strahd, a Dungeons and Dragons campaign. Starring: Jeff as Davun Brassrocks Troy as Pithur "Colossus" Illyaraspitha Matt as The Monk Lucas as Unda Want to leave a comment?  Email betweentwocrits@gmail.com. Follow us on Twitter @Rancors_Brothel.  Check us out online at rancorsbrothel.com

After dealing with the Burgomaster of Vallaki, the party parlays with the other prominent family in Barovia

Today it’s Chely Shoehart, Floyd the Floorman, and John Deer the Engineer PLUS the interesting news segment A FINE ARTICLE! Next show it's Benita, the Disgruntled Fiddle Player, and the Brewmaster!

Today it’s Chely Shoehart, Floyd the Floorman, and John Deer the Engineer PLUS the interesting news segment A FINE ARTICLE! Next show it's Benita, the Disgruntled Fiddle Player, and the Brewmaster!

AFTS Cast: Mickie, JJ, Kurt, and Joe Join our characters; Noctra, Tielen, and Calvin, as JJ brings them further into Barovia, exploring the story of the Burgomaster.  They learn the vampire has damned one and all in the town, and they seek to remedy the situation.  Enjoy the podcast! Like or Share episodes news and … Continue reading AFTS DnD-CoS2 – Glass 1 Copper, Pitcher 1 Silver →

AFTS Cast: Mickie, JJ, Kurt, and Joe Join our characters; Noctra, Tielen, and Calvin, as JJ brings them further into Barovia, exploring the story of the Burgomaster.  They learn the vampire has damned one and all in the town, and they seek to remedy the situation.  Enjoy the podcast! Like or Share episodes news and more on our Facebook page: Adventures from the  Shed Subscribe to AFTS and never miss an episode on iTunes Tweet AFTS on Twitter Join us on Patreon and help support the show. Check us out on YouTube at our channel.

JS Bach's - Goldberg Variations #5Our version of JS Bach's - Goldberg Variations #5blessings,Shiloh Worship MusicThe Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variationsare named after Johann Gottlieb Goldberg, who may have been the first performer.Johann Sebastian Bach from WikipediaJohann Sebastian Bach[1] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque Period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach wrote much music that was revered for its intellectual depth, technical command, and artistic beauty. Many of his works are still known today, such as the Brandenburg Concertos, the Mass in B minor, the Well-Tempered Clavier, and his cantatas, chorales, partitas, passions, and organ works.Bach was born in Eisenach, Saxe-Eisenach into a very musical family; his father, Johann Ambrosius Bach was the director of the town's musicians, and all of his uncles were professional musicians. His father taught him to play violin and harpsichord, and his brother, Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music.[2][3] Bach also sang, and he went to the St Michael's School in Lüneburg because of his skill in voice. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of Thomasschule in Leipzig, and Royal Court Composer to August III.[4][5] Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.[6][7][8]Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque period, and as one of the greatest composers of all time.[9]LifeChildhood (1685–1703)Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[10] He was the eighth child of Johann Ambrosius; the eldest son in the family was 14 at the time of Bach's birth.[11] His father taught him violin and harpsichord.[12] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family".[13]Bach's mother died in 1694, and his father died eight months later.[5] Bach, 10, moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at the Michaeliskirche in Ohrdruf, Saxe-Gotha-Altenburg.[14] There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[15][16] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied)[2] and Johann Jakob Froberger; North German composers;[3] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium.[17]At the age of 14, Bach, along with his older school friend George Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg.[18] Although it is not known for certain, the trip was likely taken mostly on foot.[17] His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.[17] He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.Although little supporting historical evidence exists at this time, it is almost certain that while in Lüneburg, Bach visited the Johanniskirche (Church of St. John) and heard (and possibly played) the church's famous organ (built in 1549 by Jasper Johannsen, and played by Georg Böhm). Given his musical talent, Bach had significant contact with prominent organists of the day in Lüneburg, most notably Böhm, but also including organists in nearby Hamburg, such as Johann Adam Reincken.[19]Weimar, Arnstadt, and Mühlhausen (1703–08)In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[20] Bach was appointed court musician in the chapel of Duke Johann Ernst in Weimar. His role there is unclear, but likely included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at St. Boniface's Church in Arnstadt, located about 40 km southwest of Weimar.