Podcasts about chopin

There is a long tradition of using pianos to accompany dance – whether it is during lessons at the barre or for rehearsals when hiring a full orchestra is prohibitively expensive – and Stevens was happy to further explore the instrument's capabilities. “Although I've never taken a lesson,” he says, “the piano was my first true love.” Self-taught as both a pianist and a composer, Stevens' first instrument was the oboe, which he started playing in 5th grade. He played in orchestras from high school through college and listened voraciously to recordings of classical music alongside pop radio. He would often take breaks from the oboe by improvising on the piano, working out music he had heard in passing – pieces by Chopin, Rachmaninov and Bach. “I learned by ear, in a very rudimentary way, inspired by a wide range of music,” he says. “A lot of the work that I compose is anachronistic as it doesn't follow a genealogy of aesthetic. It can be a cornucopia of styles.”Track Listing:1 Ekstasis2 Revanche3 Euphoros4 Mnemosyne5 Rodinia6 Reflexion7 And I Shall Come To You Like A Stormtrooper In Drag Serving Imperial RealnessHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

238 - "I've stopped kissing women; it's dangerous." Or has he? Critics called Ms. Chopin's works shocking and immoral. Tuck in and decide for yourself.

Last time we spoke about the situation in the north pacific and the grand conclusion of the Chindits Operation Longcloth. The battle of the Komandorski islands had basically put a nail in the coffin that was the Aleutian islands campaign for japan. They could not hope to resupply Attu and Kiska properly, therefore America had a free hand to build up to invade them. Also the crazed Onion man Wingate had taken his boys in the fray of Burma and they paid heavily for it. Yes despite all the glory and fame that the propaganda perpetuated the operation had done, in reality, Wingate had sacrifice many lives for little gain. His erratic behavior led to dangerous decision making which took a toll on the men. In the end what can be said of the operation was it atleast provided something positive to boost morale for the British in the far east. But today we are going to speak about the falling of a major giant of the pacific war. This episode is Operation Vengeance  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.  Now two weeks ago I covered Operation I-Go and you may have noticed I sprinkled a bit of foreshadowing information here and there. But to catch you back up to speed so to say let me just summarize those events and the dire circumstances what person would find himself in.  It can easily be deduced by early 1943, Admiral Isoroku Yamamoto knew Japan was staggering towards a catastrophic defeat. Rather ironically, he was one of those figures in Japan that tossed as much as his political influence could against the decision to go to war with america. He warned his high ranking colleagues of the great industrial might America held and that it would inevitably overwhelm Japan. His obsession over a decisive naval victory was driven mostly because he knew the only possible way for Japan to come out of WW2 positively was to bring America to the negotiating table as early as possible. But how does one do that exactly? Well Japan held a significant advantage over America in 1941, their Pacific Fleet was by far larger, vastly better trained and held considerable technological advantages. Thus like a game of Axis & Allies, a game I have been playing since I was a teenager and hope to livestream now and then for audiences like yourself, well like a good old game of Axis & Allies if you are the Axis you typically toss the kitchen sink at the offset of the war hoping to break the allies before their productive advantage gradually wins them the board. Yamamoto engineered the raid on Pearl Harbor to smash the US Pacific fleet enough to thwart them of any offensives for 6 months at minimum, though he definitely hoped for a year. After that his plan had always been to force america into a naval surface battle in the hopes of taking out their fleet and forcing them to negotiate. If they did not negotiate after that, well he hoped to buy Japan enough time to build a complex defensive perimeter which perhaps could be used to bleed Americans dry and thus gradually get them to come to terms. Well his obsession for the grand naval battle led him into a trap. Yes, a critical thing the Japanese overlooked during most of the Pacific War was code breaking. The Cryptanalysts at Station Hypo did miracles breaking the JN-25 code, leading them to deduce Admiral Yamamoto's operation MI was directed at Midway atoll. They had knowledge of the locations, the units and the timetables and they used this intelligence to set up a major trap for the combined fleet. The June 1942 disaster at Midway had been a major gambit aimed at forcing the war to an early conclusion, a gambit which fell apart. The losses at Midway meant the war was not to be a prolonged one, though it might surprise many of you to know, the chance of another decisive naval battle was not all but lost, it would just be harder to configure. Regardless the overall viewpoint after the failure at Midway now meant Japan had to fight a war of attrition, something Japan could not hope to win.  Yamamoto had obsessed himself and countless other high ranking figures that Midway was to be the decisive battle, but in reality it fell upon Guadalcanal. Yes the battle for Guadalcanal emerged the decisive battle they had all sought, but the Japanese high command were late to this conclusion. The Americans basically snuck onto the island in an extremely bold manner, forcing what became a horrifying bloody war. In the end the Americans won the battle for Guadalcanal and because of Japan's lackluster planning, this simultaneously led to the major loss of the Buna-Gona-Sanananda front as well. New Guinea and the Solomons were intertwined and Japan kept fumbling back and forth between them which inevitably was leading to them losing both. After the loss at Guadalcanal, Japan had lost the initiative for the Pacific War, now America was in the drivers seat. The battle of the Bismarck Sea proved to the Japanese high command, their sealanes were no longer safe. America was dominating Japan's ability to move men and supplies across the ocean through a war of attrition using airpower and submarines. The Japanese planners understood the allies were going to advance in two prongs; one through New Guinea and the other up the central and northern solomons. For the allies to advance, they required the construction of airfields along the way to provide air superiority to cover their surface fleets and transports of men and supplies. Japan had been massively depleted of ships, aircraft, trained men, resources in general, but one thing they still had an advantage over the allies was their airfields scattered about the Pacific.  On March 15th Japanese high command in Tokyo demanded plans be made to build a new defensive strategy in the central Pacific. The main idea was to build a stronger defensive perimeter emanating from Rabaul. Thus on the morning of April 3rd of 1943, Admirals Yamamoto and Ugaki, accompanied by more than a dozen officers of the combined Fleet staff boarded two Kawanishi flying boats and headed for Rabaul. Yamamoto and the high ranking figures scoured their maps and came up with what was needed to be done to meet this new demand. They needed to hinder the American airpowers advance up the Solomons and New Guinea, this meant hitting allied forward airfields. Four locations were chosen: Guadalcanal, Oro Bay, Port Moresby and Milne Bay. It was to be called Operation I-GO Sakusen and would be the responsibility of the IJN. Admirals Yamamoto and Jinichi Kusaka established temporary headquarters on Rabaul and began planning. The planning led to an incredible concentration of Japanese airpower. The 11th airfleet and 4 aircraft carriers of the 3rd fleet: Zuikaku, Zuiho, Junyo and Hiyo would amass a force of 224 aircraft. The airpower was going to be used to smash the 4 targets and then they would be dispersed to several airfields to mount a new defensive perimeter. They would be sent to places like Buka and Kahili on Bougainville and Ballale in the Shortland Islands. Admiral Yamamoto would personally supervise Operation I-GO as he took up quarters on a cottage high on a hill behind the town of Rabaul. He spent weeks inspecting airfields and other military installations, meeting with local army and navy commanders at various headquarters scattered about New Britain. As was his typical behavior, he bid farewell to departing air squadrons waving his hat to them. For 10 consecutive days, Japanese bombers and fighters hit their designated targets. More than 200 aircraft attacked Guadalcanal on April 7th, a raid larger than any attempted during the 5 month battle over the island. The Japanese pilots came back with extremely exaggerated claims of success. They claimed to have destroyed dozens of ships and hundreds of aircraft. In reality operation I-Go amounted to the destruction of 25 aircraft, 1 destroyer, 1 corvette, 1 oil tanker and 2 transports. The Japanese had lost around 40 aircraft for this.  The Japanese high command including Yamamoto and even Emperor Hirohito bought the success stories. Hirohito send word stating “Please convey my satisfaction to the Commander in Chief, Combined Fleet, and tell him to enlarge the war result more than ever.” On the other side of the conflict, General Kenney had a more damning critique of the way Yamamoto used his air forces during Operation I-Go, “… the way he [Yamamoto] had failed to take advantage of his superiority in numbers and position since the first couple of months of the war was a disgrace to the airman's profession.” The reality was, the aircrews were not the same types that raided Pearl Harbor in 1941, no these men in 1943 were forgive me to say, kind of the bottom of the barrel types. Sure there remained some veterans and experiences men, but far and too few to trained what should have been a brand new generation of Japanese airpower. Japan had squandered their veterans and now she was paying a heavy price for it. On October 25th of 1942, Rear-Admiral Ugaki had written this in his diary “every time it rained heavily, about ten planes were damaged due to skidding.” The Japanese airfields were no match for the American Seabees who were performing miracles across the pacific building superior fields for their airpower. By contrast the Japanese could not hope to match this, they lacked resources and trained personnel. Operation I-GO in the end costed the allies advance 10 days. Yamamoto had his spirits lifted somewhat by Operation I-GO believing it to be a triumph. He announced he would conduct a one-day tour of forward bases at Buin, Ballale and Shortland Island set for April the 18th and this is where our story truly begins. Yamamoto's tour was sent over the radio waves using the JN-25D naval cypher to the 11th air flotilla and the 26th air flotilla. Admiral Yamamoto's operations officer Commander Yasuji Watanabe would go on the record complaining that the information about Yamamoto's visit to the Ballalae Airfield should had been done by courier and not by radio, but the communications officer replied “this code only went into effect on april 1st and cannot be broken”. The message was picked up by three stations of the “Magic” apparatus, the United States cryptanalysis project. One of the three stations ironically was the same team responsible for breaking the codes that led to Midway, station Hypo at Pearl Harbor. Major Alva B. Lasswell, a duty officer at Joseph Rochefort's Combat Intelligence Unit Station HYPO deciphered it and pronounced it to be a "jackpot". The message contained highly detailed information and it was easy to deduce the message was about Yamamoto. It contained his departure time: April 18, 06:00 Japanese Standard Time, 08:00 Guadalcanal Time set for Ballale, 08:00 Japanese Standard Time, 10:00 Guadalcanal Time.; his aircraft which was a G4M Betty and the number of his escorts, 6 Zeros; as well as the entire itinerary for his tour. Admiral Yamamoto's plane was going to be heading over the southern end of Bougainville on the morning of the 18th, a location that happened to be just within the fighter range of Henderson Field. Alva Bryan Lasswell and intelligence officer Jasper Holmes took the decrypted message to CINCPAC headquarters and handed it to the fleet intelligence officer Ed Layton who tossed it upon Admiral Nimitz desk a few minutes after 8 on April 14.  