Podcasts about concerto no

SynopsisFor some composers, what made them popular in their own day is not always what makes them popular today. Take, for example, Italian Baroque composer Tomaso Albinoni, who was born in Venice on today's date in 1671.Albinoni was the son of a wealthy paper merchant, so he was sufficiently well-off, not to have to land a job with the church or some noble patron. He was most famous as an opera composer and travelled outside Italy to lead productions. Unfortunately, his opera scores were never published and so were lost to posterity. He did, however, publish several collections of instrumental works, and it is on these that his fame rests today.By a quirk of fate, nowadays Albinoni's best known work, his famous Adagio in g minor, was not one those works published in the 18th century. Rather, it was a 20th century recreation by musicologist Remo Giazotto based on a rather skimpy surviving sketch. No matter that there are scads of other Albinoni Adagios equally ravishing and straight from his own quill pen. In 1996 the Erato label even issued an album consisting of nothing but 22 original and legitimate Albinoni Adagios and slow movements — plus the famous Adagio that was cooked up by Remo Giazotto tossed in for good measure!Music Played in Today's ProgramTomaso Albinoni (1671-1751): Adagio, from Concerto No. 12; I Solisti Veneti; Claudio Scimone, conductor; Erato 0630-15681-2

Este domingo 18 de maio, o Teatro Jofre de Ferrol encherase de emoción e música co concerto de Rosa Cedrón. A artista galega presentará o seu espectáculo a partir das 19:00 horas, ofrecendo unha experiencia única que promete facer vibrar ao público. Rosa Cedrón convida ás persoas asistentes a deixarse levar pola súa voz en pezas emblemáticas como Chove en Santiago, Negra sombra, Camariñas e a inesquecible Lela. Un concerto onde a música se converte nunha viaxe de sensacións, capaz de espertar os sentimentos máis profundos. As entradas están dispoñibles na billeteira do Teatro Jofre e a través da web de Ataquilla. Non perdas a oportunidade de vivir esta cita coa música galega máis xenuína.

O histórico grupo galego Milladoiro actuará este sábado no Teatro Jofre de Ferrol como parte da súa xira conmemorativa de máis de 45 anos nos escenarios. Nesta ocasión, contarán coa colaboración especial da parella formada por Eva Faraldo e Jesús Quiroga, que teñen preparadas varias coreografías para acompañar ao grupo durante o concerto. Eva e Jesús xa participaron o ano pasado no inicio da xira no Palacio da Ópera e teñen colaborado con Milladoiro en numerosas ocasións, achegando o seu talento escénico e reforzando a conexión entre a música tradicional e a danza contemporánea.