[21] In August 1703, he became the organist at St Boniface's, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at the Marienkirche in the northern city of Lübeck. The visit to Buxtehude involved a 400 kilometre (250 mi) journey on foot each way. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works. Bach wanted to become amanuensis (assistant and successor) to Buxtehude, but did not want to marry his daughter, which was a condition for his appointment.[22]In 1706, Bach was offered a post as organist at St. Blasius's in Mühlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and city government at Mühlhausen to fund an expensive renovation of the organ at St. Blasius's. Bach, in turn, wrote an elaborate, festive cantata—Gott ist mein König, BWV 71—for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.[17]Return to Weimar (1708–17)In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and concertmaster at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[17] Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor-rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still played in concert often. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[24]In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.[17] He also began to write the preludes and fugues which were later assembled into his monumental work Das Wohltemperierte Clavier ("The Well-Tempered Clavier"—Clavier meaning clavichord or harpsichord),[25] consisting of two books, compiled in 1722 and 1744,[26] each containing a prelude and fugue in every major and minor key.Also in Weimar Bach started work on the Little Organ Book for his eldest son, Wilhelm Friedemann, containing traditional Lutheran chorales (hymn tunes) set in complex textures to train organists. In 1713 Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Marktkirche Unser Lieben Frauen. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[27][28] Musicologists debate whether his first Christmas cantata Christen, ätzet diesen Tag, BWV 63, was premiered here in 1713[29], or if it was performed for the bicentennial of the Reformation in 1717.[30] Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed:“On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.[31]”Köthen (1717–23)Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[32] including the Orchestral Suites, the Six Suites for Unaccompanied Cello, the Sonatas and Partitas for Solo Violin, and the Brandenburg Concertos.[33] Bach also composed secular cantatas for the court such as the Die Zeit, die Tag und Jahre macht, BWV 134a.Despite being born in the same year and only about 80 miles apart, Bach and Handel never met. In 1719 Bach made the 20 mile journey from Köthen to Halle with the intention of meeting Handel, however Handel had recently departed the city.[34] In 1730, Bach's son Friedmann travelled to Halle to invite Handel to visit the Bach family in Leipzig, however the visit did not eventuate.[35]On 7 July 1720, while Bach was abroad with Prince Leopold, Bach's first wife suddenly died. The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years younger than he was who performed at the court in Köthen; they married on 3 December 1721.[36] Together they had 13 more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich, and Johann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnikol; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[37]Leipzig (1723–50)In 1723, Bach was appointed Cantor of the Thomasschule at Thomaskirche in Leipzig, and Director of Music in the principal churches in the town, namely the Nikolaikirche and the Paulinerkirche, the church of the University of Leipzig.[38] This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church service on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[39] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only Chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 61, and Wie schön leuchtet der Morgenstern, BWV 1.Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, at least five of which are for double choir.[40] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[17]Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions".[41] Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Zimmermannsches Caffeehaus, a Coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and harpsichord concertos.[17]In 1733, Bach composed the Kyrie and Gloria of the Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, August III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer.[4] He later extended this work into a full Mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was almost wholly taken from his own cantatas. Bach's appointment as court composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig Council. Although the complete mass was probably never performed during the composer's lifetime,[42] it is considered to be among the greatest choral works of all time. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.In 1747, Bach visited the court of the King of Prussia in Potsdam. There the king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on Frederick's pianoforte, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration. Bach wrote another fugue, The Art of Fugue, shortly before his death, but never completed the final fugue. It consists of 18 complex fugues and canons based on a simple theme.