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When your heart is racing and your brain starts whispering "don't mess this up," it's easy to think the goal is to shut the thoughts down. But that fight is often the thing that turns normal pre performance activation into full anxiety. In this short episode, I borrow the first rule of improv, "Yes, and," and show you how to use it as a musician. Not to become fearless, but to stay in the music even when doubt is in the room. In this episode, you'll hear: · The difference between normal activation and anxiety, and how the "second layer" of thoughts creates the spiral · Why denial and forcing yourself to "stop thinking" usually backfire right before performance · How to use "Yes, and" as validation, so your nervous system feels supported instead of bullied · Real scripts for the moments musicians actually struggle with, feeling behind in practice, tight in the warmup room, or rattled by a mistake on stage · A one minute breath reset you can do anywhere, 4 count inhale, 6 count exhale, paired with "Yes" and "And" · A simple challenge for today, catch one scary thought, validate it, and keep going If you're ready to step on stage with confidence, perform at your best, and finally feel secure in your playing, let's talk! Book a free discovery call and let's create a plan to get you there. Are you ready to take your playing and career to the next level and create a life that feels purposeful and joyful? Let's connect and explore how personalized coaching can support your journey. Click here to schedule your free consultation, and let's start turning your goals into reality. Book your FREE Music Mastery Experience Discovery call with Renée HERE Book your free consultation with Renée HERE Download the transcript from this episode HERE Mind Over Finger Click www.mindoverfinger.com/coaching to book your free consultation with me. Visit MindOverFinger.com for my online courses as well as free resources on peak performance. Grab my free workshops and PDF downloads by going to www.mindoverfinger.com/resources. Connect: https://www.youtube.com/@MindOverFinger https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/ THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme: Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson.
durée : 00:07:12 - Le Bach du matin du mercredi 25 février 2026 - Ce matin, nous écoutons le troisième mouvement du premier Concerto pour piano en Ré mineur BWV 1052 de Jean-Sébastien Bach, interprété par Martin James Bartlett et l'Orchestre du Mozarteum de Salzbourg, dirigé par Howard Griffiths. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
durée : 00:07:12 - Le Bach du matin du mercredi 25 février 2026 - Ce matin, nous écoutons le troisième mouvement du premier Concerto pour piano en Ré mineur BWV 1052 de Jean-Sébastien Bach, interprété par Martin James Bartlett et l'Orchestre du Mozarteum de Salzbourg, dirigé par Howard Griffiths. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
Alessandro Scarlatti (1660-1725)Concerto grosso, Sinfonia No. 2 in re maggiore1. Spiritoso2. Adagio 00:00:583. Allegro 00:02:014. Adagio 00:04:015. Presto 00:05:27 Concerto grosso, Sinfonia No. 3 in re minore1. Vivace 00:07:312. Adagio 00:08:103. Andante 00:09:474. Adagio 00:11:535. Allegro 00:13:10 Capella TiberinaAlexandra Nigito, clavicembalo
durée : 00:04:41 - Le Bach du matin du mardi 24 février 2026 - Nous écoutons ce matin le deuxième mouvement du Concerto italien en Fa majeur BWV 971, de Jean-Sébastien Bach, interprété par le pianiste ukrainien Vadym Kholodenko. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
Johann David Heinichen (1683-1729) - Concerto in Sol maggiore a 7, SeiH 215 1. Andante 2. Vivace [2:48]3. Largo [6:06]4. Vivace [7:46] Accademia Bizаntina
durée : 00:04:41 - Le Bach du matin du mardi 24 février 2026 - Nous écoutons ce matin le deuxième mouvement du Concerto italien en Fa majeur BWV 971, de Jean-Sébastien Bach, interprété par le pianiste ukrainien Vadym Kholodenko. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
O maestro alemão Helmuth Rilling, que morreu no dia 11 passado, aos 92 anos, foi um dos maiores intérpretes e divulgadores da obra de Johann Sebastian Bach. Nascido em Stuttgart, no sudoeste da Alemanha, em 1933, ele fundou - ainda quando era estudante - o coral Gächinger Kantorei. Em 1965, para acompanhar esse coral, ele criou o Bach-Collegium Stuttgart, uma orquestra que reuniu músicos alemães e suíços. Juntos, o Gächinger Kantorei e o Bach-Collegium Stuttgart, sob a regência de Rilling, gravaram pela primeira vez todas as cantatas sacras de Bach, um projeto que começou em 1970 e terminou em 1985. No ano 2000, a Internationale Bachakademie Stuttgart - outra instituição fundada por Rilling para divulgar a música de Bach - gravou toda a obra do compositor alemão, num total de 172 CDs, lançados pelo selo Hänssler Classic. Em homenagem a Helmuth Rilling, esta edição de Manhã com Bach traz duas composições de Bach regidas pelo maestro alemão: o Concerto para Cravo em Ré Menor (BWV 1052) e a cantata Ihr werdet weinen und heulen, "Vós chorareis e lamentareis" (BWV 103). Ouça o podcast no link acima. Este podcast reproduz o programa Manhã com Bach, da Rádio USP (93,7 MHz), transmitido nos dias 21 e 22 de fevereiro de 2026. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast no site do Jornal da USP. As edições anteriores do podcast Manhã com Bach estão disponíveis neste link.
In this episode, we talk with senior Isabella Perez about winning the Concerto Competition. She discusses growing up in San Antonio, learning multiple instruments, and eventually studying Mozart's Bassoon Concerto in B-flat major, K. 191/186e, which she will perform with the Butler Chamber Orchestra.
Hope you are having a lovely day! Today Ms. Andy has a cute kids book for you and she is very excited to read to you today! Today we have Ms. Andy reading "Llama Llama Red Pajama" by Anna Dewdney with a fun to say story!As always this book was selected from our library! Kids and Parents can read along with us, in this read aloud story time! Be sure to check out your local Library to check out what books they may have! If you prefer E-Books, sign into the Hoopla or Libby app using your Library Card and follow along from there!- Check out the Library Systems official website where you can find links to free resources, school and career guides, and news about our upcoming events! https://www.pawls.org/ -Follow us on YouTube and enjoy our backlog of digital story hours and other great content! https://www.youtube.com/@pawls365Original background track is Concerto for Two Violins by Bach.Alterations were made by us to make it fit the length of our content.Brought to you from the Pike-Amite-Walthall Library system.#library #books #pawlskids #kidsstorytime
When the world feels heavy and your body is bracing, it is weirdly easy to start treating music like it has to justify itself. You practice anyway. You show up anyway. But inside, you are carrying pressure, tension, and that quiet question most musicians do not say out loud: how do I keep doing this without burning out or breaking down? In Episode 250, I sit down with Dr. Brianne Borden and Claire Howard, co-owners of Yoga for All Musicians, for a conversation that is equal parts grounding, honest, and immediately useful. · Why "just focus on the music" is not always possible, and what to do when the world follows you into the practice room · The simple check in skill most musicians never learn, and why it changes everything from practice choices to injury prevention · How classical music culture trains disconnection, and what trauma informed teaching and cueing can actually feel like · A reframing of expectations that sounds small, but hits hard once you try it in real life · A short centering plus neck and shoulder reset you can do before you play, especially if you live in jaw and shoulder tension If you're ready to step on stage with confidence, perform at your best, and finally feel secure in your playing, let's talk! Book a free discovery call and let's create a plan to get you there. Are you ready to take your playing and career to the next level and create a life that feels purposeful and joyful? Let's connect and explore how personalized coaching can support your journey. Click here to schedule your free consultation, and let's start turning your goals into reality. Book your FREE Music Mastery Experience Discovery call with Renée HERE Book your free consultation with Renée HERE Download the transcript from this episode HERE Yoga for All Musicians · Website: https://www.yogaforallmusicians.com/ · Instagram: https://www.instagram.com/yogaforallmusicians/ · Facebook: https://www.facebook.com/YogaforAllMusicians · Their podcast on Spotify: https://open.spotify.com/user/uif3r1ampypupkhj12tzgzpvx · Their app: o Android: https://apps.apple.com/us/app/fit-by-wix/id1552621043 o Apple: https://apps.apple.com/us/app/fit-by-wix/id1552621043 Mind Over Finger Click www.mindoverfinger.com/coaching to book your free consultation with me. Visit MindOverFinger.com for my online courses as well as free resources on peak performance. Grab my free workshops and PDF downloads by going to www.mindoverfinger.com/resources. Connect: https://www.youtube.com/@MindOverFinger https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/ THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme: Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson.
