Podcasts about Cello

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Emily Wright. Emily is the host of The Lonely Cello Podcast. She shares about the many facets of her career, including working as a freelance cellist, an Associate Editor and contributing writer for Strings Magazine, working as a composer, and teaching students of all levels and ages, with a particular skill set geared towards adult students. For more information on Emily: https://emilywright.net/You can also find Emily on Instagram and Facebook: @emilywrightcelloIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, YouTube and Bluesky @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

This album with the Bavarian Radio Symphony Orchestra features music by Australian composer Liza Lim, with whom the orchestra has an ongoing relationship.  Over the past decade the orchestra has been involved in commissioning all three works on this album:  The Compass for orchestra with solo flute and digeridoo, A Sutured World for Cello and Orchestra, and Mary / Transcendence after Trauma.  

In deze aflevering van Kalm met Klassiek luister je naar muziek van een man die het als zijn missie zag om België muzikaal op de kaart te zetten: pedagoog en componist Paul Gilson. Naast vele andere verdiensten schreef hij een prachtig 'Andante voor cello en orkest'. Het wordt hier gespeeld door celliste Timora Rosler samen met het Vlaams Radio Orkest. En Ab stelt zich bij deze muziek een Belgische abdijtuin voor... Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/thema/kalm-met-klassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=be36463468d84e37). 

The IMMP takes a break from movies and TV to dip back into music, as Matthew introduces Ian to the dark but poppy science fiction of ELO's 1976 album A NEW WORLD RECORD.

🎙️ Estimados oyentes y mecenas: En este episodio nos sumergimos en el arte de la interpretación a través de la perspectiva de Hans‑Georg Gadamer. Lo acompañaremos con su célebre obra Verdad y método, explorando conceptos como la historia de los efectos de un texto o la eficacia de la distancia temporal en el quehacer hermenéutico. Más allá de métodos rígidos, Gadamer nos invita a vivir la interpretación como un diálogo vivo, donde la verdad no se impone sino que emerge cuando nos abrimos al otro, al texto y al pasado desde nuestra historia propia . Gracias por ser parte de este espacio de reflexión. 📗ÍNDICE A. ESTRUCTURA DE LA HERMENÉUTICA. 1. ORIGEN DE LA HERMENEÚTICA. 2. EL CÍRCULO HERMENÉUTICO. 3. EL MÉTODO HERMENÉUTICO. 4. LA TAREA INFINITA DE LA HERMENÉUTICA. 5. LA PRE-COMPRENSIÓN DEL INTÉRPRETE. 6. LA ALTERIDAD DEL TEXTO. >>>>> puedes escucharlo en https://go.ivoox.com/rf/152853118 B. INTERPRETACIÓN E HISTORIA DE LOS EFECTOS. 7. HISTORIA DE LOS EFECTOS DE UN TEXTO. 8. EFICACIA DE LA DISTANCIA TEMPORAL. 🎼Música de la época: Concierto para Cello de Ned Rorem, escrito en 2002. 🎨Imagen: Hans-Georg Gadamer (Marburgo, 11 de febrero de 1900 - Heidelberg, 13 de marzo de 2002) fue un filósofo alemán especialmente conocido por su obra Verdad y método y por su renovación de la hermenéutica. Fue discípulo de Heidegger. 👍Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa ¡Muchas gracias a todos!

Er spielt Cello und singt dazu: Am 20. Juli tritt Abel Selaocoe beim Fränkischen Sommer auf. "Where is home" heißt sein Programm. Wo er sich selbst Zuhause fühlt, erzählt er im Interview mit BR-KLASSIK.

Dass sie ein Musikinstrument spielen konnte, rettete Anita Lasker-Wallfisch das Leben; sie überlebte Auschwitz, weil sie dort im Mädchenorchester Cello spielte. Zu ihrem 100. Geburtstag wiederholen wir ein Gespräch von 2010.

Anita Lasker-Wallfisch ist eine der letzten lebenden Zeitzeugen des Holocaust. Als 18-Jährige spielte sie Cello im sogenannten "Mädchenorchester" von Auschwit und entkam so dem sicheren Tod. Nach Kriegsende ging sie nach England und war Gründungsmitglied des English Chamber Orchestra. Heute wird sie 100 Jahre alt.

