Podcasts about Clara Schumann

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

Raphaela Gromes und Susanne Wosnitzka auf der Frankfurter Buchmesse, moderiert von Natascha Freundel Welche Namen von Komponistinnen fallen Ihnen auf den ersten Gedanken ein? Fanny Hensel vielleicht, Clara Schumann oder Sofia Gubaidulina. Aber kennen Sie auch Maria Herz, Luise Adolpha Le Beau oder Ethel Smyth? Die Werke von Komponistinnen bilden einen ganzen Kosmos, der nur darauf wartet, entdeckt zu werden und unsere Welt zu bereichern. Die preisgekrönte Cellistin Raphaela Gromes - Platz 1 der Deutschen Klassik-Charts – hat gemeinsam mit der Musikwissenschaftlerin Susanne Wosnitzka ein Buch geschrieben, das ihre ganz persönliche Entdeckungsreise zu Leben und Werk vieler Komponistinnen festhält: „Fortissima! Verdrängte Komponistinnen und wie sie meinen Blick auf die Welt verändern“. Musik von Frauen ist mindestens so genial wie die von Männern - aber sie wird bis heute viel zu wenig wahrgenommen. Natascha Freundel hat am 19. Oktober mit Rafaela Gromes und Susanne Wosnitzka auf der ARD, ZDF, 3sat Literaturbühne bei der Frankfurter Buchmesse 2025 gesprochen. Raphaela Gromes ist renommierte Cellistin und seit 2016 Exklusivkünstlerin bei Sony Classical. 2023 erschien ihre CD "Femmes". Zum Buch „Fortissima!“ ist das gleichnamige Album erschienen und wurde direkt zur Nummer 1 der deutschen Klassikcharts. Susanne Wosnitzka ist Musikwissenschaftlerin und arbeitet im Archiv Frau und Musik sowie im Vorstand von musica femina münchen. Sie ist wissenschaftliche Beirätin der Deutschen Mozart-Gesellschaft und der schwedischen Komponistinnen-Gesellschaft KVAST. Mehr Infos und Fotos s. https://www.radiodrei.de/derzweitegedanke Schreiben Sie uns gern direkt an derzweitegedanke@radiodrei.de.

In deze aflevering van Kalm met Klassiek luister je naar een werk van Clara Schumann, componiste uit de tijd van de romantiek. Ze was getrouwd met Robert Schumann, en ook tussen die twee was veel romantiek. Romance zit 'm tot slot in de titel van het werk van vandaag, en dat is een deel uit het 'Pianoconcert' van Clara. Kortom: wegzwijmelen keer drie... 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). 

“Notas de Mujer” una celebración del talento y la creatividad de destacadas mujeres compositoras a lo largo de la historia. De lunes a viernes a las 9:00 hrs. en www.radioudec.cl y el 95.1 FM. Producción: Carolina Valdés - Locución: Sergio Morales.

In un recente episodio, abbiamo parlato di Clara Schumann, una compositrice di grande talento che era sposata con Robert Schumann. Oggi vorremmo rivolgere la nostra attenzione su Fanny Mendelssohn-Hensel, un'altra compositrice di sorprendente talento che è stata coperta dall'ombra di un uomo famoso. Nel caso di Fanny, l'uomo da cui è stata oscurata era suo fratello Felix Mendelssohn-Bartholdy (1809-1847). E non è cosa da poco. Felix non fu solo uno dei più grandi compositori dell'epoca romantica, fu a dir poco un miracolo. Pensate al suo ottetto, alle sue musiche di scena per Sogno di una notte di mezza estate, alla sua musica da camera, alle sue sinfonie, alla sua musica per pianoforte, ai suoi oratori. Quanti altri compositori come lui conoscete? Senza dimenticare che compose ogni cosa in soli 38 anni: questa fu infatti l'età in cui morì. Eppure, anche accanto a un colosso come Felix, Fanny tiene testa. Se fosse vissuta in un'epoca in cui le donne non erano così emarginate, e se non fosse morta all'età di 41 anni, avrebbe potuto godere del riconoscimento e del rispetto che meritava. Ma oggi sferreremo un piccolo colpo a suo favore. Non possiamo correggere quasi due secoli di dimenticanza in un solo giorno, ma insieme possiamo scoprire di più sulla meravigliosa musica composta da questa donna straordinaria. Piccola biografia di Fanny Mendelssohn-Hensel Fanny Mendelssohn (che prese il nome di Mendelssohn-Hensel dopo il suo matrimonio nel 1829) nacque il 14 novembre 1805 ad Amburgo, in Germania. Era la maggiore di quattro figli di una distinta famiglia ebrea. Suo padre era nipote del filosofo Moses Mendelssohn. (Si noti che, a causa delle norme sociali osservate da alcuni ebrei tedeschi all'epoca, i piccoli Mendelssohn e i loro genitori furono battezzati e divennero luterani nel 1816.) Fanny mostrò un prodigioso talento musicale. Ricevette le sue prime lezioni di pianoforte da sua madre e in seguito studiò con Carl Friedrich Zelter, un importante compositore dell'epoca. Nonostante il suo talento, si astenne dall'esibirsi pubblicamente o dal promuovere le proprie composizioni. Molti dei suoi primi lavori furono pubblicati sotto il nome di suo fratello. Nel 1829 sposò l'artista Wilhelm Hensel. Fanny ha continuato a comporre e a esibirsi in contesti privati. Solo nel 1846 pubblicò una raccolta di canzoni con il suo nome. Morì di ictus il 14 maggio 1847, quando aveva 41 anni. Suo fratello Felix ne fu devastato e morì solo sei mesi dopo, a 38 anni. Eredità Le opere di Fanny Mendelssohn hanno ottenuto un crescente riconoscimento negli ultimi anni, rivelando i suoi significativi contributi al panorama musicale dell'epoca romantica. Le sue composizioni includono un quartetto d'archi, un trio con pianoforte, più di 125 pezzi per pianoforte e più di 250 canzoni. Consigli per l'ascolto Canzoni Eichendorff-Lieder (sei brani di poesie di Joseph von Eichendorff) Sei canzoni, Op. 7 Opere per pianoforte Sei canzoni per pianoforte, Op. 4 e 5 Piano Sonata in C- Musica da camera Trio in re minore per pianoforte, violino e violoncello op. 11 Quartetto d'archi in Mi bemolle Opere corali Oratorio su Scene della Bibbia, per solisti, coro e orchestra