Met ditmaal: Cardinals, Dry Cleaning, Ist Ist, The Bohemes, Ora Cogan, Ulrika Spacek,Ásgeir, Keaton Henson, Kevin Morby, Prince, Yīn Yīn, The Medicines, PREY, youbet, plus een exclusieve instore van Yorick van Norden. Concerto Radio, aflevering 636 (20 februari 2026): Cardinals, Anhedonia: Masquerade Dry Cleaning, Cruise Ship Designer: Secret Love Ist Ist, Obligations: Dagger The Bohemes, […]
Arcangelo Corelli (1653-1713) - Concerto grosso in re maggiore, Op. 6 No. 1Largo – Allegro Largo – Allegro [2:34]Largo [5:18]Allegro [8:38]Allegro [10:28] Stefano Rossi, violinoAnnie Gard, violinoBremer Barockorchester
Stéphan Elmas (1862–1937) foi um pianista e compositor armênio que viveu boa parte de sua vida na Europa. Considerado um prodígio do piano, estudou em Viena e foi fortemente influenciado pelo romantismo tardio, especialmente por Chopin, Liszt e Schumann. Sua carreira foi marcada por um estilo lírico e melódico, com grande ênfase na expressividade pianística. Apesar de ter perdido a audição em consequência de uma doença, continuou compondo e deixou um legado significativo, ainda que pouco conhecido fora de círculos especializados.O Concerto para Piano n.º 1 em Sol menor, composto em 1882, é uma obra típica do romantismo tardio, estruturada em três movimentos. A peça combina virtuosismo pianístico com uma escrita orquestral rica, revelando tanto a herança vienense quanto a sensibilidade melódica armênia de Elmas.Apresentado por Aroldo Glomb com Aarão Barreto na bancada. Seja nosso padrinho: https://apoia.se/conversadecamara RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Gustavo Holtzhausen, João Paulo Belfort , Arthur Muhlenberg e Rafael Hassan.
Fabien Gabel is Music Director of the Tonkünstler-Orchester Niederösterreich, leading concerts across the orchestra's three venues in Vienna. He has established an international career with Orchestre de Paris, Chicago Symphony Orchestra, London Philharmonic, The Cleveland Orchestra, NDR Elbphilharmonie Orchester, Royal Stockholm Philharmonic Orchestra, Orchestre symphonique de Montréal, Seoul Philharmonic and Melbourne Symphony Orchestra. The 2025/2026 season is marked by important collaborations: Fabien made his debut at the Metropolitan Opera with Carmen; he lead a five-city tour of Spain with Yuja Wang and Mahler Chamber Orchestra; and he conducted premiere performances of Samy Moussa's Concerto for Flute and Orchestra (with Emmanuel Pahud) with French National Orchestra and the Detroit Symphony, as well as Donghoon Shin's viola concerto Threadsuns with Minnesota Orchestra and Tonkünstler-Orchester. Fabien works regularly with all major Parisian orchestras, having made his debut at the Opéra national de Paris during the 2022/2023 season. He recently led the recording of a new score for Abel Gance's 1927 epic film Napoléon with the Orchestre National de France and Orchestre Philharmonique de Radio France. The first part of the film was presented at the 2024 Festival de Cannes and shown in theaters, on French television, and Netflix. Born in Paris to a family of accomplished musicians, Fabien Gabel began playinghe trumpet at the age of six and honed his skills at the Conservatoire National Supérieur de Musique de Paris, and at the Hochschule für Musik Karlsruhe with Reinhold Friedrich. Fabien Gabel was named ‘Chevalier des Arts et des Lettres' by the French government in January 2020.
durée : 01:27:23 - En pistes ! du mercredi 18 février 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme de cette émission, un troisième volume des Concertos pour piano de Mozart par la pianiste russe Olga Paschenko et le célèbre Concerto pour orchestre de Bela Bartok sous la baguette de Gustavo Gimeno. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
durée : 01:27:23 - En pistes ! du mercredi 18 février 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme de cette émission, un troisième volume des Concertos pour piano de Mozart par la pianiste russe Olga Paschenko et le célèbre Concerto pour orchestre de Bela Bartok sous la baguette de Gustavo Gimeno. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
Từ ngày 27/11 đến 9/12 năm 2025, nghệ sĩ piano Pháp-Rumani Dana Ciocarlie đã thực hiện chuyến lưu diễn tại Việt Nam, đưa khán giả đi qua những dòng sông, nơi âm nhạc gợi lên hình ảnh chuyển động của nước và tạo thành những kết nối giữa các thế hệ, các nền văn hóa. Chuyến lưu diễn nằm trong khuôn khổ dự án Vivre avec les fleuves của Viện Pháp và danh hiệu Living with Rivers của hiệp hội Novelette, thể hiện tinh thần hợp tác nghệ thuật và ý thức về môi trường, biến mỗi buổi trình diễn thành một hành trình khám phá đầy cảm hứng. Việt Nam là một đất nước được hình thành và được nuôi dưỡng nhờ nước. Các con sông không chỉ tạo nên địa hình và cảnh quan, mà còn đóng vai trò trung tâm trong đời sống kinh tế, xã hội và văn hóa. Từ miền Bắc đến miền Nam, sông ngòi kết nối các vùng đất, định hình đô thị, điều tiết mùa màng và lưu giữ ký ức tập thể. Tại Hà Nội, nhịp sống đô thị dày đặc, liên tục vận động, gợi cảm giác dòng chảy không ngừng. Ở phía Nam, sông nước mênh mông, chia nhánh, tạo thành vùng châu thổ rộng lớn của sông Mê Kông. Trong bối cảnh ấy, chuyến lưu diễn của Dana Ciocarlie gợi lên hình ảnh một cuộc hành trình xuôi theo dòng nước, nơi âm nhạc đối thoại với không gian, lịch sử và con người. Dự án này không chỉ xuất phát từ một chủ đề hay một lãnh thổ, mà còn từ một tình bạn Pháp–Việt được xây dựng qua thời gian. Trước chuyến lưu diễn, đó là một quá trình trao đổi lâu dài, dựa trên sự tin cậy, những câu chuyện được chia sẻ và « dịch chuyển » theo nghĩa rộng : dịch chuyển trong ngôn ngữ, văn hóa và ý tưởng sáng tạo nghệ thuật. Âm nhạc dần trở thành phương tiện chung, kết nối sông Loire – biểu tượng di sản của Pháp – với sông Mê Kông, nguồn sống thiết yếu của Việt Nam, và rộng hơn là kết nối các dân tộc với nhau. Dana cho biết : « Ở Pháp, chúng tôi có một con sông lớn mang tên Loire, đồng thời cũng là nơi khai sinh hiệp hội Novelette mà tôi tham gia thành lập. Và năm 2025 lại được chọn là Năm Quốc tế về sông nước, nên điều này thật hiển nhiên khi chúng tôi nghĩ đến việc tạo nên một chương trình âm nhạc và hành trình khám phá Việt Nam, bắt đầu từ Loire sau đó hướng về Mê Kông. Hai dòng sông này thậm chí còn được chính thức kết nghĩa với nhau. » Chuyến lưu diễn được triển khai với sự hỗ trợ của Viện Pháp tại Việt Nam và hiệp hội Novelette, đơn vị đạt danh hiệu Living with Rivers. Dự án là những suy tư về nước không chỉ như một yếu tố tự nhiên, mà như một mối liên kết sống động giữa con người, văn hóa và sáng tạo. Trong khuôn khổ đó, sông trở thành một không gian gặp gỡ giữa các lĩnh vực, các thế hệ và các chương trình nghệ thuật khác nhau. Một trong những khoảnh khắc đáng nhớ của chuyến lưu diễn là cuộc gặp gỡ với nhóm nghiên cứu CARE (Center Asian Research on Water) trên sông Sài Gòn, nơi Dana Ciocarlie trao đổi về tình trạng của các hệ thống sông ngòi đô thị với các nhà khoa học Pháp và Việt Nam. Những cuộc trao đổi này giúp bà nhận thức được rằng nước không chỉ là nguồn cảm hứng âm nhạc, mà còn là một thực thể mong manh, gắn với trách nhiệm chung, khiến mỗi buổi hòa nhạc trở thành một không gian chia sẻ và nâng cao nhận thức về môi trường. Ngày 28/11, nghệ sĩ piano Dana Ciocarlie tham gia buổi tổng duyệt đầu tiên với dàn nhạc VNSO, dưới sự chỉ huy của nhạc trưởng Honna Tetsuji. Trong chương trình biểu diễn tối 29 tháng 11 tại Phòng Hòa nhạc Quốc gia Hà Nội, bà trình diễn Concerto số 5 của Camille Saint-Saëns. Dana Ciocarlie chia sẻ : « Concerto số 5 là một tác phẩm khá đặc biệt, còn được gọi là ‘Egyptien' (Ai Cập), lấy cảm hứng từ đất nước, con người Ai Cập và phương Đông. Văn hóa Pháp thường xuyên hướng cái nhìn về các lục địa khác, các nền văn hóa khác. Camille Saint-Saëns là một nhà soạn nhạc thuộc trường phái Lãng mạn vào thế kỷ 19. Tác phẩm này mang ý nghĩa của một hành trình khám phá.» Bà cho biết thêm: « Tác phẩm có mạch chảy xuyên suốt và đồng thời giàu tính kỹ thuật, càng rực rỡ qua tiếng dương cầm, đưa người nghe qua nhiều tâm cảnh khác nhau.» Trong buổi hòa nhạc, nghệ sĩ và dàn nhạc tạo nên một cuộc đối thoại sinh động. Kỹ thuật nhanh nhạy, linh hoạt và giàu năng lượng của Dana Ciocarlie trên phím dương cầm mang lại cho người nghe cảm giác chuyển động – lúc mềm mại, lúc dữ dội như những dòng chảy của nước - phù hợp với chủ đề trung tâm của chương trình. Khán giả tại Học viện Âm nhạc Quốc gia đã dành cho nghệ sĩ những tràng pháo tay nồng nhiệt. Đáp lễ, bà biểu diễn thêm bản Hành khúc Thổ Nhĩ Kỳ của Mozart như một món quà đặc biệt ở phần cuối chương trình. Dana Ciocarlie hiện cũng đang thực hiện các bản thu trực tiếp các concerto của Mozart tại Paris, một số đã được phát hành và các phiên bản khác sắp ra mắt, mở rộng hành trình âm nhạc mà bà đã gửi đến người Việt Nam. Từ Hà Nội, chuyến lưu diễn tiếp tục đến Huế, Đà Nẵng, Thành phố Hồ Chí Minh và Đà Lạt. Mỗi chặng dừng là một dịp gặp gỡ với các ê-kíp địa phương, khán giả, cũng như sinh viên và giảng viên các nhạc viện. Chương trình được xây dựng như một hành trình xuyên thế hệ và truyền thống âm nhạc, kết nối các nhà soạn nhạc có chung nền tảng đào tạo như Maurice Ravel, Gabriel Fauré và Georges Enesco, với các nhà soạn nhạc đương đại, trong đó có Élise Bertrand, gương mặt trẻ đang được chú ý tại Pháp, Édith Canat de Chizy và Marie Jaëll. Dana Ciocarlie đặc biệt quan tâm đến việc giới thiệu các tác phẩm của các nhà sáng tác nữ, xem đó như một phần thiết yếu trong cam kết nghệ thuật của mình. Bên cạnh đó là sự hiện diện của nhà soạn nhạc Việt Nam Tôn Thất Tiết, sinh ra tại Huế, một tên tuổi quen thuộc trên các diễn đàn âm nhạc quốc tế, dù còn ít được biết đến trong nước. Nói về tinh thần của chương trình, Dana Ciocarlie tâm sự với RFI : « Tôi nghĩ chương trình sẽ giống như một cơn lốc của những tương phản : có những bản nhạc nghe khá lạ lẫm, nhưng cũng có những giai điệu rất quen thuộc. Tôi mong đợi ở khán giả sự tò mò, sự quan tâm và cả sự thân thiện. » Các tác phẩm trong chương trình được lựa chọn để đối thoại với chủ đề nước và lịch sử âm nhạc, từ những âm thanh linh hoạt, trong trẻo của Ravel hay Dutilleux, đến không gian tĩnh tại, chiêm nghiệm của Debussy, và thế giới nội tâm, đa chiều trong các tác phẩm của Marie Jaëll, Philippe Hersant hay Édith Canat de Chizy. Fauré gợi nhịp điệu đều đặn, nhẹ nhàng như thuyền trôi êm đềm trên dòng sông phẳng lặng, Bertrand nhắc về nguồn cội, còn Tôn Thất Tiết khép lại chương trình bằng một bức tranh âm thanh đa tầng, diễn đạt những trạng thái đối lập của biển và thiên nhiên. Trả lời RFI Tiếng Việt, Dana Ciocarlie khẳng định âm nhạc là một ngôn ngữ chung, không cần lời nói, nhưng có khả năng kết nối con người và mở ra những cách nhìn mới về thế giới. Được công chúng Việt Nam đón nhận nồng nhiệt, dự án này cho thấy sự giao thoa chặt chẽ giữa nghệ thuật và ý thức môi trường. Sau hành trình tại Việt Nam, chương trình đã được giới thiệu tại Pháp, trong khuôn khổ lễ hội La Folle Journée ở Nantes, vào ngày 29/1/2026, nơi các dòng sông một lần nữa trở thành chất liệu âm nhạc và không gian suy ngẫm chung.
Từ ngày 27/11 đến 9/12 năm 2025, nghệ sĩ piano Pháp-Rumani Dana Ciocarlie đã thực hiện chuyến lưu diễn tại Việt Nam, đưa khán giả đi qua những dòng sông, nơi âm nhạc gợi lên hình ảnh chuyển động của nước và tạo thành những kết nối giữa các thế hệ, các nền văn hóa. Chuyến lưu diễn nằm trong khuôn khổ dự án Vivre avec les fleuves của Viện Pháp và danh hiệu Living with Rivers của hiệp hội Novelette, thể hiện tinh thần hợp tác nghệ thuật và ý thức về môi trường, biến mỗi buổi trình diễn thành một hành trình khám phá đầy cảm hứng. Việt Nam là một đất nước được hình thành và được nuôi dưỡng nhờ nước. Các con sông không chỉ tạo nên địa hình và cảnh quan, mà còn đóng vai trò trung tâm trong đời sống kinh tế, xã hội và văn hóa. Từ miền Bắc đến miền Nam, sông ngòi kết nối các vùng đất, định hình đô thị, điều tiết mùa màng và lưu giữ ký ức tập thể. Tại Hà Nội, nhịp sống đô thị dày đặc, liên tục vận động, gợi cảm giác dòng chảy không ngừng. Ở phía Nam, sông nước mênh mông, chia nhánh, tạo thành vùng châu thổ rộng lớn của sông Mê Kông. Trong bối cảnh ấy, chuyến lưu diễn của Dana Ciocarlie gợi lên hình ảnh một cuộc hành trình xuôi theo dòng nước, nơi âm nhạc đối thoại với không gian, lịch sử và con người. Dự án này không chỉ xuất phát từ một chủ đề hay một lãnh thổ, mà còn từ một tình bạn Pháp–Việt được xây dựng qua thời gian. Trước chuyến lưu diễn, đó là một quá trình trao đổi lâu dài, dựa trên sự tin cậy, những câu chuyện được chia sẻ và « dịch chuyển » theo nghĩa rộng : dịch chuyển trong ngôn ngữ, văn hóa và ý tưởng sáng tạo nghệ thuật. Âm nhạc dần trở thành phương tiện chung, kết nối sông Loire – biểu tượng di sản của Pháp – với sông Mê Kông, nguồn sống thiết yếu của Việt Nam, và rộng hơn là kết nối các dân tộc với nhau. Dana cho biết : « Ở Pháp, chúng tôi có một con sông lớn mang tên Loire, đồng thời cũng là nơi khai sinh hiệp hội Novelette mà tôi tham gia thành lập. Và năm 2025 lại được chọn là Năm Quốc tế về sông nước, nên điều này thật hiển nhiên khi chúng tôi nghĩ đến việc tạo nên một chương trình âm nhạc và hành trình khám phá Việt Nam, bắt đầu từ Loire sau đó hướng về Mê Kông. Hai dòng sông này thậm chí còn được chính thức kết nghĩa với nhau. » Chuyến lưu diễn được triển khai với sự hỗ trợ của Viện Pháp tại Việt Nam và hiệp hội Novelette, đơn vị đạt danh hiệu Living with Rivers. Dự án là những suy tư về nước không chỉ như một yếu tố tự nhiên, mà như một mối liên kết sống động giữa con người, văn hóa và sáng tạo. Trong khuôn khổ đó, sông trở thành một không gian gặp gỡ giữa các lĩnh vực, các thế hệ và các chương trình nghệ thuật khác nhau. Một trong những khoảnh khắc đáng nhớ của chuyến lưu diễn là cuộc gặp gỡ với nhóm nghiên cứu CARE (Center Asian Research on Water) trên sông Sài Gòn, nơi Dana Ciocarlie trao đổi về tình trạng của các hệ thống sông ngòi đô thị với các nhà khoa học Pháp và Việt Nam. Những cuộc trao đổi này giúp bà nhận thức được rằng nước không chỉ là nguồn cảm hứng âm nhạc, mà còn là một thực thể mong manh, gắn với trách nhiệm chung, khiến mỗi buổi hòa nhạc trở thành một không gian chia sẻ và nâng cao nhận thức về môi trường. Ngày 28/11, nghệ sĩ piano Dana Ciocarlie tham gia buổi tổng duyệt đầu tiên với dàn nhạc VNSO, dưới sự chỉ huy của nhạc trưởng Honna Tetsuji. Trong chương trình biểu diễn tối 29 tháng 11 tại Phòng Hòa nhạc Quốc gia Hà Nội, bà trình diễn Concerto số 5 của Camille Saint-Saëns. Dana Ciocarlie chia sẻ : « Concerto số 5 là một tác phẩm khá đặc biệt, còn được gọi là ‘Egyptien' (Ai Cập), lấy cảm hứng từ đất nước, con người Ai Cập và phương Đông. Văn hóa Pháp thường xuyên hướng cái nhìn về các lục địa khác, các nền văn hóa khác. Camille Saint-Saëns là một nhà soạn nhạc thuộc trường phái Lãng mạn vào thế kỷ 19. Tác phẩm này mang ý nghĩa của một hành trình khám phá.» Bà cho biết thêm: « Tác phẩm có mạch chảy xuyên suốt và đồng thời giàu tính kỹ thuật, càng rực rỡ qua tiếng dương cầm, đưa người nghe qua nhiều tâm cảnh khác nhau.» Trong buổi hòa nhạc, nghệ sĩ và dàn nhạc tạo nên một cuộc đối thoại sinh động. Kỹ thuật nhanh nhạy, linh hoạt và giàu năng lượng của Dana Ciocarlie trên phím dương cầm mang lại cho người nghe cảm giác chuyển động – lúc mềm mại, lúc dữ dội như những dòng chảy của nước - phù hợp với chủ đề trung tâm của chương trình. Khán giả tại Học viện Âm nhạc Quốc gia đã dành cho nghệ sĩ những tràng pháo tay nồng nhiệt. Đáp lễ, bà biểu diễn thêm bản Hành khúc Thổ Nhĩ Kỳ của Mozart như một món quà đặc biệt ở phần cuối chương trình. Dana Ciocarlie hiện cũng đang thực hiện các bản thu trực tiếp các concerto của Mozart tại Paris, một số đã được phát hành và các phiên bản khác sắp ra mắt, mở rộng hành trình âm nhạc mà bà đã gửi đến người Việt Nam. Từ Hà Nội, chuyến lưu diễn tiếp tục đến Huế, Đà Nẵng, Thành phố Hồ Chí Minh và Đà Lạt. Mỗi chặng dừng là một dịp gặp gỡ với các ê-kíp địa phương, khán giả, cũng như sinh viên và giảng viên các nhạc viện. Chương trình được