Last time we spoke about the end of the Bougainville campaign. In June 1945, the Australia and Allied forces intensified their campaign in the Pacific, spearheaded by General Hammer, as they battled entrenched Japanese troops on Bougainville. Following the capture of the Soraken Peninsula, the Australians aimed to control the strategic Hongorai River but faced fierce resistance. Meanwhile, General Kanda adjusted his strategies, pulling back Japanese forces to a defensive perimeter around Buin, allowing his troops to regroup. Australian battalions, notably the 24th and 57th/60th, pressed forward, making significant gains despite encountering numerous obstacles, including concealed mines and relentless counterattacks. The turning point came when they crossed the Hongorai River, marking a vital milestone in their advance. Ultimately, the combination of perseverance and tactical maneuvers set the stage for future successes within the broader context of the Pacific Theater. This episode is the Fall of Wewak Welcome to the Pacific War Podcast Week by Week, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about world war two? Kings and Generals have an assortment of episodes on world war two and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  In the last episode we finished off the Bougainville campaign. Now its been 4 long ass grueling years for the boys fighting in New Guinea. Today we are finally going to finish that story.  As we last saw, by early April 1945, General George Stevens and his 6th Australian Division were making significant strides in their Wewak offensive. The campaign, aimed at capturing the strategically important town of Wewak, was crucial for disrupting Japanese forces in New Guinea and aiding in their eventual defeat. Brigadier King's 16th Brigade had effectively secured the But and Dagua areas, notable locations that played vital roles in the region's agricultural landscape and supply lines. Simultaneously, Brigadier Moten's 17th Brigade was concentrating its efforts along the Ninab River, a key waterway that would facilitate the final drive toward Maprik, a town essential for both its infrastructure and resources. Facing intense Australian pressure, the remnants of General Mano's 41st Division were forced to retreat northwestward to Wora, a strategic village located near the coast, while the Miyake Force reorganized itself along the defensive line formed by the Imbia, Neligum, Kumbungua, and Bainy rivers. This area is characterized by its rugged terrain, dense jungles, and numerous waterways, making it a challenging environment for military operations. On April 3, General Moten ordered the 2/7th Battalion to advance toward Maprik and the Agricultural Station, aiming to seize this vital supply center. At the same time, the 2/6th Battalion was tasked with moving towards the Screw River to block any potential enemy retreats to the north. Hayforce, a composite group of Australian troops, was directed to push forward to the Maprik-Marui road. This mission was critical as it aimed to establish a new airfield, designated as Hayfield, to alleviate the pressing supply issues faced by Australian forces. The Australians began their assault towards Maprik, yet they quickly discovered that the enemy was well-prepared to defend this food-producing region. Throughout the week, they were largely limited to patrol actions as they engaged with scattered enemy forces. Concurrently, Hayforce advanced eastward, encountering strong resistance at Wora on April 10. This strategic location, once teeming with activity, had become a focal point for Japanese defense. On April 12, feeling increasingly under pressure, General Mano opted to abandon Wora, allowing him to concentrate his forces more effectively at Bainyik. This decision was pivotal, as it permitted Australian forces to secure the site of the proposed airstrip, enhancing their logistical capabilities.  Meanwhile patrols had been pressing on from village to village. On 28th March, for example, Sergeant J. W. Hedderman, of the 2/6th, a notable leader in these as in earlier operations, had led a reconnaissance to Kulkuil and Gwanginan. Next day he led a fighting patrol which took Kulkuil with a carefully-planned surprise attack. On the 30th Lieutenant Errey's platoon (16), with Hedderman as platoon sergeant, attacked Gwanginan. Hedderman confused the enemy by shouting to imaginary platoons to right and left (thus incidentally drawing fire on himself); and when the leading section was halted he brought down supporting fire and enabled it to move again. A man was wounded within 10 yards of the enemy's pits; Hedderman went forward, killed two Japanese with grenades, and dragged his comrade to safety. The enemy were 25 to 30 strong and the attack failed despite these gallant efforts. Hedderman covered the withdrawal, firing until all others had gone. On 30th March a patrol found Mairoka clear of the enemy and on 4th April Lieutenant Gordon's platoon established a patrol base there. On the 7th Errey's platoon attacked a village to the east of the Milak villages but without success, Lieutenant Errey being killed, and Sergeant Layfield wounded. Chicanambu was occupied on the 9th. On April 15, two companies from the 2/6th pushed eastward towards the Screw River. Over the next five days, they faced strong opposition as they engaged in fierce skirmishes and patrol actions to secure critical territories, ultimately capturing Wambak, Kombichagi, and Bungara. Each of these locations represented not only strategic advantages but also a deepening impact on the local population and the broader campaign dynamics. On April 15, 1945, the 2/7th Battalion launched its main assault, with one company advancing towards the line of Nimrod Creek. This location, nestled within the dense jungles of New Guinea, proved to be strategically significant yet perilous. As they approached, Australian troops encountered heavily defended and camouflaged pillboxes, fortifications designed to protect the Japanese troops stationed in the area. Despite the challenges, they managed to secure a long, kunai-covered spur to the northeast of a critical area known as Maprik 2 by the following day. On April 17, another company from the 2/7th continued the offensive, advancing toward a target referred to as Maprik 1. They reached a point approximately 400 yards northwest of the objective but soon found themselves in a precarious situation as they became surrounded on both flanks the next day. It was not until April 19 that they successfully broke through to the southwest, escaping their encirclement.   The House Tamboran feature, a prominent ridge north of Maprik 1, was finally secured on April 20. This strategic high ground was essential for controlling the surrounding terrain and allowing further advances in the area. The following day, the 2/7th began probing towards the Maprik airstrip and Bainyik. Their efforts to secure the airstrip were fruitful within the next few days; however, they faced staunch resistance at both Maprik 2 and Bainyik, where Japanese forces continued to mount a determined defense. On April 25, the Australians crossed the Screw River, a vital waterway that flows through this region, on their way toward Midpum Creek, which they reached the following day. This movement was crucial for maintaining momentum in the campaign. While the 2/7th Battalion was engaged in heavy fighting, patrols from the 2/6th Battalion successfully secured the Neligum villages, although they encountered strong Japanese resistance at Mangumbu. This locality, bordered by lush vegetation and steep hills, served as a vital defensive position for Japanese forces. Simultaneously, intelligence reports about a small enemy contingent under Lieutenant-Colonel Takenaga Masaharu positioned at Tau prompted a swift response. On April 16, a platoon from the 2/5th Battalion departed from Aitape, a coastal town known for its strategic significance during the campaign. They tracked down the Japanese troops and engaged them at Kubriwat on April 24. After the Kubriwat engagement, Colonel Takenaga's troops managed to shake off pursuit by the Australians; yet as the Australians continued to harass them, Takenaga ultimately decided that they would surrender. They took a leaflet containing a notice of surrender that one of the soldiers had been carrying, added some conditions underneath in English, tied it to a pole for the Australians to find, and left the area. Scouts from Miles' platoon then found the leaflet and brought it back with them. On May 2, the Australian platoon spotted Takenaga's unit near Womgrer village, and asked a native to help them make contact. Two truce bearers from the Japanese side came to the Australians to negotiate, and on the following day Takenaga's unit surrendered at Womgrer and were disarmed. At the time of surrender, Takenaga's unit consisted of 42 men: five officers (including Takenaga), four warrant officers, and 33 non-commissioned officers and soldiers. They were equipped with five light machine guns, 17 rifles, five pistols, and 750 rounds of ammunition. The prisoners, escorted by Miles' platoon, marched for three days in an orderly fashion to Maprik Airport, and were then transported to Aitape. Takenaga's unit were held in Aitape for around one month, before being broken up and sent to prison camps in Lae and in Australia, where they received good treatment. They were all interrogated, and in particular, Takenaga was transported to Manila for a detailed interrogation. As well as giving character information about the commanders of the 18th Army, Takenaga gave his opinion of how the Allies should deal with Emperor Hirohito: "If the Emperor is killed then the Japanese people will resist until the bitter end, but if there is an order from the Emperor then they will probably surrender peacefully." Back in the Maprik sector, while Hayforce conducted probing operations and successfully captured Yentagim in early May, the Miyake Force began a withdrawal toward the Loanim-Yamil-Kumbungua line. This defensive line was a series of natural features and fortified positions designed to obstruct the advancing Australian troops. On the northern flank, the 2/6th Battalion also continued to patrol eastward, successfully securing the strategically important Mangumbu on May 2. This advancement not only disrupted enemy operations but also paved the way for further Australian advances in the region. On May 8, 1945, the 2/7th Battalion launched a decisive attack, successfully capturing part of the Kumbungua Ridge, a strategically significant high ground dominating the surrounding terrain. Two flame-throwers had now been received by the 2/7th and on 8th May these were used to drive the enemy from part of the narrow steep-sided Kumbungua ridge. The Japanese made off, abandoning 30 weapon-pits, but engaged the Australians from a knoll farther up the ridge. Just three days later, they captured the southern end of the ridge while another company moved to occupy Waigakum 1, a forward position that offered a crucial vantage point over the area. Flame-throwers were proving very effective. On 10th May the 2/7th occupied Waigakum 1, and on the 11th a platoon with flame-throwers attacked and took a position where the defenders abandoned 50 packs. Another platoon approached the knoll at the south end of the Kumbungua ridge from the south, attacked up a steep slope and put to flight the defenders who abandoned 25 packs and 100 sticks of gelignite. The Japanese opened fire, however, from higher up and, the ground being unsuitable for defence, the platoon withdrew. By May 13, following effective air support that softened enemy defenses, central Kumbungua was found abandoned by Japanese forces, a testament to the pressure the Australians had applied. The following day, after another heavy bombardment from both aircraft and artillery, the entire ridge was finally secured, marking a significant accomplishment in the campaign. Pressing on, the Australians cleared the area northeast of Kalabu by May 26. However, they faced stiff resistance and found it challenging to make further advances. As a result, the 2/7th Battalion reorganized to defend the captured positions, consolidating their gains to ensure they could withstand potential counterattacks from the tenacious enemy. In the meantime, on May 17, Waigakum 2 fell to Australian troops. This success forced the cutoff remnants of General Mano's 41st Division to begin their retreat to the east, as the Australians patrolled further towards Malba, another critical location along their advance. The loss of Waigakum to the 2/7th Battalion in mid-May had a very upsetting effect on the Japanese. It was the point of junction between Miyake Force, now 800 strong, and the 41st Division and, according to General Yoshiwara, this loss led directly to the withdrawal from Kalabu and Loanim. On the 19th a platoon, guided by natives, surprised six Japanese in a garden south-east of Kalabu. Here Private Jenkins" came upon one Japanese asleep outside a weapon-pit. As he was within feet of me (wrote Jenkins later) I thought it was an excellent opportunity to take a prisoner so I woke him with a light kick and pulled him to his feet with my left hand, keeping my Owen gun in my right. I had managed to get my prisoner some paces from his position when a slight noise alerted his mates and they opened fire on the patrol. With this the Jap broke from my grasp and I was forced to shoot him. One other Japanese was killed and the others made off.Turning their attention northward, the 2/6th Battalion attempted to attack the village of Jamei on May 20. However, they were met with fierce resistance from Japanese defenders, which compelled the Australians to bombard the area intensively with artillery and air strikes until the enemy was finally forced to retreat on May 25. While the Australians were continuing to probe towards Yamil, elements of the 2/7th Battalion executed successful attacks in the Malba area, which was ultimately secured by the end of the month. This marked a crucial step in their advance as they pushed deeper into enemy territory. Meanwhile, in the coastal sector, Brigadier King's 16th Brigade concentrated its efforts east of the But River, extending up to the Kofi area. At the same time, Brigadier Martin's 29th Brigade assembled at But, preparing for the final drive toward Wewak, a town that had become a strategic target for Allied forces in their campaign to eradicate Japanese presence in New Guinea. On April 14, the 2/1st Battalion passed through the lines of the 2/2nd Battalion, launching an attack toward the Karawop-Wisling area. This sector, known for its rugged topography and dense underbrush, finally fell to the relentless