This Day in Legal History: SCOTUS Rejects Challenge to BrownOn September 12, 1958, the U.S. Supreme Court issued a unanimous decision in Cooper v. Aaron, firmly rejecting a challenge by the State of Arkansas to the enforcement of Brown v. Board of Education. In the wake of Brown, which declared racial segregation in public schools unconstitutional, Arkansas officials sought to delay desegregation efforts in Little Rock, citing violent resistance and the need to preserve public order. The state's governor and legislature argued they were not bound by the Court's ruling.The Supreme Court rejected that claim unequivocally. In a rare decision signed by all nine justices, the Court reaffirmed the supremacy of the Constitution and the binding nature of its interpretations. It stated that the Constitution is the "supreme law of the land," and that the Court's rulings are final and must be followed by all states, regardless of political disagreement or local unrest.The ruling was a direct rebuke to Governor Orval Faubus, who had used the Arkansas National Guard to block the entry of nine Black students into Little Rock Central High School in 1957. President Eisenhower had responded by sending federal troops to enforce the desegregation order. Cooper v. Aaron underscored the federal judiciary's power to enforce constitutional rights, even in the face of open defiance by state authorities.The Court's opinion in Cooper was a pivotal moment in the civil rights movement, signaling that federal law could not be nullified by state action. It also clarified that resistance to judicial decisions, especially on constitutional matters, was itself unconstitutional. By reasserting its own authority and that of the federal government, the Court helped ensure that desegregation would proceed, however slowly, across the South.Senate Republicans pushed through a rule change aimed at speeding up the confirmation of President Donald Trump's executive-branch nominees. In a 53-45 vote, the GOP majority limited the ability of Senate Democrats to slow the process, allowing groups of nominees to be confirmed together rather than individually. The change does not apply to Cabinet heads or federal judges.Senate Majority Leader John Thune defended the move, saying the chamber was being bogged down by procedural delays. In contrast, Democratic Senator Adam Schiff warned the rule change weakens institutional checks on presidential power, calling it a further erosion of Senate independence. Senate Democratic Leader Chuck Schumer criticized it as enabling a “conveyor belt of unqualified nominees.”This is the third significant alteration in 12 years to Senate rules that weaken the minority party's influence, a trend that began with Democrats in 2013 and continued under Republicans in 2017. Critics argue the Senate is drifting away from its traditional role as a stabilizing body in the legislative process. The first group of Trump nominees could see expedited confirmation as early as next week. Stephen Miran's Federal Reserve nomination will proceed under the prior rules.US Senate loosens rule to speed confirmation of some Trump nominees | ReutersA federal judge in Seattle issued a nationwide injunction blocking the Trump administration from enforcing a policy that would have barred undocumented children from enrolling in Head Start, a federal preschool program for low-income families. Judge Ricardo Martinez ruled that the U.S. Department of Health and Human Services (HHS) lacked the authority to impose immigration-based restrictions on access to Head Start, criticizing the agency for failing to follow proper rulemaking procedures.The decision followed a similar ruling one day earlier from a federal judge in Rhode Island, which halted the policy in 21 Democratic-led states and the District of Columbia. The Seattle lawsuit was brought by Head Start associations from Illinois, Pennsylvania, Washington, and Wisconsin, along with two parent advocacy groups. They challenged a July directive that expanded the interpretation of the 1996 Personal Responsibility and Work Opportunity Reconciliation Act (PRWORA) to include Head Start among programs limited to legal residents.Since 1998, HHS had interpreted the law as not applying to non-postsecondary education programs like Head Start. Judge Martinez stated that Congress had effectively endorsed that interpretation by not altering the law and had even broadened access to Head Start over time. Despite recent limits by the U.S. Supreme Court on nationwide injunctions, Martinez justified his decision as necessary to provide uniform relief.Trump policy barring migrants from Head Start blocked nationwide | ReutersThe U.S. Department of Justice filed a lawsuit against Uber Technologies, accusing the company of violating the Americans with Disabilities Act (ADA) by discriminating against riders with disabilities. Filed in federal court in San Francisco, the complaint alleges that Uber drivers have routinely denied rides to passengers who use service animals or wheelchairs, and sometimes insulted or mistreated them.The DOJ claims that Uber also imposed illegal fees on disabled riders, including cleaning charges for service animals and cancellation fees for rides that drivers refused to complete. The lawsuit details incidents involving 17 individuals, such as a 7-year-old amputee denied a ride due to his wheelchair, a veteran with a service dog who missed a flight after being refused service, and a blind man in New Jersey whose ride requests were repeatedly canceled.The government is seeking an injunction to stop further violations, mandatory improvements to Uber's policies and training, monetary damages for those affected, and a civil penalty. In response, Uber denied the allegations, stating it has a zero-tolerance policy for discrimination and is committed to accessibility and inclusion for riders with disabilities.US sues Uber, alleges discrimination against disabled riders | ReutersWe'll see you back here on Monday and, until then, note. We like to close out the week of shows with a featured musical piece. That will make these Friday episodes seem especially long. We hope you'll stick it out and enjoy the featured piece but, if music – specifically classical music – isn't your bag, we get it. Our mouth sounds unrelated to the week's closing music ends here.This week's closing theme is by Clara Schumann.This week's closing music features a brilliant piece by Clara Schumann, a composer, pianist, and musical force whose work was often overshadowed by the men around her—most notably her husband Robert Schumann and close friend Johannes Brahms. Yet Clara was a prodigy in her own right, performing across Europe and composing with a clarity and emotional depth that demanded attention in a male-dominated 19th-century musical world.Her Scherzo No. 2 in C Minor, Op. 14, written in 1845, is a striking example of her compositional voice—bold, technically challenging, and emotionally complex. The piece opens with stormy, rapid-fire passages that give way to more lyrical interludes, showcasing Clara's mastery of contrast and dramatic pacing. It's music that demands virtuosity but also rewards listeners with its structural elegance and passionate energy.As you listen, consider how Clara's work stood alongside—and at times surpassed—that of her more famous peers. Her Scherzo No. 2 is not just a curiosity from a historical figure, but a work of enduring artistic merit that more than earns its place in the canon.Without further ado, Clara Schumann's Scherzo No. 2 in C Minor, Op. 14, enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Historical hoarding, prodigious pianists, and feeling old, oh my! Emily covers Marion Stokes, an activist who took channeled her hoarding into an archival project that took over her life and has yet to be rivaled. Then, Kelley tells the story of child prodigy Clara Schumann who was praised by the likes of Mozart and Beethoven, inspired Brahms, and was one of the most successful musicians and composers of her time. Grab your magic black rectangle and shove it into the bigger black rectangle, because we're wining about herstory! Join the Funerary Cult: https://www.patreon.com/winingaboutherstory Sponsor a Glass of Wine: https://buymeacoffee.com/wahpod Get Merch: https://wining-about-herstory.myspreadshop.com/  

durée : 01:13:32 - Autour de Ravel - par : Max Dozolme - Max Dozolme nous invite à passer une heure en compagnie de Johannes Brahms de ses modèles mais aussi d'artistes inspirés par son œuvre : Jean-Sébastien Bach, Beethoven, Clara Schumann, Gérard Pesson et bien d'autres ! Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In this episode, I speak with Margalith Eugster and Elisa Rumici about the first edition of the Feminale Festival Basel, held in April 2025. We talk about how this student-led festival at the Hochschule für Musik FHNW brought attention to female composers, institutional structures, and the necessity of sharing both responsibility and space in the musical landscape.From blind concerts to panels on gender quotas and parenthood, from curating with care to navigating helplessness and female rage — we reflect on what it means to stay constructive, collaborate meaningfully, and imagine the future of a festival like Feminale.

