Podcast appearances and mentions of Claude Debussy

Listen to a sampling of some of the 2026 New York Guitar Festival, with pieces by Gyan Riley and an arrangement of Debussy by Australian guitarist brothers Ziggy & Miles, plus, recorded live in August at Bryant Park. Gyan Riley is the son of the groundbreaking minimalist composer Terry Riley, and began as the guitarist in his father's All-Star Band. He plays all the guitars - electric, classical, and bass– with chamber music elegance and brilliant virtuosity. He was joined by drummer Kenny Grohowski (Imperial Triumphant, Titans to Tachyons, Secret Chiefs) and bassist Greg Chudzik, which made this an all-star lineup. Listen to their set, recorded live at the second night of the 2026 New York Guitar Festival. Then, Australian brothers Ziggy & Miles, who happened to be the first guitar duo (and, oddly, the first Australians) to be accepted into the Juilliard School's Artist Diploma program play an arrangement of Claude Debussy's “Claire de Lune.” Plus, hear another piece by the Chicago-based duo of Goran Ivanovic and Fareed Haque, from night one of the 2026 New York Guitar Festival. Set list: 1. Debussy: “Claire de Lune”, arr. Ziggy & Miles 2. Gyan Riley – “Jibberjab” 3. Gyan Riley, Greg Chudzik, Kenny Grohowski – “Greymaxxing with Blue” 4. Gyan Riley, Greg Chudzik, Kenny Grohowski – “Because Today” 5. Goran Ivanovic & Fareed Haque – “Adventure” Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Claude Debussy: Estampes, No. 3. Jardins Sous la PluieAlexander Panfilov, pianoMore info about today's track: Naxos 8.573846Courtesy 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

August 22 is the birthday of renowned French composer, Claude Debussy. Born in 1862, Debussy is known for his impressionistic sonic portraits, like La Mer, about the sea. But one of his best known works is an earlier piano piece, Clair de Lune. The song is quiet and haunting. Which got us thinking: what if we paired it with the most haunting birdsong — the song of loons? Enjoy Clair de Loon. Download the song here.  Created for BirdNote by Breakmaster Cylinder. More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks.  BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Engagé comme professeur de musique auprès de Nadejda von Meck avant de gagner la Villa Médicis en qualité de lauréat du Prix de Rome, Claude Debussy aura connu une jeunesse voyageuse et riche d'impressions.Embarquez pour une fascinante plongée dans la jeunesse de Claude Debussy ! À l'âge de 18 ans, le compositeur français est propulsé dans l'univers cosmopolite et culturel de la famille de la riche mécène russe, la comtesse Von Meck. Découvrez comment ces années de voyages et de rencontres en Russie vont forger le talent et l'inspiration du jeune prodige. Entre anecdotes savoureuses et analyses musicales, Franck Ferrand nous fait revivre cette période décisive dans la carrière de Debussy. Des salons luxueux aux mansardes parisiennes, suivez les pérégrinations d'un jeune homme en quête de reconnaissance, tiraillé entre l'influence de Wagner et celle de la Renaissance. Une histoire riche en rebondissements, qui révèle les coulisses d'une époque charnière pour la musique française.

Amid the tumult of change that swept through French society in the wake of World War II, a trio of visionary filmmakers sought to make meaning of the chaos by revitalizing a common method: montage. Revealing Nicole Védrès, Alain Resnais, and Chris Marker as more than just groundbreaking auteurs, Ivan Cerecina shows how their collective infusion of montage with avant-garde aesthetics renewed the art of cinema while helping France reckon with its past and imagine its future. Cerecina's book Assembly Lines is a call to action today as contemporary crises prompt reevaluation of our cultural histories. Here, Cerecina is in conversation with James Leo Cahill.Ivan Cerecina teaches film studies at The University of Sydney. He is author ofAssembly Lines: Montage in Postwar French Film, and his work has been published in Screen, Camera Obscura, and Framework.James Leo Cahill is associate professor of cinema and French literature at the University of Toronto. Cahill is author of Zoological Surrealism: The Nonhuman Cinema of Jean Painlevé and general editor of Discourse: Journal for Theoretical Studies in Media and Culture.REFERENCES/PEOPLE:Nicole VedrèsAlain ResnaisChris MarkerSergei EisensteinDziga VertovHenri LangloisAndré MalrauxWalter BenjaminREFERENCES/FILM:Paris 1900 (Nicole Vedrès)La Vie commence demain (Nicole Vedrès)Guernica (Alain Resnais)OTHER REFERENCES:Steve Ungar / Critical Mass: Social Documentary in France from the Silent Era to the New WaveAndré Bazin, “On Why We Fight: History, Documentation, and the Newsreel,” in Bazin at Work.Laure Astourian / The Ethnographic Optic: Jean Rouch, Chris Marker, Alain Resnais and the Turn Inward in 1960s French CinemaAssembly Lines: Montage in Postwar French Film by Ivan Cerecina and Zoological Surrealism: The Nonhuman Cinema of Jean Painlevé are available from University of Minnesota Press. Thank you for listening.Background track Claude Debussy, courtesy of www.classicals.de.

