Podcast appearances and mentions of Claude Debussy

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.

¡Nos vamos a Francia a medianoche!

Das Antoine Spranger Quartet um den deutsch-französischen Pianisten und Komponisten Antoine Spranger ist ein noch junges internationales Jazzensemble. Zur Band gehören außerdem Ludovic Ernault am Saxophon, Matis Regnault am Kontrabass und Tobias Frohnhöfer am Schlagzeug. Das Quartett verbindet Modern Jazz mit klassischer Musik, wobei die Harmonik stark vom musikalischen Impressionismus beeinflusst ist, sagt Antoine Spranger und verweist auf Claude Debussy und Maurice Ravel. Spranger hat an der Musikhochschule in Mannheim studiert und lässt nun mit seinem Debütalbum „Castle of Ice“ aufhorchen, das beim Bremer Label „Laika Records“ veröffentlicht wurde.

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 : 00:03:59 - par : Max Dozolme - Partons à la découverte de la gamme par tons. cette échelle musicale étonnante que l'on trouve dans de nombreuses œuvres de Claude Debussy, chez Liszt et Paul Dukas mais aussi dans Psycho d'Hitchcock ou encore chez Stevie Wonder. - réalisation : Yassine Bouzar Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Amoureuses et amoureux de l'Italie… vous êtes-vous déjà demandé ce que donnerait le meilleur des cultures française et italienne réuni ? L'invitée de cet épisode en est convaincue : cela créerait tout simplement « le roi des pays » !Originaire de Lombardie, arrivée à Paris pour quelques mois seulement… elle n'en est finalement jamais repartie. Douze ans plus tard, Roberta Cecchin possède la double nationalité, mais surtout un regard unique sur la France : celui d'une Italienne qui observe avec humour nos habitudes, nos contradictions et notre art de vivre… avant de les raconter à ses concitoyens. Et dans l'autre sens, pour nous Français, elle décrypte avec malice les codes et les petits secrets de l'Italie. En somme : « l'Italie mode d'emploi », version Roberta… sur scène !Ses anecdotes, d'abord racontées à la machine à café du « boulot », sont devenues un véritable phénomène. De ces moments du quotidien est né son seule-en-scène « Una Roberta a Parigi », puis « Una Roberta débarque chez vous ! ». En quelques années : elle a réalisé plus de 200 représentations, devant 15 000 spectateurs conquis. En juin, puis à la rentrée, on la retrouve sur la scène du Grand Point Virgule à Paris et en tournée en France.Humoriste, comédienne et merveilleuse passeuse de culture entre la France et l'Italie… Partons à la rencontre de Roberta Cecchin. Bell'ascolto ! · L'univers de Roberta Cecchin : Afin de poursuivre cette échappée belle italienne Roberta Cecchin vous donne rendez-vous sur instagram @una_roberta_a_parigi ! Retrouvez Roberta sur la scène du Grand Point Virgule le 3 juin prochain, ainsi qu'à partir de septembre ! Et si vous habitez Bayonne, Dijon, Besançon, Antibes, Castelnaudary... vous pourrez aussi aller applaudir toutes les infos sont à retrouver sur Instagram ! A la rentrée du 10 au 13 septembre, Roberta se produira aussi dans le « Festival Little Italie » à Saint-Jean-de-Maurienne en Savoie.· Les inspirations italiennes de Roberta Cecchin :Son cocon italien à Parigi : Taverna Baraonda, 47 Rue de Maubeuge, 75009 Paris À Mantova, berceau de la Renaissance italienne : Le @festivaletteratura pour sa 30ème édition en septembre (du 9 au 13), la camera dei Giganti di Giulio Romano au @palazzo_te & @teatrobibiena_ ! Le film « Brigadoon » de Vincente Minnelli (1954). Les 70 ans du Jumelage Paris-Rome et une pensée pour le « malheureux » Claude Debussy à la Villa Medicis ;-) La réplique de la louve romaine du Capitole dans le square Samuel Paty (Paris 5e). Le stand up à l'italienne depuis Paris avec le @divinacomedyshow et l'humoriste @lucaravennagol. Conçu, réalisé et présenté par Claire PlantinetMontage Générique : François PraudMixage episode : Mattéo FévrierMusique : Happy Clapping Cinematic Score / PaBlikMM / Envato ElementsPortrait cover © KobayashiCréation visuelle : Thomas Jouffrit · Remerciements : à l'Hôtel Starhotels Castille Paris pour l'enregistrement de cet épisode.Adresse : 33-37 Rue Cambon, 75001 Paris / Téléphone : 01 44 58 44 58@castille_paris / Site InternetEt un « grazie » tout particulier à Alessandra Bragoli !· Archives épisodes :© Extraits YT « Il Rinascimento » Feltrinelli Scuola, BA film « Brigadoon » de Vincente Minnelli (1954), « La felicità » de Roberto Benigni, « La foule » Piano Slow, reel instagram @howtobecomeparisian, Radio Dee Jay, « Clair de Lune » de C. Debussy par Maria João Pires (Live Jardin Musical), « The Mountain documentary » Pixabay. Retrouvez allora sur Instagram @allora.lepodcast ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Hat Debussy mit seinen "Images pour orchestre" etwa einen Ausflug in die Nachbarkunst der Malerei unternommen? Das könnte erklären, warum sein Stil häufig dem französischen Impressionismus zugerechnet wird - einem Begriff, der ursprünglich aus der bildenden Kunst stammt. In diesen musikalischen Bildern entführt der Komponist uns zunächst nach England, nach Spanien und dann nach Frankreich und lässt die Atmosphäre der Orte gleichermaßen vor dem inneren Auge wie im Ohr lebendig werden. Julius Heile führt in der kurzen Werkeinführung durch den musikalischen Drei-Länder-Trip.Schon gewusst? Zahlreiche Konzerte der NDR Ensembles finden Sie auf YouTube im Channel "ARD Klassik" oder in der ARD Mediathek.https://www.youtube.com/@ARDKlassik https://www.ardmediathek.de/kultur_klassikAbonnieren Sie "Klassik to Go" und finden Sie weitere spannende Angebote des NDR in der ARD Audiothek! https://www.ardaudiothek.de/sendung/klassik-to-go/10778959/

