Podcasts about Carl Orff

Carl Orff schrieb einst: "Aus is und gar is und schad is, dass wahr is". Dabei hat so ein Schlusspunkt doch auch was - denn wie neu beginnen, wenn das Alte nicht endet? Ist es oft nicht auch befreiend, wenn etwas zum Abschluss kommt - für alle? Und sei es eine Kanzlerschaft ... Eine Glosse von Norbert Joa.

L'invité : William Blanc, historienLe film : Excalibur, de John Boorman (1981)La discussion :Présentation du filmLe parcours de John BoormanUn projet initial : adapter le Seigneur des anneaux, et assumer la fantasy par opposition aux représentations du mythe arthurien dans les années 1950La base du film : Le morte d'Arthur de Thomas Mallory (1470)Merlin, le personnage central du film, et la place de la magieL'épée Excalibur comme fil directeur du film, quitte à retoucher le mytheLe personnage négatif de MorganeL'exaltation de la nature et du lien avec la terreLes jeux d'intertextualité, avec T. S. Eliot notamment (The Waste Land)Les choix musicaux : Carl Orff, Wagner…Les choix visuels du film, ses jeux de lumières et de couleursSon influence et sa postérité, en France notammentPour aller plus loin :émission sur les super-héros avec William Blancémission sur Monty Python Sacré Graal avec Justine Bretonémission sur J. R. R. Tolkien, avec Frédéric Manfrin et Emilie FissierWilliam Blanc, Le roi Arthur, un mythe contemporain: de Chrétien de Troyes à Kaamelott en passant par les Monty Python, Libertalia, 2016.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Stéphan stellt uns heute was ganz Besonderes vor: Das musikpädagogisches Konzept von Carl Orff und Gunild Keetman. Es basiert auf der Idee, dass Musik, Sprache und Bewegung miteinander verbunden sind und Kindern eine ganzheitliche, kreative Erfahrung bieten. Das Konzept ist ein wunderbares Beispiel dafür, wie Musik als Ausdrucksform genutzt werden kann, um Kreativität und Gemeinschaft zu fördern. SPOTIFY Playlist 2025 (mit den sensationellen Songs aus unserem Podcast) Achtung: Die Liste enthält natürlich leider nur die auf Spotify verfügbaren Titel. Wie wir aber alle wissen, gibt es noch ein Musikuniversum jenseits von Streaming. Facebook (mit News aus der Rockmusik und allem, was glücklich macht) YouTube (der ganze Rest) Anregungen, Ideen? Dann schreibt uns doch mal - wmruv2021@gmail.com Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude. Gern unterstützen wir dich bei deiner Podcast-Produktion.

If I had the opportunity to teach music to an absolute music newbie, someone without any previous musical instruction or experience, I know exactly how I would begin. I would start without printed music. That's hardly revolutionary. The German composer Carl Orff is known today not only for his most famous work, Carmina Burana, but for the innovative methods he brought to musical education. Émile Jaques-Dalcroze created Eurhythmics, not the 1980's pop band with Annie Lennox, but a system for teaching music through movement. Music schools throughout the world have been teaching young children with the method developed by Shinichi Suzuki which begins by emphasizing learning by ear rather than by printed music.  All of these educators believed, as I do, that music is within us and that by learning without the printed page, we can create connections that allow us to develop our natural instinct for how music is organized, in notes and rhythms and chords and more. Our musical notation system is really just a code that we use to transmit and share musical ideas between composer and performer. The actual music doesn't live there. Please understand; I'm not suggesting that we should all learn exclusively by ear. My meaning is that when we become so accustomed to using the page as our only path into the music, when we sublimate our instinctive musical understanding to deciphering the dots on the staff, we make playing harder. In short, we ignore the very innate connection that brought us to music and to the harp in the first place.  Today we are going to explore some very fundamental rhythm concepts through this lens, focusing on the experience first, then the notation, rather than the other way around. I promise I won't ask you to try playing by ear or to memorize everything or to light candles and repeat affirmations. What I want to do is to give you some very simple ways to change how you think about rhythm. We'll do a couple of small experiments that I designed to help relieve any confusion or uncertainty you have about basic rhythmic concepts. Even if you feel totally confident about your skill in deciphering and playing complex rhythms, these little drills will help you reconnect to what is truly important about the rhythmic element of our playing.  Links to things I think you might be interested in that were mentioned in the podcast episode:  Get more rhythmic confidence with our April Seminar, “Rhythm Makeover.” Join now! Join the Live Monday Warm-Ups in the Harp Mastery® Hub. Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com  Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode? LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-202  

Recordamos al compositor alemán Carl Orff, cuya obra todos hemos escuchado en alguna película. ¿Y será que por mi raza hablará el espíritu santo? Porque eso decía Vasconcelos. Y les traigo la historia de aquel personaje que se la pasó 6 meses sentado en su escritorio, aunque en realidad estaba muerto.

On this episode of One Symphony, Devin Patrick Hughes sat down with Peter Drew, a symphonist and jazz composer, to discuss his diverse life journey and his debut symphony, Reminiscence. Drew, born in Europe and later a refugee in the United States, recounted his early musical awakenings. He was first intrigued by the sound of the harmonica his stepbrother gave him. However, his musical trajectory truly shifted when, around the age of eleven, he heard Toscanini conducting Beethoven's Ninth Symphony on the radio. This experience deeply resonated with him, particularly the Ode to Joy, which became the first tune he learned on the harmonica, despite not being able to read music. Although initially captivated by classical music and Beethoven, Drew's path to becoming a composer was far from traditional. He pursued various careers, including working in film distribution, catering, teaching film studies, and being a social studies teacher. Throughout these experiences, music remained a constant presence in his life; he would often "noodle around" on the clarinet. It wasn't until later in life that he began to seriously study music, taking lessons from clarinet players and exploring jazz. He eventually started arranging music and studying composers like Sibelius. When the conversation turned to his symphony, "Reminiscence," Drew emphasized the amalgamation of his varied musical tastes and life experiences. He described his influences as a "mélange" or "stew" ranging from the American Songbook to Carl Orff, Villa-Lobos, Beethoven, Brahms, Artie Shaw, and even global music like Songs of the Auvergne, Tuvan throat singing, and Raga. He explained that his compositional process often begins with a melody he likes, perhaps played on his clarinet. He then develops this initial phrase, ensuring a natural flow between musical ideas without dissonance, remaining within the realm of Romantic Classical music. Hughes inquired about the technical aspects of translating these diverse elements into a cohesive symphony, including orchestration. Drew admitted that while he can conceive melodies, he needed assistance with the intricate instrumentation for a large symphony orchestra. He collaborated with an orchestrator to achieve the desired sonic textures, ensuring that all the instrumental parts complemented each other. Regarding the upcoming performance and recording of Reminiscence by the Boulder Symphony, Drew expressed his hope that listeners would simply "enjoy yourself" and "have fun". He doesn't expect the audience to be intimately familiar with all his diverse musical influences, but rather to connect with the music on an emotional level in the same way he was first drawn to Beethoven. Drew believes that if the music sounds and feels good, it will be enjoyable to listen to. When asked about his late entry into composing a symphony, Drew, who is approaching 90, reflected that all his life experiences, both musical and non-musical, have informed his writing. He feels that composing, rather than performing, is his true strength and passion, representing an accomplishment after a lifetime of diverse pursuits. He finds satisfaction in creating music that others enjoy listening to and playing. When pressed for a favorite movement, Drew chose the third movement for its energy and the way all the musical elements come together. While acknowledging the profound impact of Beethoven on his early musical life, he noted that Reminiscence incorporates a wider range of influences, creating a unique sonic landscape.   Thank you for joining us on One Symphony. Special thanks to Peter Drew for sharing his music and story. Musical selections from today's episode:   “Hard Driver” from the album And What's More composed and arranged by Peter Drew. “Midnight Sun” from the album And What's More. Composed by Lionel Hampton, Sonny Burke, and Johnny Mercer. Arranged by Peter Drew, featuring Sachal Vasandani. Symphony No. 1 “Reminiscence” II. Pictures at an Album. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. Symphony No. 1 “Reminiscence” I. Journey. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. “Slow Burn Blues” from the album And What's More composed by Peter Drew and featuring Wendy Gilles.  Symphony No. 1 “Reminiscence” IV. The Return. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. Symphony No. 1 “Reminiscence” II. Bach to Back. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender.   For more information on Peter, see https://www.peterdrewmusic.com You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Special thanks to Parma Recordings for making this episode possible. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