xây dựng như một hành trình xuyên thế hệ và truyền thống âm nhạc, kết nối các nhà soạn nhạc có chung nền tảng đào tạo như Maurice Ravel, Gabriel Fauré và Georges Enesco, với các nhà soạn nhạc đương đại, trong đó có Élise Bertrand, gương mặt trẻ đang được chú ý tại Pháp, Édith Canat de Chizy và Marie Jaëll. Dana Ciocarlie đặc biệt quan tâm đến việc giới thiệu các tác phẩm của các nhà sáng tác nữ, xem đó như một phần thiết yếu trong cam kết nghệ thuật của mình. Bên cạnh đó là sự hiện diện của nhà soạn nhạc Việt Nam Tôn Thất Tiết, sinh ra tại Huế, một tên tuổi quen thuộc trên các diễn đàn âm nhạc quốc tế, dù còn ít được biết đến trong nước. Nói về tinh thần của chương trình, Dana Ciocarlie tâm sự với RFI : « Tôi nghĩ chương trình sẽ giống như một cơn lốc của những tương phản : có những bản nhạc nghe khá lạ lẫm, nhưng cũng có những giai điệu rất quen thuộc. Tôi mong đợi ở khán giả sự tò mò, sự quan tâm và cả sự thân thiện. » Các tác phẩm trong chương trình được lựa chọn để đối thoại với chủ đề nước và lịch sử âm nhạc, từ những âm thanh linh hoạt, trong trẻo của Ravel hay Dutilleux, đến không gian tĩnh tại, chiêm nghiệm của Debussy, và thế giới nội tâm, đa chiều trong các tác phẩm của Marie Jaëll, Philippe Hersant hay Édith Canat de Chizy. Fauré gợi nhịp điệu đều đặn, nhẹ nhàng như thuyền trôi êm đềm trên dòng sông phẳng lặng, Bertrand nhắc về nguồn cội, còn Tôn Thất Tiết khép lại chương trình bằng một bức tranh âm thanh đa tầng, diễn đạt những trạng thái đối lập của biển và thiên nhiên. Trả lời RFI Tiếng Việt, Dana Ciocarlie khẳng định âm nhạc là một ngôn ngữ chung, không cần lời nói, nhưng có khả năng kết nối con người và mở ra những cách nhìn mới về thế giới. Được công chúng Việt Nam đón nhận nồng nhiệt, dự án này cho thấy sự giao thoa chặt chẽ giữa nghệ thuật và ý thức môi trường. Sau hành trình tại Việt Nam, chương trình đã được giới thiệu tại Pháp, trong khuôn khổ lễ hội La Folle Journée ở Nantes, vào ngày 29/1/2026, nơi các dòng sông một lần nữa trở thành chất liệu âm nhạc và không gian suy ngẫm chung.
Ernest Chausson (1855 - 1899) – Concerto per pianoforte, violino e quartetto d'archi in re maggiore, Op. 21 1. Décidé - Calme - Animé 2. Sicilienne. Pas vite - 14:583. Grave - Un peu plus vite - Mouvement - 19:174. Finale. Très animé - Très vif - Plus large - Plus animé - Premier Mouvement - 29:43 Jennifer Pike, violinoTom Poster, pianoforteDoric String Quartet
durée : 00:05:45 - Le Bach du matin du lundi 16 février 2026 - Ce matin, nous écoutons le premier mouvement du Concerto brandebourgeois n° 6 en si bémol majeur de Bach, dans un arrangement pour deux pianos signé Gustav Clemens Felix Krug, interprété par le Duo Tal & Groethuysen. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
durée : 00:05:45 - Le Bach du matin du lundi 16 février 2026 - Ce matin, nous écoutons le premier mouvement du Concerto brandebourgeois n° 6 en si bémol majeur de Bach, dans un arrangement pour deux pianos signé Gustav Clemens Felix Krug, interprété par le Duo Tal & Groethuysen. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
durée : 00:10:44 - "Concerto d'Aranjuez" de Joaquín Rodrigo par Kazuhito Yamashita - Épisode spécial de « Guitares de légende » consacré à Kazuhito Yamashita et à sa lecture de l'Adagio du "Concerto d'Aranjuez" (1940) de Joaquín Rodrigo. Une version à la fois souveraine et audacieuse, capable de prendre des risques tout en restant fidèle à la nature intime de la guitare. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
Aaron Copland (1900-1990) è stato una figura di spicco nella musicaamericana, a volte chiamato il “Decano dei compositori americani” per la suaprofonda influenza sull'identità musicale americana del XX secolo. Nato aBrooklyn, New York, il più giovane di cinque figli di immigrati ebrei lituanirussi, la prima formazione musicale di Copland proveniva da sua sorella e dagliinsegnanti del quartiere. All'età di 15 anni, aveva deciso di diventare uncompositore.La sua svolta artistica è arrivata dopo aver studiato a Parigi con laleggendaria compositrice e insegnante Nadia Boulanger, che haplasmato la sua voce compositiva essendo introdotto alle ultime tendenzeeuropee. Tornato negli Stati Uniti negli anni '20, Copland iniziò a fondereelementi jazz con forme classiche, come si vede in Music for theTheatre e nel suo Concerto per pianoforte.Le sue prime opere, come la Sinfonia per organo e orchestra ele Piano Variations, mostravano un taglio modernista, segnato dadissonanze e ritmi complessi.Ma negli anni '30, nel bel mezzo della Grande Depressione, Copland cercò dicreare musica che risuonasse più profondamente con il pubblico americano.Questo cambiamento ha dato vita a una serie di opere che incorporavano melodiepopolari, armonie aperte e melodie accessibili, evocando lo spirito dellafrontiera americana. Questo stile ha definito opere come i suoi balletti AppalachianSpring (che ha vinto il Premio Pulitzer per la musica nel 1945), Billythe Kid e Rodeo, e la sua Fanfare for the CommonMan. Questi hanno reso Copland un nome familiare.Durante gli anni '40 e '50, Copland si espanse grazie alla musica da film,componendo colonne sonore pluripremiate per film come Uomini e topi (1939), Lanostra città (1940) e L'ereditiera (1949), per ilquale vinse un Oscar.Più tardi nella vita, esplorò tecniche più astratte e seriali, purmantenendo la sua sensibilità lirica. Oltre a comporre, Copland fu uninstancabile sostenitore della musica americana, scrivendo (inparticolare What to Listen for in Music nel 1939), insegnandoe dirigendo. Grazie alla sua dedizione nel rendere la musica contemporaneaaccessibile a un pubblico più ampio, è diventato un pilastro della vitaculturale americana.Copland è morto nel 1990 a Sleepy Hollow, New York, lasciando un'ereditàche continua a plasmare il modo in cui l'America ascolta sé stessa.Consigli per l'ascoltoOpere teatrali Opere orchestrali e concerti Opere vocali
Dois concertos arrebatadores de Johann Friedrich Fasch, compositor que viveu na fronteira entre o Barroco e o nascimento do Classicismo. Aqui, o som não é apenas música — é poder, cerimônia e ousadia sonora.No Concerto para Trompete em Ré maior (FaWV L:D1), Fasch explora o trompete natural em todo o seu esplendor. Nada de válvulas — apenas técnica, ar e virtuosismo no registro clarino. A estrutura tradicional em três movimentos (Allegro – Largo – Allegro) ganha vida com diálogos vibrantes entre solista e cordas, um movimento lento de solenidade contida e um final dançante que exala energia cortesã. É música pensada para impressionar.Já o Concerto para 3 Trompetes em Ré maior (FaWV L:D3) eleva o espetáculo. Três trompetes barrocos, tímpanos, oboés e cordas criam uma atmosfera quase arquitetônica de som. O primeiro Allegro abre como uma cerimônia real em pleno auge. O Andante traz contraste e refinamento. O último movimento devolve o brilho com força rítmica e imponência. Não é difícil imaginar salões germânicos ecoando essa sonoridade majestosa.Fasch, contemporâneo e admirado por gigantes como Johann Sebastian Bach e Georg Philipp Telemann, foi Kapellmeister em Zerbst a partir de 1722, responsável por fornecer música para eventos religiosos e políticos. Sua escrita para metais revela acesso a trompetistas virtuosos — figuras altamente prestigiadas nas cortes alemãs.Mais do que compositor de ocasião, Fasch foi um arquiteto da transição estilística que abriria caminho para Joseph Haydn e Wolfgang Amadeus Mozart. Sua música carrega o DNA do Barroco tardio, mas já aponta para uma estética mais leve, clara e galante.#JohannFriedrichFasch #ConcertoBarroco #TrompeteBarroco #MusicaClassica #BarrocoTardio #HistoriaDaMusica #AnaliseMusical #ConcertoParaTrompete #MusicaInstrumental #PodcastMusicalApresentado por Aroldo Glomb com Aarão Barreto na bancada. Seja nosso padrinho: https://apoia.se/conversadecamara RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Gustavo Holtzhausen, João Paulo Belfort , Arthur Muhlenberg e Rafael Hassan.