Nimitz scrutinized the chart on his wall and confirmed himself that Yamamoto's plane would enter airspace that could be reached by american fighters from Henderson. “He asked Layton “Do we try to get him?”. The question honestly was a tough one. Was it wrong to target the combined fleet chief based on some sort of convention upon military chivalry? Like most naval officers, Nimitz had interacted socially with Japanese officers during the interwar years. Nimitz was not a particularly vengeful nor bloody-minded man. In era's past, an American flag or general officer would certainly refuse to have his rival commander assassinated. For you American listeners, can you conceive George Washington ordering a hit on William Howe? How about Robert E Lee ordering a hit on Ulysses Grant? However war in the 20th century was not like the previous centuries. Hell even by the standards of the war in europe, the Pacific War was unbelievably more brutal. Honestly if you wanted a good book on the subject of how brutal the Pacific war was, try John D Dowers “War without Mercy: Race & Power in the Pacific War”.  Now during the Russo-Japanese War of 1904-1905, cough cough if you want to hear about that one check out my Youtube channel, the IJA and IJN had strictly adhered to the rules of war. Russian prisoners were housed well, fed well, provided good medical care, given cigarettes and alcohol, the 2nd one very important to russians as we know haha. Those who died within captivity were even buried with military honors. During WW1 the Japanese took German prisoners after the siege of Tsingtau and treated them extremely well in Japan, let them parade the country with a band and such. In fact the treatment of the German POW's had a small hand to play in how Japan got into bed with Germany later, and honestly to this very day Japan and Germany have this special relationship. However, Japan certainly did not bring this type of chivalrous etiquette into the Pacific War.  Nimitz may have hesitated to give the order, but he knew full well of the Japanese actions in China, the Philippines, Malaya, Hong Kong, the East Indies, the Solomons. I guess you can say barbarity dishes out barbarity. Yet aside from the morality question, was it wise to kill Yamamoto? This was after all the man who planned and executed the disastrous Midway offensive losing 4 aircraft carriers with nearly all their aircraft. Yamamoto had also mismanaged the guadalcanal campaign by deploying air and troop reinforcements in piecemeals. He arguably was doing a good job losing the war. Layton knew Yamamoto personally and argued that he was the best-respected military leader in Japan and that his death “He's unique among their people… Aside from the Emperor, probably no man in Japan is so important to civilian morale. [His absence] would demoralize the fighting navy. You know Japanese psychology; it would stun the nation.”. Layton said to Nimitz “You know, Admiral Nimitz, it would be just as if they shot you down. There isn't anybody to replace you”. To this Nimitz smiled amusingly and replied “it's down in Halsey's bailiwick, if there's a way, he'll find it. All right, we'll try it”. Thus sealed the fate of Admiral Isoroku Yamamoto. Thus Admiral Nimitz sent a “your eyes only” message to Admiral Halsey, alerting him to the situation and ordering a fighter interception with the concluding remarks “best of luck and good hunting”. Codenamed Operation Vengeance approved on the 14th, the assassination of Admiral Yamamoto was done under utmost secrecy to protect the cryptanalysis teams. It just so happened Halsey had already been informed of the operation in a chance encounter in Melbourne Australia. He was inspecting naval facilities in the city and dropped by the communications intelligence office where a yeoman named Kenneth Boulier was working on one of the draft decrypts. Halsey came to his desk and asked “what are you working on son?”. And when Boulier explained, Halsey raised his voice and addressed the entire unit “Goddamit, you people knock off this Yamamoto business! I'm going to get that sonofabitch myself!”. I guess one can say he was enthusiastic about the job. Halsey informed his subordinate air commanders, Admirals Aubrey Fitch and Marc Mitscher about the details of Operation vengeance. Southern Bougainville was roughly 400 miles away from Henderson field and the aircraft would need to take a roundabout route to evade detection. Thus the mission would require 1000 miles or so of flying, a range that would test the capabilities of even the longest legged American fighters. AirSols commander Mitscher called for a secret meeting of his staff on April 16th to figure out the logistics of the operation. It was determined that to intercept Yamamoto's flight, they should use Lockheed P-38 Lightnings which held a comparable range to that of the Zero fighter, though it would not alone be enough. They would need to use a lean fuel mixture and drop tanks to barely make the long flight. It was going to be quite tight, thus the timing had to be precise, or else the aircraft would burn their fuel while waiting for the enemy to make their appearance. Major John Mitchell of the 339th fighter squadron was assigned the commander of 18 P-38's piloted by handpicked airmen. 4 P-38's would be designated as “killers”, ie: the guys who would target Yamamoto's G4M Betty, while the other pilots would cover them against the Zero escorts. The killers were to be Captain Thomas Lanphier, Lieutenants Rex Barber, Joseph Moore and James McLanahan. They were going to intercept Yamamoto in the air just south of Empress August Bay.  Now the direct flight to Bougainville meant crossing over or very close to Japanese held islands which held observers. This meant they would need to veer far out to sea to avoid any visual contact made by Japanese coastwatchers. Likewise they would skim the ocean at wave-top height to avoid detection by Japanese radar. Mitchell plotted their missions course to remain at least 50 miles offshore. This also meant they would have no landmarks to use as checkpoints: it would have to be dead reckoning the entire way, flying by airspeed, clock and compass under strict radio silence for over 2 hours, until they saw the Bougainville coast. The strike force would depart guadalcanl at 7:20. Even after all the precision and planning, the lightning force would only have around 15 minutes to shoot down Yamamoto, this was a extremely tight one. Mitchell gave the odds of the operation succeeded about a thousand to one. Back over in Rabaul commanders like Admirals Ozawa and Jojima were trying to change Yamamotos mind about making the tour to the forward airbases thinking he was taking a large risk. Adamiral Ozawa argued with Captain Kameto Kuroshima, a senior member of Yamamoto's staff “If he insists on going, six fighters are nothing like enough. Tell the chief of staff that he can have as many of my planes as he likes.” Admiral Ugaki who was sick in the hospital with dengue ever tried to send a message to Yamamoto to not go on the tour. That message though it did not make it to Yamamoto directly was interceived by Admiral Jojima. Admiral Jojima argued “what a damn fool thing to do, to send such a long and detailed message about the activities of the Commander of the combined fleet so near the front. This kind of thing must stop” Jojima had actually flown over to Rabaul to stop Yamamoto, but Yamamoto did not back down. Yamamoto was a stickler for punctuality, he alongside his party arrived to Rabaul's Lakuni field a few minutes before 6am Japan time, thus around 8am rabaul time. The party wore their field green khai uniforms and airmens boots, aside from Yamamoto who wore his customary white dress uniform, with his usual white gloves carrying his ceremonial sword. Yamamoto climbed into one of the two G4M Betty medium bmbers and Ugaki climbed into the other. Yamamoto's Betty had the number 323 painted on its vertical stablizer. The planes roared down the runway and climbed. The weather was clear, with excellent visibility above and below the high ceiling. The aircraft leveled out at 6500 with the bombers holding a close formation, enough for Ugaki to clearly see Yamamoto through the windshield of the other plane. The fighters hung out at 8200 feet above them and around a mile around them. The formation headed southeast making its first landfall on the southern tip of new ireland, then south along the coast of Bougainville, past the Japanese bases at Buka and Kieta, then on to Ballale. Ugaki began to nod off as the group began its descent towards Ballale.    Major Mitchells strike group launched at 7:10 guadalcanal time, seeing 2 lightnings fail as a result of a blown tire for one and a fuel transfer problem for the other. Both aircraft were part of the killers team, thus Lieutenants Besby Holmes and Raymond Hine, were replaced with Joseph Moore and James McLanahan. Not a great way to start such a precise mission by any means. As they made the first leg of their route, the P-38's descended to 50 feet to avoid radar detection while the pilots had to endure extremely hot temperatures due to the sea level. The temperature was above 90 degrees as the sun blazed through their Perspex canopies causing the pilots to sweat like pigs. The P-38 was a high altitude fighter and its canopy could not open in flight to regulate the cockpit temperature. Thus instead it kind of acted like a convection oven, building up heat as the sun beat down on it. With nothing but hte sight of rolling waves for over 2 hours, the pilots could have very well dozed off. After 55 minutes of hte first leg, Mitchell turned right to 290 degrees then after another 27 minutes, 305 degrees. 