[43] It was only published posthumously in 1751.[44]The final work Bach completed was a chorale prelude for organ, entitled Vor deinen Thron tret ich hiermit (Before thy throne I now appear, BWV 668a) which he dictated to his son-in-law, Johann Altnikol, from his deathbed. When the notes on the three staves of the final cadence are counted and mapped onto the Roman alphabet, the initials "JSB" are found.[45]Death (1750)Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer, fill the Thomascantor and Director musices posts "upon the eventual ... decease of Mr. Bach."[29] Bach became increasingly blind, so the British eye surgeon John Taylor operated on Bach while visiting Leipzig in March or April of 1750.[46]On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death.[47] Modern historians speculate that the cause of death was a stroke complicated by pneumonia.[6][7][8] His son Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.[48]Bach's estate included five Clavecins, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and 52 "sacred books", including books by Martin Luther and Josephus.[49] He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894 his coffin was finally found and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave at Leipzig's Church of St. Thomas.[17]LegacyA detailed obituary of Bach was published (without attribution) four years later in 1754 by Lorenz Christoph Mizler (a former student) in Musikalische Bibliothek, a music periodical. The obituary remains probably "the richest and most trustworthy"[50] early source document about Bach. After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging classical style.[51] Initially he was remembered more as a player and teacher.During the late eighteenth and early nineteenth century, Bach was widely recognised for his keyboard work. Mozart, Beethoven, Chopin, Robert Schumann, and Felix Mendelssohn were among his most prominent admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.[52] Beethoven described him as the "Urvater der Harmonie", "original father of harmony".[53]Bach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of Bach.[54] Felix Mendelssohn significantly contributed to the revival of Bach's reputation with his 1829 Berlin performance of the St Matthew Passion.[55] In 1850, the Bach Gesellschaft (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the Cello Suites by Pablo Casals, the first major performer to record these suites.[56] Another development has been the growth of the "authentic" or "period performance" movement, which attempts to present music as the composer intended it. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favoured by 19th- and early 20th-century performers.[57]Bach's music is frequently bracketed with the literature of William Shakespeare and the teachings of Isaac Newton.[58] In Germany, during the twentieth century, many streets were named and statues were erected in honour of Bach. His music features three times - more than any other composer - on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[59]WorksIn 1950, a thematic catalogue called Bach Werke Verzeichnis (Bach Works Catalogue) was compiled by Wolfgang Schmieder.[60] Schmieder largely followed the Bach Gesellschaft Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1905: BWV 1–224 are cantatas; BWV 225–249, large-scale choral works including his Passions; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV 772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–1126, canons and fugues.[61]Organ worksBach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[17] At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed several pairs of preludes and fugues and toccatas and fugues, and the Orgelbüchlein ("Little organ book"), an unfinished collection of 46 short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although his best-known works (the six trio sonatas, the "German Organ Mass" in Clavier-Übung III from 1739, and the "Great Eighteen" chorales, revised late in his life) were all composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[62][63]Other keyboard worksBach wrote many works for harpsichord, some of which may have been played on the clavichord. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion. • The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys in chromatic order from C major to B minor (thus, the whole collection is often referred to as 'the 48'). "Well-tempered" in the title refers to the temperament (system of tuning); many temperaments before Bach's time were not flexible enough to allow compositions to utilise more than just a few keys.[64] • The 15 Inventions and 15 Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as the Well-Tempered Clavier, omitting some of the rarer keys. These pieces were intended by Bach for instructional purposes.