O Concerto para Piano em Lá menor, Op. 54 de Robert Schumann possui três movimentos tocados sem pausas entre si (attacca), formando uma estrutura contínua. Os tempos de cada movimento variam um pouco de acordo com a gravação, mas geralmente seguem este padrão aproximado:A estreia do primeiro movimento ( Phantasie ) ocorreu em 13 de agosto de 1841 no Gewandhaus em Leipzig, com Clara Schumann como solista. A versão completa em três movimentos foi estreada em Dresden em 4 de dezembro de 1845, novamente com Clara Schumann e o maestro Ferdinand Hiller, que a dedicou , como maestro. Menos de um mês depois, em 1º de janeiro de 1846, o concerto foi apresentado em Leipzig, sob a regência de Felix Mendelssohn .Apresentado por Aroldo Glomb com Aarão Barreto na bancada. Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Gustavo Holtzhausen, João Paulo Belfort , Arthur Muhlenberg e Rafael Hassan.

Goed nieuws, trouwe luisteraars. Klassieke Klets is vanaf nu te beluisteren op een nieuwe pagina in jouw favoriete podcastapp. Luister alle afleveringen terug via de nieuwe pagina. Klik op de link hieronder en abonneer je nu. Ook de allernieuwste afleveringen over Pauselijke muziek en Clara Schumann kun je daar beluisteren.Abonneer via:

El programa de radio para niños -y para todo el que se quiera acercar- celebra el centenario del nacimiento de la gran escritora Ana María Matute. Leemos En el bosque y felicitamos a la editorial Libros del Zorro Rojo, que también está de aniversario. Disfrutamos de la música clásica con nuestra compañera de Crescendo (Radio Clásica), Clara Sánchez, que nos acerca a Clara Schumann y a las noches veraniegas de Mendelssohn. Nuestro cuentacuentos de estación, David Acera, nos narra una maravillosa historia de la tradición oral. ¡Familia pasajera, ¡gracias por estar ahí!Escuchar audio

Die Komponistin Fanny Hensel war eine der bedeutendsten ihrer Zeit. Die Schwester des großen Musikers Felix Mendelssohn Bartholdy genoss schon früh eine ausgezeichnete Musikausbildung. Doch während sich ihr Bruder eine Karriere aufbauen konnte, wurde Fanny als Frau im 19. Jahrhundert eine andere Rolle zugeschrieben. Und dennoch ist sie heute als talentierte Pianistin, Komponistin und Konzertorganistin berühmt. Wie machte sie sich als Musikerin einen Namen? Wie lebte es sich im Schatten des erfolgreichen Bruders? Und wie war ihre Verbindung zu Clara Schumann? Das Mendelssohn-Haus Leipzig widmet dem Leben und Schaffen der Berlinerin Fanny Hensel eine ganze Etage. Spannende Einblicke in ihre Gedanken, gemeinsame Arbeiten mit ihrem Mann und Aufnahmen ihrer Kompositionen bekommt ihr in dieser Folge von „Willkommen in Leipzig“. Links: Mendelssohn-Haus Leipzig Podcast-Folge 6 – Mendelssohn-Haus: Empathie & Musik Podcast-Folge 37 – Clara Schumann: Leipziger Musikerin zwischen Konventionen und Kompositionen Musikinstrumentenmuseum Leipzig Podcast-Folge 7 – Bach-Museum: Von Fleiß und Festlichkeiten Bach Museum Leipzig Diese Podcast-Folge wird mitfinanziert durch Steuermittel auf der Grundlage des von den Abgeordneten des Sächsischen Landtags beschlossenen Haushalts.

Die Nummer „1037“ wählt man im Robert-Schumann-Haus Zwickau an einem Apparat aus dem 19. Jahrhundert und wird mit Clara Schumann verbunden. Zumindest mit einer KI, die mit etlichen (Liebes-)Briefen zwischen ihr und und ihrem Umfeld gefüttert wurde. Wie die Technik genau funktioniert und wie das Projekt entstanden ist, erzählt Sven Hellbach im Musikgespräch mit Ilona Hanning.

Abdulrazak Gurnah is emeritus Professor of Post-Colonial Literatures at the University of Kent and the 2021 Nobel Prize winner in Literature. Born in Zanzibar in 1948, the second of six children, Abdulrazak grew up in the dying days of the island's status as a British protectorate before independence was declared in 1963. The revolution which followed made Zanzibar an undesirable and unsafe place to live in for young men of Arab heritage. In 1967, he left to seek opportunities in Britain.He subsidised his studies through a series of low paid jobs which included strawberry picking, factory work and time as a hospital porter. In the evenings he was studying at night school and after gaining a PhD in English, he joined the University of Kent, eventually becoming a Professor.Alongside his academic career, Abdulrazak was writing and it took him twelve years to find a publisher for his 1987 debut novel, Memory of Departure.He has published ten more novels since then, including 1994's Paradise and 2001's By the Sea (short and longlisted for the Booker Prize respectively) which explore themes of exile, displacement, belonging and colonialism. He was awarded the 2021 Nobel Prize in Literature for his body of work and “for his uncompromising and compassionate penetration of the effects of colonialism and the fates of the refugee in the gulf between cultures and continents”. He lives in Kent, with his wife, the Guyanese-born scholar, Denise de Caires Narain. DISC ONE: Hit the Road Jack - Ray Charles DISC TWO: Petite Fleur - Sidney Bechet DISC THREE: Nipepee - Seif Salim DISC FOUR: Piano Concerto in A Minor, Op. 7 - 1. Allegro maestoso. Composed by Clara Schumann. Performed by Isata Kanneh-Mason (piano) and Royal Liverpool Philharmonic Orchestra, conducted by Holly Mathieson DISC FIVE: A Day in the Life - The Beatles DISC SIX: Kaira - Toumani Diabaté DISC SEVEN: So What - Miles Davis DISC EIGHT: Folon - Salif Keita BOOK CHOICE: That Glimpse of Truth: The 100 Finest Short Stories Ever Written selected by David Miller LUXURY ITEM: A nail clipper CASTAWAY'S FAVOURITE: Petite Fleur - Sidney Bechet Presenter Lauren Laverne Producer Sarah Taylor

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

Die Bandmitglieder von Spark haben für ihr neues Album einen gigantischen Trip durch die Musikgeschichte hingelegt: "Visions of Venus" - 1000 Jahre weibliche Musikgeschichte. Für das neue Album, das so heißt, haben sie Stücke von Hildegard von Bingen, Björk, Billie Holiday, Clara Schumann, Amy Beach, Tori Amos aufgenommen - alles von Mittelalter bis Modern. BR-KLASSIK-Moderatorin Uta Sailer hat den Blockflötisten Daniel Koschitzki, den Gründer von Spark, zum Gespräch getroffen.

La Storia della Musica S03E17 Clara Schumann (1819-1896): una compositrice di altissimo livello

We would love to hear from you, wherever you are!https://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

Sie wird als Opernstar berühmt, komponiert aber lieber. Viardot vereint Musikstile Europas, ist politisch - und so modern, dass höhere Damen schon mal den Saal verlassen. Von Christoph Vratz.

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!

Für Robert Schumann gibt es nur ganz oder gar nicht: Entweder lähmt ihn seine Depression oder er ist buchstäblich nicht zu bremsen. Dann komponiert er ein Klavierquartett auch schon mal in Windeseile. Von Michael Lohse.