38 minutes after this another 20 degree turn to make the 40 mile leg to the south edge of Empress Bay, all using clocks & compass.  As they crossed the bay they turned 90 degrees and were around 4 minutes from their calculated interception point. The lightnings began to close in and made sight of the southwest corner of Bougainville. In an act of extraordinary navigation they hit the precise location intended at 9:34am, a single minute ahead of schedule. Right on top of them, passing serenly overhead was the Yamamoto and unfortuntately for him, security was quite lax. You see the Japanese held air superiority at Buin, thus they did not anticipate any enemy action. Alongside this the escort zero's had their radiots stripped out to reduce their weight. This meant they would not be able to communicate with the Betty's. Ugaki's Betty was carrying its regular armament of 3 13mm guns and 1 20mm gun, but because of the weight of the munition boxes, only a single belt was filled up for each. As for Yamamoto's Betty, there does not seem to be evidence it was armed at all. Mitchell was shocked to see the two Betty bombers, the intelligence had told them one. This somewhat disrupted his plan not knowing where the escorts were hiding, futhermore 2 lightnings piloted by Lieutenants Besby Holmes and Raymond Hine had to pull out when their belly tanks were released and it caused a technical problem. Thus Mitchell had only half the fighters as planned and now faced double the Betty's. He did not know which Betty was Yamamoto's, but with icy resolve he did not improvise the plan and ordered Captain Lamphier to attack as planned stating “he's your meat, tom”. The rest of the lightnings climbed to perform CAP actions as Mitchell expected the Japanese air base at Kahili to toss some zeros over to greet Yamamoto. None would come, another toss of the dice of fate as it were. As Ugaki recounts the event, at 9:43 he was awoken when his plane suddenly began a steep diving turn. The pilot was unsure what was happening, but all of a sudden evasive maneuvers of the Zero escorts alerted him something was wrong. The dark green canopy of the jungle hills were closing in on them as the gunnery opened up the gun ports to prepare firing. Between the rushing wind from the openings and the guns things were incredibly noisy. Ugaki told the pilot to try and remain with Yamamoto's plane, but it was too late. As Ugaki's plane banked south he caught a glimpse of Yamamoto's plane “staggering southward, just brushing the jungle top with reduced speed, emitting black smoke and flames.” Ugaki lost visual contact for some time then only saw a column of smoke rising rom the jungle. Ugaki's pilot flew over Cape Moira and out to sea, descending steadily to gain speed. Two lightnings were on their ass and some .50 caliber rounds slammed into their wings and fuselage. The pilot frantically trid pulling up, but his propellers dug into the sea causing the Betty to roll hard to the left. Ugaki was tossed from his seat and slammed agianst an interior bulkhead. As water flooded the aircraft he thought “this is the end of Ugaki”. But luckily for him, and 3 other passengers they managed to get free and swim to the beach as they were helped ashore by Japanese soldiers and transported to Buin. Despite his miraculous survival, Ugaki's injuries were severe, including a severed radial artery and compound fracture of the right arm, which would leave him out of action until 1944 From the American point of few, they came upon the Japanese formation catching them by complete surprise. The escorting Zeros were flying above the bombers, scanning hte horizon ahead of them to the south and now suspected American fighters would be approaching them from behind at a lower altitude. There are quite a few accounts of how this went down, but by all of them Lamphier climbed to the left, going nose to nose with 3 escorting Zeros, while Lt Rex Barber banked to the right. In response all 6 of the Zeros made a straight dive from their higer altitude position to get between the bombers and the lightnings. Rather than firing directly at the American fighters, they kept their firing infront of the lightnings trying to prevent their line of sight meeting up with the bombers. With the eruption of the choas, both Betty's accelerated into their dives, distancing themselves. One plane banked right going southwest towards the shoreline while the other banked left going east. Now what follows next has actually been a fight going on for decades with all participants going to their grave swearing their perspective was the legitimate account of the event. Lamphier's story, which is by far the most well known, states he quickly engaged the 3 diving Zeros to the left, managing to shoot down one before twisting away to attack the Betty's. He found the lead Betty skimming the jungle, heading for Kahili and dived in pursuit of it. With the other 2 zeros chasing to cut him off, Lamphier held course and fired a long steady burst across the Betty's course of flight. He watched the Betty's right engine and right wing catch on fire and in his words “the bomber's wing tore off. The bomber plunged into the jungle. It exploded. That was the end of Admiral Isoroku Yamamoto.” While racing out over the open sea towards Moila Point, Ugaki himself was horrified to see the funeral pyre of Yamamoto's crashed bomber. But at the same time, Rex Barber tells a different story.  Rex claims Lamphier's initial maneuver going to the left was smart, as it allowed Barber the opportunity to attack the bombers without the Zeroes being on his tail. Thus Rex banked sharply to the right to fall in behind one of the Betty's. At around 1000 feet above the jungle canopy, Rex opened fire, aiming over the fuselage at the right engine. Rex could see chunks of the Betty's engine and fires emerge as he continued to ranke the Bettey with his guns, until the Betty suddenly stopped in mid-air, nearly colliding with him before crashing into the jungle below. Rex also claimed the Betty did not fire back at all. The zero escorts however did catch up to him, but the sudden appearance of Lt's Besby Holmes and Raymond Hine saved him as they shot down the 3 zeros.  Heading to the coasts, Holmes and Hine pursued the remaining Betty and fired upon it scoring some hits. Rex also dropped in behind what is assumed to be Ugaki's Betty firing a burst over it before it hit the water. Holmes claimed to have shot down Ugaki's Betty by himself. Rex states that “Holmes rounds must have hit the tanks and filled the bomber swings with gas fumes, because the ship exploded in his face”. As Rex flew through the black smoke and debris a large chunk of the Betty hit his right wing cutting out his turbo supercharger intercooler. Meanwhile Holmes and Hine were dog fighting two more Zeros. Holmes would claim to have shot one of the zeros down, making his total around 3 Zeros and one betty; Hine's lightning was damaged in the fight forcing him to head east out to sea with smoke trailing his engine. Hine would be last seen around 9:40am, he was to be the only allied casualty of operation Vengeance. With both Betty's down, the mission was done and Mitchell ordered a withdrawal. The lightning's each headed home individually, operating at the limit of their range and suffering the hot weather. The controversy over who shot down Yamamoto's aircraft would begin the moment the pilots got back to base. In the words of Lt Julius Jacobson “there were 15 of us who survived, and as far as who did the effective shooting, who cares?” Yamamoto's plane had gone down about 4 miles inland, in a remote part of the jungle. Search parties took over a day to find the wreck. On April 20th they found the wrecked aircraft, there were no survivors. According to eyewitness testimony, Yamamoto was found sitting upright, still strapped to his seat, with one white gloved hand resting upon his katana. Yamamoto's watch had stopped at 0745hrs. A bullet had entered his lower jaw and went out from his temple; another pierced his shoulder blade. Yamamoto's body was wrapped in banyan leaves and carried down a trail to the mouth of the Wamai River, where it was taken to Buin by sea. His body would be cremated alongside the 11 other men aboard that Betty,  in a pit filled with brushwood and gasoline and his ashes were flown back to Truk and deposited on a Buddhist altar in the Musashi's war operations room.  New's of Yamamoto's death was at first restricted to a small circle of ranking officers, and passageways around the operations room and the commander in chiefs cabin were placed off limits. But the truth eventually leaked out to the crew of Musashi. Admiral Ugaki was seen in bandages holding a white box containing Yamamoto's ashes as he came aboard and the smell of incense wafted from his cabin. Admiral Mineichi Koga was named the new commander in chief. For over a month the news was kept under wraps. On May 22nd, Yamamoto's death was heard on the NHK news. The announcer broke into tears as he read the announcement. A special train carried the slain admiral's ashes from Yokosuka to Tokyo. An imperial party, including members of the royal household and family greeted its arrival at Ueno Station. As diarist Kiyoshi Kiyosawa noted “There is widespread sentiment of dark foreboding about the future course of the war”. Admiral Yamamoto was awarded posthumously the Grand Order of the Chrysanthemum, first class and the rank of Fleet admiral. His funeral was held on June 5th, the first anniversary of the battle of Midway, which also coincided with the funeral of the legendary Admiral Togo Heihachiro, 9 years previously. It was held in Hibiya park with hundreds of thousands coming to pay their respects. Pallbearers were selected from among the petty officers of the Musashi, carrying his casket draped in white cloth past the Diet and Imperial Palace. The Navy band played Chopin's funeral march as the casket was driven to Tama Cemetery where it was placed in a grave alongside that of Admiral Togo. Some sought to make a Yamamoto shrine, but his close friend Admiral Mitsumasa Yonai said “Yamamoto hated that kind of thing. If you deified him, he'd be more embarrassed than anybody else”.  The new commander in chief of the combined fleet, Admiral Koga Mineichi would later say “There was only one Yamamoto and no one is able to replace him. His loss is an unsupportable blow to us.”  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. Operation Vengeance was a success, leading to the death of the legendary, Admiral Isoroku Yamamoto. Would his death help or worsen the allied war effort? For that question to be answered only time could tell.