[65] • Three collections of dance suites: the English Suites (BWV 806–811), the French Suites (BWV 812–817), and the Partitas for keyboard (BWV 825–830). Each collection contains six suites built on the standard model (Allemande–Courante–Sarabande–(optional movement)–Gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and the gigue.[66] The French Suites omit preludes, but have multiple movements between the sarabande and the gigue.[67] The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model.[68] • The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria, rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the 30 variations, one every three variations between variations 3 and 27.[69] These variations move in order from canon at the unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. • Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831), Chromatic Fantasia and Fugue (BWV 903), and the Italian Concerto (BWV 971).Among Bach's lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).Orchestral and chamber musicBach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006), six cello suites (BWV 1007–1012) and Partita for solo flute (BWV 1013), are among the most profound works in the repertoire.[70] Bach composed a suite and several other works for solo lute. He wrote trio sonatas; solo sonatas (accompanied by continuo) for the flute and for the viola da gamba; and a large number of canons and ricercare, mostly with unspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugue and The Musical Offering.Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful.[17] These works are examples of the concerto grosso genre. Other surviving works in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a Concerto for Two Violins in D Minor (BWV 1043), often referred to as Bach's "double" concerto; and concertos for one to four harpsichords. It is widely accepted that many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.[71] A number of violin, oboe and flute concertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites, and a series of stylised dances for orchestra, each preceded by a French overture.[72]Vocal and choral worksCantatasAs the Thomaskantor, beginning mid of 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.[17] Although Bach performed cantatas by other composers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to those composed at Mühlhausen and Weimar.[17] In total he wrote more than 300 sacred cantatas, of which approximately 200 survive.[73]His cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, or grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The recitative is part of the corresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of the concluding chorale often appears as a cantus firmus in the opening movement. Among his best known cantatas are: • Christ lag in Todes Banden, BWV 4 • Ich hatte viel Bekümmernis, BWV 21 • Ein feste Burg ist unser Gott, BWV 80 • Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus Tragicus) • Wachet auf, ruft uns die Stimme, BWV 140 • Herz und Mund und Tat und Leben, BWV 147In addition, Bach wrote a number of secular cantatas, usually for civic events such as council inaugurations. These include wedding cantatas, the Wedding Quodlibet, the Peasant Cantata and the Coffee Cantata.[74]PassionsBach's large choral-orchestral works include the grand scale St Matthew Passion and St John Passion, both written for Good Friday vespers services at the Thomaskirche and the Nikolaikirche in alternate years, and the Christmas Oratorio (a set of six cantatas for use in the Liturgical season of Christmas).[75][76][77] The two versions of the Magnificat (one in E-flat major, with four interpolated Christmas-related movements, and the later and better-known version in D major), the Easter Oratorio, and the Ascension Oratorio are smaller and simpler than the Passions and the Christmas Oratorio.Mass in B minorMain article: Mass in B minorBach assembled his other large work, the Mass in B minor, near the end of his life, mostly from pieces composed earlier (such as the cantatas Gloria in excelsis Deo, BWV 191 and Weinen, Klagen, Sorgen, Zagen, BWV 12). The mass was never performed in full during Bach's lifetime.[78] All of these movements, unlike the six motets (Singet dem Herrn ein neues Lied; Der Geist hilft unser Schwachheit auf; Jesu, meine Freude; Fürchte dich nicht; Komm, Jesu, komm!; and Lobet den Herrn alle Heiden), have substantial solo parts as well as choruses.Musical styleBach's musical style arose from his skill in contrapuntal invention and motivic control, his flair for improvisation, his exposure to North and South German, Italian and French music, and his devotion to the Lutheran liturgy. His access to musicians, scores and instruments as a child and a young man and his emerging talent for writing tightly woven music of powerful sonority, allowed him to develop an eclectic, energetic musical style in which foreign influences were combined with an intensified version of the pre-existing German musical language. From the Period 1713-14 onward he learned much from the style of the Italians.[79]During the Baroque Period, many composers only wrote the framework, and performers embellished this framework with ornaments and other elaboration.