Carmina Burana como nunca la has visto. La Fura dels Baus trae su impactante versión de la obra de Carl Orff al Auditorio Nacional, CDMX. Un espectáculo que fusiona música, teatro, efectos visuales y acrobacias en una experiencia inolvidable. Conéctate en Tamara con Luz en MVS, de lunes a viernes, de 10:00 AM a 01:00 PM por MVS 102.5 FM.See omnystudio.com/listener for privacy information.

durée : 00:10:15 - Le Disque classique du jour du mercredi 08 janvier 2025 - Une nouvelle version des Carmina Burana de Carl Orff par les forces du Tonhalle-Orchester de Zürich sous la baguette de Paavo Järvi, et des solistes d'exception !

durée : 00:10:15 - Le Disque classique du jour du mercredi 08 janvier 2025 - Une nouvelle version des Carmina Burana de Carl Orff par les forces du Tonhalle-Orchester de Zürich sous la baguette de Paavo Järvi, et des solistes d'exception !

The Coming Crash. The people and by the people, Americans are going to take the fall when the crash arrives. The American people have been lied to and deceived by the politicians. They said every thing was all right but it wasn't. When the Russian Federation and the European Union sign a treaty for trade and military peace, America's military industrial corporations on Wall Street will take a dive. You see, making a profit by war will have stopped. MUSIC Brian Easdale, Moscow Symphony Orchestra, Carl Orff, David Raksin, John Powell, Roy Webb

In Masterworks bespreken Kees en Botte per aflevering één groot muziekwerk. Deze keer is dat de Carmina Burana, een van de classics uit de klassieke muziek, met openingsdeel ‘O fortuna' als absolute hit. Ga mee op ontdekkingstocht naar de oorsprong van dit meesterwerk: een handschrift met ruige en ondeugende middeleeuwse poëzie. Waar gaat de Carmina eigenlijk over?

Keine Frage, Depeche Mode faszinieren seit Jahrzehnten - aber was genau macht den Reiz an dieser Band aus? Lutz und Carsten schauen sich dieses Phänomen genauer an und sprechen dabei mit wahren Experten: die Depeche Mode-Tributeband Remode steht Rede und Antwort zur besonderen Musik der Band. Außerdem geht's um die manchmal schwierige Banddynamik, einen reservierten DDR-Besuch und welche Verbindung Depeche Mode zu Led Zeppelin und Carl Orff haben.

Als junge Frau mit 28 Jahren ist Anna Handler eine Ausnahme Erscheinung in der Welt der Klassik. Sie gilt als eines der größten Talente am Dirigenten Pult. Ab September ist sie stellvertretende Dirigentin des Bostoner Symphony Orchestra. Bei den Salzburger Festspielen dirigiert sie die Oper „die Kluge“ von Carl ORFF. Im Radio Salzburg Cafe bei Gabi Kerschbaumer erzählt sie, warum sie eigentlich Sängerin werden wollte, schon als kleines Mädchen im Fernsehen aufgetreten ist und welche Führungsqualitäten man als Dirigentin mitbringen muss.

IN DER EINUNDZWANSTIGSTEN EPISODE UNSERES PODCAST`* WILFRIED HILLER *– Komponist, langjähriger Musikredakteur beim Bayrischen Rundfunk, Schlagzeuger in der Staatsoper München und Schüler von Carl Orff arbeitete 17 Jahre mit Michael Ende und auch Anton Bachleitner zusammen, mit letzterem bis heute. Er gilt als einer DER zeitgenössischen Komponisten Deutschlands, hat etliche Auszeichnungen erhalten, ist Mitglied der Bayerischen Akademie der Schönen Künste, Vorsitzender der Carl Orff-Stiftung und war als Honorarprofessor Kompositionslehrer am Richard-Strauss-Konservatorium in München. Wir unterhalten uns über Themen wie:Warum Sascha Hiller immer vom Ende her denkt Über sein Herz für Minderheiten Die „neue“ Musik – Stockhausen und die Verwirrung Seine Beziehung zur Kirche und zum Glauben Den Raum zwischem den Tönen Carl Orff und die Comedian Harmonists 1 Komponist, 1 Schriftsteller und 2 Schauspielerinnen Der Rattenfänger und Giora Feidmann Herzlichen Dank, dass Sie diesen Podcast gehört haben! Haben Sie Vorschläge, Fragen oder gerne auch positives Feedback, schicken Sie uns eine Email an: podcast.destille@vodafonemail.de Wir freuen uns sehr darauf! Wenn Ihnen diese Folge gefallen hat, besuchen Sie uns auf unserer Website https://destille-duesseldorf.podcaster.de/ für regelmäßige Updates. Folge direkt herunterladen