Na noite de 9 de maio, o Carnegie Hall viveu um desses momentos que escapam da partitura. No palco, o maestro brasileiro João Carlos Martins regeu pela última vez nos Estados Unidos. Luciana Rosa, correspondente da RFI em Nova YorkAos 85 anos, o maestro encerrou sua trajetória internacional diante de uma plateia lotada — como foi também em sua estreia, aos 21 anos, no mesmo palco nova-iorquino. Martins regeu a orquestra NOVUS (Trinity Church's New Music Orchestra) e, como epílogo, se sentou ao piano. Usava luvas biônicas, uma tecnologia brasileira que lhe devolveu o movimento dos dedos — o que a medicina, durante décadas, havia lhe negado. Tocou Bach, com os dez dedos, e fez o impossível soar natural. “Ganhei muitas batalhas, perdi algumas guerras”, disse ele, no palco. “Mas nunca parei de lutar.”Essa luta começou cedo. Aos 8 anos, já era considerado prodígio. Aos 18, gravava os primeiros discos. Aos 21, era celebrado pelo New York Times como um dos mais notáveis intérpretes de Bach de sua geração. Mas a ascensão meteórica deu lugar, quase sem aviso, a uma espiral de tragédias.Aos 22 anos, uma dor inexplicável começou a comprometer os movimentos da mão direita. A distonia focal — um distúrbio neurológico que atinge músicos e atletas — foi interrompendo, aos poucos, sua carreira de pianista. Vieram cirurgias experimentais nos Estados Unidos, no Brasil, na China. Vieram quedas, fraturas, uma lesão cerebral após um assalto brutal na Bulgária. Vieram os silêncios, as pausas forçadas, os dias em que a música parecia ter lhe virado o rosto.Fim e recomeçoAos 29 anos, uma crítica no New York Times o chamou de “errático”. Ele interpretou como um veredito e parou de tocar. Sete anos depois, virou empresário de boxe. Levou Éder Jofre de volta aos ringues e viu o pugilista recuperar o título mundial. “Se ele conseguiu, eu também posso voltar ao piano”, pensou.Mas a volta não foi imediata. Antes disso, houve o fundo do poço. “Entrei numa banheira com uma gilete para me suicidar”, contou. “Aí o telefone tocou. Era meu professor de piano. Ali, eu voltei a ter amor à música. À vida.”A reabilitação foi longa, e a superação virou parte do espetáculo. Quando quase todos os dedos já não respondiam, surgiu Ubiratan Bizarro Costa, um designer de Sumaré, no interior de São Paulo, que projetou uma luva biônica capaz de devolver o toque ao maestro. “Achei que era para lutar boxe”, brinca Martins. Mas quando testou a luva, chorou. O vídeo viralizou. Charlize Theron e Viola Davis compartilharam. O mundo viu, e acreditou.Um novo desafio: levar a música às criançasMesmo diante de tantas perdas — inclusive físicas — João Carlos Martins encontrou formas de continuar. Aos 62, tornou-se maestro. Aos 85, fala agora em dedicar o tempo que tem à educação musical. Em escolas públicas de São Paulo, com copos, papéis e palitos, ensina crianças a ouvir, a tocar, a se concentrar. O método é simples, mas os resultados são visíveis no rendimento escolar e no comportamento das crianças.“Estou com um projeto para mostrar que o poder de concentração das crianças pode ser resgatado pela música. Isso pode mudar vidas”, diz, com a convicção de quem já mudou a própria — mais de uma vez.No início de 2025, outro golpe. O maestro foi diagnosticado com câncer de próstata. Passou por cirurgia e está em recuperação. Mas não parou. Quando perguntado sobre o futuro, não fala em fim. Fala em missão.No Carnegie Hall, encerrou-se um ciclo. Mas a história de João Carlos Martins parece sempre disposta a recomeçar — como uma sinfonia que, mesmo após o silêncio, encontra um novo movimento.

Na noite de 9 de maio, o Carnegie Hall viveu um desses momentos que escapam da partitura. No palco, o maestro brasileiro João Carlos Martins regeu pela última vez nos Estados Unidos. Luciana Rosa, correspondente da RFI em Nova YorkAos 85 anos, o maestro encerrou sua trajetória internacional diante de uma plateia lotada — como foi também em sua estreia, aos 21 anos, no mesmo palco nova-iorquino. Martins regeu a orquestra NOVUS (Trinity Church's New Music Orchestra) e, como epílogo, se sentou ao piano. Usava luvas biônicas, uma tecnologia brasileira que lhe devolveu o movimento dos dedos — o que a medicina, durante décadas, havia lhe negado. Tocou Bach, com os dez dedos, e fez o impossível soar natural. “Ganhei muitas batalhas, perdi algumas guerras”, disse ele, no palco. “Mas nunca parei de lutar.”Essa luta começou cedo. Aos 8 anos, já era considerado prodígio. Aos 18, gravava os primeiros discos. Aos 21, era celebrado pelo New York Times como um dos mais notáveis intérpretes de Bach de sua geração. Mas a ascensão meteórica deu lugar, quase sem aviso, a uma espiral de tragédias.Aos 22 anos, uma dor inexplicável começou a comprometer os movimentos da mão direita. A distonia focal — um distúrbio neurológico que atinge músicos e atletas — foi interrompendo, aos poucos, sua carreira de pianista. Vieram cirurgias experimentais nos Estados Unidos, no Brasil, na China. Vieram quedas, fraturas, uma lesão cerebral após um assalto brutal na Bulgária. Vieram os silêncios, as pausas forçadas, os dias em que a música parecia ter lhe virado o rosto.Fim e recomeçoAos 29 anos, uma crítica no New York Times o chamou de “errático”. Ele interpretou como um veredito e parou de tocar. Sete anos depois, virou empresário de boxe. Levou Éder Jofre de volta aos ringues e viu o pugilista recuperar o título mundial. “Se ele conseguiu, eu também posso voltar ao piano”, pensou.Mas a volta não foi imediata. Antes disso, houve o fundo do poço. “Entrei numa banheira com uma gilete para me suicidar”, contou. “Aí o telefone tocou. Era meu professor de piano. Ali, eu voltei a ter amor à música. À vida.”A reabilitação foi longa, e a superação virou parte do espetáculo. Quando quase todos os dedos já não respondiam, surgiu Ubiratan Bizarro Costa, um designer de Sumaré, no interior de São Paulo, que projetou uma luva biônica capaz de devolver o toque ao maestro. “Achei que era para lutar boxe”, brinca Martins. Mas quando testou a luva, chorou. O vídeo viralizou. Charlize Theron e Viola Davis compartilharam. O mundo viu, e acreditou.Um novo desafio: levar a música às criançasMesmo diante de tantas perdas — inclusive físicas — João Carlos Martins encontrou formas de continuar. Aos 62, tornou-se maestro. Aos 85, fala agora em dedicar o tempo que tem à educação musical. Em escolas públicas de São Paulo, com copos, papéis e palitos, ensina crianças a ouvir, a tocar, a se concentrar. O método é simples, mas os resultados são visíveis no rendimento escolar e no comportamento das crianças.“Estou com um projeto para mostrar que o poder de concentração das crianças pode ser resgatado pela música. Isso pode mudar vidas”, diz, com a convicção de quem já mudou a própria — mais de uma vez.No início de 2025, outro golpe. O maestro foi diagnosticado com câncer de próstata. Passou por cirurgia e está em recuperação. Mas não parou. Quando perguntado sobre o futuro, não fala em fim. Fala em missão.No Carnegie Hall, encerrou-se um ciclo. Mas a história de João Carlos Martins parece sempre disposta a recomeçar — como uma sinfonia que, mesmo após o silêncio, encontra um novo movimento.