Claude Debussy  (1862 - 1918) - La mertrois esquisses symphoniquse pour orchestre 1.      De l'aube à midi sur la mer2.      Jeux de vagues3.      Dialogue du vent et de la mer Sergiu Celibidache, direttoreBerliner Philharmoniker

Åren runt sekelskiftet 1900 var en motstridig epok. En tid för sexuella experiment, men också djup misogyni och antisemitism. Motsägelserna beskrivs tydligast av Colette, menar Ulrika Kärnborg. Lyssna på alla avsnitt i Sveriges Radios app. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Först sänd: 2022-02-22.Det är få författare från förra sekelskiftet som fortfarande har förmågan att uppröra. Sidonie-Gabrielle Colette, här för enkelhetens skull kallad Colette, är en av dem.Pocketutgåvorna av hennes böcker står i min bokhylla, tummade och med spruckna ryggar, prydda av sliskiga omslag som fortfarande gör mig genererad. Titlar som "Vagabonden", "I bojor", "Sido" och "Chéri" väcker associationer till mörka budoarer och åldrade kokotter som fläktar sig med dyrbara solfjädrar. Alla är de skrivna i en stil som jag trots det upplever som omedelbart tilltalande: fräsch, passionerad och engagerad."Kärlek är ingen hedervärd känsla". Så lyder en av Colettes mer kända sentenser. Av allt att döma är den en krass sammanfattning av hennes första äktenskap med den notoriskt otrogna journalisten och författaren av bortglömda skandalböcker, M. Willy. Med denne tvivelaktige, medelålders person flyttar Colette som tjugoåring till Paris. Där presenterar han henne för modernistiskt sex och låter henne träffa alla som "betyder något", det vill säga folk som Balzac, Marcel Proust, Claude Debussy, Jean Cocteau, men också legendariska kurtisaner som la belle Otero.Genom Willys försorg får hon stifta bekantskap med hela spektrumet av sexuella avvikelser. Priset blir högt – Colette har sagt att Willy för alltid korrumperade hennes förhållande till kärleken – men i gengäld vinner hon insikter som ska visa sig användbara. Framför allt lär han henne om sinnlighet och hur hon ska förmedla sina egna intryck i skrift. Colette är nämligen redan från början starkt påverkad av hur ting och människor ser ut och doftar, hon äger en överkänslighet som gör att hon kan höra ett löv falla; hon faller i extas över hur en tomat smakar eller de rosa skiftningarna på småkrabbornas ryggsköldar. Hos Colette är driften alltid sublimerad, omdirigerad till en nästan mystisk upplevelse av samhörighet med tingen, växterna och djuren – men nästan aldrig med männen.I fyrtioårsåldern sätter hon sig ner och påbörjar ett slags sexuellt bokslut, "Pur et l'impur", enligt henne själv det närmaste hon kom en uppriktig självbiografi. "Det rena och det orena", blir en upprörande och subversiv bok om de eskortflickor, prostituerade bögar, flamboyanta lesbiska och professionella förförare som hon själv umgicks och låg med under sina första stormiga Paris-år. Jag förstår varför den inte fick någon svensk förläggare, innehållet är rena dynamiten. Romanen är skriven i dialogform där kärleken reduceras till ett spel, en affärstransaktion, där det gäller att inte tappa masken. Kvinnorna som Colette respekterar mest är cynikerna, de som försvarar sin kurtisanmoral och skryter med att de aldrig någonsin sagt vad de egentligen kände. Allt är skildrat med den sensuella pragmatism som är Colettes signum och anledningen till att jag alltid återvänder till hennes författarskap.En av de mest slående aspekterna av Colettes liv och verk är hur hårt hon kämpade för att hitta sitt eget uttryck. Hon föddes i obemärkthet på landsbygden 1873 och dog världsberömd i Paris 1954. Efter succédebuten skrev hon en lång rad romaner, noveller, essäer och självbiografier. Som journalist skildrade hon allt från kvinnomisshandel och mode till gastronomi och fejkade orgasmer. Hon var en av de första kvinnorna som rapporterade direkt från fronten under första världskriget. Samtidigt var hon oavbrutet sysselsatt med att spränga genregränserna. Hon skapade stumfilmsintriger och skrev librettot till en opera av Ravel. Vid sidan av gjorde hon koreografier till pantomimteater – och extraknäckte själv framgångsrikt som mimare och dansare.Den konservative författaren och kulturpersonligheten Henry de Montherlant kallade Colette "den största naturliga franska författaren". Suzanne Brøgger, den nordiska författare som mest liknar Colette, har beskrivit hennes språk som såpbubble-fjärilvingelätt: "Som om skrivandet var det naturligaste av allt för denna språkgourmet, alltid på jakt efter ett bättre ord, utan att syntaxen röjer det hårda slitet, de oändliga rättelserna och omskrivningarna". Även om det hon skrev om, alla interiörerna från Paris undre värld, kunde te sig skandalöst höll hon sig stilistiskt innanför det tolerablas gränser. Det gällde inte i lika hög utsträckning hennes erotiska testamente.Colette blev tvingad att revidera "Det rena och det orena" när hon var i sjuttioårsåldern. Boken kom ut 1941, i ett kulturklimat som på grund av kriget skilde sig kraftigt från det som en gång format Colettes konstnärskap. Ändå är framför allt om ungdomens könsroller och umgänge hon vill berätta. Därför är det inte rösterna från mellankrigstidens radikala kulturliv som når oss, utan det mer avlägsna sorlet från la belle époque. Det var en era då den europeiska misogynin nådde en höjdpunkt. Männen kände sin auktoritet och ställning hotad, inte bara av den skrämmande varelse som gick under namnet "Den nya kvinnan", utan även av två andra mytologiska väsen. "Juden" och "den homosexuelle" var två kulturella projektioner som underminerade den patriarkala ordningen.Även om Colettes feministiska kritik inskränker sig till det som pågår i sängkammaren, framstår hon som en pionjär. Och hon blir, skriver den amerikanska kritikern och författaren Judith Thurman, en av de första som sanningsenligt skildrar den nyligen frigjorda kvinnans situation i ett mansdominerat samhälle. Genom sin osentimentala, för att inte säga iskalla blick på relationer och sexuella identiteter, vågar hon visa att "kvinnligt" och "manligt" är kulturella konstruktioner. Alla samhällen som delar upp individer i sådana som "ger" och sådana som "tar emot" sexuell njutning, fördärvar sina unga. De flesta, oavsett biologiskt kön, föds med behov av att dominera såväl som att underkasta sig, säger Colette med en blinkning. Ur förtrycket av de naturliga drifterna föds perversionerna, och det är de som Colette med en sådan framgång har lyckats skildra. Hennes skarpa iakttagelser av det som en gång kallades "onatur" gör att "Det rena och det orena" numera ses som ett viktigt bidrag till HBTQ-litteraturen.Men författare lever som vi alla vet sällan som de lär. Judith Thurman skriver i sitt förord till the Pure and the Impure att Colette ironiskt nog skrev "Det rena och det orena" under en period då hon själv, efter att i flera decennier ha levt i olyckliga relationer, hade funnit en stadig partner. Äkta maken nummer tre, Maurice Goudeket, tycks ha skänkt Colette den trygghet hon letat efter. Och även om deras förhållande var stormigt och de fick uthärda rejäla smockor från båda hållen, var det ändå en relation mellan jämlikar.Och som Judith Thurman sammanfattar det:"'Det är inte förrän man blivit frisk som man upptäcker att man varit sjuk', skrev Colette en gång till Maurice. En sanning som bekräftas av hennes egen lovsång till ett sårat och splittrat Eros, författat av en kvinna som för första gången kände sig hel".Ulrika Kärnborg, författare