Avant l'écoute de votre podcast, n'oubliez pas que vous pouvez nous envoyer vos remarques, bafouilles, épées vorpale et malédictions sur le répondeur d'Entre ! Geek à l'adresse causmicbeast@gmx.frPoint d'espace dans cet épisode, point de dimensions douteuses. Juste une petite discussion cosy avec un écrivain professionnel de jeux de rôle, vieille connaissance de CausmicBeast (oui quoiqu'il arrive il continue de parler de lui à la troisième personne), j'ai nommé Aldo, dont l'identité aura un jour été Pénombre https://www.legrog.org/biographies/aldo-penombre-pappacoda et vous pouvez le suivre sur son blog https://casualdo.wordpress.com/ où il se décrit comme “expert en rien mais parle un peu de tout”C'est justement d'un peu dont nous avons discuté ce soir là, l'excuse en étant “Ladyhawke, la femme de la nuit” de 1985 https://www.imdb.com/title/tt0089457/ , un film de Richard Donner https://www.imdb.com/name/nm0001149/?ref_=tt_ov_drA l'origine de la rencontre avec Aldo était un petit forum francophone https://www.shadowforums.com/forum/11 , parlant de Shadowrun et d'un petit fanzine “Laser de Lune” https://www.shadowforums.com/cyber-espace/spip.php?rubrique5Pour connnaitre une bonne partie de ses travaux mais il y en manque https://www.legrog.org/biographies/aldo-penombre-pappacodaParlons un peu de Ladyhawke et de fantasy.Un petit coup de synopsis mais surtout une petite bande annonce https://www.youtube.com/watch?v=Hwsc0S7-XWALa fantasy dans les années 80, ce sera d'abord en 1981 Excalibur de John Boorman https://www.imdb.com/title/tt0082348/ https://www.youtube.com/watch?v=6QR6_17mn5s pour le petit trailer et pour écouter du Carl Orff dans son Carmina Burana https://fr.wikipedia.org/wiki/Carmina_Burana_(cantate) https://www.youtube.com/watch?v=Adrw-zxiTe4Mais si vous préférez l'héroic fantasy avec des barbares huilés et mono syllabique en 1982, nous avons Conan le barbare https://youtu.be/0zoh0gQCu6k?si=dLR58aGLjQ-vWsMl avec Basil Poledouris https://fr.wikipedia.org/wiki/Basil_PoledourisN'oublions pas Willow en 1985, un cabotinage de Ron Howard https://www.imdb.com/title/tt0096446/Toujours dans les années 80, Legend de Ridley Scott (1985), oubliez un certain Tom Cruise mais encensez un Tim Curry https://www.imdb.com/name/nm0000347/ exceptionnel https://www.youtube.com/watch?v=aF5yqP2pMbELa fantasy classieuse avec David Bowie, Labyrinth https://www.imdb.com/title/tt0091369 de 1986, un film de Jim Henson https://www.imdb.com/name/nm0001345Oui ok, nous avons oublié de citer Dark Crystal dans notre liste https://www.imdb.com/title/tt0083791 mais nous nous rattrapons en citant une incongruité Krull (1983) https://www.imdb.com/title/tt0085811 https://www.youtube.com/watch?v=ndpV6qfQJVwN'oublions pas la barbare exploitation avec Dar l'invincible https://www.imdb.com/title/tt0083630 et un nanar italien “The Barbarians” https://www.imdb.com/title/tt0092615/ (et on égratine au passage Star Crash https://www.imdb.com/title/tt0079946 et Flaaaaaaaaaaassssshhhhhhh Gordon https://youtu.be/LfmrHTdXgK4?si=SPfTxTgW2mQ3PPcQ )Sorti de ça et de l'adaptation de Ralph Bakshi https://fr.wikipedia.org/wiki/Ralph_Bakshi (1978, quand même) et de Tygra, la glace et le feu https://www.imdb.com/title/tt0085542/ du même Bakshi, pas grand chose au cinéma pour les fans de fantasy… mais restez la lecture (vous le voyez arriver le bibliothécaire)Poul Anderson : https://belial.fr/legacy/a/poul-anderson/trois-coeurs-trois-lionsFritz Leiber : le cycle des épées https://www.babelio.com/livres/Leiber-Le-cycle-des-epees-Integrale/1143595Une bonne partie de Jack Vance https://mnemos.com/livre/la-terre-mourante/ pour la Terre Mourante autour de Cugel l'astucieuxLord Dunsanny la fille du roi des elfes https://www.babelio.com/livres/Dunsany-La-fille-du-roi-des-elfes/149131990 : deux jalons en fantasy parce qu'on avait pas grand chose :Hercule développé par sam Raimi 1995 https://fr.wikipedia.org/wiki/Hercule_(s%C3%A9rie_t%C3%A9l%C3%A9vis%C3%A9e,_1995) et son dérivé (mais bien meilleur ) Xéna https://fr.wikipedia.org/wiki/Xena,_la_guerri%C3%A8re Le reste étant du Star Trek et du Babylon V… et restera dans l'histoire Pour le fan de fantasy : reste le jeu de rôle avec son histoire et tous ses jeux et Lorraine oblige voici un lien de conférences de l'université de Lorraine https://ultv.univ-lorraine.fr/search/?q=jeu+de+r%C3%B4le Y a bon ! Après l'éléphant dans la Pièce de LadyHawke … la musique qui … qui divise pour le moins et dont nous vous mettons le générique du film https://youtu.be/BY7TNQZGSSs?si=anLS4i9Wz5W2QQZl The Alan Parsons Project, d'abord le groupe https://www.the-alan-parsons-project.com/timeline mais aussi dans la langue de Stéphane Bern https://fr.wikipedia.org/wiki/The_Alan_Parsons_Project et si vous voulez tendre une oreille https://www.youtube.com/channel/UCOANtcwoFl_Hm02fMWVIgGg pour la partie jusque 1990 et https://www.youtube.com/channel/UCBExC8XzPQPeS2naG4F3p2Q post 1990 Pour une fois, vous n'aurez pas de description de 6 pages car comme le dit Aldo https://en.wikipedia.org/wiki/Wikipedia:Too_long;_didn%27t_read ou en français https://fr.wikipedia.org/wiki/Wikip%C3%A9dia:Trop_long …. donc un tout petit pavé pour vous donner quelques informations. Pour Pfeiffer, Hauer, Broderick … ma foi, https://www.imdb.com/title/tt0089457/ reste toujours un bon point de départBonne écoute, encore merci à mon vieil ami de m'avoir accompagné de la nuit à la lumière ou vice versa, on se retrouve bientôtN'oubliez pas que vous pouvez nous envoyer vos remarques sur Ladyhawke à l'adresse causmicbeast@gmx.frPour clôturer l'épisode, vous pourrez vous régaler avec The Cask of Amontillado, tiré du 1er album de The Alan Parsons Project (est ce qu'on vous a dit que c'était bien) https://youtu.be/vT0YZLES8DM?si=r-dWJwPsxQ1e7j9S /_/꒰ ¯ᴥ⁠¯ ꒱

Una nueva forma para viajar, a traves de las grandes obras musicales del genero clasico. Conducido por Juan Fernando Villafuerte Ex colaborador de la Deutsche Welle de Alemania y la Elizabeth Trabanino, Directora de Radio Clasica, quienes a traves de una tertulia contaran las historias que se esconden detras de las operas a manera de poner en contexto al publico sobre el origen de estas grandes composiciones.

Escrita sobre textos del siglo XIII que hablan del placer terrenal de vivir, del vino, del amor y el deseo, Carmina Burana es el espectáculo de mayor éxito de la compañía teatral La Fura dels Baus. Un montaje que ha recorrido 3 continentes agotando localidades y que han disfrutado más de 350.000 espectadores. Una experiencia con música de Carl Orff y dramaturgia y dirección de Carlus Padrissa que cumpliendo con su cita anual en la capital, estará en cartel en el Teatro Apolo hasta el próximo 2 de junio y a la que nos asomamos de la mano de uno de sus protagonistas, el barítono Rajiv Cerezo. Escuchar audio

Jim Schatzman, founder and artistic director of the Choral Arts Society, talks about Carl Orff's dramatic cantata CARMINA BURANA, one of the most extraordinary and unique masterworks of 20th century choral music. The group will be performing the work on May 18th and 19th at UW-Parkside in collaboration with The Studio of Classical Dance Arts. The preview includes recorded excerpts from the work.

On Friday's show: Fort Bend ISD trustees have responded to a complaint filed with the Texas Education Agency over the early retirement of then-superintendent Christie Whitbeck. News 88.7 reporter Natalie Weber explains what the complaint alleges and what the trustees have to say about it. And she discusses other developments in Fort Bend County, including Sugar Land banning new smoke shops, vape stores, and hookah bars.Also this hour: Our non-experts weigh in on The Good, The Bad, and The Ugly of the week, including plans to demolish a house featured in the movie Reality Bites.And we learn about the Houston Symphony's performances of Carl Orff's Carmina Burana. While many people will recognize its opening and closing numbers, the entire piece has influenced composers for TV, film, and video games.

Lʹintroduction de cette cantate écrite en 1936 par le compositeur allemand Car Orff fait partie des titres les plus connus du répertoire dit "classique", tout comme le Boléro de Ravel ou "La Sonate au clair de Lune" de Beethoven. Or ces trois hits intemporels partagent une caractéristique qui les rend accessibles à toutes et tous: la présence dʹun ostinato. Du rock à la musique contemporaine, démonstration de lʹeffet de cette puissante recette musicale. Une chronique de Pierre-Do Bourgknecht.

TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=7721LA NEOLINGUA NON LASCIA IN PACE NEANCHE I DINOSAURI di Matteo DelreSiete pronti per una nuova avventura nell'abisso della cancel culture? Bene. L'ultima assurdità woke è quella della proposta di cambiare i nomi dei dinosauri perché in alcuni casi non sono inclusivi o richiamano a personaggi "controversi" o perché riflettono una cultura sessista, razzista o coloniale.Tutto vero. Lo ha affermato il team della paleobiologa Emma Dunne dell'Università Friederich-Alexander di Erlange-Norimberga, in uno studio che invece di diventare il copione per qualche stand-up comedy viene addirittura ripreso e rilanciato dalla rivista "Nature". Vi si specifica che questi casi di non conformità dei nomi sono pochi, anzi pochissimi «ma sono comunque significativi in termini d'importanza», ci ammoniscono i cervelloni dell'università tedesca, supportati da alcuni altri colleghi in giro per il mondo.«Non diciamo che da domani bisogna cambiare tutto», spiga uno dei ricercatori, «ma dobbiamo rivedere criticamente ciò che abbiamo fatto, per correggere cose che non abbiamo fatto bene». Il problema è sempre lo stesso, quello che ossessiona gli eterni offesi di questa nostra infelice epoca: gli stereotipi. O presunti tali.«Meglio - spiegano - d'ora in poi scegliere nomi che facciano riferimento alle caratteristiche fisiche dell'animale, ai luoghi di ritrovamento e anche alla lingua e alla cultura delle popolazioni locali, spesso dimenticate». Poco importa che così si rischi di chiamare una conchiglia fossile con un nome lungo come il titolo di un film della Wertmüller, l'importante è che non si dimentichi nessuno della lista. Non viene chiarito però come gestire la situazione se si fa riferimento alle caratteristiche fisiche. Metti che si ritrova un dinosauro fossile con una grande pancia, che si fa, si rischia il body shaming?LA FOLLIA DELLA CANCEL CULTURELa Commissione internazionale sulla nomenclatura zoologica (ICZN) al momento - meno male! - non ha preso in considerazione le assurdità di questi studiosi per quanto riguarda i nomi già dati, mentre si è mostrata - ahinoi - disponibile per le eventuali nuove scoperte, sebbene il problema sollevato non riguardi le diciture scientifiche (quelle binomiali in latino, per intenderci, come Anas platyrhynchos per il germano reale), bensì i nomi comuni degli animali.Tanto per fare un esempio pratico - e attuale - pensiamo al grazioso oriolo di Audubon (che non è neanche un dinosauro vero e proprio), ovvero un uccelletto giallo e nero classificato dall'ornitologo americano John James Audubon (1785/1851), il cui nome, collegato al suo lavoro scientifico, andrebbe cancellato perché prima suo padre e poi lui sono stati proprietari di piantagioni di canna da zucchero che utilizzavano schiavi. Sì, avete capito bene.La proposta degli studiosi appare però abbastanza ideologica e poco supportata da riscontri davvero reali quando si vanno a vedere i numeri. Nel voler trovare, infatti,  "nomi problematici" di dinosauri, ossia legati a "razzismo e sessismo" oppure nominati in "contesti coloniali o in onore di figure controversi", gli esperti hanno individuato 45 nomi potenzialmente offensivi, corrispondenti a meno del 3 per cento degli esemplari esaminati. Noi stessi, d'altra parte, per trovare un esempio di nome controverso in zoologia, abbiamo dovuto scavare nei peggiori recessi dell'internet woke per scovare l'oriolo di Audubon.Siamo cioè in un'area di nicchia dell'isterismo globale della cancel culture, ed è forse per questo che la follia emerge in modo così lampante.Si dovrebbe invece avere la consapevolezza che cambiare 45 nomi già dati ai dinosauri o modificare la nomenclatura dei ritrovamenti futuri (nel caso ce ne fossero) non cambierebbe nulla, non renderebbe la scienza più "inclusiva", ma servirebbe al massimo a chi procede al ri-battesimo per sentirsi buono e in pace con se stesso, nel concetto distorto di pace in vigore nell'attuale distopia occidentale.NEOLINGUAMa è solo questo? È davvero soltanto l'effetto concreto della propaganda martellante? Probabilmente no. In realtà occorre provare una profonda pietà per la professoressa Emma Dunne e il suo team, forzati a esporsi a questo livello di ridicolo perché forse soltanto così, oggi, si può accedere a corposi finanziamenti per la ricerca accademica. La piena conformità al dettato del pensiero unico, a partire dall'Agenda 2030 dell'ONU, sembra infatti essere - con tutta probabilità - criterio di base per rispondere ai bandi di finanziamento e ricevere i fondi connessi.Newspeak, lo chiamava George Orwell. Nella traduzione italiana viene detta Neolingua, ovvero una tecnica per esprimersi e chiamare le cose imposta dal potere con l'obiettivo di non far pensare chi parla, o meglio di farlo pensare come vuole il potere. Il pericolo dietro queste iniziative dunque non è soltanto che rischiamo di trovarci a non poter più ascoltare la musica di Carl Orff o Richard Strauss perché aderirono (sbagliando! ovvio!) al nazismo. Il rischio è che ci privino delle parole per descrivere la realtà, per poi imporci le loro parole. Parole non ordinarie, ma cariche di un significato morale e politico uniformato e uniformante, nascosto sotto il vello di pecora della "bontà" e "inclusività" e che, soprattutto, nulla hanno a che fare con la realtà, storica o attuale che sia.Senza più parole che la descrivano, la realtà non esiste più, se non nella versione che le parole consentite ci permettono di concepire. È un'operazione deliberata, partita con la sovversione della definizione del sesso degli esseri umani e penetrata così profondamente da arrivare a occuparsi di 45 nomi di dinosauri. Ridiamoci su, d'accordo, ma non smettiamo di suonare il campanello dell'allarme.

In Carl Orffs Oper „Der Mond“ begeben sich vier Jungen nachts aus einem stockdunklen Land auf Reisen. Plötzlich sehen sie eine silberne Kugel in einem Eichenbaum hängen. Der Mond leuchtet, weil ein Bauer ihn stets mit Öl begießt. Lorenzen, Dirkwww.deutschlandfunk.de, Sternzeit

durée : 00:25:17 - Carl Orff "Carmina Burana" - par : Anne-Charlotte Rémond - Anne-Charlotte Rémond se penche sur une des musiques les plus problématiques de l'histoire : Les « Carmina Burana » (1936) du munichois Carl Orff (1895-1982). Les Carmina Burana ? Œuvre de révolte ou de propagande ? Musicopolis tente de lever le voile... - réalisé par : Philippe Petit

Carl Orff's Carmina Burana is probably the most-performed choral work of the past one hundred years. O Fortuna – its opening and closing – is one of the most recognisable choral pieces ever, used everywhere from adverts to computer games to talent shows. Why is it so popular? What gives it its impact? And why do some people have very negative feelings towards it? We unravel the answers to those questions with the help of BBC Radio 3's Linton Stephens and Classic FM's Anne-Marie Minhall in the latest episode of Change Your Tune.Find out more about The Bach Choir and sign up for our newsletter here - https://thebachchoir.org.uk/thanks-for-listening-to-change-your-tuneChange Your Tune is a Podcart production. Hosted on Acast. See acast.com/privacy for more information.

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Clark Smith joins Steve Jaxon, Dan Berger and Harry Duke on California Wine Country to discuss his book on pairing wine with music. This episode was originally recorded December 8, 2021. This is the last week of Summer vacation for The Drive and California Wine Country. This is the last repeat episode before next week. Starting Monday August 21, The Drive returns to live radio, on Wine Country Radio 95.5 FM, Mon-Fri 3-6. California Wine Country moves to Fridays so our next podcast episode and the first new live show of the Fall season will be Friday, August 25.  Clark Smith Clark Smith joins Steve Jaxon, Dan Berger and Harry Duke on California Wine Country to discuss his book on pairing wine with music. He has published a book called A Practical Guide to Pairing Wine and Music. Clark has been on California Wine Country a few times before, including this most recent episode on September 15 of 2021. Today Clark Smith will tell about his book and his website dedicated to pairing wine with music. But before we begin with Clark, we will taste a bottle from Dan Berger's extensive personal cellar. This is a 2004 Peter Lehman Shiraz from Australia. It is a bit rich and has some plum flavors. At 17 years old and is past its prime as it was lost in the cellar and Dan forgot about it. Euro-Centric Wines Clark Smith is back with us on California Wine Country today. He is a consultant to about 120 wineries, after a whole career training wine makers. European wines are his favorites, when they are balanced and age well. He calls that “Euro-centric wines.” He likes to say that he makes American “forgeries” of European styles. Today we will taste his Cabernet Franc which is a good example of that. He also likes to use an American grape called Norton. Click the logo to visit our sponsor Bottle Barn online. Clark Smith has published a book on this subject, called A Practical Guide to Pairing Wine and Music, which is available as a Kindle book on amazon, at that link. Wines are like music. They are liquid music. They can carry emotion. Wines are happy and sad too. For example: If you want to make a Cabernet Sauvignon taste terrible, play a polka. Cabernets are dark and angry and if you play happy music around it, it will taste awful. A Sound Wheel, Maybe? Clark Smith credits Don Blackburn for coming up with this idea. Dan is a friend of Clark Smith and he didn't like the Aroma Wheel approach as a framework for the flavors of wine. He wants to look at the whole wine. He did an experiment with about 100 people, and he gives people 3 wines, a Beaujolais Nouveau, a Pinot Noir from Burgundy and a big bad Cab. Then he played the following music: - a Mozart divertimento, in the Classical style (late eighteenth century) - a Franz Liszt piece for piano (mid-nineteenth century) - Carl Orff's Carmina Burana, a heavy chanting and rhythmic D minor jam for chorus and orchestra (mid-twentieth century) Then he asked people to match the wines to the music. If it had been random, the assignments would have been about evenly distributed among the wines. But people put the light frilly music with the Beaujolais and the Carmina Burana with the Cabernet. That's an intellectual exercise. But then, try playing the Carmina Burana with the Beaujolais, and it tasted horrible. What it means is that the feeling in the music and the wine can be aligned, or misaligned, and you can sense that. For the rest of this very interesting episode, we hear music and taste wine and compare the sensations of the pairings.