It's time for another visit with Midday theater critic J. Wynn Rousuck, who joins us each week with her reviews of the Maryland-DC regional stage. Today, she spotlights The Awakening, a new production by the Endangered Species Theatre Project, on stage until Friday at New Spire Arts in Frederick, Maryland. The Awakening was adapted from the Kate Chopin novel by playwright Rebecca Chase, with music by Myra Platt. Chopin's novel, first published in 1899 as "A Solitary Soul," depicts a young mother's struggle to achieve sexual and personal emancipation in the oppressive environment of the postbellum American South. This American literary classic was widely censored and condemned as immoral when it was first released. It was rediscovered in the 1950s and has since gained a following as an early and important feminist work.This latest stage adaptation is set to a score of blues, ragtime, soul, and opera and imbued with the lush decadence of the French Quarter. Endangered Species Theatre Project's production of The Awakening is directed by Christine Mosere. It continues at New Spire Arts in Frederick through tomorrow (Friday, April 21).See omnystudio.com/listener for privacy information.

Synopsis Early in April in the year 1845, a 15-year old American pianist named Louis Moreau Gottschalk performed at the Salle Pleyel in Paris. On the program was Chopin's Piano Concerto in E minor, and Chopin happened to be in the audience and congratulated the young American on his performance. What exactly Chopin said depends on whom you asked. Gottschalk's first biographer claims it was, “Very good, my child, let me shake your hand,” while Gottschalk's sister insists it was, “I predict you will become the king of pianists!” In 1845, Parisian society was curious about anything American after experiencing other exotic exports from the New World, including P.T. Barnum's circus and George Catlin's paintings of Native American life. Anything American was definitely “hip.” Four years later, on today's date in 1849, Gottschalk returned to the Salle Pleyel, this time performing some of his own compositions, including a work entitled Bamboula, after the name of a deep-voiced Afro-Caribbean drum. The Parisian audiences had never heard anything like it and gave him a standing ovation. Gottschalk was born in New Orleans and was exposed from childhood to Cuban and Haitian music and went on to write original works which anticipate both the rhythms and colors of American jazz. Music Played in Today's Program Frederic Chopin (1810 – 1849) Piano Concerto No. 1 Krystian Zimerman, piano; Polish Festival Orchestra DG 459 684 Louis Moreau Gottschalk (1829 – 1869) Bamboula Alan Feinberg, piano Argo 444 457

This week's podcast features Carol Orange (A Discerning Eye, Cavan Bridge Press, October 2020). Carol's background in both art (art books in London, art dealer in Boston) and publishing (editorial assistant at a Big Five house) provided plenty of ideas for her art heist novel centering around the looting of 13 masterpieces from the Isabella Stewart Gardner Museum over 30 years ago. We discuss how she learned the craft of writing, the importance of networking and community, and how to handle self-doubt as well as the insights (and fun)you can have during the revision process. Carol Orange is the award-winning author or A Discerning Eye. The novel was inspired by the world's largest unsolved theft at Boston's Isabella Stewart Gardner Museum. Carol has worked in the art world for more than twenty years. She began as a research editor on art books in London and later became an art dealer in Boston. She has an MBA from Simmons University and worked as a marketing manager at the Polaroid Corporation. Along with concert pianist Virginia Eskin who played Chopin's music, she read excerpts from George Sand's novels in three salons at the French Library in Boston.    To learn more about Carol, click here.

We meet young musicians from all over the country, from South Carolina to California. A 17-year-old cellist fulfills a childhood dream to be on From the Top and kicks off the program with a gorgeous Beethoven piece. We also hear a beautiful Chopin Nocturne, a Barber Sonata played by a teen flutist, and a young mandolin player shows off her gorgeous new instrument with a performance of Bach.

Andrés Amorós nos trae piezas como Las 7 palabras de Cristo en la Cruz de Haydn o Marcha Fúnebre de Chopin para este especial de Semana Santa.

En RCN Digital seguimos conectados, el día de hoy hablamos de Beethoven, Bach, Chopin... así es la nueva app de música clásica de Apple, además los líderes mundiales con más seguidores en TikTok, buena música y mucho más.

We all start somewhere…and for christian, that start was a best-selling, chart-topping, fart-themed ringtone. Now, with over 1.7 billion views on YouTube, 6 million subscribers, and 3 million monthly Spotify listeners, Christian-better known as TheFatRat- has outgrown this early legacy and made an extraordinary impact on the electronic music scene. But how did this German artist get his start? Before composing for Dota 2 and Rocket League and before producing the best selling CD in France, Christian surprisingly discovered music through classical piano training. To learn how his early interest in musical improv and Chopin turned into a love for glitch hop, let's go back to his childhood…all the way to when he first earned his elementary school nickname…‘the rat'

Alexandra Stréliski is a French-Canadian pianist who creates minimalist and cinematic music in the vein of composers Frédéric Chopin and Erik Satie as well as film music composers like Zimmer, Glass and Nyman - heavy on romance and with enough space to linger on the emotions in her work. Stréliski's music was heard in HBO's Sharp Objects and Big Little Lies Season 2 round-table, and in the Jean-Marc Vallée's film Dallas Buyers Club (2013). Her latest release, Néo-Romance, conjures longing and hope, dream and imagination - inspired by the great themes of the romantic era, nostalgia, nature and spontaneity. Alexandra Stréliski performs some of these melancholic and beautiful tunes, in-studio. Set list: "In the Air / The Hills", "The Breach", "Borders" Watch "In the Air / The Hills": Watch "The Breach": Watch "Borders":

When you hear the term virtuoso musician, do you think of someone like pianists Chopin or Rachmaninov? Or perhaps the violinist Perlman or cellist Rostropovich? They are all known as virtuosos, meaning they mastered their instrument to the highest level of talent and technical skill. Another virtuoso is the guitarist Doc Watson. He was born in 1923 in Deep Gap, North Carolina. An eye infection left him blind before he reached age two. But that didn't stop him. One day his father told him and his brother that if they chopped down a bunch of small chestnut trees, he'd let them keep the money from selling them. They did, and Watson bought his first guitar. He spent hours practicing and, over time, developed a technique called flat picking, where the musician holds a pick to strike the strings. The technique influenced many folk musicians. Watson also mastered the finger-picking style.* I encourage you to search the internet and listen to a recording of Doc Watson playing “Tickling the Strings.” 2 Peter 1:5-6 tells us to “make every effort to add to your faith goodness; and to goodness, knowledge; and to knowledge, self-control.” (NIV 1984) That word self-control refers to mastering something. Doc Watson mastered the guitar. We are to work along with God's spirit to master ourselves, to learn how to live, to be a virtuoso in the Christian life. *"Doc Watson," Wikipedia, last updated February 24, 2023, https://en.wikipedia.org/wiki/Doc_Watson How to leave a review: https://www.sparkingfaith.com/rate-and-review/ Visit Elmer Fuller's author website at: https://www.elmerfuller.com/ Bumper music “Landing Place” performed by Mark July, used under license from Shutterstock.