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 : 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

ALBÉNIZ: Goyescas (selec.). Coloquio en la reja (10.18). Fandango del candil (6.05). Quejas o la maja y el ruiseñor (6.34). I. Albéniz (p.). FALLA: 4 Piezas españolas (selec.) Aragonesa (3.06). Cubana (3.49). A. de Larrocha (p.). Ricardo Viles habla de Claude Debussy (Grabación de su voz de una conferencia radiofónica realizada con motivo del vigésimo aniversario de la muerte de Claude Debussy, París 18 de marzo de 1938) (3.33). DEBUSSY: La soirée dans Grenade (Estampes, nº 2) (4.04). R. Viñes (p.). 7 Canciones populares españolas (selec.) (Canción, Polo) (1.38). V. de los Ángeles (sop.), G. Soriano (p.).Escuchar audio

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 : 01:28:46 - Relax ! du lundi 29 décembre 2025 - par : Lionel Esparza - En cette fin d'année, quoi de mieux que de passer les fêtes en musique ? Alors en attendant de s'aventurer vers des bacchanales et autres carnavals dans les prochains jours, plongeons-nous tranquillement dans l'ambiance avec Claude Debussy, Gaetano Donizetti ou encore Dmitri Chostakovitch. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

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

Long ago, spirits and demons stirred in the land of the rising sun, wreaking havoc upon crops, rivers, and villages, unseen and unstoppable. As an Onmyoji, a practitioner of ancient cosmology, you learned to capture these restless entities, restoring balance where others faltered. Yet word came that your own village suffered, and another Onmyoji had been called to intervene, an affront to your duty and skill. With careful calculation and swift action, you must outwit your rival, claiming mastery over chaos. You must ensnare the seven spirits, the Yokai Septet by Muneyuki Yokouchi from Ninja Star Games with art by U.Read the full review here: https://tabletopgamesblog.com/2025/12/13/yokai-septet-saturday-review/Useful LinksYokai Septet: https://www.ninjastargames.com/games/yokai-septet/Rulebook: http://ninjastargames.com/wp-content/uploads/2024/11/YokaiSeptet-PocketEdition-Rules-EN_v1.pdfRules Video: https://youtu.be/dcV33XTWnRU?si=550MY-xJ6vJY0u3SNinja Star Games: https://www.ninjastargames.com/BGG listing: https://boardgamegeek.com/boardgame/251433/yokai-septetThe Crew review: https://tabletopgamesblog.com/2020/12/05/the-crew-the-quest-for-planet-nine-saturday-review/MusicIntro Music: Bomber (Sting) by Riot (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/audiolibrary/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)Music: Clair De Lune - Cinematic Trailer 1 (feat. Claude Debussy), produced by Sascha EndeLink: https://ende.app/en/song/13208-clair-de-lune-cinematic-trailer-1-feat-claude-debussyMusic: The Desert Planet, produced by Sascha EndeLink: https://ende.app/en/song/12290-the-desert-planetSupportIf you want to support this podcast financially, please check out the links below:Ko-Fi: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/TabletopGamesBlog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/tabletopgamesblog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tabletopgamesblog.com/support/⁠

Recorded November 20, 2025 on progrock.com Chase The Clouds Away – Chase The Clouds Away (1975) – Chuck Mangione Bag’s New Groove – Bags & Flutes (1957) – Milt Jackson   Hands of the Priestess Parts 1 & 2 – Ace of Wands (1975) – Steve Hackett Chega De Saudade (No More Blues) – Big Band Bossa Nova – Quincy Jones Jasper Country Man – Blacks and Blues (1973) – Bobbi Humphrey  Flute Juice – Hall of Fame (1959) – Count Basie Intimidation – Twin Sons of Different Mothers (1978) – Dan Fogelberg and Tim Weisberg Trela Alegre – Blue in Red (1997) – T-SQUARE  Oh, The Places You’ll Go – Always (1999) – Nelson Rangell Versatile – Claude Bolling Goes Latin: Suite for Flute and Latin Music Ensemble (2024) – Claude Bolling, Carlomagno Araya, Jose Valentino Flute Song – Benson & Farrell (1976) – George Benson, Joe Farrell Prélude à l'après-midi d'un faune (1894) performed by the Cleveland Orchestra – Claude Debussy

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

2026 TOK Essay Title 2: To what extent do you agree that doubt is central to the pursuit of knowledge? Answer with reference to two areas of knowledge. This title seems to pick up in the middle of a debate about the nature of knowledge, and how it has shifted over time… particularly with the 21st century focus on STEM, and a scientific approach to knowledge. For me, as an art teacher, the idea that doubt is essential to the pursuit of knowledge is counter-intuitive, even corrosive; how can one create without a measure of belief? I recognized the deep, conflicting roles doubt plays in our two fields. To bridge that ideological gap and truly understand the scientific methodology, I pulled a brilliant Physics teacher away from his formulas and into a necessary conversation. Guest: Mr. Saif Ullah (Physics Teacher) Music: Julia Shi performing Claude Debussy, Feb 2025

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.

In this episode, we explore the concept of the picturesque through Nathaniel Willis's 1840 description of Lake George. We debate whether beauty is inherent in nature or shaped by the imagination of the viewer, comparing Hudson River School painters to European artists like Salvator Rosa. Finally, we connect these ideas to modern culture, from Instagram photography to tourism, showing why the picturesque still matters todayMusic Credit:“Clair de Lune, L.32” by Claude Debussy

If the brain preserves perfect maps of limbs that no longer exist, what else might be stored in the hidden architecture of consciousness? Could phantom sensations, morphic templates, and holographic body fields point to an unseen design where nothing of the self is ever truly lost? Or are we glimpsing evidence that awareness itself exists beyond the boundaries of matter?​​If you are having a mental health crisis and need immediate help, please go to ​ ​ ​​https://troubledminds.org/help/ and call somebody right now. Reaching out for support is a sign of strength. ​ ​ ​ ​​​LIVE ON Digital Radio! Http://bit.ly/40KBtlW ​ ​ ​​http://www.troubledminds.net or ​ ​ ​ ​​https://www.troubledminds.org ​​​​Support The Show! ​ ​ ​ ​​https://www.spreaker.com/podcast/troubled-minds-radio--4953916/support ​ ​ ​ ​​https://ko-fi.com/troubledminds ​ ​ ​ ​​https://patreon.com/troubledminds ​ ​ ​ ​​https://www.buymeacoffee.com/troubledminds ​ ​ ​ ​​https://troubledfans.com ​ ​Friends of Troubled Minds! - ​ ​ ​ ​​https://troubledminds.org/friends ​ ​​​Show Schedule Sun--Tues--Thurs--Fri 7-10pst ​iTunes - ​ ​ ​​​​https://apple.co/2zZ4hx6 ​Spotify - ​ ​ ​​​​https://spoti.fi/2UgyzqM ​TuneIn - ​ ​ ​​​​https://bit.ly/2FZOErS ​Twitter - ​ ​ ​​​​https://bit.ly/2CYB71U ​​​​​----------------------------------------​​https://troubledminds.substack.com/p/the-ghost-body-network-neuroscience​​https://neurosciencenews.com/neuroplasticity-phantom-limb-mapping-29598/​​https://irp.nih.gov/news-and-events/in-the-news/phantom-limb-study-rewires-our-understanding-of-the-brain​​https://www.psychologytoday.com/us/blog/ten-zen-questions/201906/out-body-experiences-the-astral​​https://www.britannica.com/science/phantom-limb-syndrome​​https://abilitykc.org/phantom-limb-syndrome-what-is-it-and-how-can-it-affect-someone-after-amputation/​​https://www.ncbi.nlm.nih.gov/books/NBK571301/​​https://en.wikipedia.org/wiki/Ancient_Egyptian_conception_of_the_soul​​https://www.theatlantic.com/science/archive/2016/02/phantom-limbs-explain-consciousness/459780/​​https://en.wikipedia.org/wiki/Subtle_body​​https://www.historyembalmed.org/egyptian-mummies/egyptian-ka.htm​​https://en.wikipedia.org/wiki/Duma_Key​​https://en.wikipedia.org/wiki/Claude_Debussy​​https://en.wikipedia.org/wiki/Kirlian_photography