Giovanni Bottesini - Double Bass Concerto No. 1: FinaleThomas Martin, double bass English Chamber OrchestraAndrew Litton, conductorMore info about today's track: Naxos 8.570397Courtesy 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

Os artistas Ayram Nicodermo e Jayaram Márcio concederam entrevista para analisar a música de concerto no Brasil e o contexto dos trabalhadores da área

Thu, 17 Apr 2025 23:00:00 +0000 https://seesee.podigee.io/s3e18-andrei-ionita 8b306c6e95ffcb5e607b501afe394bac In this episode, we have an in-depth conversation with Andrei Ioniță, the prodigious Romanian cellist and winner of the 2015 International Tchaikovsky Competition. We explore the emotional profundities and rich spectrum of colors that the cello can evoke, and how it reflects the subtleties of human emotion. Andrei shares his thoughts on playing Bach, discussing the personal connection he has with his instrument and his journey as a musician. He also reflects on the nuances of gut strings, the importance of good posture for a cellist, the physical sensation of the cello resting against his body, and how this intimate embrace influences emotional expression and depth of sound, particularly in the intense, low register passages. In this episode dedicated to music, Andrei also discusses his Romanian heritage and how the voice of Romania speaks through his bow, offering a personal insight into his cultural identity. In this episode, he takes us inside his experience during the 15th Tchaikovsky Competition and talks about his most difficult decisions as a musician. Most powerfully, Andrei opens up about how he conveys his whole soul through his music, sharing the courage it takes to be vulnerable and break through at the highest emotional peaks, only to let go and invite the listener into a shared human experience through his playing. This episode is a real treat for the ears and the heart! Andrei Ioniță's carrier it's a journey of emotional reflection and artistic courage – You'll understand what it is meant to “play from the gut”. Website: https://www.andreiionitacellist.com https://www.haefligerproduction.com/andrei-ionita https://www.symphonikerhamburg.de/laeiszhalle-orchester-symphoniker-hamburg/andrei-ionita-135 Instagram: ionita_andrei94 Facebook: Andrei Ioniță - Cellist This episode's Playlist and Playlist's credits: · Papandopulo, Boris. Rhapsodia Concertante: I. Introduzione Tempo Libero. Performed by Oliver Triendl and Andrei Ioniță. On Boris Papandopulo: Works for Piano & Strings, CPO-555106-2, 2021.CD · Tchaikovsky, Pyotr Ilyich. Variations on a Rococo Theme, Op. 33 (var. VII e Coda : Allegro vivo). Performed by Cellist Andrei Ioniță and the Münchener Philharmoniker conducted by Valery Gergiev recorded at the Philharmonie im Gasteig (Munich, Germany), on May 12, 2017 20:00 © A Coproduction by Munich Philharmonic Orchestra & Telmondis // In Association with medici.tv & Takt1 https://www.youtube.com/watch?v=-6dyn2LRxVo · Brett, Dean. 11 Oblique Strategies No. 1. Listen to the Quiet Voice. Performed by Andrei Ioniță. On Oblique Strategies. Orchid Classics ORC100096, 2019. CD. · Brett, Dean. 11 Oblique Strategies No. 5. What are the Sections Sections of? Performed by Andrei Ioniță. On Oblique Strategies. Orchid Classics ORC100096, 2019. CD. · Brahms, Johannes. Cello Suite No. 1 G Major, BWV 1007: I. Prelude. Performed byAndrei Ioniță. On Oblique Strategies. Orchid Classics ORC100096, 2019. CD. · Brahms, Johannes. Cello Suite No. 1 in G Major BWV 1007: III. Courante. Performed by Andrei Ioniță. On Oblique Strategies. Orchid Classics ORC100096, 2019. CD. · Brahms, Johannes. Clarinet Trio in A Minor, Op. 114: I. Allegro. Performed by Pablo Barragán, Andrei Ioniță, and Juan Pérez Floristán. On Brahms: Complete Clarinet Sonatas & Trio. IBS Classical, 2018. CD. · Papandopulo, Boris. Concertino in modo antico, OP.56 II Aria. Performed by Oliver Triendl, Amaury Coeytaux, Vanessa Szgeti, and Andrei Ioniță. On Boris Papandopulo:Works for Piano & Strings, CPO-555106-2, 2021.CD · Dmitri, Shostakovich. Sonata for Cello and Piano in D Minor, Op.40. The XV International Tchaikovsky Competition. Performed by Andrei Ioniţă: Cellist and Seong-Jin Cho: Pianist. Concert recorded