Die jährliche Wiedergeburt der Natur hat viele Komponisten zu Musikstücken inspiriert, so lebensfroh wie die Jahreszeit selbst. Musikalischen Gewächse von Bach bis Beethoven, von Chopin bis Debussy. (BR 2008) Autorin: Katharina Neuschaefer

Blechacz's devotion to the art of Chopin predates his victory in the 2005 Warsaw International Chopin Piano Competition – when he became just the fourth Polish winner in its prestigious history. It has continued to deepen and mature over the years, underpinned by a desire to uncover fresh layers of expression and meaning. Rafal Blechacz – Chopin presents his insightful interpretations of Sonatas Nos. 2 and 3, among the most musically adventurous and technically demanding in the piano repertoire. It also includes two carefully chosen companion pieces: the Nocturne Op. 48 No. 2 and the Barcarolle Op. 60. The album will be released by Deutsche Grammophon in all formats, including a 2-LP vinyl edition, on 3 March 2023. Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).       

‘Novelas y poemas inspirados en la lluvia'. Especial de Patricia Del Rio sobre relatos que tienen a la lluvia como protagonista o como elemento fundamental. Esta edición va dedicada a todos los que están sufriendo, para recordarles que cuando la lluvia para, sobre ese fango que aterra y horroriza, vuelve a surgir la vida. Empezamos con los relatos bíblicos que, sin duda, marcan el inicio de los diluvios en la literatura... El diluvio universal, presente en el Génesis, es una desgracia que desaparece a todo lo que está en tierra, pero es también una figura purificadora. El agua mandada por Yahvé, limpia y le permite al anciano Noe, a su familia, y a los animales del Arca repoblar el mundo. Aunque no existe evidencia arqueológica de todo lo ocurrido, casi todas las civilizaciones tienen una historia, algún mito fundacional que nombra un diluvio semejante al de Noé. En Mesopotamia está la referencia más antigua, con el Poema de Gilgamesh; las Escrituras védicas; el mito de Gun-Yu; luego pasamos al Nobel de Literatura, Gabriel García Márquez con sus ‘Cien años de soledad'; ‘Esperando el Diluvio', de Dolores Redondo. Y como la lluvia no solo ha inspirado grandes historias, sino también grandes poemas, tenemos a César Vallejo con ‘Lluvia'; ‘Cuatro poemas marroqueros', de Antonio Cisneros, y ‘Aplastamiento de las gotas', de Julio Cortázar. Entre los cuentos tenemos ‘La isla de Abel', de William Syeig, y ‘Noelia', de Jairo Buitrago y Roger Ycaza. En la entrevista de la semana, el director y actor de teatro, David Carrillo, nos cuenta sobre ‘Humedad', su última obra dirigida, cuya autoría es de la mexicana Barbara Colio. El periodista Diego Pajares Herrada recomienda películas y documentales inspirados en las lluvias: ‘Noé', dirigida por Darren Aronofsky; ‘Geotormenta', de Dean Devlin; y ‘Tsunami, el día después'. El crítico literario y gerente de ‘Escena libre', Julio Zavala, recomienda: ‘Las Miradas', de Led Alberto Vidal Negra; ‘Un grito a la tierra. Arte y revolución en Chaski - Cusco, 1972 1974', de Manuel Barros, Mijail Mitrovic y Raúl Alvarez. Las voces de García Márquez y Cortázar fueron tomadas de: https://www.gavilan.edu/academic/spanish/gaspar/html/24_06.html; y ‘Poema de Cortázar 1: 12 – El aplastamiento de las gotas (colgado por @haylibros en Youtube). Las canciones inspiradas en esta temática son: ‘Preludio' de Chopin, por Tatyana Shébanova; ‘A hard rain's a gonna fail', de Edie Brickell and News Bohemians; ‘Aguacero de mayo', de Totó la Momposina; ‘Have you ever seen the rain', de Willie Nelson y Paula Nelson; ‘Lloverá', de Mía Maestro; ‘She is a rainbow', por The Rolling Stones; ‘Rabo de nube', de Silvio Rodríguez y ‘Rain Drops', de Shardad Rohani. ||| Conducción y producción: Patricia del Río ||| Edición de audio: Andrés Rodríguez ||| Episodio 08 – Cuarta temporada 2023.

The weather has been gloomy around these parts, but Spring is just around the corner- it's a fitting to to listen to some Chopin who leaves us with a glimmer of hope this week on the CoffeeHouse! Be sure to like and share with a friend! Music: https://imslp.org/wiki/Nocturne_in_C-sharp_minor%2C_B.49_(Chopin%2C_Fr%C3%A9d%C3%A9ric) https://creativecommons.org/licenses/by/4.0/legalcode

Music by Fanny Mendelssohn, Ludwig van Beethoven, Frédéric Chopin, and Maurice Ravel. The post Tyler Wang, 17, piano appeared first on WFMT.

We start with Chopin's Prelude #16 in B-flat minor.The first day, we visited three lovely towns and eat our way through them.  These include:  Tricase Porto, where we ate really delicate seafood and a wonderful fennel cream soup.  The second day, we stayed in Lecce and visited a couple stores including a cheese store where we tasted squeaky nodoni.  That afternoon, we had an altercation with a local pigeon, who claimed rights to our pasticciotto.  On the third day, we visited Ostuni, the white city, and in the afternoon we drove back south to Gallipoli, a port with real character.  We had a fantastic seafood lunch and then witnessed thousand bemoaning the loss of one of the city's finest warriors who died in his mother's arms after choking on a meatball.  That was the theme of Gallipolli's Carnevale.I then talk about progress starting our new store, established and run by Projet Espoir et Equite, our French version of Project Hope and Fairness, whose goal is to build chocolate factories in villages and then develop markets for the chocolate.  The podcast finished with Bach's Prelude #22 in B-Flat Minor.Our successes are financially dependent.  Your donations ensure future success.  To donate, send a check to:Project Hope and Fairness1298 Warren RoadCambria, CA 93428. -OR-  go to projecthopeandfairness.org, pull down to Donate and follow the instructionsThank You!  Tom Neuhaus, CEO of Project Hope and Fairness

Clara Schumann, without a doubt, was one of the greatest pianists of all time.  Schumann's playing didn't just leave critics and audiences in raptures, it also left other composers amazed that their music could sound so beautiful. Liszt called her the Priestess of the Piano, Chopin adored her playing, and Mendelssohn brought her over and over again to Leipzig to play concerts with the Gewandhaus orchestra. She toured practically her entire life while raising a family of 8 children, and taking care of her husband Robert, who dealt with a series of mental illnesses that ended in his tragic and untimely death.  Simply put, Clara Schumann was a legend in her time. She was the first pianist to perform entire concertos and recital programs by memory, the first pianist to devote her work to both contemporary composers AND composers of the past, bringing Bach onto the recital stage. And on and on and on. But today I'm not going to focusing too much on Clara Schumann the pianist. I won't be mentioning Brahms or Robert Schumann all that much either, except in biographical details. That's because the focus of the show today is on Clara Schumann's compositions. She only published 23 pieces during her life, a result of many factors, but what we do have of her work shows a brilliant and underrated compositional talent.  So today I'll tell you about Clara Schumann's turbulent and fascinating life story, and then take you through a few of her most wonderful pieces, including the piano trio and the 3 romances for violin and piano. We'll also talk about why her body of work is so small, and why what we have of her music is so precious. Join us!