Australian assaults two days later after a series of intense company-level attacks. On April 25, the 2/1st Battalion occupied the crucial 1800 Feature without facing any opposition. This high ground provided them with significant tactical advantages in the ongoing conflict. Meanwhile, the 2/3rd Battalion, positioned to the north, successfully launched an attack on Boiken Plantation. Their efforts were rewarded as they advanced to Kalimboa the following day, further consolidating Australian positions in the region. On April 27, 1945, the 2/2nd Battalion moved swiftly through the advancing lines, pushing forward to Hawain and crossing the river in their quest to engage Japanese forces. Concurrently, the 2/3rd Battalion patrolled south along Boiken Creek, where they encountered significant enemy resistance in the Koanumbo area. After a series of determined assaults, this area was ultimately secured by May 2, allowing the Australians to fortify their positions. At this point in the campaign, Brigadier Martin's 19th Brigade took over the advance towards Cape Wom, and subsequently, the strategic objective of Wewak. This movement coincided with preparations by Lieutenant-Colonel Eric Hennessy's 2/6th Commando Regiment, which was organizing for a surprise landing east of Cape Moem, a critical maneuver aimed at outflanking Japanese defenses. On May 3, the 2/4th Battalion advanced from Hawain, managing to cover six miles without facing any opposition. By the next day, they reached Wom without incident. As night fell, Australian patrols had already established a presence along the Waringe River, preparing for further actions. During this time, patrols targeted Japanese stragglers in the vicinity, eliminating several and gathering intelligence. Reconnaissance units were then sent forward to Minga Creek to assess enemy positions while the 2/4th secured Yarabos on May 7, progressively tightening the noose around Japanese defenses. Meanwhile, the 2/8th Battalion, positioned on the right flank, engaged in a series of minor clashes, successfully capturing Ranimboa on May 4, followed by Numikim just days later. These advances were crucial in pressuring the remaining Japanese forces, which, under Generals Adachi and Nakano, were increasingly evident in their abandonment of the substantial base at Wewak. Their main forces began to withdraw over the rugged terrain of the Prince Alexander Mountains, leaving behind strong rearguards tasked with covering their exit routes from Wewak. To counter this withdrawal, the 2/11th Battalion and the 2/7th Commando Squadron were dispatched on a wide encircling movement towards the Sauri villages and Wirui Mission, aiming to cut off the retreating Japanese forces. Meanwhile, the 2/4th Battalion crossed Minga Creek and launched an attack towards Wewak on May 8, seeking to claim the final strategic stronghold. Two days later, bolstered by supporting tanks and artillery, the 2/4th Battalion initiated a vigorous assault on Wewak Point. This area, positioned at the very tip of the peninsula, was essential for controlling the coastal approaches to Wewak. After a hard-fought engagement, the Australians successfully seized the entirety of Wewak Point, subsequently mopping up the remaining Japanese soldiers who had entrenched themselves in the caves along the cliffs, effectively concluding the intense fighting in this region. At 12.15 two companies were ordered to mop up.cThat afternoon a flame-thrower fired into a bunker apparently lit a dump of bombs which blew up. Smith's company found several occupied caves and, since the Japanese would not surrender, merely picqueted them until engineers arrived and blew up the entrances, sealing the Japanese in. It was estimated that about 50 perished in the caves; by midnight 65 other dead had been counted and three 75-mm guns and two 20-mm had been captured. In a brilliant action the Australians, supported by tanks and more than 40 field guns, had lost only 2 killed and 17 wounded. Mopping up was continued next day, and no live Japanese remained on the point by midday. Finally it was estimated that from 180 to 200 Japanese had been killed. On May 11, 1945, following their progress along the Big Road, the 2/11th Battalion set out to occupy the strategic 620, 710, and 770 Features. However, they soon encountered unexpected resistance over the following days. This was not merely an isolated skirmish; it was part of a broader engagement as they pressed their advance against the entrenched Japanese defenders. Meanwhile, an important operation was unfolding to the west. The 2/9th and 2/10th Commando Squadrons, supported by a small flotilla formed around the sloop Swan, successfully landed on Dove Bay's Red Beach, located just to the west of Forok Point. This maneuver was critical, as it disrupted Japanese supply lines and provided the Australians with a foothold to cut off the Wewak Road. Following their landing, the squadrons dispatched patrols eastward, further isolating Japanese forces. The next day, the 2/3rd Machine-Gun Battalion secured the junction of the Wewak Road and Forok Creek, a key point for controlling the surrounding areas, while the 2/9th Commando Squadron patrolled past Mandi, gaining valuable intelligence. The 2/4th Battalion, capitalizing on this chaos, pressed forward to secure the Wewak airfield and the Wirui Mission, both of which were vital for maintaining air support and supply routes in the theater of operations. On May 13, the 2/11th Battalion successfully captured the 620 Feature, a crucial hill that provided vantage points over the battlefield. However, they struggled to take the 710 Feature the next day, as Japanese resistance intensified in the rugged foothills south of the Big Road.  On 14th May, the 2/11th being heavily engaged in the foothills south of the Big Road, Lt Martin had ordered the 2/4th to attack Wirui Mission, which was on a steep kunai-covered hill about 300 feet high dominating the airfield. Approaching from the east through tall kunai the leading com-pany with a troop of tanks soon took the first objective-dominating ground about half way up the hill. Captain Smith's company passed through and, with the tanks, whose crews estimated that they killed about 30 Japanese, reached the top. By nightfall the top and the eastern slopes were held but the Japanese were fighting back from bunkers on the north-west slopes. Next day Smith's company attacked these remaining bunkers. The lead-ing section was halted by intense fire after several men had been hit. Private Kenna, in the supporting section, which was firing on the bunkers at a range of only 50 yards, stood up in the kunai grass in full view of the enemy and fired his Bren at one of the Japanese machine-gun posts. The Japanese machine-gunners returned his fire but failed to hit him. Kenna then said to Private Rau who was beside him that the Japanese "had a bead on him" and he asked for Rau's rifle. Still standing, he fired four rifle shots and silenced the enemy post. He then took the Bren again and opened fire on another post about 70 yards away and silenced it too. The remaining post was then knocked out by a tank; soon the 2/4th and 2/11th were in contact. About 40 Japanese were killed and perhaps 20 escaped in the fight for the mission. Large quantities of weapons, vehicles, generators, tele-phones and other equipment were found there. Possession of Wirui Mission gave complete control of the Wewak coastal plain. Captured papers made it possible to make a fairly precise estimate of the forces immediately round Wewak: Kato Force, built round the 25th Airfield Battalion and about 300 strong, was holding from Sauri to Wirui Creek; Jinka Force, about 400 strong, was holding from Wirui Creek to the east, including Boram airfield, and south into the range as far as Passam; to the east was Aoyama Force, of unknown strength; the coastal plain to a depth of about 1,000 yards was not held in strength, and it was thought that there would be little opposition on the coast at least as far as Boram airfield Supported by artillery fire and through persistent efforts, the 2/11th finally took the 710 Feature on May 15, which allowed them to begin patrolling towards the 770 Feature and the nearby Klewalin, two additional strongholds that were key to the entire operation. Simultaneously, since May 11, the 2/7th Commando Squadron had been engaged in fierce fighting. They maneuvered through a series of knolls in the Sauri villages area, which they ultimately cleared by May 16, further tightening the noose around Japanese defenses. On that same day, after intense air and naval bombardments prepared the way, the 2/8th Battalion began their advance toward Boram. This crucial location fell into their hands unopposed by nightfall, allowing significant advances in the Australian front line. However, on May 17, as the 2/8th Battalion continued its push to the mouth of Boram Creek, they encountered a strongly-held Japanese position. This area, characterized by intricate terrain and dense jungle cover, presented formidable challenges as they sought to advance further into Japanese-occupied territory. The enemy bunkers would remain a formidable obstacle until May 20, when a heavy bombardment finally rendered them inoperative. Following this, the Australians seized the opportunity to exploit their gains and advanced further east to occupy Cape Moem. This maneuver allowed them to establish contact with the commando force at Brandi Plantation just two days later, strengthening their foothold along the coast. On May 24, the 2/11th Battalion occupied the strategic 770 feature after enduring its own heavy bombardment. Three days later, they managed to destroy the last remnants of enemy forces south of the 710 feature, marking a significant step in the campaign. On May 25, the 2/4th Battalion also launched a patrol into the village of Koigin, taking the location after a sharp and intense fight. However, amidst these operations, Brigadier Martin fell ill with malaria and was temporarily replaced by Lieutenant-Colonel John Bishop, a shift that would guide the troops through the operational challenges ahead. By the end of May, the 6th Division had pushed most remnants of the Japanese 18th Army away from the coast, including their vital base at Wewak. The Japanese forces were now confined within the rugged, mountainous terrain, squeezed between the 17th Brigade, positioned forward of Maprik to the west, and the remainder of the 6th Division to the north. In preparation for the next phase of their campaign, General Moten set out to secure the line from Solongan to Kulauru Mission. The 2/5th Battalion relieved the 2/7th Battalion and moved against Kulauru and Ulupu, while the 2/6th Battalion advanced towards Yamil. The Australians acted swiftly and decisively, rapidly capturing Newton's Knoll and Palketia during the first week of June. On June 10, after extensive air strikes and bombardments weakened enemy defenses, the 2/6th Battalion successfully entered Yamil. Just three days later, on June 13, the 2/5th Battalion continued their momentum by capturing Yamil 3 and Yuman as the beleaguered Miyake Force began its retreat towards Ulupu, indicating the deteriorating situation for Japanese forces in the region. Despite the Australians' relentless advance and the heavy bombardment inflicted upon them, the Japanese remained determined to defend Kunai Spur. Their tenacity meant that the Australians could only secure Yamil 4 on June 24, underscoring the intensity of the fighting in this strategic area. At this critical juncture, the 2nd New Guinea Battalion arrived in the Hayfield area to patrol southwards towards Kwimbu, Mikau, and Kunjinge. These movements further reinforced the Australian positions and set the stage for the continuing efforts to dismantle the last remnants of Japanese resistance in the region. On June 11, 1945, the 2/8th Battalion successfully seized Hill 1 after a concentrated air and artillery bombardment that softened up the enemy defenses. This pivotal victory allowed them to establish a critical foothold in the area, vital for subsequent operations. Just five days later, on June 16, both artillery and aircraft targeted Hill 2 and Shiburangu, two crucial positions that had become points of interest in the ongoing campaign. After numerous attempts and repeated efforts by the infantry, the Australians ultimately captured Hill 2, a strategic vantage point that further pressured Japanese forces in the region.At 8 a.m. on 16th June aircraft struck both Hill 2 and Shiburangu and then the artillery began a program in which 3,000 rounds were fired. One company began to advance on Hill 2 at 9.30. Warrant-Officer Fisk's platoon, which was forward, met heavy fire from snipers on both flanks and machine-gun fire from the hills and lost one man killed and one wounded. It withdrew to the cover of the spur and moved to outflank the enemy on the left. Meanwhile at 9.45 a second company had taken the pocket without opposition. At 10 a.m. the first company was still held. The men rested under the lip of the hill while the artillery again bombarded the enemy's positions and flame-throwers were brought forward. At 1.30 the company surged over the crest of the hill and, after close fighting in which each bunker was grenaded, the surviving Japanese fled leaving 38 visible dead and perhaps another 20 buried by the air and artillery bombardment. The Australians lost 2 killed and 3 wounded. "Aerial bombing coupled with artillery concentration does not deter the enemy from fighting nor unsettle him unduly," wrote the battalion diarist. "Such fanatical resistance in face of such odds makes the capturing of these strong points no light task." Meanwhile, the 2/4th Battalion worked diligently to clear the eastern side of the Koigin-Tazaki track, progressing 600 yards south of Koigin by June 13. This advancement helped secure vital supply routes and reinforced the Australians' operational capabilities. On June 14, the Australians continued their momentum by successfully securing Mount Kawakubo, another significant terrain feature. Five days later, on June 19, the 2/4th and 2/11th Battalions launched a coordinated attack towards Tazaki. Thanks to the overwhelming support of air and artillery bombardments, Tazaki ultimately fell into Australian hands by June 24, marking yet another victory in their relentless push against Japanese defenses. On June 22, the 2/8th captured the last knoll before Shiburangu. Following this success, artillery began to register targets on Shiburangu, setting the stage for a significant assault. By June 27, after a particularly heavy air and artillery bombardment that saturated the area with firepower, the 2/8th Battalion launched a bold attack to