In this episode, we unpack how unrealistic expectations quietly overload your brain, tighten your body, and slow your progress. And more importantly, how to reset them so they actually work for you. You'll learn: • Why high standards are not the problem but misaligned expectations are • How pressure and perfectionism interfere with learning • A simple expectation audit you can use before practice or performance • How to shift from "I should" to "What can I do today?" • A powerful on stage reframe that turns anxiety into expression If you've been pushing hard but not feeling better, this one will help you breathe, refocus, and move forward with clarity. If you're ready to step on stage with confidence, perform at your best, and finally feel secure in your playing, let's talk! Book a free discovery call and let's create a plan to get you there. Are you ready to take your playing and career to the next level and create a life that feels purposeful and joyful? Let's connect and explore how personalized coaching can support your journey. Click here to schedule your free consultation, and let's start turning your goals into reality. Book your FREE Music Mastery Experience Discovery call with Renée HERE Book your free consultation with Renée HERE Download the transcript from this episode HERE Mind Over Finger Click www.mindoverfinger.com/coaching to book your free consultation with me. Visit MindOverFinger.com for my online courses as well as free resources on peak performance. Grab my free workshops and PDF downloads by going to www.mindoverfinger.com/resources. Connect: https://www.youtube.com/@MindOverFinger https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/ THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme: Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson.
In scena al Perth Festival il trio (più violino) di Umberto Clerici, violoncellista e direttore della Queensland Symphony Orchestra.
About the GuestDr. Keith Buhler is an entrepreneur, philosopher, and teacher. He co-founded the Saint Andrew Academy in Riverside CA, where he serves at Director of Advancement. When he is not teaching Great Books at Azusa Pacific University Honors College, he coaches other start-ups and serves in the west coast Alcuin Fellowship. His writings include Into the Light (a chapter on education); Virtue and Wisdom as Natural Ends (philosophy); and Sola Scriptura: A Dialogue (theology). He attends St Andrew Orthodox Church in Riverside, with his wife Elizabeth and their four children. Show NotesOrthodox Christian educator, Dr. Keith Buhler joins Adrienne to discuss his chapter in the new anthology compiled by David V. Hicks (author of Norms & Nobility). Some topics covered include:Education is a life, not just a pursuit of academicsThe role of the teacher as a role model and mentor in virtueOrthodox traditionsGrowing children in good habits in the classroomEducation is a lifelong pursuit that does not end upon graduationResources and People MentionedInto The Light: Classical Education and Orthodox Christianity, compiled by David V. Hicks and Anthony Gilbert The Republic by PlatoA Dish of Orts, Essays by George MacDonald (The Fantastic Imagination Essay)Sir Gibbie, George MacDonaldG.K. Chestertonpoems by C.S. LewisThe Awakening of Miss PrimNorms and Nobility by David HicksTen Traits of a Good Teacher by Chris PerrinC. S. Lewis PoetryKevin Clark and Ravi Jain The Liberal Arts TraditionPeter KreeftPoem on Oxford by C. S. LewisAfter Prayer by Malcom Guite (A Kind of Tune Poem)George HerbertSir Gibbie by George MacDonaldAristotlePodcast Episode on Nature Journaling with John Muir LawsPodcast Episode on Norms & Nobility with David V. Hicks_____________________________________This podcast is produced by Beautiful Teaching, LLC.Support this podcast: ★ Support this podcast ★ _________________________________________________________Credits:Sound Engineer: Andrew HelselLogo Art: Anastasiya CFMusic: Vivaldi's Concerto for 2 Violins in B flat major, RV529 : Lana Trotovsek, violin Sreten Krstic, violin with Chamber Orchestra of Slovenian Philharmonic © 2026 Beautiful Teaching LLC. All Rights Reserved
FALLA: Concerto per clavicémbalo (o pianoforte), flauto, oboe, clarinetto, violino e violoncello (15.07). M. de Falla (clv.), M. Moyse (fl.), G. Bonneau (fl.), E, Godeau (cl.), M. Darrieux (vl.), A. Cruque (vc.). Psyche (5.19). C. Badía (sop.), Orq. de Cámara. Dir.: M. de Falla. VICTORIA: Missa “Pro Victoria” (selec.) (Credo, Sanctus, Agnus Dei) (13.22). Ensemble Plus Ultra. A. Cea (órg.). Dir.: M. Noone.Escuchar audio
Dani Howard is originally from Hong Kong but she's now a renowned British composer and orchestrator. Her works have been performed by the London Symphony, BBC Symphony and Royal Philharmonic among others. She won a Royal Philharmonic Society Award for her Trombone Concerto. Her debut album features the Royal Liverpool Philharmonic and trombonist Peter Moore. Dani was Resident Artist with the National Youth Orchestra of Great Britain. And she was recently appointed as “Celebrated Composer” with the Bournemouth Symphony Orchestra.My featured song is my recent release, “Ma Petite Fleur String Quartet”. Spotify link.—-----------------------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH DANI:www.danihoward.com—----------------------------------------ROBERT'S LATEST RELEASE:“MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars.CLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—---------------------------------------ROBERT'S RECENT SINGLE“MI CACHIMBER” is Robert's recent single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhornCLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—--------------------------------------ROBERT'S LATEST ALBUM:“WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
Host Silas Farley is back with another fascinating Hear the Dance conversation, joined this week by Kay Mazzo, Christine Redpath, and Jean-Pierre Frohlich to discuss Jerome Robbins' masterpiece Dances at a Gathering. In this wide-ranging and intimate conversation, they share memories of the ballet's momentous 1969 premiere as well as time spent with Robbins in the rehearsal studio. As they discuss the various sections of Dances, they reflect on moments when Robbins' humor emerges; the "freedom" and even suspense of certain passages; and the ways in which the ballet is a gift from the choreographer as much to the dancers, who share in its rich sense of community, as to the audience. (1:09:57) Written by Silas Farley Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Mazurka, op. 63, no. 3; Waltz, op. 69, no. 2; Mazurka, op. 33, no. 3; Mazurkas, op. 6, nos. 2 and 4, op. 7, nos. 4 and 5, op. 24, no. 2; Waltz, op. 24; Waltz, op. 34, no. 2; Mazurka, op. 56, no. 2; Etude, op. 25, no. 4; Waltz, op. 34, no. 1; Waltz, op. 70, no. 2; Etude, op. 25, no. 5; Etude, op. 10, no. 2; Scherzo, op. 20, no. 1; Nocturne, op. 15, no. 1 All music performed by New York City Ballet Orchestra Reading List: Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, by Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Life of Chopin by Franz Liszt Chopin: Prince of the Romantics by Adam Zamoyski Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein
durée : 01:28:15 - En pistes ! du lundi 09 février 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Pour son premier disque en soliste, le jeune violoncelliste français explore le répertoire de Dvorak, concerto et pièces de genre, accompagné par l'Orchestre National de Metz Grand Est, sous la direction de David Reiland. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
durée : 01:28:15 - En pistes ! du lundi 09 février 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Pour son premier disque en soliste, le jeune violoncelliste français explore le répertoire de Dvorak, concerto et pièces de genre, accompagné par l'Orchestre National de Metz Grand Est, sous la direction de David Reiland. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
durée : 00:05:49 - Le Bach du matin du lundi 09 février 2026 - Ce matin, le Café Zimmermann, dirigé par le violoniste Pablo Valetti, interprète le Menuet et la Polonaise du Concerto brandebourgeois n° 1 en fa majeur (BWV 1046). Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
durée : 00:05:32 - Le Bach du matin du samedi 07 février 2026 - Nous écoutons l'Allegro du Concerto brandebourgeois n°5 en Ré Maj BWV 1050 interprété par l'ensemble La Petite Bande et son chef Sigiswald Kuijken. Jean Sébastien Bach : Intégrale des 6 concertos brandebourgeois (ACCENT, 2010) Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
What if your path takes longer than you thought it would? What if you don't win the job straight out of school. Or even straight out of your twenties? And what if that's not failure, but just a different kind of success? In this episode, I sit down with Bill Denton, Principal Trumpet of the Lyric Opera of Chicago, to talk about what it really means to stay in the game. Bill won his job at 50. Before that? He taught high school band, drove to gigs, kept showing up, and stayed connected to his playing through real life, not a perfect timeline. This conversation is for anyone who's ever wondered: · Am I too late? · Is it still worth it? · What if my career doesn't look like theirs? Tune in to hear what long-term commitment really looks like, how to stay ready without burning out, and why your timeline doesn't have to match anyone else's. Whether you're navigating auditions, comparison, or just the quiet pressure of being "on time," this one's for you. Find out more information about Bill on his website: https://dentonliumusicacademy.com/bios/ If you're ready to step on stage with confidence, perform at your best, and finally feel secure in your playing, let's talk! Book a free discovery call and let's create a plan to get you there. Are you ready to take your playing and career to the next level and create a life that feels purposeful and joyful? Let's connect and explore how personalized coaching can support your journey. Click here to schedule your free consultation, and let's start turning your goals into reality. Book your FREE Music Mastery Experience Discovery call with Renée HERE Book your free consultation with Renée HERE Download the transcript from this episode HERE Mind Over Finger Click www.mindoverfinger.com/coaching to book your free consultation with me. Visit MindOverFinger.com for my online courses as well as free resources on peak performance. Grab my free workshops and PDF downloads by going to www.mindoverfinger.com/resources. Connect: https://www.youtube.com/@MindOverFinger https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/ THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme: Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson.