Claude Debussy: 2 Danses, “Danses Sacrée et Profane,” Danse “Profane”L'Ensemble OndineAnne-Sophie Bertrand, harpMore info about today's track: Naxos 8.551444Courtesy 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

This week's episode is all about already existing music that's been adapted for video games, and it features everyone's favorite video game composers. Alberto José González? Nah, we're talkin' Johann Sebastian Bach! David Wise? More like David Bowie! From Cyndi Lauper to Claude Debussy, this episode's got all the greats covered.

Pour ce dernier épisode de podcast avant les vacances (on se retrouve en bombe à la rentrée)... on va parler cosmos… et se redire à quel point on est tout petit dans ce bas monde. Et pour ça on va lever les yeux vers le ciel à la nuit tombée, on va scruter les étoiles et on va laisser venir à nous cette question gigantesque :Quelle est la place de l'homme dans l'univers ?Voilà ni plus ni moins que le sujet de notre podcast... à partir de la lecture détaillée du Psaume 8, véritable bijou de poésie et de métaphysique.Et vous savez quoi ? Dans cette déambulation estivale sous les étoiles, on sera accompagné de plein d'invités sympas dont on entendra les voix et les notes de musique :Coldplay, Michel Rivard, Keith Green, Elvis Presley, Diana Navarro, Nils Frahm et Claude Debussy !Bonne écoute !Bien bibliquement et estivalement vôtre,L'équipe PRIXMArticles｜Podcasts｜Youtube｜InstagramHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

SynopsisToday we note the birthday of a remarkable composer, conductor and virtuoso violinist: Eugéne Ysaÿe, who was born in Liége, Belgium, on today's date in 1858. After studies with two of the most famous violin composers of his day, Henyrk Wieniawski of Poland and his Belgian compatriot, Henri Vieuxtemps, he soon was touring Europe and Russia as a star performer himself.In 1886, when 28-year old Ysaÿe married, great Belgian composer Cesar Franck presented the young couple with his Violin Sonata as a wedding present. That same year, Ysaÿe founded a famous string quartet, and in 1893 it was the Ysaÿe Quartet that gave the premiere performance of Claude Debussy's String Quartet, a work its composer dedicated to the ensemble in admiration.In 1918, he made his American debut as a conductor with the Cincinnati Symphony, and made such a great impression there that he remained as music director of the Cincinnati Symphony from 1918 to 1922.As a composer, he wrote eight concertos and a set of six solo sonatas for the violin. In 1928, at 70, the patriotic Belgian began work on an opera, Peter the Miner to a libretto in his native Walloon language, and was at work on a second opera when he died at 72, in 1931. In 1937, Queen Elizabeth of Belgium inaugurated the annual Eugene Ysaÿe International Prize for promising young violinists.Music Played in Today's ProgramCesar Franck (1822-1890): Violin Sonata; Itzhak Perlman, violin; Martha Argerich, piano; EMI 56815Eugène Ysaÿe (1858-1931): Chant d'hiver; Aaron Rosand, violin; Radio Luxembourg Orchestra; Louis de Froment, conductor; Vox Box 5102