seize Shiburangu. Utilizing an outflanking maneuver, they managed to surprise the fierce defenders, overcoming their determined resistance. As the 2/4th Battalion cleared the remaining enemy pockets in the Tazaki area, the 2/8th Battalion pressed their advantage, attacking and securing the area to the west on July 3. The two battalions effectively linked up two days later, solidifying their control over the region and paving the way for further advances in the campaign. Looking back to the southwest, after nearly three weeks of stiff resistance, the Japanese finally abandoned Kunai Spur on July 3, 1945. This withdrawal opened the door for Australian forces, who swiftly occupied Ulupu just two days later. The effort to clear the surrounding area began in earnest, but it wasn't until July 8 that the strongly-held northern knoll was taken after intense fighting. On July 9, through a sustained bombardment, the Japanese were driven out of Ulum, marking a significant breakthrough; their defense system had been shattered. Following this success, patrols from the 2/5th Battalion advanced rapidly, moving forward about 2000 yards with only minor skirmishes. They reached and occupied Kulauru Mission on July 11, reinforcing the Australians' control over the area. Pressing northeast, the remaining Japanese forces in the vicinity were rapidly dispersed, and by July 18, Ilipem fell into Australian hands. During this time, the 2/6th Battalion was busy securing the Ulunkohoitu Ridge, further consolidating the Australians' hold on the region. At the same time, the 2nd New Guinea Battalion had been probing south and east, successfully securing critical locations such as Kongambe, Kwandaning, Naila, and Gisanambu. With the Japanese now regrouping along the Kaboibus-Ahegulim-Gwalip line, General Moten aimed to accelerate the advance, directing both the 2nd New Guinea Battalion and the rested 2/7th Battalion to converge on Gwalip. Meanwhile, the 2/5th and 2/6th Battalions pressed east towards Kaboibus. Despite facing challenges and some failed attacks against Dunbit and Aoniaru, the New Guineans were able to concentrate their forces near Gwalip by July 22, and five days later, Sigora fell to their determined assault. On July 30, they launched an attack and captured Ulama, nearly catching General Mano's headquarters at Winge in the process, which forced the defenders to retreat towards Suaui. As momentum continued to build, the 2/5th Battalion pressed on, supported by heavy air strikes. By August 1, they had successfully taken Gwenik, further disrupting Japanese lines. The following day, as the Australians advanced along the Kaboibus Ridge, they successfully occupied the Kaboibus villages. To their astonishment, they encountered only minor opposition, underscoring the disarray within the Japanese ranks as the Australians continued their relentless push through the region. On August 4, 1945, the 2/5th Battalion successfully seized Ahegulim, a strategic location that added to their momentum. Three days later, they captured Malabeim, completing their objectives in the region. Following this success, the Australians began probing towards Mount Irup, further extending their influence over the landscape. Concurrently, on August 6, the 2/7th Battalion embarked on a wide movement from Sigora aimed at Kiarivu, reaching this target two days later. This advance was part of a broader campaign in which New Guinean troops also secured key areas such as Miyamboara and Mananingi, reflecting the persistent efforts of Moten's 17th Brigade as they conducted their final offensive actions. Turning to the eastern front, the 8th Brigade's 30th and 35th Battalions had relieved the 2/4th and 2/11th Battalions in early July, taking charge of the Wirui Creek-Mandi area. On July 13, Brigadier Martin, who had resumed command of the 19th Brigade, ordered the 2/8th Battalion to capture the critical positions known as The Blot and Hambrauri. Following this directive, the Australians successfully attacked and seized The Blot the very next day. On July 16, Hambrauri 1 fell into Australian hands without opposition, allowing them to begin probing towards another strategically important feature: St. Patrick's. After significant preparations and a heavy bombardment, St. Patrick's was captured on July 21. The following day, the 2/8th Battalion captured Hambrauri 2 with little resistance, showcasing their growing operational effectiveness. During this time, the 2/1st Battalion executed a diversionary thrust along the Sambukaua Track, drawing Japanese attention away from main Australian advances. Simultaneously, the 2/6th Commando Regiment faced daring infiltration attempts to the west in the vicinity of Boiken, further complicating the operational landscape.  On June 24 five Japanese approaching along the beach entered the Angau compound at Wisling, stole 3 Owen guns, a pistol, and 3 Japanese rifles. A patrol followed these marauders, killed 2 and retrieved the weapons. Next day about 10 Japanese ambushed a party of the 2/10th Commando Squadron south of Boiken Plantation and killed Lieutenant Martin and wounded 4 others; and that night about 20 stole into the plantation. On June 28 signs were found that some 35 Japanese had slept the previous night 400 yards from a commando perimeter. On July 23 a commando patrol had a sharp clash with perhaps 40 Japanese in the hills south of Wanpea and more than 15 miles west of Wewak; 8 Japanese were killed as well as 4 Australians. The Japanese were justly proud of the valour and successes of the raiding parties which harassed the Australians between Wewak and Dagua in May, June and July. Several groups were organised and trained for these enterprises, the most celebrated being led by Lieutenant Saito Hachiro of the 78th Regiment who had first earned fame as a patrol leader in the Huon Peninsula fighting. In June his party set off to raid Maprik, but was intercepted, Saito and most of his followers being killed. From June 15 onwards two parties of raiders operated in the Karawop and Boiken areas with the object of diverting their enemy's strength away from the 51st Division farther east. These parties, which claimed to have killed more than 100 Australians (a wild overestimate) were the ones coped with by the 2/6th Commando Regiment. Another series of raids in late July and early August were considered less successful, because of improved Australian security measures. On July 25, Japanese General Adachi issued orders for a "last stand" around the areas of Nyakombi and Sassuia. The main body of the 18th Army was now in an are facing north and west. The 51st Division was on the right opposing the troops advancing from Wewak, the 20th Division in the centre and the 41st on the left. Yoshiwara had now reported that the food resources of the Sepik area were less than had been believed, though there might be more in the hinterland. Already about 2,800 troops were stationed in the Sepik Valley from Marienberg to about Kanganaman and were living off the country. Adachi decided to make a last stand in the area embracing, in the north, Nyakombi and Sassuia. Here they would fight on "as long as ammunition and food are available and at least until the end of September". Liaison was to be maintained with the force in the Sepik area which was to prepare to carry on "ambush warfare" after the main force had been wiped out. This plan had been conveyed to Field Marshal Terauchi, commanding the Southern Army, and he approved it on 8th July. Despite its many setbacks during the campaign, Terauchi sent a citation to the 18th Army. It was the first time that a Japanese army had been so honoured. The citation ran: "To the 18th Army and all attached units: With Lieut-General Hatazo Adachi as your com-mander, you have fought vigorously for three years in north-east New Guinea, where numerous epidemics prevailed and where the terrain was hitherto unknown to any Japanese. When the enemy occupied the west coast in April 1944, to cut off supplies, you learned to live off grass and trees, and by making the best of the situation, you conquered all unfavourable conditions. Officers and soldiers alike displayed the true spirit of the Japanese Army. Wherever you encountered the enemy, you crushed them and inflicted many casualties. You have inspired fear into the hearts of the enemy and diverted their sea and air strength, thereby contributing much to the Southern Army's operations and furthermore, to all the Armies of the Empire. You were able to accomplish this through the excellent leadership, planning, fidelity and character of your Army Commander. By the sense of sincerity, loyalty and moral obligation of all the troops, you have set a model for all men to follow. I hereby present this citation and proclaim this to all the Armies."  Amidst these developments, Major General Stevens was orchestrating a series of troop reliefs along the front lines. King's 16th Brigade was set to replace the 19th Brigade, which in turn would relieve the 17th Brigade to the west, ensuring continuous pressure on Japanese positions while maintaining the momentum of the Australian advance. Consequently, on July 28, 1945, the 2/2nd Battalion relieved the 2/8th in the Hambrauri area, immediately dispatching patrols to probe towards Numoikum. Their operational efforts culminated in the successful seizure of Mount Shoto on August 2. By August 6, with the backing of artillery fire, the Australians had secured Numoikum and Rindogim. However, this marked the last offensive action in the area, as the Australians shifted their focus to patrolling forward in order to consolidate their gains. By the end of the Aitape-Wewak Campaign, the 6th Division had sustained significant casualties, with 442 men killed and 1,141 wounded, while inflicting heavy losses on Japanese forces, estimated at around 9,000 killed and capturing 269 prisoners. With this chapter closed, it was time to shift the scene to Balikpapan, where the conclusion of the Borneo Campaign awaited. As we rejoin the action, by July 9, General Milford's 7th Australian Division had largely secured the Balikpapan area. Brigadier Chilton's 18th Brigade executed a successful landing at Penadjam, Djinabora, and Teloktebang on the western side of the bay. Simultaneously, Brigadier Eather's 25th Brigade advanced towards Batuchampar along Milford Highway, while Brigadier Dougherty's 21st Brigade secured key positions in the Sepinggang and Manggar areas. On July 10, the 2/31st Battalion secured the Cello position and the fallen-timber area directly in front with crucial support from artillery and tanks. In a bold move, one of their companies launched an attack towards the position known as Coke; however, this assault was met with fierce resistance and was ultimately repelled by intense crossfire from well-entrenched defenders. To the left of their advance, the 2/6th Commando Squadron probed toward Sumber Kiri, successfully securing the village and bolstering the Australians' hold in the region. At this moment, the 2/27th Battalion took over the left flank at Manggar, which allowed the exhausted 2/14th Battalion to probe towards Sambodja without risk of being outflanked. The next day, as the 2/27th moved through the 2/14th to occupy Lamaru, the 2/25th Battalion began the process of relieving the weary 2/31st, ensuring that fresh forces could continue the advance. On July 12, the commandos initiated probing operations towards a position known as Charm, successfully occupying both Cloncurry and Abash in the following two days. These captures were significant in securing the area and maintaining the momentum of the Australian advance through Balikpapan. After extensive patrolling on both sides of the highway, the 2/25th Battalion finally dispatched two companies on July 14 to occupy the strategic locations of Cart and Calm. These efforts led to the successful securing of Cocoa, Calm, and Chair, all achieved without resistance. That same day, to the east, patrols discovered Amborawang and the ridges north of Bale unoccupied. Recognizing this opportunity, the 2/27th Battalion moved into the area three days later. On July 15, the 2/9th Battalion sent patrols towards Separi and along the Parehpareh River, aiming to cut the enemy's lines of communication. Concurrently, the 2/25th Battalion solidified its control over Cart, enabling them to dominate the highway from both the east and west. However, their position was soon contested as they faced a series of heavy Japanese counterattacks during the following nights, testing their resolve and defensive capabilities. By July 17, the 2/25th had moved to occupy Charm, situated prominently by the highway, while a company from the 2/33rd Battalion took over Cart, allowing both units to repel yet another strong night counterattack from Japanese forces. The next day, the 2/27th finally entered the unoccupied Sambodja area, while patrols began to probe westward toward the Milford Highway. On July 19, the 2/31st Battalion cleared the last remnants of Japanese presence from the highway, paving the way for uninterrupted Australian operations. The following day, the 2/25th destroyed a robust enemy pocket, allowing them to occupy Abide without further incident. On July 21, the remaining Japanese forces retreated from the Batuchampar area, prompting the Australians to push toward Pope's Track while extensively patrolling northward. By this time, the bulk of the 2/1st Pioneer Battalion had been landed at Djinabora, establishing a patrol base in the Tempadung area. A week later, following a naval bombardment, the Australians occupied Pamaluan and began probing operations to the east and north. This series of actions marked the conclusion of the Battle of Balikpapan. The Australians opted to halt any offensive operations at this point and instead focus on consolidating their positions through enhanced patrolling. During the course of the battle, Australian forces tragically suffered 229 killed and 634 wounded, while inflicting significant losses on the Japanese, with approximately 2,032 killed and 63 captured. Thus, Australian casualties for the broader Borneo Campaign totaled around 2,100, while Japanese losses were estimated at around 4,700. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. General George Stevens led brave troops against the entrenched Japanese forces aiming to capture the strategic town of Wewak. Despite fierce resistance and rugged terrain, they successfully advanced, featuring key victories after relentless battles. Australian artillery and infantry engaged in daring assaults, securing vital positions like the Kumbungua Ridge and establishing airfields. As the campaign progressed, Japanese forces dwindled, ultimately surrendering at Wewak. 