This Day in Legal History: Personal Responsibility and Work Opportunity Reconciliation ActOn August 22, 1996, President Bill Clinton signed the Personal Responsibility and Work Opportunity Reconciliation Act into law, reshaping the American welfare system in ways that continue to spark debate. Billed as a way to "end welfare as we know it," the law imposed strict work requirements on recipients and introduced a five-year lifetime limit on federal benefits, regardless of economic conditions. The legislation replaced Aid to Families with Dependent Children (AFDC) with Temporary Assistance for Needy Families (TANF), transforming a federal entitlement into a state-administered block grant system.Supporters of the reform hailed it as a bipartisan success, encouraging employment and reducing long-term dependency. But critics argue that the law eroded the social safety net and punished the poor, particularly single mothers and children, by prioritizing ideological goals over economic realities. States were given broad discretion in how to allocate funds, leading to uneven access and accountability. Many used their new flexibility not to expand support systems but to restrict eligibility and reduce caseloads, often with little evidence of improved outcomes.The law also failed to account for structural barriers to employment—such as childcare shortages, low wages, and racial discrimination—leaving many without support when they failed to meet work requirements. Moreover, the block grant's fixed funding has not kept pace with inflation or need, effectively shrinking welfare over time. While welfare rolls dropped sharply in the years following the reform, poverty did not—suggesting that many were simply pushed out of the system rather than lifted out of hardship. The 1996 law codified a narrative of moral failing over structural inequality, framing poverty as a matter of personal irresponsibility rather than systemic dysfunction.A federal judge ordered an immediate halt to new construction at the controversial "Alligator Alcatraz" migrant detention center in Florida's Everglades. The facility, championed by Donald Trump and Ron DeSantis, was barred from accepting new detainees and required to dismantle supporting infrastructure—including generators, waste systems, fencing, and lighting—within 60 days. The ruling, issued by U.S. District Judge Kathleen Williams, sided with environmental groups who argued the project violated federal, state, and local environmental laws.The detention center, estimated to cost $450 million annually and house up to 5,000 detainees, had drawn backlash for its location in a fragile wetland ecosystem populated by endangered species. Environmental advocates and some local leaders had long criticized the plan, noting it conflicted with decades of political pledges to protect and restore the Everglades. The Department of Homeland Security had tapped FEMA funds to support the project, raising additional controversy over funding priorities.In her ruling, Judge Williams emphasized that the project ran counter to longstanding legislative commitments to environmental protection. Florida has already filed an appeal, but environmental groups hailed the decision as a critical victory. Despite mounting opposition, Trump dismissed ecological concerns and reaffirmed his intent to replicate the model nationally as part of his broader immigration crackdown.Judge orders halt to new construction at 'Alligator Alcatraz' detention center | ReutersAlligator Alcatraz Expansion Blocked for Harm to Environment (1)California Governor Gavin Newsom signed a pair of redistricting bills designed to redraw congressional districts in favor of Democrats—part of an aggressive political response to a newly passed gerrymandered map in Texas. Both states are now embroiled in legal and constitutional battles, as Republicans and Democrats seek to lock in partisan advantages ahead of the 2026 midterm elections. Newsom also set a special statewide election for November 4, asking voters to approve the new map. If passed, it could flip up to five Republican-held House seats and secure four Democratic-leaning swing districts.California's strategy sidesteps its voter-created independent redistricting commission, which has been enshrined in the state constitution since 2010 to prevent political interference. Because of that, lawmakers are now required to get voter approval to implement their plan—creating a high-stakes ballot measure, Proposition 50. Republicans and good-government advocates, including Arnold Schwarzenegger and Charles Munger Jr., have vowed to fight the plan in court and on the ballot. A pending GOP lawsuit argues the legislature violated the state's 30-day waiting period for new bills, pushing through the redistricting effort without proper