at the Salle des Combins (Verbier, Switzerland), on July 25, 2018. © Idéale Audience with the participation of medici.tv https://www.youtube.com/watch?v=iHPd1dN89bM · Dmitri, Shostakovich. Cello Concerto No. 1 in E-flat major, Op. 107 4. Allegro con moto. Performed by Andrei Ionuț Ioniță with the Mariinsky Theatre Symphony Orchestra conducted by Valery Gergiev. The XV International Tchaikovsky Competition's Winners' Concert. Recorded at the Great Hall of the Moscow Conservatory, on July 2, 2015. © MUSEEC/medici.tv https://www.youtube.com/watch?v=zzaCNTlJciI · Dmitri Shostakovich. Cello Concerto No. 1 in E-flat major, Op. 107 with the Draft. Performed by Andrei Ionuț Ioniță Orchestra of the Shostakovich State Academic Saint Petersburg Philharmonic conducted by Nikolai Alexeev. Cello: Final Round - Candidate #2 - First Prize - Recorded at the Grand Hall of the Saint Petersburg Philharmonia, on June 28, 2015, 7:45 p.m. https://www.youtube.com/watch?v=QfkQt0gSiJI · Henryson, Svante. Black Run. Performed by Andrei Ioniță. On Oblique Strategies. Orchid Classics ORC100096, 2019. CD. · Enescu, George: Piano Quartet No. 1 in D Major, Op. 16: II Andante mesto. Performed by Catalin Serban, Andrei Ioniță, Karolina Errera, Suyeon Kang. On Mélodies Infinies: Fauré & Enescu Piano Quartets. Naxos 8.551477, 2024. CD · Papandopulo, Boris. Rapsodia Concertante: I. Introduziene. Tempo libero. Performed by Oliver Triendl, Amaury Coeytaux, Vanessa Szgeti, and Andrei Ioniță. On Boris Papandopulo: Works for Piano & Strings, CPO-555106-2, 2021.CD · Rachmaninoff, Sergei: Sonata -Moll OP 19. Lento- Allegro moderato. 2. Allegro scherzando. 3 Andante. 4 Allegro mosso. Performed by Andrei Ioniță and Andrei Ioniță (Violoncello), Catalin Serban (Piano). Kammermusik am Max-Planck-Institut für Bildungsforschung in Zusammenarbeit mit Konzertleben e.V. January 17th, 2024. https://www.youtube.com/watch?v=QqpFqwfoBDg · Saint-Saëns, Camille. Concerto No.1 in A minor for Cello and Orchestra Op. 33. Performed by Solist Andrei Ioniță and the Filarmonica George Enescu conducted by Stefan Ausbury Opening Concert October 7th, 2020, at the Romanian Athenaeum lived-streamed on the Institutions Website and YouTube Channel. https://www.youtube.com/watch?v=ktTHMbFcyp4 · Papandopulo, Boris. Rapsodia Concertante: I. Introduziene. Tempo libero. Performed by Oliver Triendl, Amaury Coeytaux, Vanessa Szgeti, and Andrei Ioniță. On Boris Papandopulo: Works for Piano & Strings, CPO-555106-2, 2021.CD · Rachmaninoff, Sergei: Sonata -Moll OP 19. Lento- Allegro moderato. 2. Allegro scherzando. 3 Andante. 4 Allegro mosso. Performed by Andrei Ioniță and Andrei Ioniță (Violoncello), Catalin Serban (Piano). Kammermusik am Max-Planck-Institut für Bildungsforschung in Zusammenarbeit mit Konzertleben e.V. January 17th, 2024. https://www.youtube.com/watch?v=QqpFqwfoBDg · Fauré, Gabriel: Piano Quartet No. 1 in C Minor, Op. 15: III Adagio. Performed by Catalin Serban, Andrei Ioniță, Karolina Errera, Suyeon Kang. On Mélodies Infinies: Fauré & Enescu Piano Quartets. Naxos 8.551477, 2024. CD https://www.youtube.com/watch?v=ktTHMbFcyp4 · Saint-Saëns, Camille. Concerto No.1 in A minor for Cello and Orchestra Op. 33. Performed by Solist Andrei Ioniță and the Filarmonica George Enescu conducted by Stefan Ausbury Opening Concert October 7th, 2020, at the Romanian Athenaeum lived-streamed on the Institutions Website and YouTube Channel. https://www.youtube.com/watch?v=ktTHMbFcyp4 · Brahms, Johannes. Clarinet Trio in A Minor, Op. 114: I. Allegro. Performed by Pablo Barragán, Andrei Ioniță, and Juan Pérez Floristán. On Brahms: Complete Clarinet Sonatas & Trio. IBS Classical, 2018. CD. · Papandopulo, Boris. Rhapsodia Concertante: III. Danza. Allegro. Performed by Oliver Triendl and Andrei Ioniță. On Boris Papandopulo: Works for Piano & Strings, CPO-555106-2, 2021.CD Albums: Available in all Platforms https://open.spotify.com/intl-de/album/3Cqhwf6m3Gl8i0HfDTzln1 https://www.naxos.com/CatalogueDetail/?id=C5463 https://open.spotify.com/intl-de/artist/4ITCrIEQbzQVUO8CPHhdLP 3 18 full no Cellist,World famous orchestras,world famous conductors,Tchaikovsky Competition,Bach,Shostakovich,Enescu,Fauré,Gut strings,Posture Dr. Cecilia Ponce Rivera