Programa dedicado a explorar algunas de las más notables composiciones creadas para dúos de instrumentistas de música clásica.  Producción y selección realizada por Carolina Valdés con la locución de Sergio Morales. Martes a las 12:00 hrs en el 95.1 FM y www.radioudec.cl  

Der französische Komponist Erik Satie starb im Juli vor 100 Jahren. Sein Lebensende war wenig glanzvoll: Er war ein mittelloser Alkoholiker, litt an Leberzirrhose und sein musikalisches Talent war nur von wenigen erkannt worden. Heute gilt Satie als Vorläufer von Minimalismus und Ambient Music. Die reduzierte Struktur seiner Musik fasziniert auch den pfälzischen Cellisten Burkard Maria Weber. Ihm ist es ein Anliegen, das Moderne an Saties Musik zur Geltung zu bringen – und dafür hat er viele seiner Stücke neu arrangiert und mit Cello, E-Gitarre, Bass und Percussion eingespielt. In dieser Woche gastiert er auch im SWR-Sendegebiet.

🎙️ Estimados oyentes y mecenas: En este episodio nos sumergimos en el arte de la interpretación a través de la perspectiva de Hans‑Georg Gadamer. Lo acompañaremos con su célebre obra Verdad y método, explorando conceptos como la estructura de la pre-comprensión humana, la alteridad del texto o la labor interpretativa. Más allá de métodos rígidos, Gadamer nos invita a vivir la interpretación como un diálogo vivo, donde la verdad no se impone sino que emerge cuando nos abrimos al otro, al texto y al pasado desde nuestra historia propia . Gracias por ser parte de este espacio de reflexión. 📗ÍNDICE A. ESTRUCTURA DE LA HERMENÉUTICA. 1. ORIGEN DE LA HERMENEÚTICA. 2. EL CÍRCULO HERMENÉUTICO. 3. EL MÉTODO HERMENÉUTICO. 4. LA TAREA INFINITA DE LA HERMENÉUTICA. 5. LA PRE-COMPRENSIÓN DEL INTÉRPRETE. 6. LA ALTERIDAD DEL TEXTO. 🎼Música de la época: Concierto para Cello de Ned Rorem, escrito en 2002. 🎨Imagen: Hans-Georg Gadamer (Marburgo, 11 de febrero de 1900 - Heidelberg, 13 de marzo de 2002) fue un filósofo alemán especialmente conocido por su obra Verdad y método y por su renovación de la hermenéutica. Fue discípulo de Heidegger. 👍Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa ¡Muchas gracias a todos!

60 Jahre Musik für einen Gast - über 1500 spannende Persönlichkeiten gaben Einblick in ihren Beruf, ihre Leidenschaften und vor allem in die Musik, die sie geprägt hat. Ein Grund zum Feiern! Dieses Jubiläum begehen wir mit einer Spezialsendung mit Publikum. Zu Gast ist der Schweizer Kabarettist, Liedermacher und Schriftsteller Franz Hohler. Mit seinem unverwechselbaren Stil, seiner feinen Beobachtungsgabe und seinem humorvollen Blick auf die Welt, schafft es Hohler immer wieder, die Menschen zu berühren. Im Gespräch mit Gastgeberin Eva Oertle spricht Franz Hohler u.a. über sein Leben auf der Bühne, über seine Freundschaft zu Mani Matter, über das Älterwerden und über die Liebe zu seinem Cello, das ihn jahrelang bei seinen Bühnenauftritten begleitet hat. Die Musiktitel: 1. Giuseppe Sammartini – «2. Allegro» aus der Sonate für Sopran-Blockflöte und Basso continuo, G-Dur Maurice Steger, Sopran-Blockflöte /Naoki Kitaya, Cembalo 2. Arda String Quartet – W.A. Mozart: «1. Allegro» aus dem Streichquartett Nr. 2, D-Dur 3. Mani Matter - Farbfoto 4. Franz Hohler – Wenn i mol alt bin (wenn ich mal alt bin) 5. Franz Schubert - Nachthelle (Die Nacht ist heiter und ist rein) D 892 Irwin Gage, Klavier / Karl Scheuber, DIR / Schmaz - Schwuler Männerchor Zürich und Orchester Erstsendung 28.04.2024

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Alisa Weilerstein. Alisa is enjoying a career as an international soloist and chamber musician. In this interview, she shares what the experience of being recognized with a MacArthur “genius grant” Fellowship in 2011 was like, and how it impacted her career. She also talks about how she grew up surrounded by music, never had any doubt she wanted to be a professional cellist, her advice for building an international career and much more! For more information on Alisa: https://alisaweilerstein.com/You can also find Alisa on Instagram and Facebook: @alisaweilersteinIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, YouTube and Bluesky @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

Podience! It is high summer and we are moving around and around. Lots of pieces are getting mixed up and rearranged. Life is one big puzzle when you really think of it, isn't it? In this episode we talk about MOVING in NYC, we give some advice on what to do with your DYNAMICS, we define often occuring phenomenon and we end with an EPIC multi generational ghost of gags past. Thank you for tuning in! 

Im Kollektiv «inoperabilities» kommen blinde und sehende, hörende und gehörlose Künstlerinnen und Künstler zusammen. Sie machen Musiktheater für alle Sinne – und für Menschen mit verschiedensten Wahrnehmungsmöglichkeiten. Barrierefreiheit ist dabei von Beginn an Teil des künstlerischen Prozesses. Wenn Opern- und Theaterhäuser barrierefreie Vorstellung anbieten, bedeutet das meistens: Audiodeskription per Kopfhörer für blindes Publikum, eine Übersetzung in Gebärdensprache für Gehörlose. «Inoperabilities» sieht Barrierefreiheit nicht als Extra-Service, sondern als künstlerisches Mittel. Ihr Stück «Die Insel» ist eine Collage aus Lautsprache und Gebärdensprache, aus Audiodeskription, Gesang und Übertiteln. Es spricht alle Sinne an. Wenn es auf der Bühne auf hohe See geht, fächern die Darstellenden dem Publikum Wind zu. Und wenn das Cello spielt, vibriert die Publikumstribüne.