transparency.In Texas, the Republican-controlled legislature approved a new congressional map at the urging of President Trump, hoping to maintain a narrow House majority. Voting rights groups immediately challenged the plan, claiming it violates Section 2 of the Voting Rights Act by racially diluting Black and Latino voting power. The case will be heard by a federal three-judge panel in El Paso, with a likely fast track to the U.S. Supreme Court. Texas Republicans, including Governor Greg Abbott, deny any racial bias and argue the map reflects demographic shifts and Republican gains among minority voters.This escalating redistricting clash highlights the legal vulnerability of U.S. voting systems when partisan manipulation goes unchecked. Though the Supreme Court ruled in 2019 that federal courts cannot weigh in on partisan gerrymandering, racial gerrymandering remains justiciable under the Voting Rights Act. Meanwhile, California Democrats are relying on voter sentiment—and Trump's unpopularity in the state—to justify a temporary abandonment of anti-gerrymandering principles.Explainer: The legal battles over redistricting in Texas and California | ReutersNewsom Signs California Redistricting Plan to Counter Texas Republicans - The New York TimesA federal judge ruled that Alina Habba, President Trump's controversial appointee as interim U.S. Attorney for the District of New Jersey, had no legal authority to hold the office after her temporary term expired. U.S. District Judge Matthew Brann found that the Trump administration violated federal law by firing Habba's court-selected successor, Desiree Grace, and then using a series of procedural maneuvers to reinstall Habba. These included appointing her as “special attorney,” then naming her first assistant U.S. attorney to invoke the Federal Vacancies Reform Act.Brann concluded that Habba was unlawfully performing the duties of U.S. Attorney as of July 1 and that her actions from that point forward “may be declared void.” The ruling blocks her from overseeing or participating in criminal cases, and it extends to prosecutors operating under her supervision. The judge criticized the administration's strategy as an attempt to bypass Senate confirmation entirely by exploiting loopholes in temporary appointment rules, warning that this interpretation could let the executive branch install preferred prosecutors indefinitely.The Trump-appointed Attorney General, Pam Bondi, vowed to appeal, and Brann stayed his ruling pending the outcome. Still, the decision casts a shadow over prosecutions under Habba's leadership, and some courts in New Jersey have already paused proceedings. Brann also rejected the idea that firing interim appointees before their terms expire could justify continual reappointments without oversight.Defense attorneys in the case that triggered the ruling argued that the executive branch cannot sidestep a process designed to check prosecutorial power through judicial or Senate involvement. Though the judge refused to throw out defendant Cesar Pina's indictment—since the investigation began before Habba's unlawful tenure—the ruling reinforces that prosecutorial authority must be rooted in lawful appointment.Alina Habba Blocked From Handling Cases in Rebuke to Trump (3)This week's closing theme is by Claude Debussy.This week's closing theme comes from Debussy, born on August 22, 1862—an apt choice as we mark the anniversary of his birth. Debussy was a revolutionary figure in Western music, often associated with Impressionism, though he rejected the label. He sought to break from the rigid structures of the Germanic tradition, instead favoring color, atmosphere, and suggestion over clear-cut form and resolution. His music evokes shifting light, fluid motion, and emotional ambiguity—more akin to poetry or painting than to classical architecture.One of his early works, Rêverie, composed in the 1890s, offers a glimpse into the world he would come to define. The title means “daydream,” and the piece unfolds with a gentle, unhurried lyricism that floats outside of time. Though simple in construction, it is harmonically rich and emotionally resonant—hinting at the innovations to come in Clair de Lune, Prélude à l'après-midi d'un faune, and Pelléas et Mélisande.Rêverie was one of Debussy's first pieces to gain public attention, though he later dismissed it as “a piece for salon use.” Listeners have disagreed ever since. Its introspective tone and delicate touch make it a lasting favorite among pianists and audiences alike. It feels like a whisper—never urgent, never insistent, always inviting. In that sense, it's a fitting farewell for the week: contemplative, unresolved, and open to interpretation.Without further ado, Claude Debussy's Rêverie 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