About Ghost MusicIt's only been a month since Dawn's musician husband, Clark, suddenly died. When his former student shows up with missing pages from Clark's unfinished book, voices from the pages are reawakened. A portal from the past cracks open, transporting us back to German Romanticism and renowned pianist Clara Schumann. As she desperately tries to preserve the dignity of her husband, the brilliant composer Robert Schumann, he descends further and further into madness. Separated by a gulf of both time and space, Dawn and Clara grapple with grief and lunacy, and the hope that long-ago melodies can heal their broken hearts.This production is sponsored in part by the AthensWest Emerging Play Grant awarded to the theater program and sabbaticals for both Dr. Greg Partain and Professor Tosha Fowler. The production will feature a team of professional actors and a director working in residence at Transylvania. The production will include the live musical performance of Dr. Greg Partain as an essential component of the play's concept and design. Professor Tosha Fowler will be helming the role of Clara as well as head producer. Professors Daniel Bennett and Melissa Gilbert will lead the design team.For more and to connect with us, visit https://www.artsconnectlex.org/art-throb-podcast.html

Robert Schumann is a big name in classical music. However, in his own lifetime, Robert Schumann wasn't “the” Schumann. His wife was the famous one. Clara Schumann was an internationally known virtuoso who delighted audiences for 60 years, including the periods before, during, and after her eight pregnancies, Robert's illness, and eventual death. Visit the website (herhalfofhistory.com) for sources, transcripts, and pictures. Support the show on my Patreon page for bonus episodes, polls, and a general feeling of self-satisfaction. Or make a one-time donation on Buy Me a Coffee. Join Into History for a community of ad-free history podcasts plus bonus content. Visit Evergreen Podcasts to listen to more great shows. Follow me on Threads as Her Half of History. Music used in this episode include the following free or licensed tracks: · Robert Schumann's Kinderszenen, Op. 15: Träumerei · Clara Schumann's Soirees Musicales Opus 6: Ii. Notturno , performed by David Ezra Okonsar · Robert Schumann's Album for the Young, Op. 68, No. 10 "The Happy Farmer," performed by Trygve Larsen from Pixabay · Clara Schumann's Variations on a Theme by Robert Schumann, Opus 20, performed by David Ezra Okonsar · Clara Schumann's Soirees Musicales Opus 6: I. Toccatina, performed by David Ezra Okonsar Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Tunbridge joins Andrew to discuss lieder by Clara Schumann in Building a Library.

durée : 00:29:16 - France Musique est à vous junior du samedi 08 mars 2025 - par : Gabrielle Oliveira-Guyon - Aujourd'hui partons à la découverte de la voix avec Laura Felpin et Lucile Richardot. Et en programmation musicale : l'une des premières pièces de Clara Wieck, avant qu'elle ne devienne Clara Schumann, et Ella, le tube en hommage à Ella Fitzgerald de France Gall.

Frauen haben in jeder Epoche komponiert. In den Spielplänen und Repertoires sind sie aber kaum präsent. Zu Unrecht! Ein Überblick über die bedeutendsten Komponistinnen.

En este episodio de Grandes Maricas de la Historia, exploramos la vida de Ethel Smyth, una figura revolucionaria del siglo XIX y principios del XX. Compositora brillante, sufragista radical y lesbiana visible en una época de rígidos códigos morales, Smyth desafió las normas de su tiempo con su música y su activismo. Nacida en 1858 en la Inglaterra victoriana, Smyth luchó contra los prejuicios de género para estudiar música en Leipzig, donde conoció a figuras como Brahms y Clara Schumann. Aunque su talento fue reconocido en Alemania, en su país natal enfrentó el escepticismo de una sociedad que no veía con buenos ojos a una mujer componiendo sinfonías y óperas. Smyth no solo destacó en la música, sino que también se unió al movimiento sufragista, componiendo el himno The March of the Women para la Unión Social y Política de Mujeres (WSPU). Su activismo la llevó a la prisión de Holloway, donde dirigió a sus compañeras sufragistas con un cepillo de dientes desde su celda, una imagen icónica de su valentía y creatividad. Además de su lucha política, Smyth vivió abiertamente su sexualidad, manteniendo relaciones con mujeres como Emmeline Pankhurst, líder sufragista, y Virginia Woolf, con quien compartió una profunda amistad en sus últimos años. A lo largo de su vida, Smyth compuso obras sinfónicas, óperas y música de cámara, enfrentándose a críticas machistas que cuestionaban su capacidad como compositora. A pesar de los obstáculos, recibió reconocimientos como el título de Dame Commander of the British Empire y doctorados honoris causa de universidades como Oxford. Su legado, olvidado durante décadas, ha sido recuperado por el feminismo y los movimientos LGTBQ+, que ven en ella una pionera en la lucha por la igualdad y la visibilidad lésbica. Ethel Smyth fue, sin duda, una mujer que derribó muros desde los pentagramas hasta las barricadas. Por cierto, toooodas las músicas de este episodio, y de la playlist, son de la propia Ethel Smyth: https://open.spotify.com/playlist/2yWuiD7G0KmpZVA2FAxup4?si=f9b95cf5e463469d

Robert Schumann schreibt sein einziges Klavierkonzert in der wohl glücklichsten Phase seines Lebens: Endlich ist er mit Clara, der Liebe seines Lebens, verheiratet und kann durchstarten. Aus ihrem Namen leitet er die Töne des Hauptmotivs ab, auf dem das ganze Werk basiert. Eng verzahnt er Klavier- und Orchesterpart und schreibt der Pianistin seines Herzens eine höllisch schwere Solokadenz auf den Leib. Von Michael Lohse.

We would love to hear from you, wherever you are!https://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

durée : 01:29:16 - Une heure et plus, un compositeur : Robert Schumann - par : Aurélie Moreau - Robert Schumann incarne pleinement l'esprit du romantisme. Pianiste d'exception, critique musical avisé et époux de la talentueuse Clara Schumann, il a laissé une œuvre riche et émouvante, où se rencontrent lyrisme, passion et innovation.

Nachdem Liuse Adolpha Le Beau den Unterricht bei Clara Schumann eher als niedermachend empfand, führte sie eine schicksalhafte Begegnung 1874 nach München. Als Wagner-Fan und selbstbewusste Frau im konservativen München definitiv eine Herausforderung. Die Werke, die sie geschrieben hat, haben sowohl Strahlkraft als auch elegische Melodien - und bieten Raum für die großen Dramen der Romantik.