„Violoncello jsem na konzervatoři dostudoval, dokonce jsem vyhrál konkurs do tehdejšího Státního symfonického orchestru Gottwaldov (dnešní Zlín) na místo cellisty. Ale protože jsem také kamarádil s bigbiťáky a folkaři, tak jsem asi měsíc před nástupem do symfoňáku ,dostal lano‘ od kapely Marsyas,“ popisuje své začátky rockový violoncellista, baskytarista, zpěvák a houslista Jaroslav „Olin“ Nejezchleba. Všechny díly podcastu Hovory můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Was passiert, wenn Gedichte nicht nur gelesen, sondern auch gesungen werden? Wenn zwischen zwei Kapiteln ein Cello erklingt? In dieser Folge werfen wir einen besonderen Blick auf das West Cork Literary Festival – ein Ort, an dem Literatur nicht nur geschrieben, sondern erlebt wird. Gemeinsam mit dem Team von West Cork Music erkunden wir, wie Musik in das Festival eingebunden wird, wie lokale Künstler*innen ihren Platz finden und warum Orte wie Whiddy Island oder Bantry House so viel mehr als Kulisse sind. Ein Gespräch über Klang, Poesie und die Magie der Begegnung in einem der schönsten Winkel Irlands

"Die türkische Folklore ist so vielseitig und rhythmisch, mit ihren irregulären Taktarten, zum Beispiel, die es in der westlichen europäischen Musik nicht gibt", sagt Fazıl Say. Beim Schleswig-Holstein Musik Festival präsentiert sich der Pianist und Komponist als Portraitkünstler mit 17 ganz unterschiedlichen Projekten. Verschiedene Orchester werden seine Sinfonien spielen, der Mandolinist, Avi Avital, wird ein neues Konzert uraufführen, und in Kammerkonzerten wird Fazıl Say sich mit MusikerfreundInnen wie der Klarinettistin Sabine Meyer und dem Cellisten Nicolas Altstaedt zusammentun. Aber natürlich bringt er auch Gäste aus der Türkei mit: die Sängerin Serenad Bağcan, die Flötistin Aslıhan And und der Perkussionist Aykut Köselerli werden zusammen mit ihm Brücken zwischen Ost und West schlagen. Zu Gast bei NDR Kultur à la carte spricht Fazıl Say mit Christiane Irrgang über Klang, Musik und die unendliche Weite der Kulturen.

Marcello Romano and Danny Williams are filling in for Dover and Cecil as we gear up for the fourth of July weekend! We asked you to get involved and you delivered! What are some of the best summer blockbuster movies and what songs make you think about Summer? The Denver Nuggets have come out swinging to start the offseason and everyone is excited, but Cello isn’t sold just yet. What do the Denver Nuggets have to prove during the regular season to convince Cello? Is coaching important in the NBA or should we not be worried about the Nuggets going into this important season with a first year head coach? The Broncos also made a lot of free agent acquisitions! Do those players make this a win now window for the Broncos? Who had a better off season, the Broncos or the Nuggets?

Hometown Radio 07/03/2025 3p: Lynn Oliverius introduces us to some very talented cello musicians

DescriptionWhen a Cello Speaks: The Heartbreaking Opening of Elgar's Concerto in 60 Seconds. Take a minute to get the scoop!Fun FactElgar's Cello Concerto premiered in 1919—and flopped. Overshadowed by rehearsal mishaps, it wasn't until Jacqueline du Pré's 1965 recording that the piece gained fame. Today, its opening bars are considered some of the most emotionally gripping in classical music—proof that some masterpieces just need time to be heard.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.You can FOLLOW ME on Instagram.

Comedian Erica Rhodes joined the show to talk interacting with machines, why the cello is the sexiest instrument and what it's like to get on stage and not make Simon Cowell laugh. Plus, Double or Nothing and one tough Bargument. See omnystudio.com/listener for privacy information.

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Emilio Colón. Emilio is Professor of Cello at the Jacobs School of Music at Indiana University. After getting off to a rocky start with his teacher Janos Starker, Emilio talks about how he felt that he was dead last amongst his peers on the cello, which in turn motivated him to work as hard as he could to prove that he had what it took to be successful. Shortly after graduating from Indiana, Janos Starker called him and invited him back to join the cello faculty of his alma mater, making him the second youngest professor ever selected to teach at the Jacobs School of Music, at the age of 26.   For more information on Emilio: https://emiliocolon.com/You can also find Emilio on Instagram and Facebook: @colon_emilioIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, TikTok, YouTube and Bluesky @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

Wie sieht die Zukunft der Musik aus? Wer kann mitmachen? Wie prägt und formt Musik eine Gesellschaft? Fragen, die sich Boris Matchin und Amadeus Tempelton gestellt haben. Beide sind Musiker, beide spielen Cello und beide sind davon überzeugt, dass Musik die Welt verändert. Also haben sie TONALi gegründet, zunächst als Instrumentalwettbewerb, inzwischen kooperieren sie mit großen Konzerthäusern, Festivals, Hochschulen und Universitäten. TONALi will junge Menschen für Musik begeistern, Talente fördern, Räume für ein kreatives Miteinander schaffen. 15 Jahre besteht TONALi. Über die Anfänge, die Idee, das Programm sprechen die beiden Musiker und Gründer von TONALi mit Friederike Westerhaus in NDR Kultur à la carte.

Hi Podience! We have YET ANOTHER PIANIST on the pod. Ding ding ding! You heard it right! It's pianist/composer/conductor Mikael Darmanie, the gendre defying piano-core-space-hop artist whose AI biography we have debunked on the pod. Get to know him real time with us and hear our collective ghosts of gags past, listen to us improvise a new music hit and join in our niche classical music sh*t talking. Thanks for tuning in! 

6/19/25: Transgender SCOTUS decision with attys Bill & Buz. Talking Red Sox with sportscaster Scott Cohn. Daily Hampshire Gazette Managing Editor Chad Cain the news fit to print. Rabbi David Seidenberg: Israel/Iran, Gaza, & Juneteenth. Ruth Griggs w/ cellist Jeremy Harman: New Directions Cello Fest at Bombyx.

A teen cellist plays an electrifying arrangement of Monti's Czardas and speaks about organizing his own concert series to benefit a special Boston-area music program. We also meet a trio of close friends who met at summer camp and perform Clara Schumann.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Even before his diagnosis of long COVID in 2020, cellist Joshua Roman had carved a unique niche in the classical music world. A former principal cellist of the Seattle Symphony turned soloist and curator, Joshua built a career that combined artistic excellence with a passionate commitment to making music relevant and accessible. Whether premiering bold new works or improvising in unexpected settings, he was—and remains—a restless innovator with an unshakable belief in music's power to heal, connect, and transform.Long COVID has altered nearly every aspect of Joshua's life, from his physical stamina to how he plans his days to the way he relates to his instrument. Yet instead of sidelining him, the illness has led Joshua to reevaluate the very foundations of his artistry. The result is a new clarity and focus—not only about which projects deserve his limited energy but also what kind of artistic legacy he wants to build. His latest initiative, “The Immunity Project,” exemplifies this shift: a collection of performances and reflections that foreground music's emotional and restorative capacity, drawn directly from his personal experience of illness and recovery. The project now also includes a recently released album titled “Immunity.”In this interview, Joshua opens up about the physical and existential recalibrations he's made in order to keep performing, why he now only practices when he truly wants to and how chronic illness has deepened his artistic mission. He also shares his hopes for a classical-music ecosystem that makes space for artists to be fully, honestly human — onstage and off.https://www.joshuaroman.com/

Welcome to Get Up in the Cool: Old Time Music with Cameron DeWhitt and Friends. This week's friend is Micah Ling! We recorded this at her home in Lansing, MI, then we ran out of time, and we finished at Wheatland Traditional Arts Weekend. Songs and tunes in this episode: * Le Valse de la Rebec (Bruce Ling original) (1:05) * Are You Tired of Me, My Darling (19:19) * Maggie Meade (46:43) * Sister Thou Art Mild and Lovely (1:21:24) * Adieu False Heart (1:32:55) * BONUS TRACK: Coleman's March Email Micah Ling if you want to read her dissertation: micah.j.ling@gmail.com Buy her album Kingdom Come (https://micahling.bandcamp.com/album/kingdom-come) The last Earful of Fiddle Music & Dance Camp will happen in central Michigan on June 22-27. Join me, Becky Hill, Ben Nelson, AJ Srubas, Rina Rossi, Ruby John, Sheila Graziano, Bruce Bauman, Ethan Setiawan, Louise Bichan, Grace van't Hof, Lindsay McCaw, and more for 5 days of classes, jams and dances. Learn from and hang with world-class contemporary trad musicians and dancers in a beautiful lakeside setting. For more information or to register, go to earfuloffiddle.com (http://earfuloffiddle.com/), which is linked in the show notes. See you at Earful! Support Get Up in the Cool on Patreon (https://www.patreon.com/getupinthecool) Send Tax Deductible Donations to Get Up in the Cool through Fracture Atlas (https://fundraising.fracturedatlas.org/get-up-in-the-cool) Sign up at Pitchfork Banjo for my clawhammer instructional series! (https://www.pitchforkbanjo.com/) Schedule a banjo lesson with Cameron (https://www.camerondewhitt.com/banjolessons) Visit Tall Poppy String Band's website (https://www.tallpoppystringband.com/) and follow us on Instagram (https://www.instagram.com/tallpoppystringband/)