Pianist Clare Longendyke is a soloist, chamber musician, and fearless advocate for new music who brings daring repertoire and thoughtful storytelling to the concert stage. Her performances are marked by imaginative programming, charismatic stage presence, and a gift for weaving together contemporary works and classical favorites.In 2024, Clare released her debut solo album, …of dreams unveiled, featuring music by Claude Debussy, Amy Williams, and Anthony R. Green. The album reached #2 on the Billboard Traditional Classical chart and was praised as “a work of remarkable pianistic invention” (The WholeNote) and “delightfully daring” (EarRelevant).A passionate collaborator with living composers, Clare has commissioned more than 30 new works and premiered over 250 pieces in the past decade. Her programs often pair works from the standard repertoire by Beethoven, Debussy, and Amy Beach, to name a few, with today's most compelling musical voices, creating concerts that speak to the depth and vitality of the classical tradition.Highlights of Clare's 2025–26 season include appearances with Symphony New Hampshire, the South Bend Symphony Orchestra, and the Danville Symphony of Illinois. She has appeared on recital series across the country and as a soloist with the Mankato Symphony, Rochester Symphony, and Symphonicity.Clare holds degrees from Boston University (BM) and Indiana University's Jacobs School of Music (MM, DM). Whether from the stage or in conversation, Clare invites audiences into the heart of her artistry—one that builds bridges between tradition and transformation and brings the concert experience vividly to life.@clarelongendyke.pianowww.clarelongendyke.comhttps://www.youtube.com/@ClareLongendykeYour portfolio career is YOURS to design. If you are seeking inspiration, grab the first chapter of my book for FREE at the link below! You are allowed to thrive, and your artistry MATTERS.https://jennetingle.kit.com/c6e4009529Make sure you SUBSCRIBE to Crushing Classical, and maybe even leave a nice review! Thanks for joining me on Crushing Classical! Theme music by DreamVance.I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a discovery call from my website.  https://jennetingle.com/work-with-meI'm your host, Jennet Ingle. I love you all. Stay safe out there! 

Vad betyder tystnaden? Det funderar församlingsmusiker Lisa Tilling på i dagens andakt. Lyssna på alla avsnitt i Sveriges Radios app. Ur andakten:En klok person sa en gång till mig, när jag sa att jag pratar mindre och lyssnar mer nu förtiden: ”Härligt! Jag väntade på att orden skulle ta slut någon gång så att tystnaden får en chans att viska viktiga saker till dig”.Med lite eftertanke på dom orden så är det ju självklart att det är så. Jag behöver vara tyst för att viktiga saker jag behöver höra ska få större spelrum. I tystnaden får alla känslor möjlighet att sorteras utan att bli påverkade av intryck utifrån. I tystnaden talar dom ord som aldrig tidigare blivit sagda. I tystnaden blir min hörsel skarpare. I tystnaden finns nuet.Under alla år som jag har ägnat mig åt musiken så har det blivit tydligare för mig att det är tystnaden som är den starkaste budbäraren i musiken. När pausen uppstår ger den mig möjlighet att reflektera och också förväntansfullt lyssna i tystnaden efter det som kommer sen.En av dom stora franska tonsättarna, Claude Debussy lär ha sagt: Musik är tystnaden mellan tonerna.Musik och tystnad har ett starkt kärleksförhållande.Text:Fil 2:4, Matt. 7 och 22:37-40 och 25Musik:From The Lit Sea Beneath av och med Fredrik TörnvallProducent:Susanna Némethliv@sverigesradio.se

Programa especial realizado desde la Casa Museo Manuel de Falla de Granada en colaboración con la Fundación Archivo Manuel de Falla. Entrevistas con Elena García de Paredes, Presidenta de la Fundación Archivo Manuel de Falla y con el pianista Miguel Ángel Rodríguez Láiz. Incluye el recital que el pianista ofreció en el piano Pleyel de la Casa Museo Manuel de Falla. FALLA: Homenaje para “Le tombeau de Claude Debussy” (2’58”). A. Segovia (guit.). Canción (2’03”). Andaluza (5’05”). Homenaje a Debussy (3’10”). Fantasía Bética (13’59”). M.-Á. Rodríguez Láiz.Escuchar audio

Hélène Mercier et Louis Lortie poursuivent leur passionnante exploration de l'œuvre pour quatre mains et deux pianos de Claude Debussy. Un second volume de ce vaste cycle, qui s'annonce comme l'intégrale la plus complète, vient de paraître chez Chandos. Il réunit des pièces originales et des transcriptions d'oeuvres orchestrales ou pianistiques réalisées par Debussy lui-même ou par d'autres compositeurs tels Ravel et Dutilleux.Les deux pianistes nous éclaireront ce soir sur ce programme qui inclue Le Prélude à l'après-midi d'un faune, le Clair de lune, les Nocturnes pour orchestre ou encore les plus rares Lindaraja et En blanc et noir. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In 1782, Mozart was corresponding with a fellow composer about the art of composition. Mozart made the point that the true essence of music lies not only in the notes themselves but also in the spaces between them. That thought was echoed a century later by Claude Debussy who said, "Music is the silence between the notes."  Silence is powerful. One part of the power of silence is its ability to define the notes around it. The spaces between the notes create rhythm. Lengthening spaces create a ritardando. Shortening spaces create an accelerando. Actual silence, created by a rest in the music, causes tension that is only relieved, or possibly heightened, by the next note. For us harpists, creating silence as we play is challenging. Our music naturally rings and resonates as each string is played. In those moments when we need to stop the sound, it becomes a physical and intentional act. We create silence on purpose.  But what of those moments between the notes, when we want a note to sustain and to hold the tension into the next one? Do those moments need special attention? I believe they do.  So today, I'd like to explore the two different kinds of silence we harpists have to consider: what each means and what we need to do to observe those silences with artistry and musicianship. And as we get started, here is another quote to let roll around in your mind. It's from Kate Kennedy's book, Cello: A Journey Through Silence to Sound. She writes this: "Silence is the opposite of music, but it is also its lifeblood — the breaths between the phrases, the drama, the anticipation, and the quality of the breathless hush between final note and applause."   Links to things I think you might be interested in that were mentioned in the podcast episode:  Join the Compose for Christmas Challenge Register for the Chrysalis Music Workshop  Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode? LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-268  