Yann Passabet-Labiste is a French violinist with a beautiful warm intensity to his playing, and in this episode we're focussing on his album “Robert Schumann et son univers” with pianist Bertrand Giraud. Yann talks about some of his mentors in France and Switzerland, many interesting and inspiring musical highlights and his perspectives on how music has helped him through some difficult challenges.   YouTube video of this episode, and Transcript linked here on my website: https://www.leahroseman.com/episodes/yann-passabet-labiste Video of Sonata No. 1 “A mon fils Yann pour sa Maman” by Gérard Passabet-Labiste https://www.youtube.com/watch?v=0DBUxSJjXeM Yann Passabet-Labiste website: https://www.yann-passabet-labiste.com/ Schumann et son univers album (also on your favourite streaming service): https://www.fnac.com/a20143665/Robert-Schumann-Robert-Schumann-et-son-univers-CD-album Brahms Scherzo video from Paris concert: ⁠https://www.youtube.com/watch?v=stk09FVUh7w⁠ It's a joy to bring these inspiring episodes to you every week, and I do all the many jobs of research, production and publicity. You can support this independent podcast through both the unique collection of merchandise: https://www.leahroseman.com/beautiful-shirts-and-more Buy me a coffee? https://ko-fi.com/leahroseman Sign up for my newsletter: https://mailchi.mp/ebed4a237788/podcast-newsletter You may also be interested in my episodes with: Nimrod Borenstein, Omo Bello, Julia MacLaine, the Euclid Quartet, Jeeyoon Kim,  and many more going back to 2021.  Timestamps:  (00:00) Intro (01:33) album Robert Schumann et son univers (04:51) Clara Schumann 1st Romance (04:49) Yann's childhood, the death of his mother, father composer (13:11) Sonata No. 1 “A mon fils Yann pour sa Maman” by Gérard Passabet-Labiste (16:13) Yann's parents, his start on violin (22:21) teachers Lilian Rossi Monique Voisin-Vallet (25:55) Brahms Scherzo from F.A.E. Sonata, live performance  (31:25) studies in Geneva, member of the Tonhalle orchestra in Zurich (39:40) Japan, Madagascar (43:18) collaborating with his father composer Gérard Passabet-Labiste (44:45)practicing violin technique, yoga (46:55) other episodes you may enjoy, and different ways to support this series (47:40) favourite musicians and musical memories (53:54) living for the moment and need to play for people (58:07) Second Romance Robert Schumann op. 94 (01:02:09) music education in France (01:05:18) challenges with a solo career, memorable performance highlights (01:20:43) favourite concertos (01:27:51) concert memories Alfred Brendel Concertgebouw, Butterfly Lovers in China (01:37:13) concert preparation

For those devoted to the Rosicrucian tradition, Christopher McIntosh needs no introduction. In this conversation, Rudolf brings us closer to the man behind the foundational works that have shaped our understanding of Rosicrucianism. His books—The Rosicrucians, The Rose Cross and the Age of Reason, and his recent Rosicrucian Trilogy containing new translations of the original three Manifestos—stand as indispensable guides through the movement's rich history and symbolic mysteries. McIntosh, a widely respected speaker on Rosicrucianism's historical context, now opens a more personal window into the motivations and philosophies that drive his work, demonstrating how his passion for these mysteries can continue to inspire seekers today. In perfect timing with Pansopher's recent relaunch, McIntosh unveils a deeply personal narrative that intertwines with the cultural and spiritual backdrop of Germany—expanding his focus to explore the often-overlooked roots of the German occult tradition. In his latest book, Occult Germany, he draws on three decades of personal experience living in Germany to reveal the subtle influences and hidden currents that have helped shaped modern occultism. In this conversation, McIntosh offers his perspective on how these forces have worked behind the scenes, nurturing the esoteric landscape in ways that are both illuminating and unexpected. Exploring Germany's rich contributions to alchemy, theosophy, and Rosicrucianism, McIntosh brings us even deeper, turning to the often-overlooked realms of German folk and pagan traditions. This area, rarely discussed in esoteric circles—especially given the cultural aftermath of WWII—emerges here as a key influence on modern occultism. McIntosh unpacks the enduring legacy of German Romanticism, Wagner's mythic visions, the Grail legends, and figures like Gustav Meyrink, all of whom contribute to the rich and largely untold story of Germany's spiritual heritage. Music played in this episode In context with the content of our talk, the music for this episode is German - but from VERY different times and styles. And the music all comes to us from German women! 1) CLARA SCHUMANN - "Ich stand in dunklen Träumen", Op. 13 No. 1(I stood in dark dreams) Arranged for Oboe, Cello and Piano (Track starts at 6:14) 2) MARLENE DIETRICH - "Wenn ich mir was wünschen dürfte"(If I could make a wish) (Track starts at 48:30) 3) NICOLE - "Ein bisschen Frieden" (A little bit of Peace)Live at Eurovision Song Contest 1982 (Track starts at 1:34:57) Intro and Outro Musicespecially written and recorded for the Pansophers Podcast by Chris Roberts

The Why Music Podcast is a podcast for kids and young people to learn about different musicians and music through history! All episodes are written, recorded, and produced by Nate Holder. ⁠www.nateholdermusic.com⁠ ⁠⁠www.thewhybooks.co.uk⁠

En el Día Mundial del Cáncer de Mama, Zapata nos invita a recordar a tres mujeres valientes que rompieron moldes en la historia de la música: Hildegarda de Bingen, Clara Schumann y Nadia Boulanger. A través de sus historias, descubrimos cómo desafiaron las barreras de su tiempo y dejaron un legado que sigue inspirando generaciones.Escuchar audio

« Si les noms de Maria Callas, Jacqueline du Pré et Clara Schumann nous sont familiers, qui connaît aujourd'hui ceux de Maud Powell, Hazel Harrison, Antonia Brico ou Nejiko Suwa ? Derrière ces noms se cachent pourtant des interprètes exceptionnelles que l'histoire de la musique a oubliées, comme beaucoup d'autres, parce qu'elles étaient des femmes. Marina Chiche souhaite leur rendre hommage et les réhabiliter au panthéon de l'histoire de la musique. Certaines ont dû exploser des plafonds de verre pour accéder à l'enseignement supérieur malgré des règlements qui les en excluaient. D'autres ont réussi à force d'audace et de persévérance à se faire engager comme solistes ou à entrer dans de grands orchestres jusqu'alors exclusivement masculins. Certaines sont des anticonformistes, des suffragettes, des pionnières, des féministes engagées. Certaines n'ont pas eu d'enfant pour être entièrement au service de leur art, tandis que d'autres ont choisi de mettre un temps leur carrière en sourdine pour devenir mères. C'est précisément cette diversité infinie de profils et de parcours qu'il lui semble si important de voir représentée dans notre imaginaire collectif. Pour penser au présent et au futur un monde où chacun trouve sa place, il est essentiel que l'histoire soit écrite au masculin et au féminin. Il est donc temps de célébrer ces grandes musiciennes du passé et de faire savoir ce dont elles ont été capables ! » Marina Chiche Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