Claude Debussy - Premiere RapsodiePaul Meyer, clarinet Lyon National OrchestraJun Markl, conductorMore info about today's track: Naxos 8.572675Courtesy 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

Welcome to a special concert edition of Inwood Art Works On Air Live N' Local featuring the Inwood Chamber Players performing a chamber concert of selections from European Masters: Claudio Monteverdi, Claude Debussy, Giuseppe Verdi, and many more arranged and conducted by Inwood resident, Gilbert Dejean. It was recorded live on June 22, 2025 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 

Cyndi Lauper is a multi-award winning singer and songwriter. She has sold more than fifty million records, won an Emmy for acting and her musical Kinky Boots earned her a Tony and an Oliver award. Born in 1953, Cyndi grew up in a blue collar neighbourhood in New York. Her mother loved music and art and took her children to free exhibitions in New York which inspired Cyndi. As a very young girl, Cyndi listened to her mother's extensive record collection and mimicked the voices she heard from musicals and operas.After a difficult family home life due to her mother's turbulent marriages, Cyndi found solace in music and began writing songs when she was ten. She left home at seventeen determined to make it in the music industry. She started out as a singer in bands, whilst supporting herself doing a series of jobs. Early in her career, she lost her voice for almost a year after trying to make herself heard over amps which were too loud. Success eventually came when she released her debut solo album She's So Unusual in 1983 – the first album by a female artist to spawn four consecutive US Top 5 singles.Cyndi lives in New York with her husband, David who is an actor. They met on a set of a film and rock legend Little Richard officiated their wedding.DISC ONE: Prelude to the Afternoon of a Faun. Composed by Claude Debussy and performed by The Orchestre National de Lyon DISC TWO: All That Meat and No Potatoes - Louis Armstrong And His All-Stars DISC THREE: Puccini, “Un bel di, vedremo” (“One fine day, we shall see”) from Act II of Madame Butterfly. Performed by Maria Callas with Orchestra del Teatro alla Scala di Milano, conducted by Herbert von Karajan DISC FOUR: Getting to Know You - Marni Nixon DISC FIVE: I Want Hold Your Hand - The Beatles DISC SIX: A Sailboat in the Moonlight - Billie Holiday And Her Orchestra DISC SEVEN: One Way or Another - Blondie DISC EIGHT: Hound Dog - Big Mama ThorntonBOOK CHOICE: Me Talk Pretty One Day by David Sedaris LUXURY ITEM: A luxury hotel CASTAWAY'S FAVOURITE: Puccini, “Un bel di, vedremo” (“One fine day, we shall see”) from Act II of Madame Butterfly. Performed by Maria Callas with Orchestra del Teatro alla Scala di Milano, conducted by Herbert von KarajanPresenter: Lauren Laverne Producer: Sarah Taylor

Sir Jony Ive is a designer who is best known for his pioneering work at Apple alongside his friend and colleague, the late Steve Jobs. Jony's creative vision is behind some of the company's seminal products which have transformed the way we live today including phones, music players and watches. He was born in Chingford in east London and loved drawing and spending time in his father's workshop where the two of them made the young Jony's Christmas presents including a go-kart, a treehouse and a toboggan. He studied Industrial Design at Newcastle Polytechnic and moved to San Francisco to work for Apple in 1992. In 1997 Steve Jobs returned to the company, having been ousted several years earlier, and the two of them set about revolutionising the landscape for home computers with the creation of the iMac. In 2019 Jony set up his own company LoveFrom with the industrial designer Marc Newson. In 2023 Jony and his team designed a foldable Red Nose for Comic Relief and in the same year the company launched a scholarship programme aimed at increasing representation in the design industry.In 2012 he was appointed Knight Commander of the Order of the British Empire for services to design and enterprise.DISC ONE: Really Saying Something (US Extended Version) - Bananarama, Fun Boy Three DISC TWO: De Do Do Do, De Da Da Da - The Police DISC THREE: Main Theme - Carter Takes a Train - Roy Budd DISC FOUR: Singin' in the Rain - Harry Ive DISC FIVE: Don't You (Forget About Me) - Simple Minds DISC SIX: Define Dancing - Thomas Newman DISC SEVEN: Debussy: Suite bergamasque, L.75: 3. Clair de lune. Composed by Claude Debussy and performed by Claudio Arrau (piano) DISC EIGHT: "40" - U2 BOOK CHOICE: The complete set of Jeeves & Wooster novels by P G Wodehouse LUXURY ITEM: A bed CASTAWAY'S FAVOURITE: "40" - U2 Presenter Lauren Laverne Producer Paula McGinley