A preview the Valentine's weekend performances featuring Valentin Kovalev and Aiwen Zhang with Carr's Concerto for Two Saxophones, Bernstein from On the Town, and Tchaikovsky's Fifth Symphony.
SONGS in this podcast episode: M1 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) M2 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20). M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40). M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55). M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06). M7 JESU, JOY OF MAN'S DESIRING, JS BACH, 1723, BWV 147 (2:56) M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) PROGRAM NOTES Johann Sebastian Bach was a German composer and organist from the late Baroque period. He was born in Eisenach, in what is now central Germany. Bach lived from 1685 to 1750, The Baroque period was a 150-year period in music, dating from 1600 to 1750. Baroque music is Western Classical Music that followed the Renaissance period. Baroque music features drama, ornamentation, major and minor tones, and was presented in new ways – – like the Opera, Concerto, and Sonata, Baroque composers included BACH, HANDEL, VIVALDI. M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27). Bach probably used the CLAVICHORD to compose most of his music. The Clavichord is small, lightweight and would not disturb people. The clavichord was very temperamental, because it required tuning before each play, just like a violin or guitar. The keyboard instruments of the day were referred to as a general category: the “KLAVIER”….these included HARPSICHORD, CLAVICHORD, ORGAN and PIANOFORTE. Bach's favorite KLAVIER instrument was the LAUTENWERK or LUTE HARPSICHORD with animal gut strings. The writing of music was in support of GOD and KINGS. Over time, Baroque Music evolved into what is today known as the modern Orchestra. Bach was a prolific composer, writing hundreds of pieces for solo instruments, particularly the organ. He also wrote pieces for orchestra and choir. Bach is MOST known for writing two or more melodies or voices against each other. Also called point against point, or, Counterpoint. Bit Bucket A BWV catalog number is a unique identifier for musical works composed by Johann Sebastian Bach, standing for Bach-Werke-Verzeichnis (Bach Works Catalogue). Today I will present 9 compositions, dating from 1710 to 1731, during the time Bach was about age 25 to 45. M1 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20) Our first piece — TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). an ORGAN COMPOSITION. It is taken from a 1959 album of BACH ORGAN WORKS . The movement is called ADAGIO ….which indicates “At Ease”, or “Slow and Stately”. Tempo is only 66-76 BPM. like the resting heart rate for many people. Great liner notes. HERE IS AN excerpt from the liner notes on that album – – QUOTE “OUR BACH” said the obituary notice, “was the greatest organ and clavier player that ever lived”. Though it may seem strange to us now, Bach's genius during his life was recognized only as a master of the organ—not as a composer. It was actually over a hundred years after his death that his works revealed him as a unique and mighty composer. His reputation as an organist brought many invitations to test new organs and advise on the construction of them. UNQUOTE As with most of his organ works , there is no autograph or manuscript score from Bach, his organ work manuscript copies are lost. This song has a CONCERTO style and rhythm. We will hear the 2nd or ADAGIO movement. . It is all very calm and beautiful and pastoral and serene…until Bach pulls out all the stops in the last minute of this ADAGIO movement. He is really rocking the walls and windows of that church. Without any further adieu, here is TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). PLAY M2 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M2 MUSICAL CREDIT: This Bach organ work was recorded on the Luneburg Organ at St. Johanniskirche, in the town of Luneburg, in northern Germany, the organist is Professor Michael Schneider. This LP was produced and released on the SOMERSET label here in the US in 1959 The album title is BACH The Majesty of the Luneburger Organ. M2 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) Our next piece is the most famous church cantata written in 1714 for THE FIRST SUNDAY IN ADVENT. NUN KOMM DER HEIDEN HEILAND or in English “NOW COME, SAVIOR OF THE HEATHANS” A HEATHAN is a person with no religion, i.e., a PAGAN. In this chorale, Jesus is asked to … come and save the pagans. In 1714, Bach would have been 29 years of age. It turns out that this song goes back almost two centuries before BACH's time. It's based on a LUTERAN CHORALE with words written by Martin Luther for the 1523 first Advent Sunday. For centuries, this was the first hymn for the first Sunday of ADVENT. What I will play next is an arrangement for as modern symphony orchestra (the Philadelphia Orchestra) and it is definitely JS BACH heard in those phrases. But it is a large orchestra – – Conducted by Leopold Stokowski. This is an extremely restrained, demure, and understated interpretation of a Bach piece the most restrained I have ever heard. The recording you will hear next is performed by the Philadelphia Orchestra, with conductor Leopold Stokowski. This recording is on a Vinyl LP titled THE SOUND OF GENIUS, produced by COLUMBIA MASTERWORKS, in 1960. It was one of many records that were shipped by mail to members of the Columbia Record Club. My parents were enthusiastic members. A new disc would arrive in the mail every month, such as this LP of classical music. Without further delay here is NOW COME, SAVIOR OF THE HEATHANS PLAY M1 SHOW PLUG – SHOW PLUG – DON'T TOUCH THAT DIAL ! ! That was…M1 NOW COME, SAVIOR OF THE HEATHANS” MUSICAL CREDIT: Arranger and Composer JS Bach, sometime between the years 1708-1717 Performance: Philadelphia Orchestra, conducted by Leopold Stokowski. Album: The Sound of Genius Limited Edition LP (1960) Members Only ! Label: Columbia Master Works BIT BUCKET This piece also is based on a song listed in the ZAHN Lutheran chorales catalog. ZAHN 1174 M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40) The next three pieces are called TWO PART INVENTIONS, composed by JS Bach around 1720 The inventions were composed for use in instruction of Bach's oldest son WILHELM FRIEDEMANN BACH who was 12 years old. Today, these inventions are introduced to music students in school grades 4-7. Learning the Two-Part Invention requires ROTE learning, practicing over and over until the two hands work completely independently of one another. The inventions teach, among other things, the use of COUNTERPOINT. Bach is MOST known for writing two melodies against each other. Also called point against point, or, Counterpoint. That is the feature of these inventions, in each one there are TWO PARTS, left and right hand parts. COUNTERPOINT is found mostly in Bach's FUGUES and in his INVENTIONS. Perhaps a brief demonstration is in order. Here is an excerpt from one of Bach's inventions. FIRST the right-hand part or first point – the melody SECOND the left-hand part or second point – the bass line LAST both parts played in counterpoint. In some of Bach works, the roles reverse, The left hand plays the first point – the melody And the right hand plays the second point – the bass line Could you do this by crossing hands on the keyboard – yes, but, the roles are reversed, so no cross-hand playing. I will now play WENDY CARLOS's rendition of three BACH TWO-PART INVENTIONS from her 1969 recording titled “SWITCHED ON BACH” .. I will play all three, back-to-back. Each one is short – – average length ONE MINUTE EACH! PLAY M3 PLAY M4 PLAY M5 Credits: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) And now….. PLAY M4 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M4 MUSICAL CREDIT: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55) PLAY M5 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M5 We heard three inventions – – Bach's 2-PART INVENTION in F MAJOR And the 2-PART INVENTION in B-FLAT MAJOR And the 2-PART INVENTION IN D MINOR Each invention is very different than the other. Not just a key change like the work title would suggest ! Bach stated that he wrote his inventions “to be models of composition” in other words, to enable the student to form ways of developing musical ideas and “acquire a strong taste of composition” Bach wrote the inventions, one for of the notes A to G and one for each minor and major key. Today these inventions are over 300 years old ! MUSICAL CREDIT: Composer JS Bach Estimated dates between 1720-1723 Performer – Wendy Carlos – early prototype Moog Synthesizer Arranger and Recording Engineer – Wendy Carlos on MOOG SYNTHESIZER in 1968. Record and label: Switched-On Bach, Columbia/CBS BIT BUCKET M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06) Next is Bach's “The Well-Tempered Clavier” written in 1722. He was 37. The title page to the Well-tempered Clavier song book reads : “The well-tempered Clavier, or Preludes and Fugues, through all the tones and semitones, both the [major] and [minor]. For the profit and use of the studious musical young…” Bach wrote these preludes and fugues in all keys in the chromatic scale … 12 major and 12 minor keys I have the version in D MAJOR. It's two sections – the prelude, and the fugue The Prelude is the introduction. LISTEN FOR the Stride Piano on the left hand !! It's a short 1:10. The Fugue is the second section. It's slower but with a more Bold left hand. Also short at 1:54. And now….PRELUDE & FUGUE No. 5 D-Major fromThe Well-Tempered Clavier PLAY M6 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M6 PRELUDE & FUGUE No. 5 D-Major from The Well-Tempered Clavier MUSICAL CREDIT: Composer JS Bach and the autograph date is 1722 Pianist: Vasso Devetzi Label Festival Classique (1978) M7 JESU, JOY OF MAN'S DESIRING, JS BACH, 1723, BWV 147 (3:22) Our next song is Jesu, Joy of Man's Desiring This song was also composed by JS Bach in that same year of 1723 – – prolific at age 38. This was written for the Christian Feast of the Visitation- celebrated at the end of May in Western Christianity. The song is a Lutheran hymn. … a CANTATA and it has a CHORALE or chorus piece repeated twice within this cantata. There are many arrangements and versions because this song is one of Bach's most beautiful, well-known, and popular. The version we will hear next is arranged for SOLO PIANO. the pianist is Leon Fleisher. And Now, Here is Jesu, Joy of Man's Desiring – Bach 1723 PLAY M7 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M7 Jesu, Joy of Man's Desiring MUSICAL CREDIT: JS Bach composer 1723 Performance: Leon Fleisher – Pianist (courtesy of EPIC records) Album THE SOUND OF GENIUS VOLUME 3 Label Columbia, 1962 (3:22) M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) Here is another Chorale recording titled Chorale Prelude VACKET OFF “Wachet Auf”, which translates to SLEEPERS, WAKE! This hymn was transcribed from a Lutheran hymn written in 1599 by written by Phillippe Nicolai. This Cantata is truly a work from the middle ages. In 1731, Bach took this hymn and created a 7-movement cantata, we will hear the first movement or PRELUDE”. This cantata is sung in church on the Trinity Sunday. Today this piece is very popular piece in general…it is POPULAR CLASSICAL MUSIC. J.S. Bach wrote 46 of these cantatas for church, in all. ODD FACT about this song… it was performed only once by Bach, in Leipzig that year. And now the FIRST MOVEMENT from VACKET OFF …the Prelude PLAY M8 SHOW PLUG – DON'T TOUCH THAT DIAL ! that was M4 The Chorale Prelude “Wachet Auf”, also known as SLEEPERS, WAKE! Song credits M4 Credits: Hymn by Phillippe Nicolai in 1599 Transcribed by JS Bach in 1731 Performance: Wendy Carlos – on an early prototype Moog Synthesizer Wendy Carlos arranger and recording engineer Album: Switched-On Bach Label: Columbia/CBS, 1968 M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27) Our next AND LAST piece is from the Switched-On Bach album and s titled AIR ON A G-STRING. This title comes from Johann Sebastian Bach's Orchestral Suite No. 3 in D major, written almost 300 years ago. So what is the meaning of the song title Air on a G-String? Well, Bach composed this as an orchestral suite in 1730. 141 years later, August Wilhelm arranged the second movement for SOLO VIOLIN and he did something unique. He transposed the song down from D so that the entire piece could be played on one string of the violin, the G-String, which is the lowest register on that instrument. Here is an example of what this sounds like on the Violin G-String, thjs example with piano accompaniment—pardon the scratchy sound, is from an old 78 RPM disc in 1935. Play example – Jacques Dumont (Violin) Bach Air On The G String with Andre Collard (piano) We went from Bach's orchestral piece, to Wilhelm's transcription for solo violin, to Wendy Carlos modern interpretation with her MOOG Synthesizer. Now here is Wendy Carlos' arrangement of Air on a G String, from her debut album, SWITCHED-ON BACH, in 1968. PLAY M9 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M9 MUSICAL CREDIT: Composer JS Bach 1730 Performance Wendy Carlos on early prototype MOOG SYNTHESIZER Arranger and Recording Engineer: Wendy Carlos Album: Switched-On Bach Label: Columbia/CBS, 1968 END OF PROGRAM VV-031
durée : 00:05:11 - Le Bach du matin du jeudi 05 février 2026 - Christophe Rousset, Rachel Beckett et Marion Scott interprètent le troisième mouvement du Concerto pour clavecin et deux flûtes à bec en Fa Majeur BWV 1057. Christopher Hogwood dirige l'Academy of Ancient Music. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
durée : 00:24:06 - Disques de légende du mardi 03 février 2026 - Le nombre de concertos joués par Martha Argerich a toujours été assez réduit et cela ne s'est pas arrangé avec le temps. Ni le plus spectaculaire, ni le plus valorisant pour le pianiste, le 1er Concerto pour piano de Chostakovitch fut pendant longtemps l'un de ses préférés. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
durée : 00:12:27 - Concerto en ré mineur BWV 596 - Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
When practicing feels impossible, it's not because you're lazy or undisciplined. In this episode, I walk you through the simple mindset shifts and practical strategies that help you stop pushing and start showing up with more ease, clarity, and self-respect. You'll learn: · Why waiting for motivation doesn't work · A five-step mental reset to ease into practice · How to reduce friction and make your routine feel lighter · A quick trick to spark momentum on low-energy days · How to leave a session feeling proud—even when it wasn't perfect If you've been feeling stuck or resistant, this episode will help you reconnect with your purpose and make practicing feel more doable again. If you're ready to step on stage with confidence, perform at your best, and finally feel secure in your playing, let's talk! Book a free discovery call and let's create a plan to get you there. Are you ready to take your playing and career to the next level and create a life that feels purposeful and joyful? Let's connect and explore how personalized coaching can support your journey. Click here to schedule your free consultation, and let's start turning your goals into reality. Book your FREE Music Mastery Experience Discovery call with Renée HERE Book your free consultation with Renée HERE Download the transcript from this episode HERE Mind Over Finger Click www.mindoverfinger.com/coaching to book your free consultation with me. Visit MindOverFinger.com for my online courses as well as free resources on peak performance. Grab my free workshops and PDF downloads by going to www.mindoverfinger.com/resources. Connect: https://www.youtube.com/@MindOverFinger https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/ THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme: Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson.