Welcome to a special concert edition of Inwood Art Works On Air podcast featuring the Inwood Chamber Players playing classical program featuring MOSTLY romantic works by Amy Beach, Giacomo Rossini, Claude Debussy, Max Bruch, and Gabriel Pierne arranged by Gilbert Dejean. Hence the name of the concert, Mostly Romantic! It also features local singer, Karen Jolicoeur. It was recorded live on May 3, 2026 at Good Shepherd Auditorium. Program:Claudio Monteverdi - Cantata DominoClaude Debussy - Marche EcossaireGiuseppe Verdi - Three Excerpts from Aida·      Celeste Aida·      Patri Mia·      MarchGabriel Faure - PavaneJohannes Brahms - Excerpts from Serenade No. 1·      Movement I - Allegro molto·      Movement VI - AllegroJoseph Haydn - Excerpt from Symphony No. 99·      Movement IV - VivaceJacques Offenbach - La Belle Helene Overture Musicians: Helen Campo - Flute 1, Kaoru Hinata - Flute 2 and Piccolo, Kathy Halvorson - Oboe 1, Setsuko Otake - Oboe 2, David Gould - Clarinet 1, Meryl Abt - Clarinet 2, RJ Kelly - Horn 1, Nancy Billmann - Horn 2, Sarah Boxmeyer - Horn 3, Sara Cyrus - Horn 4, Patti Wang - Bassoon 1, Yuki Higashi - Bassoon 2, Jeffrey Levine - Double Bass

In the second episode of Passing Notes, we sit down with Australian violinist Sophie Rowell. Currently Artistic Director of the Melbourne Chamber Orchestra, Sophie has firmly carved her legacy as one of Australia's foremost artistic leaders, having previously held positions in the Australian String Quartet and the Melbourne Symphony Orchestra as Concertmaster. The episode explores Sophie's extraordinary journey across her career as a renowned chamber musician, concertmaster, and now artistic director, how professional life in Australia has compared to her experiences working overseas, and the ways her career has shaped her passion for teaching. ---------------------------------------------------------------- Created by harpist-composer and 2026 AYO Media & Communication Fellow, Passing Notes is a podcast which aims to demystify, debunk and explore the diversity of a career in classical music performance. As young performers in Australia, there can often be the idea of a ‘right way' to go about pursing a successful career in classical performance—a formula or ‘golden path' which young musicians might feel pressure to conform to. Throughout this miniseries, we learn how in reality, no two pathways look the same. By entering the worlds of some of Australia's leading performers and artistic thinkers, we hear about what their journey has looked like navigating a career in classical performance. ----------------------------------------------------------------   Music included in this episode: “Assez vif, très rythmé” No. 2 from String Quartet in F Major, M.35 by Maurice Ravel (1903). Australian String Quartet (ASQ: Sophie Rowell, violin; Anne Horton, violin; Sally Boud, viola; Rachel Johnston, cello), (2012). “Andantino, doucement expressif” No. 3 from String Quartet in G Minor, Op.10, L.85 by Claude Debussy (1893). Australian String Quartet (ASQ: Sophie Rowell, violin; Anne Horton, violin; Sally Boud, viola; Rachel Johnston, cello), (2012).

New episode: Let's take a deeper dive into the 17th arrondissement of Paris. You've hopefully already heard the previous episode, where Tom Vickers shared his thoughts on the 17th Kingdom.  In this brand new episode, I kept exploring the 17th with my wife (and our new intern Victoria Hughes). Relevant places to find:  Musée national Jean-Jacques Henner 43 avenue de Villiers, 75017 A beautiful 19th-century townhouse museum dedicated to the dreamy, atmospheric paintings of Alsatian artist Jean-Jacques Henner (1829–1905), tucked into the elegant Plaine Monceau neighbourhood. www.musee-henner.fr Claude Debussy & the 17th Debussy lived in the 17th for many years and composed some of his most celebrated works here, including Pelléas et Mélisande and Clair de Lune. The neighbourhood honoured him with both a street and a conservatoire bearing his name.  25 Rue de Chazelles: Where the Statue of Liberty Was Built The workshop where Bartholdi and Eiffel assembled the Statue of Liberty before shipping it to New York. 25 rue de Chazelles, 75017 Inform Café A top specialty coffee shop and brunch spot with two locations in the 17th, one of them inside the striking Cité de l'Économie building (11 bis rue Georges Berger, 75017), and the original at 25 rue des Acacias. www.informcafe.com Square des Batignolles A classic Haussmann-era English-style garden with a grotto, waterfall and pond, it's the heart of the village-y Batignolles neighbourhood. 11 place Charles-Fillion, 75017  Parc Martin Luther King (Parc Clichy-Batignolles) A vast, modern 10-hectare park built on former railway land, full of biodiversity, cherry trees. 147 rue Cardinet, 75017  Station Service Batignolles A tiny, warm neighbourhood coffee shop serving specialty coffee, fresh juices and homemade cakes - a perfect local gem. 3 rue Brochant, 75017  This episode is brought to you by The Earful Tower Tours. Come join us in Montmartre, the Marais, or the Latin Quarter. Our Walking Tours are now award winning, and are the best way to experience this podcast in real life.  The Earful Tower exists thanks to support from its members. For just $10 a month you can unlock almost endless extras including bonus podcast episodes, live video replays, special event invites, and our annually updated PDF guide to Paris.  Membership takes only a minute to set up on Patreon, or Substack. Thank you for keeping this channel independent.  For more from the Earful Tower, here are some handy links: Website  Weekly newsletter  Walking Tours Music: Pres Maxson's take on Debussy's Claire de Lune. 