[80] This practice varied considerably between the schools of European music; Bach notated most or all of the details of his melodic lines, leaving little for performers to interpolate. This accounted for his control over the dense contrapuntal textures that he favoured, and decreased leeway for spontaneous variation of musical lines. At the same time, Bach left the instrumentation of major works including The Art of Fugue open.[81]Bach's devout relationship with the Christian God in the Lutheran tradition[82] and the high demand for religious music of his times placed sacred music at the centre of his repertory. He taught Luther's Small Catechism as the Thomascantor in Leipzig,[83] and some of his pieces represent it;[84] the Lutheran chorale hymn tune was the basis of much of his work. He wrote more cogent, tightly integrated chorale preludes than most. The large-scale structure of some of Bach's sacred works is evidence of subtle, elaborate planning. For example, the St Matthew Passion illustrates the Passion with Bible text reflected in recitatives, arias, choruses, and chorales.[85] The structure of the Easter Oratorio, BWV 249, resembles The Crucifixion.[86]Bach's drive to display musical achievements was evident in his composition. He wrote much for the keyboard and led its elevation from continuo to solo instrument with harpsichord concertos and keyboard obbligato.[87] Virtuosity is a key element in other pieces, such as the Prelude and Fugue in E minor, BWV 548 for organ in which virtuosic passages are mapped onto alternating flute and reed solos within the fugal development.[88]Bach produced collections of movements that explored the range of artistic and technical possibilities inherent in various genres. The most famous example is the Well Tempered Clavier, in which each book presents a prelude and fugue in every major and minor key. Each fugue displays a variety of contrapuntal and fugal techniques.[89]PerformancesPresent-day Bach performers usually pursue one of two traditions: so-called "authentic performance practice", utilising historical techniques; or the use of modern instruments and playing techniques, often with larger ensembles. In Bach's time orchestras and choirs were usually smaller than those of later composers, and even Bach's most ambitious choral works, such as his Mass in B minor and Passions, were composed for relatively modest forces. Some of Bach's important chamber music does not indicate instrumentation, allows a greater variety of ensemble.Easy listening realisations of Bach's music and their use in advertising contributed greatly to Bach's popularisation in the second half of the twentieth century. Among these were the Swingle Singers' versions of Bach pieces that are now well-known (for instance, the Air on the G string, or the Wachet Auf chorale prelude) and Wendy Carlos's 1968 Switched-On Bach, which used the Moog electronic synthesiser. Jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine and the Modern Jazz Quartet among those creating jazz versions of Bach works.[90]See also • List of fugal works by Johann Sebastian Bach • List of transcriptions of compositions by Johann Sebastian Bach • List of students of Johann Sebastian BachReferences 1. German pronunciation: [joˈhan] or [ˈjoːhan zeˈbastjan ˈbax] 1. ^ a b Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Company, Inc., 2000), 19. 2. ^ a b Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 46. ISBN 0-393-04825-X. 3. ^ a b "BACH Mass in B Minor BWV 232" 
. www.baroquemusic.org. Retrieved 21 February 2012. 4. ^ a b Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 86–87. 5. ^ a b Breitenfeld, Tomislav; Solter, Vesna Vargek; Breitenfeld, Darko; Zavoreo, Iris; Demarin, Vida (3 Jan. 2006). "Johann Sebastian Bach's Strokes" 
(PDF). Acta Clinica Croatica (Sisters of Charity Hospital) 45 (1). Retrieved 20 May 2008. 6. ^ a b Baer, Ka. (1956). "Johann Sebastian Bach (1685–1750) in medical history". Bulletin of the Medical Library Association (Medical Library Association) 39 (206). 7. ^ a b Breitenfeld, D.; Thaller V, Breitenfeld T, Golik-Gruber V, Pogorevc T, Zoričić Z, Grubišić F (2000). "The pathography of Bach's family". Alcoholism 36: 161–64. 8. Blanning, T. C. W.The triumph of music: the rise of composers, musicians and their art 
, 272: "And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music' 9. Jones, Richard (2007). The Creative Development of Johann Sebastian Bach. Oxford University Press. p. 3. ISBN 0-19-816440-8. 1. "Lesson Plans" 
. Bach to School. The Bach Choir of Bethlehem. Retrieved 8 March 2012. 1. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 6 2. Printed in translation in The Bach Reader (ISBN 0-393-00259-4) 3. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 7–8. 4. Mendel et al (1998), 299 5. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 45. ISBN 0-393-04825-X. 1. ^ a b c d e f g h i j k l m "Johann Sebastian Bach: a detailed informative biography" 
. baroquemusic.org. Retrieved 19 February 2012. 1. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company