Ep 223 – In Your House 11: Buried Alive “Deadman's Paradise/Dead or Alive!/Death, Darkness and the Destruction of Mankind” The first unsactioned match in WWF history 0:26 - Welcome 12:32 - IYH Opening 14:26 - Hunter Hearst Helmsley (w/ a young lady) vs Stone Cold Steve Austin 22:05 - The Smoking Gunns vs The British Bulldog and Owen Hart (w/ Clarence Mason) for the WWF Tag Team Championships 29:55 - Goldust (w/ Marlena) vs Wildman Marc Mero (w/ Sable) for the WWF Intercontinental Title 35:51 - Sycho Sid vs Vader (w/ Jim Cornette) in a #1 Contenders match for the WWF Championship 44:03 - Mankind (w/ Paul Bearer) vs the Undertaker in a Buried Alive match 54:50 - Overall Thoughts 58:31 - Smarking It Up 1:10:15 - Making Their Way to the Ring 1:12:42 - Goodbyes Music from this week's show is “Carnina Fortuna Imperatix Mundi: O Fortuna” by Carl Orff, arranged by Robert Shaw and the Atlanta Symphony Orchestra Chorus and “Graveyard Symphony V2” by Jim Johnston Rate and review us on iTunes, Stitcher, GooglePlay, Spotify or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com Twitter – WrestlingHistoX

Why are 1000 computer experts calling for a moratorium on the development of new Artificial Intelligence capabilities? Then, Amanda Fuller (Kentucky Academy of Science) interviews undergraduate researcher Chase Yost (Bellarmine University) on natural and synthetic phosphatase inhibitors. Finally, Scott Miller (Maysville Community and Technical College) discusses the science and policy of climate change and sea level rise. ‘Bench Talk: The Week in Science' is a weekly program that airs on WFMP Louisville FORward Radio 106.5 FM (forwardradio.org) every Monday at 7:30 pm, Tuesday at 11:30 am, and Wednesday at 7:30 am. Visit our Facebook page for links to the articles discussed in this episode: https://www.facebook.com/pg/BenchTalkRadio/posts/?ref=page_internal The music heard on this episode is ‘O Fortuna' from the cantata ‘Carmina Burana' composed by Carl Orff in 1935. This public domain performance is by the University of California-Davis University Chorus from 2016: https://orangefreesounds.com/carl-orff-carmina-burana/#google_vignette

Carl Orffs „Carmina burana“ haben seit ihrer Uraufführung, 1937, Hochkonjunktur. Was dieser Komponist sonst noch fürs Musiktheater geschaffen hat, daran erinnert man sich jedoch kaum. Der „Musiksalon“ spannt heute den Bogen von bayerischen Possen bis zu antiken Tragödien - und einem Endspiel der Menschheit.

In RATCATCHER, everything is someone's fault, but not everyone suffers for it. “Ratcatcher: Death, Garbage, and Glimpses of Beauty in 1970s Glasgow” by Dan Howard for Perisphere, the Trylon blog: https://www.perisphere.org/2023/03/26/ratcatcher-death-garbage-and-glimpses-of-beauty-in-1970s-glasgow/ “The Eyes of Morton Are Upon You: Morvern Callar and the Art of Expression” by Natalie Marlin for Perisphere, the Trylon blog: https://www.perisphere.org/2023/03/24/the-eyes-of-morton-are-upon-you-morvern-callar-and-the-art-of-expression/ Check out our episode partially about Lynne Ramsay's MORVERN CALLAR with Fun City Editions founder Jonathan Hertzberg: https://podcasts.apple.com/us/podcast/episode-155-building-a-boutique-film-label-with/id1449848155?i=1000547883839 Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: Gassenhauer by Carl Orff. Timestamps 0:00 - Episode 221: RATCATCHER (1999) 4:37 - The episode actually starts 7:20 - Ramsay's style 17:29 - Humanizing, sympathizing, and wallowing in our own filth 31:38 - Snowball going to the moon 45:31 - Power hierarchies and targeted neglect 49:27 - The ending 54:59 - The Junk Drawer 1:00:14 - Good Grief, Give Me a GIF! 1:05:57 - Cody's Noteys: Ratlove (rat-themed movie trivia)

Weeks later, few clues of missing Timothy Metcalf: https://www.richlandsource.com/news/weeks-later-few-clues-of-missing-timothy-metcalf/article_4d93bd9c-f022-50a1-92e2-4afcbaac727f.html Today - More than three weeks have passed since 74 year old Timothy Metcalf walked out of his home on the north side of Ashland, leaving behind his keys and his wallet.Support the show: https://www.sourcemembers.com/See omnystudio.com/listener for privacy information.

Carl Orff's choral celebration of love, lust and youthful excess in medieval times is as iconic as ever — at once gloriously bawdy and touchingly beautiful. Rautavaara's ethereal “concerto for birds and orchestra” features bird calls recorded in arctic Finland. Banner, by CSO Mead Composer-in-Residence Jessie Montgomery, is a vibrant rhapsody on The Star-Spangled Banner. Learn more: cso.org/performances/22-23/cso-classical/carmina-burana

Synopsis Happy Saint Valentine's Day! On today's date in 1953, a new choral work by the German composer Carl Orff received its premiere performance at the La Scala opera house in Milan, Germany. Trionfo di Afrodite was the title of the new work, intended to be the final panel in a triptych of choral works celebrating life and love. This triptych included Orff's famous Carmina Burana, based on medieval texts, and Catulli Carmina, based on love lyrics by the Roman poet Catullus. All three pieces were given lavish, semi-staged performances at La Scala, led by the Austrian maestro Herbert von Karajan, and with German soprano Elisabeth Schwarzkopf and Swedish tenor Nicolai Gedda as the star soloists. For the world premiere performance of Trionfo di Afrodite, Schwarzkopf and Gedda portrayed a bride and groom on their wedding night: the texts they sang were pretty hot stuff—if you understand Latin, that is! Triofi di Afrodite shows Orff's indebtedness to Stravinsky, and his repetitive rhythmic patterns seem to anticipate the "minimalist" movement by several decades. At the 1953 premiere, Schwarzkopf's husband, record producer Walter Legge, gently suggested to Orff that he might consider a few cuts to the new work. Orff's response? "Oh, I know very well the effect of my rubber-stamp music!" In any case, Legge decided not to make a recording of the new work—which seems a shame, considering the all-star cast assembled at La Scala for its premiere! Music Played in Today's Program Carl Orff (1985 - 1982) Trionfo di Aphrodite