A year ago, I published as my final Pride 2025 episode, Pears Sings Not-Britten, which explored the voice and artistry of British tenor Peter Pears in repertoire other than that written for him by his partner Benjamin Britten. Today's episode, a refurbished bonus episode originally published nearly a year ago has a new, catchy title that carries that theme even further, in that Britten is entirely absent, either as composer or as Pears's usual accompanist. Today, I feature collections of songs by five different composers, Ludwig Van Beethoven, Claude Debussy, Robert Schumann, Alan Bush, and Michael Tippett, all featuring Pears accompanied by pianists other than Britten, including celebrated solo virtuosi Noel Mewton-Wood, Murray Perahia and Sviatoslav Richter; with composer Alan Bush himself accompanying Pears himself in the thornily difficult piano part of his self-described cantata Voices of the Prophets. Of today's setlist, all but the Bush are either live or radio recordings which span three separate decades of Pears's career, and show an artist who, whether in his vocal prime or in the inevitable decline of his later years (and even after Britten's death), was fixated on expressing the finest shades of textual nuance and vocal color. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Mondschein mit Ohrwurm-Garantie: Claude Debussys „Clair de Lune“ gehört zu den berühmtesten Klavierstücken der Welt. Dabei vergessen wir schnell, dass der Mond nur ein Teil einer viel größeren Klanglandschaft ist. Von Dominik Mercks.

durée : 00:17:38 - par : Lionel Esparza - Au moment de l'après-guerre, Monique Haas est l'une des rares pianistes à trouver une audience internationale. Délaissant le romantisme pour se concentrer sur la musique du 20e siècle, elle se tourne rapidement vers Claude Debussy qu'elle interprète avec une netteté et une précision étonnantes - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:27 - par : Aurélie Moreau - réalisation : Cécile Bonnet des Claustres, Benjamin Orgeret - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Cette première série des Enquêtes du Centre Pompidou vous emmène à la découverte de l'artiste Sophie Taeuber-Arp (1889-1943). Peu connue en France, elle est pourtant l'une des premières à oser l'art abstrait et à abolir les frontières entre beaux-arts et artisanat. À partir de son œuvre Tête dada, acquise par le Centre Pompidou, nous partons sur ses traces, depuis ses débuts dans l'avant-garde, en passant par la création de sa maison-atelier à Meudon-Clamart, jusqu'à sa mort tragique. CréditsÉcriture et réalisation : Clara Gouraud, Celia CrétienIntervenant.es : Cécile Bargues, Mirela Ionesco, Stéphanie Moitrel, Camille Morineau, Alfred Pacquement Mixage : Ivan GarielAssistance technique : Christophe BechterDesign musical : Antoine AssayasLecture des textes de Sophie Taueber-Arp : Hélène BressiantVoix : Junior Barona, Christophe Bechter, Delphine Coffin, Celia Crétien, Ivan Gariel, Clara Gouraud, Adrien Hoffmann-Hervé, Théo KuperholcExtraits musicaux : Épisode 4 : Claude Debussy, Berceuse héroïque ; Virgil Thompson, Swiss Waltz : A portrait of Sophie Taeuber-Arp Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Elise Hall war eine Pionierin: Um 1900 ist sie als eine der ersten Saxofonistinnen in den USA und Europa aufgetreten. Sie hat namhafte Komponisten beauftragt, für ihr Instrument zu komponieren, unter anderem Claude Debussy.

De 'The Classical Album', disco de la cantante brasileña Ithamara Koorax, con el piano de Filipe Bernardo y la guitarra de Rodrigo Lima más una intervención del trombonista Raul de Souza, produccion y arreglos de Arnaldo de Souteiro, 'Iluminada' -con letra de Aldir Blanc se basa en la balada nº1 en sol menor opus 23 de Chopin-, 'Pavane' de Gabriel Fauré, 'O trenzinho do caipira' -de Villa-Lobos con letra del poeta Ferreira Gullar-, 'Serenata in paradise/My reverie' -canciones de los años 30 y 50 sobre melodías de Alexander Borodin y Claude Debussy - y 'Preludio da solidão' -de Villa-Lobos con letra de Herminio Bello de Carvalho-. Caetano Veloso canta 'Mais simples' de Zé Miguel Wisnik y 'Oração ao tempo' de su autoría que da título al nuevo disco de António Zambujo recién editado y en el que el portugués ha incluído 'Foi a noite' de Jobim y Newton Mendonça. Del nuevo disco de Marcelo Callado 'Brado' sus canciones 'Encanto' y 'Cara ou coroa'. Y del saxofonista y clarinetistas Ken Peplowski, que nos dejó en febrero, 'Nice ´n´easy'. Abre y cierra el baterista Tom Cohen con 'Bye bye Brasil' de Menescal y Chico Buarque. Escuchar audio