Interpreten: Pablo Ferrández, Julien Quentin, Swedish Chamber Orchestra, Martin FröstLabel: Sony ClassicalEAN: 198028986328Manchmal darf es auch wohlklingender Hochglanz sein, der es zur CD der Woche auf radio klassik Stephansdom schafft. Wie das Album Moonlight Variations des Cellisten Pablo Ferrández. „Nachtmusiken“ scheinen derzeit Hochsaison zu haben, wenn man an die Nocturnes-, Serenaden- usw. CDs der vergangenen Wochen und Monate denkt. Mit der Nacht in der Musik hat sich nun auch Pablo Ferrández beschäftigt, und das, obwohl er laut eigener Aussage ein ausgesprochener Morgenmensch ist. Träumerische Melodien von Schumann, Schubert, Liszt, Debussy, Chopin, Ponce und Dvořák hat der junge Cellist Ferrández teils in Originalbearbeitungen, teils in Eigenarrangements mit Orchester- oder Klavierbegleitung aufgenommen. Mit den Rokoko-Variationen von Peter Iljitsch Tschaikowsky findet die CD aber auch einen ganz und gar nicht nächtlichen Höhepunkt, aus musikalischer Sicht aber völlig irrelevant…„Einer der Gründe, weshalb ich so gerne Lieder spiele, ist, dass wir mit dem Cello immer zu singen versuchen.“ So wird Pablo Ferrández im Beiheft der CD zitiert und genau das gelingt ihm auch in den unterschiedlichen Bearbeitungen auf dieser CD. Schon bei Rusalkas Lied an den Mond zur Eröffnung oder auch Schuberts Nacht und Träume. „Heil'ge Nacht, du sinkest nieder; Nieder wallen auch die Träume, wie dein Mondlicht durch die Räume, durch der Menschen stille Brust.“ Da ist er wieder, der Mond. Schumanns Träumerei oder der dritte Liebestraum von Liszt fügen sich genauso ins Spektrum und erhellen den musikalischen Nachthimmel, wie der kleine Stern Estrellita des mexikanischen Komponisten Manuel Ponce. Selten genug, dass das Hauptwerk einer CD, wie hier die Rokoko-Variationen von Tschaikowsky, zur Zugabe mutiert. Makellos und musikantisch gelingen die sieben Variationen auf ein Rokoko-Thema, wobei auch das Schwedische Kammerorchester unter Martin Fröst seinen Anteil daran hat. Aufmerksam wie die sprichwörtlichen Haftlmacher begleiten die Musikerinnen und Musiker und legen so ein Fundament, auf dem es sich wunderbar solieren lässt! Das Finale ist dabei ein feingezeichnetes Feuerwerk, bei dem sich Orchester- und Solostimme herrlich ineinander verschränken. (mg)

El Cello Samba Trio con 'Tim tim por tim tim', 'Maracatuesday', 'Eu vim da Bahia', de Gilberto Gil, y 'Coração vagabundo', de Caetano Veloso, del primer disco de Lula Galvão, Rafael Barata y Jaques Morelenbaum titulado 'Saudade do futuro futuro da saudade'; Dora Morelenbaum, la hija de Jaques, canta 'Não vou te esquecer', 'Essa confusão', 'Caco' y 'VW blue' en su disco 'Pique'; Bala Desejo, cuarteto que forman Dora Morelenbaum, Zé Ibarra, Lucas Nunes y Júlia Mestre, con 'Baile de máscaras' y 'Lua comanche' y Zé Ibarra cantando 'São Vicente', de Milton Nascimento, 'Itamonte' y 'Dó a dó', canción suya y de Dora Morelenbaum, grabada como instrumental por el Cello Samba Trio.Escuchar audio

Episode 176 Chapter 35, Live Electronic Music— Historical Practices. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 35, Live Electronic Music— Historical Practices from my book Electronic and Experimental music.   Playlist: LIVE ELECTRONIC MUSIC—HISTORICAL PRACTICES   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Karlheinz Stockhausen, “Mikrophonie I” (1964) from Mikrophonie I · Mikrophonie II.   Mikrophonist 1, Johannes Fritsch; Mikrophonist 2, Harald Bojé; Electronic Filters and Potentiometers 1, Karlheinz Stockhausen; Electronic Filters and Potentiometers 2, Hugh Davies, Jaap Spek; Tam-tam, Aloys Kontarsky; Tam-tam, Fred Alings.  Brüsseler Version 1965 recorded at WDR, Cologne. 07:24 01:42 2.     AMM, “In The Realm Of Nothing Whatever” (1966) from AMMMusic 1966. Cello, Accordion, Clarinet, Transistor Radio, Lawrence Sheaff; Electric Guitar, Transistor Radio, Keith Rowe; Music by, Cardew, Prévost, Rowe, Sheaff, Gare; Percussion, Eddie Prévost; Piano, Cello, Transistor Radio, Cornelius Cardew; Tenor Saxophone, Violin, Lou Gare. Recorded on the 8th and 27th June 1966 at Sound Techniques. 13:22 09:06 3.     Musica Elettronica Viva (MEV), “SpaceCraft” (1967) from MEV 40. Mbira Thumb Piano Mounted On A Ten-litre Agip Motor Oil Can, Contact Microphones, Amplified Trumpet, Voice, Alvin Curran; Amplified Glass Plate With Attached Springs, Contact Microphones, Frederic Rzewski; Homemade Synthesizer from Electronic Organ Parts, Allan Bryant; Moog Modular Synthesizer, Contact Microphones, Voice, Richard Teitelbaum; Tenor Saxophone, Ivan Vandor; Voice, Carol Plantamura. 30:45 22:26 4.     David Tudor, “Rainforest Version One” (1968) from Rainforest. Live electronics, David Tudor, Takehisa Kosugi. Used transducers to amplify objects. Recorded by Rob Miller. 21:50 53:10 5.     Karlheinz Stockhausen, “Kurzwellen” (1968), excerpt from Festival of Hits. Composed By, Mixed By, Electronics, Filters, Potentiometers, Karlheinz Stockhausen; Electronium, Harald Bojé; Tamtam, Alfred Alings, Rolf Gehlhaar; Piano, Aloys Kontarsky; Electric Viola, Johannes G. Fritsch. This is the opening of this long work, excerpted for this strange collection of greatest “hits” by Stockhausen (you had to be in 1970 to understand this). Kurzwellen is a piece where the musicians need to improvise and react to signals they receive on randomly tuned shortwave radios. This is from the Cologne recording made in the Rhenus studio in Godorf for the Cologne Radio (WDR, Westdeutscher Rundfunk Köln) on the 8th and 9th of April 1969 (53'30), which was record 2 of the original 2-record set. By the way, this ensemble also featured the Electronium Pi, made by Hohner beginning in 1952. It was a monophonic, electronic keyboard instrument and was an add-on instrument for the piano mounted under the keyboard, which is the model used by Stockhausen. His keyboardist, while Harald Bojé used the accordion-like model. 06:19 01:14:56 6.     The Music Improvisation Company, “Tuck” (1970) from The Music Improvisation Company. Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker. 03:00 01:21:14 7.     David Tudor, “Rainforest IV” (1973) from Rainforest IV.  Composed in 1973 by David Tudor; performed by Composers Inside Electronics (David Tudor, Martin Kalve, Philip Edelstein, Ralph Jones, Bill Viola, John Driscoll). Recorded at the exhibition "Für Augen und Ohren - Von der Spieluhr zum akustischen (Environment (For eyes and ears - from the mechanical clock to the acoustic environment)" at the Akademie der Künste, Berlin, January 1980. 25:12 01:24:24 8.     Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" (1999) from Sound Characters (Making The Third Ear). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak. 10:04 01:49:36 9.     Caroline Park, “Grain 5” (2011) from Grain. This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed by Caroline Park. 09:05 01:59:32 10.   Caterina Barbieri. “This Causes Consciousness To Fracture” (2017) from Patterns Of Consciousness.  Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode. 22:44 02:08:36 11.   Sarah Davachi, “First Cadence” (2021) from Antiphonals. Composed, recorded, performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. 05:48 02:31:20 12.   Asha Tamirisa, “Live Performance,”(2023) at the Waterworks 2023: Festival of Experimental Sound. Laptop synthesis, snare drums, Asha Tamirisa. Soundtrack for a video recorded by Wenhua Shi & Nick Stevens, video editing by Nick Stevens, and audio recording and mixing, Matthew Azevedo. 25:10 02:37:02   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Kadiatu Kanneh-Mason on what it takes to keep up with her seven children — all of them gifted classical musicians (R).Kadiatu is a former English academic and the mother of seven extraordinary children.All of them are gifted classical musicians.Her eldest daughter, Isata wrote and performed her first piano concerto at the age of eleven.Her son Sheku mastered the cello and performed at the royal wedding of Harry and Megan Markle.Every day the seven Kanneh-Masons, who range from early teens to the mid-twenties, fill the family home with glorious, sometimes chaotic, music.This episode of Conversations explores music education, classical music, accessibility to music, Isata, Braimah, Sheku, Konya, Jeneba, Aminata, Mariatu, piano, violin, cello, orchestra, state school, public education, big families, motherhood, fatherhood, prejudice, mixed race families, music is for everyone, how to learn the violin, gifted children, raising gifted children, gifted and talented.Further informationHouse of Music: Raising the Kanneh-Masons is published by Oneworld.Kadiatu's newest book, also published by Oneworld, is called To Be Young Gifted And Black.