This Day in Legal History: Khrushchev at the HelmOn September 13, 1953, Nikita Khrushchev was appointed General Secretary of the Communist Party of the Soviet Union, marking a pivotal shift in Soviet leadership following the death of Joseph Stalin. Khrushchev's rise to power signaled a departure from the oppressive and brutal regime of Stalin, as he eventually denounced many of Stalin's crimes during his famous "Secret Speech" in 1956. This denouncement was part of Khrushchev's broader policy of de-Stalinization, which aimed to reduce the terror associated with Stalin's rule and promote a more moderate, reform-oriented government. Khrushchev's leadership saw significant changes both domestically and internationally. He pushed for economic reforms, introduced policies that relaxed censorship, and reduced the use of forced labor. On the global stage, Khrushchev's foreign policy was marked by intense Cold War tensions, including the Cuban Missile Crisis of 1962, which brought the world to the brink of nuclear war. His eventual mishandling of the crisis and other domestic challenges contributed to his ouster in 1964 by political rivals within the Soviet leadership.The legal element here is Khrushchev's role in de-Stalinization, which involved dismantling many of Stalin's legal policies of oppression, including the arbitrary imprisonment and execution of political opponents. His reforms reshaped the Soviet legal system by curbing the powers of the secret police and reducing the scale of political purges.Hogan Lovells is closing its offices in Poland, Australia, and South Africa as part of a strategic shift to focus on key markets like London, New York, California, Texas, and Washington, DC. This move will result in 123 layoffs, including lawyers and support staff. CEO Miguel Zaldivar explained the decision aligns with the firm's goal of becoming more financially integrated and reaching $3 billion in annual revenue. Hogan Lovells is following a trend of Big Law firms reducing their real estate footprints, with firms like Dechert, Armstrong Teasdale, and A&O Shearman also closing offices globally. Legal recruiter Jeffrey Lowe noted that international offices are particularly costly for U.S. firms, prompting many to reassess their presence in certain markets. The closures reflect a broader effort to free up capital to attract high-priced lateral talent, a trend expected to continue in the coming years.Hogan Lovells to Close Three Offices in ‘Strategic' Move (3)Norfolk Southern Corp. is seeking its seventh legal leader in as many years after firing Chief Legal Officer Nabanita Nag and CEO Alan Shaw due to a consensual relationship that violated company policy. This follows an internal investigation conducted by an outside law firm. Jason Morris, the company's vice president for law, has been named acting corporate secretary, though it is unclear if he will assume control of the legal department. Norfolk Southern has faced significant legal and regulatory challenges, including the costly East Palestine, Ohio train derailment in 2022, which has led to $2 billion in litigation and remediation expenses.Nag, who took over as legal chief in 2022, is the latest in a series of legal department leaders to leave Norfolk Southern. Her predecessors left for various reasons, including retirement and relocation due to the company's headquarters moving from Norfolk, Virginia to Atlanta. Norfolk Southern has reached large settlements related to the Ohio derailment, including $600 million to resolve lawsuits and $310 million for U.S. government claims. The company continues to deal with litigation over the incident, represented by WilmerHale and Dickie McCamey, and faces further scrutiny from investors following the disaster.Norfolk Southern Law Head's Ouster Continues Department TurnoverThe House has received a letter from the federal judiciary regarding a potential impeachment inquiry into former Alaska District Judge Joshua Kindred, who resigned after being found guilty of sexual misconduct and lying to investigators. The Ninth Circuit's Judicial Committee certified an impeachment inquiry into Kindred in July, citing his creation of a hostile work environment and an inappropriate relationship with a former law clerk. While Kindred resigned, a Senate conviction could bar him from future public office. Democratic Representative Hank Johnson praised the judiciary for taking the allegations seriously, but it remains unclear if the House will pursue the matter. Legal experts suggest Republicans may be reluctant to proceed, given that Kindred is no longer in office, similar to their stance during Trump's second impeachment trial. The last federal judge impeached and removed from office was G. Thomas Porteous in 2010.Meanwhile, scrutiny has increased on Kindred's past cases, with over 40 potentially involving conflicts of interest. Criminal defense lawyers in Alaska are exploring opportunities to overturn convictions related to Kindred's misconduct. Additionally, Kindred's former clerk has filed a whistleblower complaint, alleging retaliation by the Alaska U.S. Attorney's office after she reported the harassment.Ex-Alaska Judge's Potential Impeachment Moves to House (2)TikTok and its parent company ByteDance are facing a pivotal court hearing on Monday that could determine whether the app will be banned in the U.S. by January 19, 2025. The U.S. Court of Appeals for the District of Columbia will hear oral arguments in the legal challenge, which occurs as TikTok remains a key platform for political engagement during the 2024 presidential election. TikTok argues that the law mandating its sale or banning it violates free speech rights and is a drastic departure from the U.S. tradition of supporting an open internet. U.S. lawmakers passed the law, citing national security concerns over potential Chinese government access to American data. TikTok has claimed that divesting the app is unfeasible, and the case could end up before the Supreme Court. While the Biden administration wants Chinese ownership of TikTok to end, it is not pushing for an outright ban if the app's ownership issues are resolved. A decision is expected by December 6.TikTok faces crucial court hearing that could decide fate in US | ReutersThis week's closing theme is by Clara Wieck-Schumann. This week's closing theme honors the extraordinary Clara Schumann, one of the most influential figures in the world of 19th-century classical music, born on this day, September 13, in 1819. A virtuoso pianist, composer, and teacher, Clara Schumann's legacy extends far beyond her role as the wife of composer Robert Schumann. She was a musical prodigy who gave her first public concert at the age of nine, and over her long career, she toured extensively across Europe, earning widespread acclaim for her impeccable technique and profound musicality.Clara Schumann was also a gifted composer, though her work was often overshadowed by the social expectations of her time. One of her standout compositions is Scherzo No. 2 in C minor, Op. 14. Written in 1845, this piece exemplifies her command of the piano, featuring a powerful interplay of rhythmic vitality and lyrical expressiveness. The Scherzo No. 2 showcases Clara's deep understanding of Romantic aesthetics, with its dramatic contrasts and technical brilliance—a hallmark of her compositional style. The piece demands a high level of virtuosity, a reflection of her own skills as one of the greatest pianists of her era.Despite facing many personal challenges, including the early death of her husband and the pressure to provide for her family, Clara remained dedicated to her craft. She shaped the landscape of European concert life, championing the works of Robert Schumann, Johannes Brahms, and other contemporary composers, while continuing to write and perform her own music.Clara Schumann's Scherzo No. 2 is a fitting tribute to her genius—its energetic and complex nature reflects her resilience and innovation in a time when female composers were seldom given their due recognition. As we listen to this remarkable piece, it's a reminder of her invaluable contributions to classical music, both as a composer and a performer, whose impact still resonates today. On her birthday, it's only right to celebrate Clara Schumann's enduring artistry and reflect on her place in music history. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

This week on the Gramophone Podcast, Editor Martin Cullingford meets pianist Alexandra Dariescu who has recorded the piano concertos of Clara Schumann and Edvard Grieg for Signum with the Philharmonia Orchestra and conductor Tianyi Lu. Dariescu talks about her passion for Clara Schumann's concerto, and why she thinks it should be much more widely performed than it has been historically. 