Claude Debussy - Marche Ecossaise Sur un Theme PopulaireBelgian Radio and Television Philharmonic OrchestraAlexander Rahbari, conductorMore info about today's track: Naxos 8.550505Courtesy 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

Clarinetist Katia Waxman, oboist Daniel Gurevich and pianist Ya-Ju Chuang played the final movement of the Trio for Oboe, Clarinet and Piano by Bill Douglas and spoke with IPR's Amanda Sewell. These three Interlochen faculty musicians will perform with guest flutist Alisa Smith in two recitals of woodwind chamber music with piano. The program features works by Eugène Bozza, Joseph Horovitz, Claude Debussy and Bill Douglas will be held on Saturday, February 28 at 7:30 p.m. at the Alluvion, part of the Interlochen in Town series. The musicians will also give an informal preview of the recital in the Music Center at Interlochen Center for the Arts on Thursday, February 26 at 7:30 p.m.

"Piano being played": recording of the second movement ('Sarabande') of solo piano suite 'Pour le piano' (L.95) by French composer Claude Debussy, performed by an unnamed pianist.From the sound collections of the Pitt Rivers Museum, University of Oxford, being from a large collection of reel-to-reel tape recordings of music and soundscapes made by ethnomusicologist Raymond Clausen mainly in Vanuatu (and South Africa) between 1960 and 1979.Recorded by Raymond Ernst Clausen.Copyright Pitt Rivers Museum, University of Oxford.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Silenced Soil begins with a fragile artefact: a recording of Claude Debussy's Sarabande, composed in 1894 and revised in 1901, then recorded on 11 April 1963 in Gillitts, KwaZulu-Natal, by ethnomusicologist Raymond Clausen. Its only documentation is a handwritten note on a reel-to-reel tape box: “at Gillitt's, copy of Debussy, Sarabande.” No pianist, no studio, no context. The archive offers little clarity. Sometimes it keeps its silence.Listening to this recording in 2025, I was confronted not only by sound, but by history. Why was Western art music recorded here, under whose authority, and for what purpose, during a period still shaped by colonial power? Before reshaping the music, I had to confront my own position as a descendant of European colonisers. This inherited legacy uncomfortable but necessary became central to the work, sharpening my awareness of cultural imposition, culture colonialism and ongoing calls for restitution.From this reckoning, Silenced Soil emerged. I treated Debussy's melody as a fractured map: splintered, dispersed, and reassembled through chance. This approach draws on John Cage's embrace of indeterminacy and my long-standing admiration for atonality in music. The soundscape is composed at 120 BPM (2 Hz), chosen to evoke both calm and alertness. A reflection of historical time moving slowly, yet demanding urgent re-examination. Within this framework, I wove voices and instruments from Zulu culture, women's singing sound fragments, mouth harps, clapping sticks, and rattles — alongside electronics, loops, found sounds, urban noise, and synthesised textures and the original recording of Sarabande. I actively intervened in this source material, editing the refrain of Sarabande into fragmentary notes and embedding them within the soundscape composition. These elements meet not as opposites but as interlocutors, forming a threshold where suppressed traditions and contemporary sound worlds converge.Unanswered questions remain: Who was the pianist? Who authorised the recording? What ethical framework governed it? These absences are integral to Silenced Soil. What is unheard can be as powerful as what is recorded. And the soil? It stands for the restless cosmos, for the sand forever in motion across our planet. What drifts, what scatters, what is buried will, in time, be made visible. My compositional process is guided by intuition and curiosity; notation and atonality serve as a compass rather than a rule, supported here by research into the subject itself. My aural journey began at six at the piano, expanded through Germany's 1990s DJ culture, deepened during my years as a contracted composer with BMG, and refined through studies in Sound & Visual Art at Middlesex University's Lansdowne Centre for Electronic Arts. Together, these experiences shape a practice that moves fluidly between structure and instinct, inquiry and an enduring love for soundscape creation.Piano being played reimagined by Linda Himbert.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

DescriptionDebussy and the Sound of Impressionism in 60 Seconds. Take a minute to get the scoop!Fun FactDebussy disliked the term “Impressionism,” insisting it was borrowed from painting and misunderstood his music. He preferred to think of his works as “images” in sound. Ironically, the label stuck—and today it's nearly impossible to imagine Impressionism without Debussy at its center.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.Support the show

  When Daniel wrote that he had a new mix based around silence I knew it would be good. Then I saw the tracklist and I knew it would be great. He includes cuts from some of my favorite artists - Halftribe, Innesti, Sonmi451, Loscil, and A Produce. The A Produce track is one of my favorite ambienbt tracks of all time. Here's what Daniel says about his new mix: Claude Debussy once wrote: “The music is not in the notes, but in the silence between them”, suggesting that music's emotional impact, beauty, and expression come from the pauses and spacing between sounds.  The first thing I think of is Eno's classic Music for Airports - man did I fall in love with that album.  Roach's Dream Circle comes to mind - low and slow - the music just seems to breathe.  Of course you have the steady state drone stuff from Grassow and friends, which I like - but there is no real structure - that's the point I guess.  I tried to pick work for this mix that had at least a bit of melody, but plenty of silence to define the notes.  There is a sweet spot that when achieved sends me at least into a deep peaceful space.  I'm thinking we all need to spend some time in that space these days to recharge and nurture our sanity.  Hoping this mix might help with that my friends.  Thanks, Daniel, for another excellent mix. Cheers!  T R A C K L I S T : 00:00   Halftribe & Spinnet - A Minimal Resolution (Patterns of Sync 2020) 09:09   Snufmumriko - Mot Nattens Hjärta (Sekunder, Eoner 2019) 12:12   ASC - Find Yourself (Tales Of Introspection 2025) 22:48   Innesti - Nothwithstanding (Filament and Place 2021) 28:00   Sonmi451 - Oxygen Is Flowing (Oxygen Is Flowing single 2025) 33:12   Loscil - Stella (Clara 2021) 42:23   A Produce - A Smooth Surface(Edit) (White Sands 1995) 47:40   Hipnotic Earth - Repose (The Waters of Home 2017) 57:00   Lab's Cloud - Rising (The Structure of Emotions 2021) 63:58   end