My friend and jewelry designer Nak Armstrong joins me in nearly 2 hours of type 4 conversation, where I am pretty sure we successfully debunk any notions of sexiness in our type, thanks to the excellent ideas of Helen Palmer. out music is patron saint of 4, Chopin's Piano Concerto no. 2 in F Minor (of course!!!), Larghetto. This piece is one of my favorites and, to me, encompasses all the mercurial moodiness, beauty, longing and rage of type 4. Orchestra della Toscana, conductor, Daniele Rustioni

My podcast #42 starts with Chopin's Prelude No. 8 in F#Minor.  This is a tricky thing that takes quite a lot of practice to get it sounding halfway decent.  But it's really gorgeous.Today's podcast is about our first three days in Lecce, a town of 150,000 on the southern portion of the Salento peninsula, the heel of Italy's boot.  The first day, Thursday, is spent just walking around Lecce, visiting the Roman amphitheater--actually only half as the other half remains buried under a church.On Friday, we visit one of the three doors to the city, built in the 16th century--Porta Rudiae, named after the people who lived in the town before Lecce.  There we shop for lunch ingredients--Frutti di Mare.And on Saturday, we rented a car and drove into the countryside--to visit a lighthouse near Otranto, Santa Cesarea Terme, a small port with sulfurous waters, then we had lunch in a farmhouse Maseria le Stanzie.  After dessert, we visited a church, Santa Catarina d'Alessandra, known for its magnificent freschi and for the secret hidden in the altar.We are making progress!  2023 will be a spectacular year for Project Hope and Fairness.  Not only are we starting a small business in Cordes sur Ciel that will be selling pastries, cakes, and chocolates, but we will be establishing a center for learning the ins and outs of chocolate production--in N'Douci, Côte d'Ivoire. I finish the podcast with Bach's Prelude in F#Minor--same key as the Chopin.  You'll appreciate the profound difference in tone between a prelude written by the father of Classical Music (Bach) and the father of Romantic Music (Chopin).   I played the Bach on the organ and the Chopin on the piano.  Bach had no piano as it had not yet been invented.Our successes are financially dependent.  Your donations ensure future success.  To donate, send a check to:Project Hope and Fairness1298 Warren RoadCambria, CA 93428. -OR-  go to projecthopeandfairness.org, pull down to Donate and follow the instructionsThank You!  Tom Neuhaus, CEO of Project Hope and FairnessLISTEN TO PODCAST --> https://www.buzzsprout.com/1057903/12419532

Esta semana, la Cultureta viaja a Palma de Mallorca, donde repasa los días que el compositor polaco Fréderic Chopin pasó en la isla. En 1838, la escritora George Sand y el pianista se hicieron con un Pleyel, se encerraron en una cartuja y de ahí nacieron algunos de los preludios más célebres de la literatura pianística. También repasamos la serie de Los Murdaugh en Netflix, que plasma la muerte y el escándalo en esta saga familiar de Carolina del Sur. Programa completo con Rubén Amón, Rosa Belmonte, Isabel Vázquez, Sergio del Molino y Guillermo Altares. 

Esta semana, la Cultureta viaja a Palma de Mallorca, donde repasa los días que el compositor polaco Fréderic Chopin pasó en la isla. En 1838, la escritora George Sand y el pianista se hicieron con un Pleyel, se encerraron en una cartuja y de ahí nacieron algunos de los preludios más célebres de la literatura pianística. También repasamos la serie de Los Murdaugh en Netflix, que plasma la muerte y el escándalo en esta saga familiar de Carolina del Sur. Programa completo con Rubén Amón, Rosa Belmonte, Isabel Vázquez, Sergio del Molino y Guillermo Altares. 

Today on Introductions, Ethan Zheng, a piano student of Marta Aznavoorian. His recital features the music of Brahms, Chopin, Chen Yi, and Prokofiev. The post Ethan Zheng, 16, piano appeared first on WFMT.

Dyskusja o Janie Pawle II i pedofilii w Kościele Katolickim rozgorzała na nowo po dokumencie Marcina Gutowskiego. Dyskutujemy z dr Sebastianem Dudą, filozofem i teologiem z kwartalnika Więź.

In der Klavierliteratur gelten sie als Meisterwerke der kleinen Form: die 24 Préludes von Frédéric Chopin. Ein Zyklus durch die zwölf Dur- und Molltonarten nach dem Vorbild der Präludien von Bach. Die Pianistin Ewa Kupiec stellt das Werk vor.

Every pianist makes a piece their own, adding flourishes and signature accents, but Marta Brankovich takes artistic interpretation to a new level. Leveraging her passion and irreplicable touch on the piano, the black swan of piano conjures an unforgettable storm on MARTA, THE TEMPEST. This long-awaited exploratory deep-dive into the classical canon delivers fresh interpretations of works by Rachmaninoff, Chopin, Kaufman, Jirásek, and Webber, complete with a solo piano composition by Brankovich herself that offers an inside look into her artistic emergence. Weaving themes of adversity, opposing forces, and oneness with a profoundly emotive approach, Brankovich delivers a powerful program in this Navona Records release.For more information on this title, tracklist, artist, and composers and to purchase, please visit:Marta, The Tempest – Navona Records

More phone calls about Pat's burn, a Jimmy Failla ticket give-away, news of the day, Happy Birthday to the late Glenn Miller and Frédéric Chopin...

This is the first of four podcast about Eve's and my trip to the Salento peninsula, the tip of the boot of Italy.   This podcast is about a three-day train trip to get there.  As usual, there's lots about food and history.The podcast begins with Chopin's Prelude Number 3 in G Major and finished with Bach's Prelude Number 15 in the same key.  It's a fun academic exercise to hold one variable (the key the piece is written in) constant and compare the music by style--Classical vs Romantic.I finish the podcast with a description of our latest progress in Côte d'Ivoire.  We have received two big grants totalling over $62,000 and we are excited about the future!  So join the podcast!  And donate if you can and help us make big progress helping the West African Cocoa Farmer.To Donate either send a check to:Project Hope and Fairness1298 Warren RoadCambria, CA 93428. -OR-go to projecthopeandfairness.org, pull down to Donate and follow the instructionsThank You!  Tom Neuhaus, CEO of Project Hope and Fairness

In Marek Pędziwiatr there is a connection between the past and the present. The history of jazz and the African American musicians, who created it, and Polish innovators from Chopin through Krzysztof Komeda and Niemen. Marek is a hub, a central force pulling his golden threads of jazz, hip-hop, classical music, avant-garde, and Slavic folk. But his interest in weaving these genres together is driven by the human experience.  Marek is an award-winning musician and composer now based in Wrocław. His background in the 90s scene of sampling, rapping, and beat music has blossomed into a sophisticated and authentic jazz that crosses boundaries. He is co-founder of the trio Night Marks, the avant-garde improvised music collective Błoto, and EABS (Electro-Acoustic Beat Sessions). He has played with an incredible array of international musicians and his production work includes producing with Michał Urbaniak, a major figure in jazz fusion, on albums such as “Beats and Pieces” by Urbanator Days.  Like Michał, emotion is a vital aspect in every piece that Marek composes. The identification of this almost mystical quality of melancholy in Slavic culture, explored by generations of Polish artists, also fascinates Marek. And in the interview, he speaks about the importance of feeling in the music he is drawn to. And how he developed the opening of the composition he discusses from his album Slavic Spirits from 2019.  Stories of his own ancestry, poetic symbols, philosophies, and the expression of the complex emotion of being human run parallel to other incentives in his music. There is a deep learning he has gained through the tributes EABS has made such as the “Memorial to Miles” at the Jazz Festival in Kielce in 2015 and the unique Sun Ra with EABS' album “Discipline of Sun Ra” in 2020. There is a clear celebration of these influences and their ability to simply communicate the human spirit in Marek's music and in his eloquent way of speaking about it.  Music from the episode Przywitanie Słońca from the EABS album ‘Slavic Spirits'' Further reading EABS / bio on Culture.pl Marek Pędziwiatr debuts as Latarnik in a piano solo story of remembrance and passing / on Twistedsouldmusic.org Further watching EABS meets JAUBI /  on YouTube.com Jazz.pl: EABS  / on Culture.pl New Polish Jazz: Ones To Watch - Marek Pędziwiatr / on Facebook.com Credits This episode of Rebel Spirits was hosted by Debra Richards. The show is brought to you by the Adam Mickiewicz Institute. Written and produced by Magdalena Stępień & Wojciech Oleksiak Executive production by Move Me Media Edited by Wojciech Oleksiak Design by Dawid Ryski Scoring & sound design by Wojciech Oleksiak Copyrights The publisher would like to thank all copyright owners for their kind permission to reproduce their material. Should, despite our intensive research, any person entitled to rights have been overlooked, legitimate claims shall be compensated within the usual provisions.

W tym odcinku rozmawiam z Anną Omi o jej doświadczeniach z życia w dwukulturowej i dwujęzykowej rodzinie, o jej pasji do Japonii, o historii jej związku z Japończykiem, o rozwoju językowym na zaawansowanym poziomie oraz o jej ciekawej pracy tłumacza. Posłuchaj, nawet jeśli nie interesujesz się Japonią, bo Ania pięknie opowiada i używa języka polskiego tak jak Chopin pianina. Miód na uszy nauczycielki polskiego! (Tak, Ania jest Polką, ale nie każdy Polak mówi tak pięknie po polsku!)Tutaj jest link do LINGQ, o którym opowiadam na końcu odcinka: https://www.lingq.com/?referral=PaulinaLipiecHave you discovered the Polski Daily Club yet? If not go to https://www.polskidaily.eu/signup and join the club!