*Hey friends, hopefully this is the last of my reposts as life settles down from an unexpected move, enjoy this one from the achives* Welcome to our latest podcast for those who struggle with insomnia or simply need a calming and relaxing activity before drifting off to dreamland. In today's episode of "Soothing Bedtime Stories," we feature some of the most inspiring and empowering stories about women in music. Narrator Dave will take you on a journey through the lives of legendary female musicians, and composers from history whose remarkable contributions in music have left an indelible mark in the music. Tonight focussing on German composers from Clara Schumann and finishing off with various French composers of the late 19th Century the reading is crafted to allow you to find peace and tranquillity as you drift off to sleep. So, get ready to relax, close your eyes, and let our stories transport you to a place of calmness and peacefulness. Sweet dreams!  Story (02:31)   Find Woman's Work in Music by Arthur Elson https://www.gutenberg.org/ebooks/20571   Supporting Sleepy Time Tales If you would like to support my work and help keep the podcast available and for free, there are several ways you can support the show. ·        You can support the show as a supporter on Patreon and receive a host of bonuses including Patron only episodes and special edits https://www.patreon.com/sleepytimetales ·        If you're enjoying Sleepy Time Tales and would like to make a financial contribution, but would rather not commit to a monthly payment then you can throw a tip in the jar at paypal.me/sleepytimetales ·        Get yourself a set of SleepPhones, headphones designed specially for your needs as an insomniac who likes to listen to something to help you sleep, take a look at https://sleepytimetales.net/sleepphones ·        Or check out our new Merch store up at TeePublic where you can buy Sleepy Time Tales merch or even cool works from other creators. Go to https://www.teepublic.com/?ref_id=25247   Patreon Sleep Tight Patrons Chris & Moya Chuck Mysti Roberta Charity Traci Emily Moya Brian Sandra Jillian Demelza Carla Joseph AY Amy Allison B Allison S     Please Share If you're enjoying the show, and finding it helps you sleep despite the stresses and strains of your life, the absolute best thing you can do is share it with your friends, families, acquaintances, cellmates etc. Anyone who needs a good night's sleep might benefit. So please share it with the people in your life, whether in person or on social media.     Find The Show Website: sleepytimetales.net Patreon: https://www.patreon.com/sleepytimetales Twitter: https://twitter.com/sleepytimetales Facebook: https://www.facebook.com/sleepytimetalespodcast/ YouTube: https://www.youtube.com/c/SleepyTimeTales Merch: https://www.teepublic.com/?ref_id=25247 Project Gutenberg Terms of Use https://www.gutenberg.org/wiki/Gutenberg:Terms_of_Use   *Description generated with the aid of ChatGPT. Sleepy Time Tales will **NEVER** use AI for content*

Today we're joined by Serge Kalinovsky, a resident of Indiana and a recent graduate of the Music Institute of Chicago Academy. He's joined by pianist Lyudmila Lakisova in music of Piatti, Debussy, Clara Schumann, Piazzolla and Martinů. The post Serge Kalinovsky, 17, cello appeared first on WFMT.

Donald Macleod & Dr Jennifer Martyn explore the remarkable, tragic story of gifted violinist and composer, Amanda Maier Amanda Maier was one of the 19th century's most brilliant musicians, yet whose story was almost lost to history. Born in the small Swedish town of Landskrona, her virtuoso talent at the violin saw her rise to become one of Europe's most in-demand performers: giving private and public concerts of major works by Brahms, Mendelssohn, and Bruch, as well as her own dazzling compositions. Maier was a friend of Grieg, Brahms, Clara Schumann and Ethel Smyth and her music was reviewed in newspapers across Europe. Tragically, ill health would see her pass away at the age of just 41 and her musical legacy slowly forgotten. This week, Donald Macleod is joined by musicologist and violinist Dr Jennifer Martyn to celebrate Amanda Maier's life and work - with performances of all her extant compositions alongside works by key figures in her life, including Edward Grieg, Carl Reinecke and Maier's husband, Julius Röntgen, with whom she enjoyed a close and loving relationship in music and in life.Music Featured:Violin Sonata in B minor (3rd mvt) Preludes in E major, G sharp minor, and E flat major Violin Sonata in B minor (2nd mvt) Den sjuka flickans sång (“Song of a sick girl”) Carl Reinecke: Symphony No 2 “Hakon Jarl” (1st mvt) Piano Trio in E flat major (3rd and 4th mvts) Aftonklockan (“The Evening Clock”) Violin Sonata in B minor (1st mvt) Julius Röntgen: Serenade for Wind No 1, Op 14 (1st mvt) Piano Trio in E flat major (2nd mvt) Violin Concerto in D minor Sången (“Song”) Nine Pieces for violin and piano Piano Trio in E flat major (1st mvt) Karol Lipinski: Violin Concerto No 2 “Militaire” (2nd mvt) Nacht-mittags Potpourri (St Nicholas-Schwank) St Nicholas-Schwank (excerpt) String Quartet in A minor (2nd and 3rd mvts) Grieg: Sarabande (Holberg Suite) Swedish Tunes and Dances Allegretto (Zwiegespräche) Piano Quartet in E minor (1st and 2nd mvts) Brahms: Violin Sonata No 3 (1st mvt) Zwiegespräche (excerpts) Piano Quartet in E minor (3rd and 4th mvts)Presented by Donald Macleod Produced by Steven Rajam for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Amanda Maier-Röntgen (1853-1894) https://www.bbc.co.uk/programmes/m001zmwn And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

On 28 July last year the British cyclist Lizzy Banks received an email from UK Anti Doping to say she had return two Adverse Analytical Findings. The letter stated she faced the prospect of a two-year ban unless she could establish the source. Thus began a ten-month journey investigating, researching and writing submissions to establish how the contamination event occurred. Absolved of any blame, having proved on the balance of probabilities that her test was contaminated, Lizzy speaks to Nuala McGovern about how the process destroyed her mentally, emotionally and professionally.Olivier award-winning theatre maker Marisa Carnesky is taking over an entire street at this years' Brighton Festival with her show, Carnesky's Showwomxn Sideshow Spectacular, honouring the forgotten women of the circus. Marisa shares with Anita Rani the lost history of ground-breaking women magicians, aerial artists and sword climbers and how their stories are being explored through a new generation of performers.Do you know what love bombing is? One of our Woman's Hour listeners Lynn got in touch to say it's something we should be discussing. She joins Nuala McGovern alongside relationship therapist Simone Bose to explain more about what love bombing is, and how we can all look out for the warning signs.The long awaited final report of the public inquiry into the infected blood scandal was published this week, The inquiry was announced in 2017 after years of campaigning by victims. From the 1970s to the early 1990s, approximately 30,000 people were infected with blood contaminated with HIV and Hepatitis C. Over 3,000 have since died, with one person estimated to die every four days in the UK. The affected groups include those who received infected blood via blood transfusions, such as women following childbirth, and individuals with haemophilia—predominantly males—and others with similar bleeding disorders who received contaminated blood products. Around 1,250 people with bleeding disorders, including 380 children were infected with HIV. Fewer than 250 are still alive today. Some transmitted HIV to their partners. Nuala McGovern speaks to Clair Walton, who gave evidence to the inquiry. She has been campaigning for years for the wives and partners who became infected to be heard and acknowledged.Clara Schumann was one of the greatest female musicians of the 19th Century – a virtuoso performer who gave over 1,500 concerts in a 60 year career, all while raising eight children and financially supporting her household. Concert pianist Lucy Parham and actress Dame Harriet Walter join Anita Rani to discuss their concert I, Clara which celebrates the ground-breaking life and work of Clara Schumann in her own right.Presenter: Anita Rani Producer: Annette Wells Editor: Louise Corley