Today we present two piano instrumentals that explore the mysteries of Mist.  Strictly speaking, a “mist” can be defined by some water vapor that obscures your vision, but how many more evocative instances can you think of where a mist appears in a story or film, usually preceding an arrival of some spiritual manifestation? There was a video game called “Myst” (spelled with a Y) which featured a series of puzzles saturated with a heady whiff of the arcane. Your sight is always obscured; your emotional restlessness is never assuaged.  Erroll Garner and Bix Beiderbecke were two jazz titans writing compositions separated by 30 years that hint at this other-worldly quality inherent in the idea of the Mist. Their music excites the senses and tugs at the heart simultaneously; it's music that lifts off and keeps insinuating an urge to maintain altitude in an unresolved quest for landing, but never deciding on a perch.ERROLL GARNERMost of you probably know Johnny Mathis's version of Misty, with lyrics by Johnny Burke, that was a monster hit of 1959, but Erroll Garner wrote the song as an instrumental 5 years earlier, on a plane flight to Chicago's OHare airport, after seeing a rainbow through the airplane window. That's a fitting image for the complicated feelings invoked here: a glimpse of hope through tears. Influenced by Earl Hines, Garner played with spontaneous timing changes, liquidy octaval melodies, and improvised chordal voicings, and his contribution to jazz evolution was to reconcile the gap between BeBop spontaneity and Orchestral formalism. His style was so free that he was dubbed “the happy man” because this joy he exuded was so palpable. Misty was concocted from the eternal music of the spheres - maybe because his feet were not on the ground when he composed it.BIX BEIDERBECKEThe comet of Bix Beiderbecke's talent was a mystery in itself: dead from alcohol in 1931 at the age of 28, his cornet style and compositional originality continues to fascinate almost 100 years later. A self taught musician, Bix appeared from podunk Iowa and immediately became a ragtime sensation at the height of the Jazz era with The Wolverines, then with Paul Whiteman's orchestra (along with Bing Crosby). He was a white man playing a traditionally black form of music, which was a novelty, and that made him easier to market to middle America - but such genius is color blind.Although renowned for his horn playing, he composed In a Mist on piano in 1927 (he was 24), and it's here that you see the influence of the impressionist composer Claude Debussy, the creator of such sensuous works as Prelude to the Afternoon of a Faun and La Mer. Is this Jazz? How did he do it? Clearly, Bix was in touch with mystical forces beyond human understanding, or maybe, like Robert Johnson, he just made a deal with the devil. Either way, the spiritual quest suggested by these chord changes transports us into a misty continent of emotional confusion.

Claude Debussy - The Triumph of BacchusLyon National OrchestraJun Markl, conductorMore info about today's track: Naxos 8.572568Courtesy 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

durée : 00:53:50 - Samedi fiction - Pour "Si l'Orchestre m'était conté", Maryline Desbiolles s'est inspirée de La Mer de Claude Debussy. - invités : Maryline Desbiolles Romancière

durée : 00:53:50 - Samedi fiction - Pour "Si l'Orchestre m'était conté", Maryline Desbiolles s'est inspirée de La Mer de Claude Debussy. - invités : Maryline Desbiolles Romancière

Neste episódio do podcast filosófico da Nova Acrópole, partimos da obra Crátilo, de Platão, para refletir sobre o poder e a profundidade das palavras. O professor Bernardo Norah, da sede de Uberaba (MG), conduz uma instigante análise sobre como a linguagem vai muito além de um simples meio de comunicação: ela expressa ideias, valores e símbolos que revelam a essência do ser humano. O diálogo aborda a importância de compreender a origem etimológica e simbólica de termos como "alma", "corpo", "herói", "sabedoria", "virtude" e os nomes de deuses da mitologia grega — como Hades, Apolo e Atena — revelando como esses conceitos se conectam com a busca do autoconhecimento e da realização do ser. Também são exploradas as quatro virtudes fundamentais segundo Platão — sabedoria, coragem, moderação e justiça — como pilares para uma vida mais ética e consciente. A reflexão nos convida a resgatar o sentido profundo das palavras e aplicá-las em nossa vivência diária, como ferramentas de transformação interior e construção de uma existência mais plena. Participantes: Danilo Gomes e Bernardo Norah Trilha Sonora: Petite Suite, de Claude Debussy

Engagé comme professeur de musique auprès de Nadejda von Meck avant de gagner la Villa Médicis en qualité de lauréat du Prix de Rome, Claude Debussy aura connu une jeunesse voyageuse et riche d'impressions. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Engagé comme professeur de musique auprès de Nadejda von Meck avant de gagner la Villa Médicis en qualité de lauréat du Prix de Rome, Claude Debussy aura connu une jeunesse voyageuse et riche d'impressions. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.