Music theorist Dr. Lauren Crosby is here to help us take a closer look at the original Boba Fett theme. We compare the pitch material of John Williams's theme to Ludwig Göransson's Boba Fett theme (which debuted in The Book Of Boba Fett), theorize about the relationship between them, and discuss other things from this action-packed set of minutes too! Timestamps: 0:00 - Hello there! 10:53 - When did you become aware of Boba Fett having a theme? 14:02 - Characteristics of the Boba Fett theme. 16:57 - Side by side comparison of Frank Lehman's Boba Fett theme transcription (Bb octatonic) and Lauren Crosby's transcription (C# minor). Same theme, same notes, conceived in different ways. 25:26 - Foreshadowing all the Dies Iraes in these minutes. 31:14 - Comparing John Williams's theme to Ludwig Göransson's Boba Fett theme. 44:09 - Did Ludwig Göransson reference John Williams on purpose? 50:38 - Hypothesizing about the break point of the Dies Irae in Boba Fett's two themes. 58:53 - Attacking a Star Destroyer motif, which also appears in John Powell's SOLO score. 1:04:54 - Satisfying engine sound that melds with the music. 1:09:18 - Carmina Burana moment. 1:10:16 - Dies Irae moment (paging Alex Ludwig). 1:16:02 - Guessing a theme based on two notes. 1:20:04 - Remaining part of the action through the soundscape. 1:23:43 - Upward steps with lower decorations evoke Luke struggling to learn the lesson. 1:26:40 - Organic vs. non-organic sounds on Dagobah. Natural habitat punctuated by Artoo's vocalizations. 1:30:55 - Paging Ender Smith (re: Artoo beeps). 1:33:57 - Ascending scale with ascending ship. The scale is somewhat familiar but sounds unresolved. 1:41:05 - SWMM Questionnaire References: Ludwig Göransson's Book of Boba Fett theme - https://youtu.be/3a0tH0fkvW8 "O Fortuna" from Carmina Burana by Carl Orff - https://youtu.be/GXFSK0ogeg4 Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Cues: 6M5/7M1 "The Magic Tree" 7M2 "Attack Position" Beginning of 7M3 "Yoda Raises The Ship" Musical Themes: 1a. Main Theme (A Section) 12a. Yoda (A Section) 10a. Imperial March (Theme) 14. Boba Fett 29) Attacking A Star Destroyer 13) Dies Irae Where are we in the soundtrack? "The Training of a Jedi Knight/The Magic Tree" "Attacking a Star Destroyer" "Yoda And The Force" ------------ Star Wars Music Minute Questionnaire: 1. In exactly 3 words, what does Star Wars sound like? - Expansive. Romantic. Foreignly-familiar. 2. What's something related to Star Wars music or sound that you want to learn more about? - The process of coming up with character voices, sounds, or languages. 3. What's a score or soundtrack you're fond of besides anything Star Wars? - Frozen II (composed by Christophe Beck) --------- Guest: Lauren Crosby Lauren's presentation at the John Williams conference may be online soon. You can check on it here: https://johnwilliams.sciencesconf.org/ University of Clemson page: https://www.clemson.edu/caah/about/facultybio.html?id=5566 ------------------ Ways to Support & Follow SWMM: Join our Discord server by becoming a patron!  https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink

From St. Nicholas Day through Christmas, the Devil figured prominently in medieval plays, embodying a subversive seasonal element also celebrated in the Feast of Fools. We enter the topic of medieval Christmas plays sideways through German composer Carl Orff's 1935 composition “O Fortuna,” a piece much beloved in Hollywood soundtracks.  The lyric Orff set to … Read More Read More The post Christmas Devils and the Feast of Fools appeared first on Bone and Sickle.

14th-21st CenturiesWe hear anonymous works and works by Nicolas Gombert, Ambrosio Cotes, Cristofaro Caresana, Christoph Graupner, François-Auguste Gevaert, Bohuslav Martinů, Peter Warlock, Carl Orff, and Ola Gjeilo.134 Minutes – Week of 2022 November 28

Wie sehr hat sich Carl Orff vom Nazi-Regime vereinnahmen lassen oder mit ihm sogar kollaboriert? Eine lang diskutierte und nicht eindeutig beantwortete Frage. Einen neuen Versucht wagt nun der renommierte Wiener Historiker Oliver Rathkolb - mit einem klaren Fazit.

Gestern hatte der vielumstrittene Teodor Currentzis bei den Salzburger Festspielen gleich zwei Werke zu dirigieren: „Herzog Blaubarts Burg“ von Béla Bartók und die Oratorienoper „De temporum fine comoedia“ von Carl Orff. Der radio klassik Opernexperte Richard Schmitz berichtet: Béla Bartóks Oper ist zweifellos ein Solitär im Reigen der symbolistischen Opern. Sie zeigt eine Reihe von Enthüllungen, weil das Mädchen Judith alle Räume im Schloss ihres Gemahls kennenlernen und mit Licht durchfluten will. Das gelingt ihr nur rudimentär; schließlich landet auch sie hinter der siebenten Tür und darf Blaubart als Nacht dienstbar sein. Die Musik ist impressionistisch mit einigen expressionistischen Momenten, sie kann die Zuhörerinnne und Zuhörer in ihren Bann ziehen. Unbestritten hat sie Qualität. Was man von Carl Orffs Musik nicht sagen kann. Da gibt es lange Minuten, wo ihm nichts anderes einfällt als Paukenwirbel und Windmaschine. Das Holzschnittartige fällt nach der raffinierten Komposition von Béla Bartók doppelt auf und wirkt primitiv. „De temporum fine comoedia“ hat allerdings mit dem Thema „Weltuntergang“ das viel aktuellere Sujet. Da gehen einige Textstellen unter die Haut. Auch dem Regisseur Romeo Castellucci ist da vielmehr eingefallen. Die Verwandlungen im „Blaubart“ werden, wenn überhaupt, nur angedeutet. Judith muss im Wasser waten und die Umwelt mit Gasflammen belasten. Nur im sechsten Bild wird es kurz hell auf der Bühne, da sieht man das primitive Metallbett, auf dem die Ehe vollzogen wird, nachdem Judith unzählige Damenslips ausgezogen hat. In "De temproum fine comoedia" gibt es dagegen immerhin eine Steinigung, mehrfachen Kindesmord, die Auferstehung aus dem Bühnenboden und andere einprägsame Bilder. Die Menschheit kurz vor dem Ende als kastrierte Schafherde zu zeigen, ergibt einen gewissen Sinn. Musikalisch steht das ganze unter der Leitung von Teodor Currentzis, und das ist nicht zu übersehen, wird er doch durchgehend von einem Scheinwerferkegel ausgeleuchtet. Er dirigiert sicher und routiniert. Ob er einem anderen Orchester – es spielt das Gustav Mahler Jugendorchester – mit seinen ausdrucksstarken Händen differenziertere Töne entlocken kann? Star des Abends war sicher Ausrine Stundyte als Judith, die nicht nur gesanglich sondern auch darstellerisch höchsten Ansprüchen genügt hat. Mika Kares kommt ihr als Herzog Blaubart durchaus nahe. In der Oratorienoper wurden die kleinen solistischen Partien von Mitgliedern des musicAeterna Chors gesungen. Der Bachchor Salzburg, der Salzburger Festspiele und Theater Kinderchor und zahlreiche Tänzer und Statisten fürchteten sich gekonnt vor dem Weltuntergang. Dass Carl Orffs Werk 1973 in Salzburg unter Herbert von Karajan ein Erfolg war, ist wahrscheinlich darauf zurückzuführen, dass es nicht von einem wirklichen Kunstwerk konkurrenziert wurde. Nach dem „Blaubart“ wurde herzlich aber kurz applaudiert. Nach Carl Orffs "De temporum fine comoedia" blieb das Saallicht verdächtig lange dunkel. Die Publikumszustimmung war anhaltend, echte Begeisterung kam aber nicht auf. Wertnote: 7,5/10 Punkten

Die erste Premiere der Salzburger Festspiele verbindet den Einakter "Herzog Blaubarts Burg" von Béla Bartók mit dem Mysterienspiel "De temporis fine comoedia" von Carl Orff. Über die politische Verstrickung des Stardirigenten Teodor Currentzis, dessen Ensembles von Putins Geld gesponsert werden, wurde viel diskutiert. Bernhard Neuhoff berichtet über den Opernabend.

Zwei Nachtstücke spannen Regisseur Romeo Castellucci und Dirigent Teodor Currentzis bei den diesjährigen Salzburger Festspielen zu einem Opernabend zusammen: Bela Bartoks Einakter "Herzog Blaubarts Burg" und "De temporum fine comoedia" ("Spiel vom Ende der Zeiten") von Carl Orff. Zwei Bühnenwerke, die auf ganz unterschiedliche Weise von den letzten Dingen des Lebens erzählen.