We have the honor of presenting a fascinating conversation with world-famous pianist Seymour Bernstein. You may know Seymour as the subject of the widely acclaimed 2015 documentary Seymour, an Introduction, directed by Ethan Hawke. The film tells Seymour's inspiring story of abandoning his solo concert career at age 50, and, at the end of the documentary, performing again in his 80s. Yet, as we discuss in this interview, there are other ways to tell this story. Now in his mid-90s (he turns 96 this April), Seymour reflects on his decision to leave solo performing as a necessary refocusing, following his creative impulse to compose, write his books, and study music.  In his 90s, Seymour has been busy making new recordings, continuing to teach, and even becoming a viral YouTube sensation, releasing videos with the music education streaming service ToneBase, as well as on his channel. He shares with us deep reflections on following your intuition in musical interpretation and in life.  Seymour Bernstein is also the author of several books, including With Your Own Two Hands: Self-Discovery Through Music (1981), as well as a memoir, Monsters and Angels: Surviving a Career in Music (2002). In addition to Seymour's reflections on interpreting Beethoven, Chopin, and Schubert we hear some of the under-explored stories from his long career. You'll hear memories of TV appearances with the singer Kate Smith (of “God Bless America” fame), his Army service in the Korean War, State Department tours around the world, Leonard Bernstein, the Chicago Symphony Orchestra, and his line of teachers, Alexander Brailowsky, Sir Clifford Curzon, and Clara Husserl. Finally, Seymour reflects on what he feels has supported his continued long and productive life in the arts. You can check out and watch Seymour, an Introduction through the Library streaming service Kanopy or find the DVD here on the Deerfield Public Library shelves. The Deerfield Public Library Podcast is hosted by Dylan Zavagno, Adult Services Coordinator at the library. We welcome your comments and feedback--please send to: podcast@deerfieldlibrary.org. More info at: http://deerfieldlibrary.org/podcast Follow us: Facebook Twitter Instagram YouTube 

Levitating on coffee there is a lot to say.  It's time to get serious with shadow work. Don't you dare doubt our ADD as modernity. Sonos blasting Chopin throughout the home. An eight hour audio to take you through the day. Jacqueline promises to do something in a previous episode. When they take your books. Open air gyms. Jacqueline got a Tracy Anderson upgrade. Kate releases psychics. It was the body the whole time. Listen or the Body will Speak. Jacqueline references a Caroline Myss jewel, again. Ever heard of night and day?   Edited & mixed by Allie Graham.See omnystudio.com/listener for privacy information.

Esther Park shares about her educational journey from Juilliard Pre-College to Germany to Yale, her experience preparing for international competitions, and playing as a professional piano duo with her sister. At the conclusion of the interview, Esther Park shares a performance of Chopin's Ballade No. 2 in F major, Op. 38.

A year ago, Anna Knight was studying at a specialist music high school in the eastern Ukrainian city of Kharkiv. She's now living in the Chicago area, and brings us a recital of Chopin, Bach, Beethoven, Frolyak, Ravel, and Dunayevsky. The post Anna Knight, 19, piano appeared first on WFMT.

If you've ever lived in Chicago, you've probably heard at some point that Chicago has the largest Polish population outside of Warsaw. While that's an exaggeration it's certainly the case that the Chicagoland region has a large population of people of Polish descent and that Chicago is important historically to American Polonia. From the earliest Polish immigrants to Chicago in the 1830s through today, Poles have helped shape the culture, politics, religion, and food of Chicago. This week we dive into that history. Joining me to help us understand more about Polish Chicago is Dr. Dominic A. Pacyga, professor emeritus of history in the Department of Humanities, History, and Social Sciences at Columbia College Chicago and author of several books on Polish immigrants and Chicago, including American Warsaw: The Rise, Fall, and Rebirth of Polish Chicago in 2019. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-roll audio is “Mazurka, Op. 24, No. 4, in B Flat Minor,” by Polish composer Frédéric Chopin, performed by Polish pianist and Prime Minister Ignacy Jan Paderewski in in the early 1920s and captured on an Aeolian Company "DUO-ART" reproducing piano; the performance is in the public domain and is available via the Internet Archive. The episode image is the Tadeusz Kościuszko Monument, an outdoor sculpture by artist Kazimierz Chodziński, installed in the median of East Solidarity Drive, near Chicago's Shedd Aquarium; the photograph was taken by Matthew Weflen on Sunday, February 19, 2023, and is used with permission. Additional Sources: “Poles,”by Dominic Pacyga, Encyclopedia of Chicago, 2005. “Can Chicago Brag about the Size of its Polish Population?” by Jesse Dukes, WBEZ Chicago, October 26, 2015. “Where Have All the Polish Pols Gone?” by Edward McClelland, Chicago Magazine, January 6, 2020. “How Chicago Became a Distinctly Polish American City,” by Marek Kępa, Culture.PL, April 27, 2020. “Explore Polish culture in Chicago's neighborhoods,” Choose Chicago. “Chicago's Milwaukee Av. to be renamed Polish Heritage Corridor in honour of city's Poles,” by Stuart Dowell, The First News, June 20, 2022. “Chicago, The Polish City,” Interview of Dominic Pacyga by Łukasz Kożuchowski, Polish History. “Chicago's Polish Constitution Day Parade is back. This year, it has a new theme,” by Adriana Cardona-Maguidad, WBEZ Chicago, May 3, 2022. Learn more about your ad choices. Visit megaphone.fm/adchoices

Esta semana los cómicos han contado con la participación de Aimar Bretos, encargado de presentar las 10 de "A Vivir", como parte de la iniciativa Locos por la radio de la Cadena SER. Martín García es uno de los pianistas jóvenes más prestigiosos a nivel internacional. El año pasado dio hasta 70 conciertos por todo el mundo y lo trajimos al estudio para remediar con Chopin el reguetón de Aimar. 

Esta semana los cómicos han contado con la participación de Aimar Bretos, encargado de presentar las 10 de "A Vivir", como parte de la iniciativa Locos por la radio de la Cadena SER. Martín García es uno de los pianistas jóvenes más prestigiosos a nivel internacional. El año pasado dio hasta 70 conciertos por todo el mundo y lo trajimos al estudio para remediar con Chopin el reguetón de Aimar. 

durée : 01:28:49 - Gabriel Tacchino, pianiste de Poulenc mais pas seulement (1/2) - par : François-Xavier Szymczak - Il y a quelques jours a disparu ce musicien très attachant, que la postérité a retenu à juste titre comme un merveilleux interprète de la musique de Francis Poulenc. Gabriel Tacchino fut aussi un soliste, un chambriste, un concertiste aussi à l'aise dans Beethoven que dans Rachmaninov

 Les accents tellement romantiques de la musique de Chopin laissent imaginer, dans sa vie intime, d'infinies aventures. La réalité oblige à quelques réserves…   Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

For Valentine's Day, the Atlas team would like to bring you this tale of the heart….literally. The Church of the Holy Cross in Warsaw, Poland is the final resting place of famed composer Frédéric Chopin's heart - smuggled there by Chopin's sister after his death. READ MORE IN THE ATLAS: https://www.atlasobscura.com/places/chopin-s-heart

This is Episode No. 4 for 2023. I always try to blend the latest dance music with some Euro-house from the late 80s and early 90s. This episodes starts with Dr. Alban's Sing Hallelujah and ends with 2 Pac's Changes!.  Some of the songs extracted from the episode:Dr. Alban - Sing hallelujah Miley Cirus - Flowers (Remix)I like Chopin (remix)Grease (remix)Chicasss - MananaPet shop boys - Can you forgive herAnastacia - One day in your lifeMousse T - Fire Toto's massive remake of Africa 2 Pac - ChangesReamon - Supergirl Right Said Fred - I'm too sexy (Club Mix)Eric Prydz - Pjanoo (Club Mix)Titanium (Rave mix)Brandy & Monica - The boy is mine (remix)The weekly drive time show is my most listened to show from around the world. If you like what you hear, don't forget to like, subscribe and share with your friends and on all your social media platforms to support my mixes. YouTube channel: https://www.youtube.com/@chilloutluxuryMixcloud page:https://www.mixcloud.com/sammy789012/Instagram:dj_samdTwitter: @fortitudeonline Made with Lovedj SamD

Juan Gabriel, José Alfredo, Agustín Lara, Chopin y Tchaickovsky, ¡en la MesaDelMásAllá!Link para hacer donaciones vía PayPal:https://www.paypal.me/julioastilleroCuenta para hacer transferencias a cuenta BBVA a nombre de Julio Hernández López: 1539408017CLABE: 012 320 01539408017 2Tienda:https://julioastillerotienda.com/ Hosted on Acast. See acast.com/privacy for more information.