As India goes to the polls in the penultimate round of voting in their general election, Anita speaks to the BBC's Divya Arya in Delhi. They discuss what political issues are most important to women in this election, and how the main parties have been wooing them.Valérie Courtois was recently announced as the winner of the 2024 Shackleton medal for her work revolutionizing climate conservation in the Canadian arctic, most notably for her vision connecting Indigenous Guardians as ‘the eyes and ears on the ground' to preserve ecosystems. Valérie talks to Anita about leading the movement for indigenous-led conservation and land stewardship.   Carys Holmes is a 17-year-old girl with an ambition to join the British Army. She passed all of her army selection tests but says she was later taken aside and told she was being rejected because of an 'extensive' history of breast cancer in her family. Anita is joined by Carys who explains that the army has now retracted its decision. Emma Norton, a lawyer and Director of the Centre for Military Justice, also joins. Clara Schumann was one of the greatest female musicians of the 19th Century – a virtuoso performer who gave over 1,500 concerts in a 60 year career, all while raising eight children and financially supporting her household. Concert pianist Lucy Parham and actress Dame Harriet Walter join Anita to discuss their concert I, Clara which celebrates the ground-breaking life and work of Clara Schumann in her own right.Presenter: Anita Rani Producer: Maryam Maruf Studio managers: Donald McDonald and Bob Nettles

It's hard to believe the last time Wallis Bird was on the podcast was nearly five years ago in 2019. Since then, the Berlin-based musician has released two more albums, the latest of which, Visions of Venus, was released last month. It's a creative collaboration with the German classical quintet Spark, and together they are showcasing 1000 years of female composers from Clara Schumann to Kate Bush, Enya to Hildegard von Bingen. In this wide-ranging conversation with Róisín Ingle, Bird talks about the women at the centre of this ambitious album and what their music means to her. She also shares the details of her ongoing renovation project, turning a derelict farmhouse in rural Germany into a house for herself and five others, and she talks about the grief and shock at losing her best friend suddenly last December. Hosted on Acast. See acast.com/privacy for more information.

In 1857, Brahms wrote to his friend Joseph Joachim about his first Piano Concerto, saying, “ “I have no judgment about this piece anymore, nor any control over it.”  Brahms first began sketching his first piano concerto in 1853, but it would be five full years before Brahms finished the piece, and another year until its first performance.  During that time, the piece became a Sonata, then a symphony, then a sonata for two pianos, and then finally a concerto for Piano and orchestra, or as the joke goes, a concerto for piano VERSUS orchestra.  The piece, and Brahms' struggles with it, are completely understandable considering Brahms' youth, and the extraordinarily tumultuous circumstances of his private life during the years of 1853-1858.  During this time period, he was anointed by no less than the kingmaker of classical music at the time, Robert Schumann, as the Chosen One that represented the future of music. He became friendly with both Robert and Clara Schumann, began achieving huge successes, then witnessed the slow mental breakdown of Robert, culminating in a suicide attempt and institutionalization, all while falling deeper and deeper in love with Clara Schumann, and she with him.  The turbulence and emotional weight of all of this is reflected in one of Brahms' most impassioned works, the first piano concerto.  We'll talk about the historical background for the piece, Brahms' working out process, and of course, the structure and insides of this massive, daunting piece.

Clara Schumann - Romance No. 2Yoshiko Iwai, pianoMore info about today's track: Naxos 8.553501Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

In 1850, Robert Schumann accepted a position as the new Music Director in Dusseldorf. This job had a lot of responsibilities, including conducting the city orchestra. Schumann, along with his wife, the legendary pianist Clara Schumann, and their 7 children moved to Dusseldorf. The city made a huge to do about the Schumann's arrival, welcoming him with balls, speeches, and parades. This was a new adventure for the Schumann family, and Robert, at least at first, was invigorated. He loved the less reserved personality of the residents of Dusseldorf, and he was deeply inspired by the Rhine river. Very quickly, Schumann had begun composing at his usual feverish pace. He wrote his cello concerto in just two weeks, and then he began a new symphony, what would turn out to be his last symphony. It would be a celebration of the Rhineland and all of its prosperity, beauty, and charm. Soon after the symphony was written however, the euphoria turned towards catasprophe. Schumann was not a good conductor, and the musicians of the orchestra soon turned bitterly against him. His compositions were still not well understood, and his mental health began sliding towards a crisis point again. So Schumann's 3rd symphony, the Rhenish, really represents a snapshot in time - a time of euphoria, of joy, of possibility. It is this boundless energy that comes up again and again in this remarkable symphony which we are going to talk about today. We'll discuss the wonderful varieties of joy Schumann includes in the piece, its unusual structure, it's transcendent fourth movement, and the unique challenges of performing Schumann's music, which often bedevil conductors to this day. Join us!

Maria Anna Mozart and Clara Schumann were talented and musically gifted women. They were both child prodigies and both dazzled audiences across Europe. While they were (and still are) often put in the shadow of a talented male relative, one woman quietly stepped out of the spotlight while the other fought to stay. Registration is open for our Field Trip to New York City in September of 2024! For information and to register, please visit Like Minds Travel. (While you're there, look at the itinerary for our Paris Field Trip in October, it's almost sold out.) Treat yourself to the best bras on the market and save 20% at Honeylove.com/HISTORYCHICKS, tell them we sent you! Come see us live at the Missouri History Museum in St. Louis, Missouri on March 7th! For more information visit mohistory.org Learn more about your ad choices. Visit megaphone.fm/adchoices

In January of 1839, Clara Wieck, Robert's future wife, wrote to Robert, “Don't take it amiss if I tell you that I've been seized by the desire to encourage you to write for orchestra. Your imagination and your spirit are too great for the weak piano.” Clara knew that she would have struck a nerve with Robert, whose history with the piano was full of trials and tribulations. Robert had trained as a pianist, but a 3 year period of reckless amounts of practicing as well as the exacerbating effects of experimental devices meant to strengthen his fingers had destroyed his ability to play professionally. But already from the age of 17, in 1827, Robert had considered writing a piano concerto, probably for himself to perform. He made 4 further attempts to write a concerto, but it seems, like so many things in Schumann's life, that his marriage to Clara was the final inspiration that he needed to get over the hump. It made sense, as Clara Schumann was possibly the greatest pianist of her age, and someone who was ceaselessly devoted to promoting her husband's works wherever she played. In 1841, one year after their marriage, Robert finished a one movement piano concerto in A minor, which he called a Phantasie. Clara reported adoring the piece, but no publisher was interested in the work of a still relatively unknown composer. They were especially uninterested in a on movement concerto, and so Robert knew he needed to “finish” the piece with two extra movements. It would take him 4 more years to finally tack on those extra movements, and the first performance would be given 4 years after that Phantasie had been written, of course with Clara as soloist. This concerto has remained popular practically ever since it was written, and there are so many reasons for it, from its arresting opening, to its abundant lyricism, to its constant interplay with the orchestra, something that Robert grappled with when writing this concerto. This piece is one that doesn't have a story behind it, or any sort of narrative - it lives in the world as a sort of fantasy, constantly evolving in its beauty throughout. We're going to talk about this piece in detail, from start to finish on this Patreon Sponsored Episode. Join us!