是什麼樣的猶太人能在納粹時期過得風生水起，在戰後還能撇清跟納粹的關係呢？ [opening] Carl Orff, Carmina Burana [bgm] Erik Satie, Gymnopedies No.1, 2, 3 Support this show: https://pay.firstory.me/user/ckdkjxmjs4mnk0862w9snzc5p Leave a comment and share your thoughts: https://open.firstory.me/user/ckdkjxmjs4mnk0862w9snzc5p/comments 更多內容: website | 那個音樂史 the-music-history.com facebook/instagram | 那個音樂史 Powered by Firstory Hosting

Three of New Zealand's national choirs are about to join forces for the first time in 20 years for a very special performance of Carl Orff's 'Carmina Burana'.

vol. 1 episode 9Greetings,What's the point of it all? Are we enslaved hamsters on a wheel going nowhere, or are we participants in and witnesses to a never-ending wave of cycles and patterns that turn like the seasons, whirling its majesty through and around us?It's a topic Elisabeth and I get into in this episode, musing how even when we think we're in control, maybe we're not, and when we think we're acting of our own accord, we're just fulfilling our destiny. Most of all, why astrology can be trusted to give us the keys to the ride, and a map for the journey, even if it's a circular one.Ironically, we kick off philosophizing with silliness that turns out to be utterly on point. If you're a Cole Porter fan and know his song “Let's Call the Whole Thing Off”, and you're familiar with this rousing ass-kicker by Carl Orff:then you'll get my stupid intro joke. But even if you're not, what's faaahscinating, as Elisabeth would say, is that without realizing it, in our goofiness, we allude to this early 20th Century German work, one of the classical Western canon's greatest hits, that points to the very conversation we have about the nature of human existence. Funny how that happens…these little synchronicities of life. Carmina Burana's opening piece, “O Fortuna”, laments that no matter how hard the narrator tries to live his up and down, hierarchical life, that damned other paradigm, the one that features the Wheel of Life, just keeps pulling him under. I mean, what a crank. All he can see is that whatever he tries to build and hold on to disappears. He's pretty bitter about it, too: “Fate, monstrous and empty, you whirling wheel, you are malevolent…” yada, yada. Lots of complaining. Here's the full text if you want to get a load of all that tsuris.But, as this fun video performance of the work shows by way of some spectacular special effects, structures of stone and steel do eventually collapse, even the cathedrals we have imbued over centuries with the ideals and beliefs we hold sacrosanct. It is inevitable because Nature, which includes the wheeling cosmos, is the ultimate paradigm, the one that will always supersede the straight up and down linear one. The grousing over dashed aims, such as in “O Fortuna”, is the sound of self pity that arises when Saturn, god of structure, tradition, and karma (among many other areas of human experience) meets with Neptune, bringer of dreams and inspired visions, but also soggy, foggy, delusions.Is it possible for these two visions of reality to exist and more to the point, function simultaneously instead of piteously? Well, one of these paradigms is currently falling down around our ears while the other one rolls on…that alone should tell us that we are the ones insisting on our limitations by trying to keep Saturnian things like corporations and governments “in line”. Maybe if we choose to accept the wheel as the true pattern of life instead of the line, then the line becomes more productive, a spoke instead of the point of it all. We do need structure, after all. In this episode, we talk about how this dynamic is currently taking shape in the US, as Saturn and Neptune are unable to see each other from where they currently are traveling in the heavens, but how being blind to one another, they still each have a line of site to all the other celestial components that signal what goes in to making a society civil, or not. How will this play out?Well, lots of things have to happen between now and the summer of 2025, but Elisabeth in her inimitable way of clearly breaking down the technical stuff, explains why by then, we should have a pretty good idea as to whether the US will succeed in switching paradigms, or will commit itself to living, and now clearly dying, by the sword of Damocles we set up over all our heads when we insisted on building a nation predicated on the hierarchy of genocide and slavery. After all, you can't hold your place in a straight line unless you determine that some people don't deserve to ever be ahead of you in that line. You'd have to kill and chain them back! Will enough of us conclude the dream/delusion of specialness conferred by donning these Neptunian, shimmery robes embroidered with “entitled to be first” were woven from a fantastical betrayal, more than they were made of reality? How might the energy of that dream/delusion be repurposed if enough of us slip out of these robes and seek to try on something else?At the very least, think of the summer of 2025 as a critical turning point.We make a few predictions, too, including when I suggest that our generation's Emmett Till moment, currently being called for by a lot of people across all sectors of society, is coming, probably as early as this weekend when Venus meets Uranus. What would such a moment look like, and why will it be shocking? Elisabeth wants me to issue a trigger warning for how I go about telling you, but that annoyed me, so this is our compromise. Consider yourself warned. I think it's well past time we get graphic if that is what it takes to rip down the curtain of secrecy that shrouds the priests of patriarchy, the pillars of the linear paradigm, the sickos who are just fine with our nation's children being decimated.However, although we recorded this before the Congressional hearings about the insurrection on January 6, 2021, I am writing these show notes after a night of fast and furious texting between myself and Elisabeth about the riveting and shocking (Uranus) testimony by female Capitol Hill Police Officer Caroline Edwards (Venus), the first police victim to testify. In graphic, disturbing detail, she told how she endured hours of hand-to-hand combat:"There were officers on the ground, they were bleeding. They were throwing up. … I saw friends with blood all over their faces. I was slipping in people's blood.“When I fell behind that line … I can just remember my breath catching in my throat because what I saw was just a war scene,” Edwards said. “It was carnage. It was chaos.”And we answer a listener's question: why is Elisabeth so much gloomier about the future than I am? By way of explanation, Elisabeth offers a nifty Chinese proverb that when my husband overheard it as I was editing this podcast, he said it's featured in the rather good and surprisingly humorous Tom Hanks' movie, Charlie Wilson's War. That movie gives some context to how a short-sighted decision not to remain in Afghanistan in the 80s paved the way for the Twin Towers to be brought down.The moral of the story in both the movie and Elisabeth's telling of it, being that if you can't see how the good and bad always contour one another, you risk being ill-prepared for what is to come. Put another way, nothing's over until it's over.Two other interesting events of note that happened after we wrapped production of this podcast: actor and Uvalde, Tex., native, Matthew McConaughey's impassioned speech in favor of no more weapons of war in our streets, and in which he asks about how do we prove we value what we say matters, yet another theme of this episode; and, a suicidal-homicidal man was arrested after he called authorities asking for help to prevent killing Supreme Court Justice Brett Kavanaugh, a bizarre story that fully illustrates every current transit Elisabeth spells out is happening now, including that between May 29 and today, June 10, the only exact aspects among the planets are ones that involve the Moon. That leaves lots of space between all the other kids in the cosmic sandbox. Will they start throwing sand in each other's eyes? Or, as the Moon is carrying the light of all the other celestial bodies to and from one another, will the she help them see one another more clearly, especially as they try to inform Saturn of what Neptune has to say, and vice versa…If you'd like to learn more about the forecast that precipitated this podcast, including why Elisabeth is itching to share just what it is in McConaughey's chart that she says makes it plainly clear that he'd be a rising star right about now, and that the right wing media would attack him, then please visit her website: graceastrology.comFor more about me, poke around this page here. You will get a good sense of why and how I do what I do. And of course, I encourage you to subscribe.Meanwhile, I am looking up at the stars. I hope you are, too.Peace,Whitney (for Elisabeth, too)Thank you for reading Ensouled: The Journal of Cultural Astronomy. This post is public so feel free to share it. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit ensouled.substack.com/subscribe

We take on one of the biggest performances of the season, Carl Orff's epic Carmina Burana. Featuring the TSO with choruses from BGSU, plus a community Children's Chorus, distinguished soloists, and dancers from Toledo Ballet, Orff's iconic setting of medieval poems is sure to prove a major spectacle on the stage. Test your literary knowledge in our extended podcast, which features a wheel-of-fortune quotes-about-fate quiz!