Great conversation with Executive Director of Mata Festival Pauline Kim Harris and featured composer Jessie Cox.Music at the Anthology (MATA) celebrates its 27th Annual Festival with performances at the Issue Project Room in Brooklyn from June 11th to 14th 2025Titled Intergalactic Infinity: Music Between Spaces, the festival promises to be an incredible few days of sounds, creativity and imagination, that will blow your mind.The episode serves as a way to dive in into the world of MATA, the process of curating a festival of this caliber, and a behind the scene view into the creative process of composers, their source of inspiration, their grit, how they view the future of music and a lot of fun topics you will love!We cannot wait for you to learn more about MATAThanks for listening and please Subscribe, Rate and Review the Podcast. A lot of work goes into bringing Down the Pit to you, and we would to know your thoughts on how we are doing! To become a Down the Pit supporter for as little as $0.99/month, please visit ⁠⁠⁠https://podcasters.spotify.com/pod/show/down-the-pit⁠⁠⁠Visit tonebase.com for some amazing online courses and lessons for Violin, Piano, Cello, Flute, Guitar, etc. The best online platform with hundreds of instructional videos and lessons for musicians of all levels! Check it out and use Promo Code ⁠⁠⁠SAMI-30⁠⁠⁠ at Checkout for a 14-day FREE trial and 30% off for a yearly subscription. Sign up TODAY!Thanks to our corporate sponsor ⁠⁠⁠U.S. PAVE⁠⁠⁠ for their continued support!We are on Instagram/TikTok/Twitter @downthepit_podFacebook: Down the Pit PodcastCo-hosts: Sami Merdinian: ⁠⁠⁠@samimerdinian⁠⁠⁠  Ian Loew: @lunchmeat1836Producer: Sami Merdinian Mata Festival 2025For tickets and passes click HERE Guests: Pauline Kim Harris - https://www.paulinekimharris.com/Jessie Cox - https://www.jessiecoxmusic.com/⁠⁠Please Support this podcast for more interviews!⁠⁠

ANNA OUSPENSKAYA, CLASSICAL PIANIST FORMERLY FROM THE FORMER SOVIET UNION WITH SAMPLES AND FULL SELECTIONS OF SEVERAL CLASSICAL PIECES INCUDING: SAMPLES OF Rodion Shchedrin, Basso Ostinato from Two Polyphonic Pieces, Mendelssohn Trio Op 66 in C minor. 1st movement AND BOTH MOVEMENT 2 AND 3 FROM Babajanian trio in F-sharp Minor 2nd and 3rd movements.AS WELL AS COMPLETE PIECES Chopin Sonata for Cello and Piano Op.65, in G Minor, 1st movement, Tchaikovsky Concerto for Piano and Orchestra No. 2 in G Major, 1st movement. AND Tchaikovsky Concerto for Piano and Orchestra No. 2 in G Major.

Seit wenigen Jahren gedenkt das EU-Parlament jeweils mit einer speziellen Erinnerungsfeier der Opfer des Holocaust. Dieses Jahr mit einem besonderen «Gast»: Dem Cello des Holocaust-Opfers Pàl Hermann. Überall in Europa nimmt der Antisemitismus stark zu. Die Terrorangriffe der Hamas vom 7. Oktober 2023 und die massive militärische Reaktion Israels im Gazastreifen haben diesen Trend verstärkt. Drei-Viertel der europäischen Jüdinnen und Juden verbergen darum zumindest gelegentlich ihre jüdische Identität. Der stete Kampf gegen Antisemitismus sei untrennbar mit dem aktiven Erinnern an den Holocaust verbunden, unterstrich bereits die erste Frau an der Spitze des Europäischen Parlaments, die Französin Simone Veil, selbst eine Holocaust-Überlebende. Im Zentrum der Erinnerungsfeier an den Holocaust im EU-Parlament standen 80 Jahre nach der Befreiung der Deportierten im Vernichtungslager in Auschwitz für einmal nicht Zeitzeuginnen, sondern ein Instrument: Das Cello des Holocaust-Opfers Pàl Hermann. Dieses Instrument, untrennbar verbunden mit dem jungen jüdischen Musiker und Komponisten, steht für die Unbesiegbarkeit der Musik. Pàl Hermann wurde von der Hitler-Diktatur umgebracht. Das Cello wurde gerettet, weil der Cellist eine Notiz aus dem Güterwagen werfen konnte, in dem er deportiert wurde. In dieser aussergewöhnlichen Geschichte hat ein Cello den Holocaust überlebt - und wird zum klingenden Stolperstein gegen das Vergessen.

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Norman Fischer. Norman is Professor of Cello, and Chair of Chamber Music at the Shepherd School of Music at Rice University. Norman shares his story of how he first developed his insatiable love of contemporary music. He also talks about his journey forming the Naumburg winning Concord String Quartet to joining the faculty at Dartmouth, then Oberlin, and he gives the inside story of how Rice became one of the most sought after music schools! For more information on Norman Fischer:https://music.rice.edu/faculty/norman-fischerYou can also find Norman on Facebook and Instagram @theFischerDuoTo listen to the album 2020 Visions:https://www.navonarecords.com/catalog/nv6444/If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, TikTok, YouTube and Bluesky @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

Comedy on a FridayFirst a look at the events of the dayThen Jack Benny, originally broadcast May 16, 1948, 77 years ago, Robert Taylor fills in for Jack.  The Sportsmen Quartet and Robert Taylor (playing the cello) do a singing commercial to the tune of, "You Were Meant For Me."Followed by George Burns and Gracie Allen, originally broadcast May 16, 1944, 81 years ago, George Tries to Sing His Way into Office. George is running for councilman and winds up giving guest Lawrence Tibbett a singing lesson. George then joins Lawrence in concert at the Hollywood Bowl! Tibett sings, "Night and Day."Then The Great Gildersleeve starring Harold Peary, originally broadcast May 16, 1943, 82 years ago, The Haunted House.  Leila has gotten the nesting instinct and thinks the Burton house would make an ideal home for the Gildersleeves!Followed by Life with Luigi starring J. Carrol Naish, originally broadcast May 16, 1950, 75 years ago, Future American.  Luigi's night school class is to take part in the "I Am An American Day" ceremonies. Luigi makes a speech. Finally, The Couple Next Door starring Peg Lynch and Alan Bunce, originally broadcast May 16, 1960, 65 years ago, Betsy Biting Her Fingernails.Thanks to Adele for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

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

LADIES AND GERMS - do you know how to access the dark web?? NEITHER DO WE!!!! Please text us detailed instructions to access the dark web and a front and back photo of your credit card.  We've got a RETURN TO FORM in this episode--aka gag stories up the wazoo! A wedding proposal in Central Park gone wrong! A commute with the undead! A private gig for a tech overlord! Buckle up, get your notebooks out, class is in session at Gag University.  This episode is sponsored by hangnail and used kleenex.  CHECK OUT THIS EPISODE ON YOUTUBE: https://youtu.be/yJAGx8vYsS8   

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Alex Croxton, Alex is currently a faculty member at Mannes Prep, the Special Music School at the Kaufman Center, the Head of Cello at the School for Strings, and he has a full private studio in NYC. Alex shares about the impact the Suzuki method has had on his ability to work successfully with his students, and how it led to his interest in becoming certified as a teacher trainer. He also speaks about his own journey as a beginner on the cello at the age of 12 and he talks about the consistent building blocks of learning to tackle the cello at any level.For more information on Alex Croxton: https://www.newschool.edu/mannes/faculty/alexander-croxton/You can also find Alex on FacebookIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, TikTok, YouTube and Bluesky @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

In this episode, JF and Phil are joined by Jacob G. Foster—sociologist, physicist, and researcher at Indiana University Bloomington and the Santa Fe Institute—for a conversation about their recent collaboration in Daedalus, the journal of the American Academy of Arts and Sciences. Their co-authored essay, “Care of the Dead,” explores how the dead continue to shape our cultures, languages, and ways of being. Together, they discuss the process of writing the piece and what it means to say that the dead are not gone—that they persist, and that they make claims on the living. The article is available here: https://direct.mit.edu/daed/article/154/1/166/127931/Care-of-the-Dead-Ancestors-Traditions-amp-the-Life **References** [Peter Kingsley,](https://en.wikipedia.org/wiki/Peter_Kingsley) English writer  Weird Studies, [Episode 98 on “Taboo”]) https://www.weirdstudies.com/98)  John Berger, “12 Theses on the Economy of the Dead” in _[Hold Everything Dear](12 Theses on the Economy of the Dead)_  Bernard Koch, Daniele Silvestro, and Jacob Foster, ["The Evolutionary Dynamics of Cultural Change”](https://osf.io/preprints/socarxiv/659bt_v1)  Gilbert Simondon, _[Imagination and Invention](https://bookshop.org/a/18799/9781517914455)_  William Gibson, _[Neuromancer](https://bookshop.org/a/18799/9780441007462)_  [Phlogiston theory](https://en.wikipedia.org/wiki/Phlogiston_theory)  George Orwell, _[1984](https://bookshop.org/a/18799/9780451524935)_  HP Lovecraft, [“The Case of Charles Dexter Ward”](https://www.hplovecraft.com/writings/texts/fiction/cdw.aspx)  Weird Studies, [Episode 187 on “Little, Big”](https://www.weirdstudies.com/187)  [John Dee,](https://en.wikipedia.org/wiki/John_Dee) English occultist  Nicholas Goodrick-Clarke, _[The Western Esoteric Traditions: A Historical Introduction](https://bookshop.org/a/18799/9780195320992)_  Robert Harrison, _[The Dominion of the Dead](https://bookshop.org/a/18799/9780226317939)_  Gilles Deleuze, _[Bergsonism](https://bookshop.org/a/18799/9780942299076)_  Elizabeth LeGuin, _[Boccherini's Body](https://bookshop.org/a/18799/9780520240179)_  Elizabeth LeGuin, [“Cello and Bow thinking”](http://www.echo.ucla.edu/cello-and-bow-thinking-baccherinis-cello-sonata-in-eb-minor-faouri-catalogo/)  Johannes Brahms, _Handel Variations_  Learn more about your ad choices. Visit podcastchoices.com/adchoices