In the fifty-third episode of the Inspiring Stewards podcast, Nathan Jones speaks with Siméon Dembele from Mali. Drawing on more than 25 years of service in nonprofit organizations, Siméon emphasizes the importance of stewardship in daily work, including careful attention to physical resources. Wherever he serves, he seeks to represent Jesus Christ faithfully. Siméon concludes by urging listeners to pray persistently for Christ's favor amid the hardships Christians face around the world.We'd love to hear your thoughts, comments, or feedback. To do so, email us at mail@gtp.org.The music is Concerto a' 4 Violini No 2 by Telemann played on classical guitar by Jon Sayles. Published by Exzel Music. Length: 17:08
durée : 00:04:51 - Le Bach du matin du jeudi 29 janvier 2026 - Bertrand Cuiller, Pierre Gallon et Jean-Luc Ho interprètent le premier mouvement du Concerto pour trois clavecins en Ré mineur BWV 1063, avec Le Caravansérail. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
What does it really take to grow as an artist without burning out? In this powerful conversation, I'm joined by bestselling author and performance expert Brad Stulberg to explore what excellence actually means, and how we can pursue it in a way that feels deeply fulfilling, not exhausting. Brad's new book, The Way of Excellence, offers a grounded and practical roadmap for anyone looking to sustain high-level work over time. Whether you're navigating auditions, refining your craft, or questioning how to stay connected to music in a chaotic world, this episode is for you. You'll learn how to: · Redefine excellence as a process of becoming, not a fixed destination · Align your ambition with your core values for a stronger sense of purpose · Balance self-discipline with self-kindness, especially when motivation is low · Use the "brave new world" mindset to face fear and uncertainty · Build emotional resilience so you can keep showing up when it counts · Stay consistent without getting stuck in hustle or burnout · Create progress that's sustainable, satisfying, and deeply your own This episode is a must-listen for musicians who want to stay inspired, grounded, and intentional in the way they grow. Brad brings wisdom from elite performers across fields — and his insights will help you rethink what excellence can look like in your own musical life. Tune in and take away practical tools to support your artistry, your mindset, and your well-being. Grab The Way of Excellence: A Guide to True Greatness and Deep Satisfaction in a Chaotic World HERE! If you're ready to step on stage with confidence, perform at your best, and finally feel secure in your playing, let's talk! Book a free discovery call and let's create a plan to get you there. Are you ready to take your playing and career to the next level and create a life that feels purposeful and joyful? Let's connect and explore how personalized coaching can support your journey. Click here to schedule your free consultation, and let's start turning your goals into reality. Book your FREE Music Mastery Experience Discovery call with Renée HERE Book your free consultation with Renée HERE Download the transcript from this episode HERE Brad Stulberg Grab The Way of Excellence: A Guide to True Greatness and Deep Satisfaction in a Chaotic World HERE: https://amzn.to/4jWCsd1 Website: https://www.bradstulberg.com/ Instagram: https://www.instagram.com/bradstulberg/ X: https://x.com/bstulberg LinkedIn: https://www.linkedin.com/in/brad-stulberg-009b168b/ Mind Over Finger Click www.mindoverfinger.com/coaching to book your free consultation with me. Visit MindOverFinger.com for my online courses as well as free resources on peak performance. Grab my free workshops and PDF downloads by going to www.mindoverfinger.com/resources. Connect: https://www.youtube.com/@MindOverFinger https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/ THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme: Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson.
This Day in Legal History: League of Nations MeetsOn January 23, 1920, the League of Nations held its first official meeting, marking a major experiment in international law and collective governance. The League was created in the aftermath of World War I as part of the Treaty of Versailles. Its core mission was to prevent future wars through diplomacy, arbitration, and collective security. For the first time, nations committed themselves to resolving disputes through legal mechanisms rather than unilateral force. The League also helped develop early norms of international accountability and treaty enforcement. It established permanent institutions to oversee mandates, labor standards, and minority protections. Although the United States never joined, the League influenced how international law was discussed and practiced. Its failures, particularly its inability to prevent aggression in the 1930s, exposed the limits of voluntary compliance without enforcement power. Those weaknesses became lessons for later international institutions. Many of the League's structures and legal concepts were later incorporated into the United Nations. The League's first meeting thus represents a foundational moment in the modern law of international cooperation.U.S. President Donald Trump filed a $5 billion lawsuit in Florida state court against JPMorgan Chase and its CEO Jamie Dimon, alleging that the bank improperly closed his accounts for political reasons. Trump claims JPMorgan violated its own internal policies by singling him out as part of a broader political agenda. The bank denied the allegations, stating it does not close accounts based on political or religious views and that the lawsuit lacks merit. Trump also accused Dimon of orchestrating a “blacklist” intended to discourage other financial institutions from doing business with him, his family, and the Trump Organization. He said the account closures caused reputational harm and forced him to seek alternative banking relationships. JPMorgan countered that account closures are sometimes required to manage legal or regulatory risk. The lawsuit comes amid broader political scrutiny of banks over alleged “debanking” practices. Conservative critics have accused lenders of restricting services to certain individuals and industries. A recent report from the Office of the Comptroller of the Currency found that major banks limited services to some industries between 2020 and 2023, though it did not identify specific wrongdoing. Regulators have since moved away from using vague “reputational risk” standards in bank supervision.Trump sues JPMorgan, CEO Jamie Dimon for $5 billion over alleged debanking | ReutersFormer U.S. Special Counsel Jack Smith told the House Judiciary Committee that Donald Trump willfully violated the law in his efforts to remain in power after losing the 2020 presidential election. Smith testified that Trump was not seeking truthful information about election fraud claims but instead was searching for ways to block certification of the results. The hearing marked Smith's first extensive public testimony about the two criminal cases he brought against Trump, both of which were dropped after Trump won reelection in 2024. Republicans on the committee accused Smith of political bias and argued his investigation improperly targeted Trump and his allies. They focused on Smith's use of subpoenas for phone records of Republican lawmakers, portraying the actions as overreach. Smith defended those measures as necessary to investigate potential obstruction of justice. He said Republican witnesses who contradicted Trump's fraud claims would have been central to the election interference case. Trump responded by renewing calls for Smith to be prosecuted and accusing him of harming innocent people. Democrats on the panel defended Smith as a career prosecutor guided by evidence rather than politics.Former US prosecutor Smith says Trump ‘willfully broke' laws in bid to keep power | ReutersA federal judge expressed skepticism about whether the Trump administration has the legal authority to build a $400 million ballroom at the White House without congressional approval. U.S. District Judge Richard Leon questioned the administration's justification for demolishing the historic East Wing and replacing it with a large new structure. The lawsuit was brought by the National Trust for Historic Preservation, which argues the project violates federal laws governing construction on parkland in Washington, D.C. The group contends that Congress must expressly authorize such construction and that required environmental reviews were bypassed or improperly handled. Judge Leon sharply rejected comparisons between the ballroom and past minor renovations, signaling concern about the scale of the project. He is considering whether to issue a preliminary injunction that would halt construction while the case proceeds. The administration maintains the ballroom is necessary for state functions and part of a long tradition of presidential renovations. Government lawyers also argue that stopping construction now would serve no public benefit, especially since above-ground work is months away. Leon said he expects to rule on the injunction request in the coming weeks.White House faces skeptical judge in lawsuit over Trump ballroom | ReutersThis week's closing theme is by Édouard Lalo.This week's closing theme features music by Lalo, a composer who spent much of his career just outside the spotlight of 19th-century French music. Born in 1823, Lalo came to composition relatively late and struggled for recognition in a musical world dominated by opera and established conservatory figures. He is best remembered today for works that combine classical structure with vivid color and rhythmic vitality. The Concerto in F Major, Op. 20 reflects those strengths, balancing elegance with expressive intensity. The opening Andante – Allegro begins with a reflective, almost searching character before unfolding into a more energetic and assertive main section. Lalo uses the solo instrument to sing rather than dominate, emphasizing lyrical phrasing over virtuosic display. The movement's shifting moods showcase his gift for contrast and dramatic pacing. There is a clear sense of forward motion, but never at the expense of clarity. Lalo's orchestration remains transparent, allowing themes to breathe and develop naturally. The music feels poised between Romantic warmth and classical restraint. As a closing theme, it offers both momentum and reflection. It is a reminder of Lalo's understated influence and the enduring appeal of his finely crafted musical voice.Without further ado, Édouard Lalo's Concerto in F Major, Op. 20, the opening Andante, 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
Are you juggling big technique goals and an upcoming performance? Struggling to fix your vibrato while also cramming notes for an audition? You're not alone, and you're not doing it wrong. In this episode, we unpack why chasing long-term mastery and short-term perfection at the same time can leave you overwhelmed, stuck, and second-guessing everything. You'll learn: · How to separate growth work from prep work without sacrificing either · Why perfectionism in your "big goal" might be sabotaging your current deadline · A smarter way to structure your practice when everything feels important · One essential mindset shift to help you stay grounded and actually make progress This is for you if you've ever felt like no matter how hard you work, you're not getting better fast enough, or worse, like you're falling behind. Let's fix that. If you're ready to step on stage with confidence, perform at your best, and finally feel secure in your playing, let's talk! Book a free discovery call and let's create a plan to get you there. Are you ready to take your playing and career to the next level and create a life that feels purposeful and joyful? Let's connect and explore how personalized coaching can support your journey. Click here to schedule your free consultation, and let's start turning your goals into reality. Book your FREE Music Mastery Experience Discovery call with Renée HERE Book your free consultation with Renée HERE Download the transcript from this episode HERE Mind Over Finger Click www.mindoverfinger.com/coaching to book your free consultation with me. Visit MindOverFinger.com for my online courses as well as free resources on peak performance. Grab my free workshops and PDF downloads by going to www.mindoverfinger.com/resources. Connect: https://www.youtube.com/@MindOverFinger https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/ THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme: Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson.
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