Jess Gillam is joined by the Mumbai-born pianist Shivank Menon, to talk about the records that they love. Their playlist includes Rostropovich playing Bach, Sviatoslav Richter playing Chopin, songs by Ravel, Fanny Mendelssohn and Donny Hathaway, and a recording of Bill Evans duetting with himself. Playlist: MORELENBAUM2 & RYUICHI SAKAMOTO: Sabia J S BACH ARR. KODALY: Vater unser im Himmelrich, BWV 762 (Mstislav Rostropovich, cello; Herbert Tachezi (organ) CHOPIN: Polonaise No 7 in A flat, Op 61 (Sviatoslav Richter, piano) ROBERT DE VISÉE: Sarabande from Suite No 7 in D minor (Thomas Dunford, archlute; Jean Rondeau, harpsichord) FANNY MENDELSSOHN: Schwanenlied, Op 1 No 1 (Dorothea Craxton, soprano & Babette Dorn, piano + Benjamin Appl, baritone & James Baillieu, piano) RAVEL: Soupir from 3 Poèmes de Stéphane Mallarmé (Anne Sofie von Otter, mezzo-soprano) DONNY HATHAWAY: A Song for You BILL EVANS: Emily

The Timing Of the Waltz + The Taming of the Shrew

When it comes to short story writers, the names don't come much bigger than Kate Chopin or Ernest Hemingway. In this Short Story Skirmish, Blake and Seamus discuss Chopin's “Story of an Hour” and Hemingway's “A Clean Well-Lighted Place”. The former is a story as dramatic as it is terse, while the latter is about as dramatic as an empty café, only imagine that café was painted by Edward Hopper Some of the books and authors discussed in this episode include: "A Clean Well-Lighted Place” by Ernest Hemmingway “The Story of an Hour” by Kate Chopin “The Echo Maker” by Richard Powers Additional segments throughout the podcast include: Inner Shelf Fact or fiction What are you reading? On that Quote Apple Podcast: https://lnkd.in/gF2zVhQT Spotify: https://lnkd.in/gTHtxVh5 Podbean: https://onthesamepagepodcast.podbean.com/ Twitter: https://twitter.com/thesamepagepod_ Email: seamusandblake@gmail.com IG: https://www.instagram.com/on.the.same.page.podcast/  -------- #bookpodcast #podcast #book #novel #stories #shortstories #apassagenorth #anukaradpragasm #tolstoy #poetry #shortstoryskirmish #litfacts #paris #literature #books #novels #salmonrushdie #spotifypodcasts #applepodcasts #audible #samsungpodcasts #books #novels #audibleau #lit #onthesamepage #whatareyoureading #literaryfacts #podbean #whatareyoureading

To describe Joanna Duda as simply a pianist doesn't capture the extraordinary dimensions of the music she produces. Whether touching a broken keyboard, using the sound of a rewinding tape machine, or mixing in field recordings, her innate playfulness allows any instrument to blossom - you get a sense that one of her greatest strengths is to listen attentively to whatever she uses. Joanna is also an incredible editor, cutting and mixing with bold and surprising artfulness. It was a friend of the family who played electric bass in the band Kombi that first caught her attention and before she could even string a sentence together she would sit with a piece of wood pretending it was a bass. Like many of the Rebel Spirits, she is classically trained and has been influenced by both Baroque and minimalism. Part of her heritage is Chopin, of course, but it's also her parents' vinyl collection which included plenty of funk and jazz rock and there is often a groove that emerges in her work.  Be it leading the duo J=J, which is when she first came to my attention, or her current trio with Michał Bryndal and Max Mucha, on drums and bass, or playing solo, there is an essence which is clearly Duda. Finding her flow with collaborators is always uppermost and she found that recently with French horn player Morris Kliphuis from the Netherlands. Their project Wake the Dead is for electronics, improvisation, and a Baroque ensemble and premiers in October.  Alongside her love of communication between musicians, she has begun to appreciate a form of creativity that requires her to dig into herself as opposed to reacting to what is coming at her from the outside. Reading, traveling and connecting to nature are part of her current evolution and in this interview, she eloquently describes the ideas that inform her process.  Music from the episode ‘Grasshopper' by Joanna Duda Trio from the ‘Fumitsuke' album  Further reading Joanna Duda / bio on Culture.pl Joanna Duda's website  Further watching 'Grasshopper' music video / on YouTube Joanna Duda Trio in concert / on YouTube Joanna Duda in concert / on YouTube Credits This episode of Rebel Spirits was hosted by Debra Richards. The show is brought to you by the Adam Mickiewicz Institute. Written and produced by Monika Proba Edited by Wojciech Oleksiak Executive production by Move Me Media Edited by Monika Proba Design by Dawid Ryski Scoring & sound design by Monika Proba

A piece that clearly laid the groundwork for Chopin's career. Twitter: @PianoRhapsody Email: pianorhapsodypodcast@gmail.com Find PianoRhapsody on SoundCloud for this recording and more!

You might be thinking, "Why on earth would anyone want to devote an entire podcast to etudes?" For most instrumentalists, etudes are the bane of our existence. They are studies, meant to develop technique on an instrument. Etudes are an essential part of any instrumentalists work, but they had never been known for their musical content. As a violinist, I had practiced dozens of etudes by Kreutzer, Rodé, Dancla, Sevcik, Schraideck, Kayser, Mazas, and more, lamenting the day I chose the violin as my instrument. But pianists have the same dreaded names, like Czerny for example. Chopin changed all of that. Chopin was the first composer to integrate musical content into his etudes, which meant that Chopin's etudes were both extremely difficult technical exercises, but they also were musically interesting enough to be performed live. LIke everything Chopin did on the piano, this was revolutionary, and Chopin's 27 etudes have been part of the piano repertoire ever since. We'll discuss some of these etudes today, along with the nature of virtuosity itself. We'll also spend a lot of time talking about Leopold Godowsky. Leopold Godowsky is not a name you've probably heard very often. But he was one of the great pianists of the end of the 19th century and the beginning of the 20th century, with legions of admirers including legendary pianists like Josef Hoffman, Arthur Rubinstein, Sergei Rachmaninoff, Claudio Arrau, and the composer Ferrucio Busoni. Godowsky's pianistic gifts were well known, but what about his compositional ones? Well, to speak of one is to speak of the other. During the 1890s, when Godowsky was in his late 20s, he began making arrangements of famous piano works of Chopin and other composers music. Over the next 20 years, he became engrossed with Chopin's legendary etudes, or studies, and began writing his own arrangements of them. Now Chopin's etudes are extremely difficult just on their own, but Godowsky's studies are on another level of difficulty.  In fact, Godowsky's transcriptions are so difficult that many pianists don't even dare to play them, though some, like the great Marc-Andre Hamelin, have made them an integral part of their repertoire. So today on the show, we'll take a look at some of the studies on Chopin's etudes, analyzing both the original Chopin etudes and then the changes that Godowsky makes to them. This will be a show as much about Chopin as it is about Godowsky, because you can't understand Godowsky's achievement without understanding the Chopin first. Join us!

Steven Rinella talks with Buddy Levy, Brody Henderson, and Phil Taylor. Topics discussed: Buddy's latest, “The Empire of Ice and Stone,”; calling people how they'd like to be called; how an arrow nock exits out of your nostril; capitalizing and "the truth about"; trying to find uncontacted people to hang out with; headlines of blonde eskimos; becoming a Canadian; getting separated big time; the importance of a rounded hull; eating polar bears raw; Chopin's funeral march; stalking a bear that turned out to be a ground squirrel; just how deceptive the arctic can be; saving your dogs from a polar bear; no human presence; swollen hands; the race against time; jigging for cod with a sewing needle; just how deceptive the arctic can be; saving your dogs from a polar bear; no human presence; swollen hands; the race against time; Stefansson's book, "The Friendly Arctic"; Ada Blackjack; a future book about the blimp that's never been seen since; and more.  Connect with Steve and MeatEater Steve on Instagram and Twitter MeatEater on Instagram, Facebook, Twitter, and Youtube Shop MeatEater Merch See omnystudio.com/listener for privacy information.