Donald Macleod and guest Sarah Willis explore some of the greatest “one-hit wonders” in classical music - Johann Pachelbel, Engelbert Humperdinck, Paul Dukas, Gregorio Allegri, Henryk Górecki, Tomaso Albinoni, Giovanni Pergolesi, Pietro Mascagni, Carl Orff and Julius Fučík. Classical music is littered with composers who are famous for just a single piece of music. In a special week of Composer of the Week programmes, Donald Macleod is joined by Berlin Philharmonic horn player Sarah Willis to explore ten of these composers and examine episodes from their lives, alongside their compositions – both their popular hits and some of their less familiar music. They also try to isolate why certain works have captured the popular imagination of audiences around the world. Music Featured: Pachelbel: Canon & Gigue for 3 violins and continuo in D major Pachelbel: Christ lag in Todesbanden Humperdinck: Erinnerung Humperdinck: Hansel and Gretel (excerpts) Humperdinck: Königskinder, "Verdorben! Gestorben!..Ihr Kindlein, sie sind gefunden" Dukas: La Peri Fanfare Dukas: L'apprenti sorcier Dukas: Ariane et Barbe-bleu, Act III: Adieu Allegri: Canzone Scamfortina Allegri: Missa ‘Che fa oggi il mio sole': Agnus Dei Allegri: Miserere Górecki: Symphony No 3 (Symphony of Sorrowful Songs),1st Mvt. Górecki: Little Requiem for a Certain Polka, Op 66, 3rd Mvt. Górecki: Symphony No 3 (Symphony of Sorrowful Songs), 2nd Mvt. Górecki: Miserere Albinoni: Overture to Zenobia Albinoni (compl. Giazotto): Adagio in G minor Albinoni: Concerto in B flat major for oboe and strings Albinoni: Concerto in F major for oboe and strings Pergolesi: Stabat Mater (excerpt) Pergolesi: Conversione di San Guglielmo (Sinfonia) Pergolesi: Dixit Dominus, Opening chorus Pergolesi: Stabat Mater (excerpt) Mascagni: Cavalleria Rusticana (Easter Hymn, Inneggiamo & Intermezzo) Mascagni: Rapsodia Satanica, Prologue Orff: Camina Burana, 'O Fortuna' Orff/Keetman: Schulwerk (excerpts) Orff: De temporum fine comoedia Orff: Carmina Burana (excerpt) Fučík: Entry of the Gladiators Fučík: Miramare Fučík: Triglav Presented by Donald Macleod Produced by Sam Phillips For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for One Hit Wonders https://www.bbc.co.uk/programmes/m001695t And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

My guest of this episode is William F. Mann, who has been a freemason for 30 years and written several books, part of them non-fiction, part of them fiction but nearly all of them revolving around Masonic history and concepts. William was born in the 1950s and from an early age on he was interested in solving puzzles and following clues to discover hidden meanings of his surroundings. His father's family had a rich Masonic tradition as far as it could be traced back and from his mother's side William had the chance to be introduced to North American indigenous traditions. Today, William is the Supreme Grandmaster of the Sovereign Great Priory of Canada and lives in Ontario. In this episode of the show we will discuss topics that might be completely off the radar of many of our listeners as we in Europe have sometimes little knowledge about the ideas and concepts in occulture that are very specific to certain parts of North America. Hopefully this episode will be even more fascinating and also lead to some further research and exchange of thoughts. One focus of our conversation will be William's notion concerning the role of the Knights Templar in North America having published ‘The Knights Templar in the New World: How Henry Sinclair Brought the Grail to Acadia', ‘The Templar Meridians: The Secret Mapping of the New World' and ‘Templar Sanctuaries in North America: Sacred Bloodlines and Secret Treasures'. We'll talk about his ideas that inspired him to write these books and the conclusions he draws upon. In this context we will first shed some light upon the general history of the Knights Templar in medieval Europe and then William will introduce us to the concept of the Knights Templar embarking on transatlantic expeditions to North America. We're also going to explore a highly fascinating idea concerning certain similarities between Templar and indigenous rituals in North America and their respective core concepts and elements as well as potential historical interactions and relationships between both groups sharing their wisdom on a basis of mutual respect and acceptance. Of course, William's most recently published book with Inner Traditions, ‘The Last Refuge of the Knights Templar: The Ultimate Secret of the Pike Letters' based on a series of 33 letters in the late 1800s between Confederate General Albert Pike and British Colonel James Wilson Bury MacLeod Moore will be of special interest. In the end, we'll mention one of William's upcoming projects to investigate early Templar settlements and the evidence of ancient civilisations in North America with a group of Masonic geologists which might ultimately culminate in a new book. William Mann's author page with Inner Traditions Here you will find  all of William Mann's books and where to get them Music played in this episode The three - very diverse - music tracks in this episode follow the idea of reinventing something ancient in a new style, which is coming from our modern times. 1) PRELIATOR by Globus - sung by Lisbeth Scott When I first heard this track, I immediately thought of Carl Orff's "Carmina Burana" (O Fortuna). But then I realized even though it sounds similar, it is different. It is medieval thought reimagined with the sound of today, but goes beyond Carmina, because it also heavily involves sound enhancement technology. Fascinating! (Track starts at 7:07) 2) ECHOES OF THE TEMPLE by Ghenwa Nemnom Lebanon, a land where in the 11th century the Templars were an important political factor, is the home to this music. Ghenwa Nemnom, born in Beirut, is a passionate Qanun player. The Qanun is a Mediterranean ethnic music instr...

Clark Smith Clark Smith is back on California Wine Country with Steve Jaxon, Dan Berger and Harry Duke today. Clark has been on California Wine Country a few times before, including this most recent episode on September 15 of 2021. Today Clark Smith will tell about his book and his website dedicated to pairing wine with music. But before we begin with Clark, we will taste a bottle from Dan Berger's extensive personal cellar. This is a 2004 Peter Lehman Shiraz from Australia. It is a bit rich and has some plum flavors. It is 17 years old and is past its prime. It was lost in the cellar and Dan forgot about it. Clark Smith is back with us on California Wine Country today. He is a consultant to about 120 wineries, after a whole career training wine makers. He loves European wines, which are balanced and age well. He calls that “Euro-centric wines.” He likes to say that he makes American “forgeries” of European styles. Today we will taste his Cabernet Franc which is a good example of that. He also likes to use an American grape called Norton. Click the logo to visit our sponsor Bottle Barn online. Clark Smith has published a book on this subject, called A Practical Guide to Pairing Wine and Music, which is available as a Kindle book on amazon, at that link. Wines are like music. They are liquid music. They can carry emotion. Wines are happy and sad too. For example: If you want to make a Cabernet Sauvignon taste terrible, play a polka. Cabernets are dark and angry and if you play happy music around it, it will taste awful. Clark Smith credits Don Blackburn for coming up with this idea. Dan is a friend of Clark Smith and he didn't like the Aroma Wheel approach as a framework for the flavors of wine. He wants to look at the whole wine. He did an experiment with about 100 people, and he gives people 3 wines, a Beaujolais Nouveau, a Pinot Noir from Burgundy and a big bad Cab. Then he played the following music: • a Mozart divertimento, in the Classical style (late eighteenth century) • a Franz Liszt piece for piano (mid-nineteenth century) • Carl Orff's Carmina Burana, a heavy chanting and rhythmic D minor jam for chorus and orchestra (mid-twentieth century) Then he asked people to match the wines to the music. If it had been random, the assignments would have been about evenly distributed among the wines. But people put the light frilly music with the Beaujolais and the Carmina Burana with the Cabernet. That's an intellectual exercise. But then, try playing the Carmina Burana with the Beaujolais, and it tasted horrible. What it means is that the feeling in the music and the wine can be aligned, or misaligned, and you can sense that. For the rest of this very interesting episode, we hear music and taste wine and compare the sensations of the pairings.

“Music defies language in so many ways. One of its joys is that it takes words and direct meaning and narrative out of the equation.” In this episode, Sam Mendes talks about how, when he was looking for music to capture the emotional dissonances of the opening sequence of American Beauty, he found the perfect mood with Carl Orff's Gassenhauer (which, in turn, inspired Thomas Newman's Oscar-nominated score). Today the music still reminds Sam of this happy, creative period in his life, and of the collision of American and European culture in his work. Subscribe wherever you get your podcasts to receive a new episode every day or delve deeper into our companion playlist. Sam Mendes is an Oscar and Tony award-winning producer and director. His films include American Beauty, Road to Perdition, Skyfall and the upcoming 1917.  
Did you like the track Sam chose? Listen to the music in full:  Gassenhauer by Carl Orff