Georg Friedrich Handel (1685-1759) - 6 Concerti Grossi Op. 31.                  Concerto No.1 in si bemolle maggiore/sol minore HWV 312 [-/ -/-] 0:08 2.                  Concerto No.2 in si bemolle maggiore HWV 313 [Vivace/Long/Allegro/-/-] 8:38 3.                  Concerto N.3 in sol maggiore HWV 314 [Long, and staccato-Allegro/Adagio/Allegro] 19:55 4.                  Concerto N.4 in fa maggiore HWV 315 [-/Camminando/Allegro/Allegro] 28:07 5.                  Concerto No.5 in Re minore HWV 316 [-/Fugue.Allegro/Adagio/Allegro,but not too much/Allegro] 41:08 6.                  Concerto No.6 in Re maggiore HWV 317 [-/Improvisation/Allegro] 50:52  Academy of Ancient MusicRichard Egarr, conductor

Johannes Brahms (1833-1897)Sechs Lieder, opus 85- Sommerabend nr. 1- Mondenschein nr. 2 Vier Lieder, opus 96- Meerfahrt nr. 4- Der Tod das ist die kühle Nacht nr. 1 Ian Bostridge, tenoreSaskia Giorgini, pianoforte--------------------------Concerto no. 1 in re minore per pianoforte e orchestra op.15Maestoso (re minore)Adagio (re maggiore)Rondò. Allegro non troppo (re minore)Staatskapelle DresdenMaurizio Pollini, pianoforteChristian Thielemann, direttore

Bernhard Crusell - Clarinet Concerto No. 1: 3rd movementPer Billman, clarinet Uppsala Chamber Orchestra Gerard Korsten, conductorMore info about today's track: Naxos 8.554144Courtesy 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

Antonio Vivaldi (1678 - 1741) - L'Estro Armonico, 12 Concerti, Op. 3Concerto No. 8 in La Minore, RV 522I. AllegroII. Larghetto e spiritosoIII. Allegro 09'32”Concerto No. 9 in Re Maggiore, RV 230I. AllegroII. LarghettoIII. AllegroL'Arte dell'ArcoFederico Guglielmo, violinista e direttore 17'07”Gloria in re maggiore, RV 589Gloria in excelsis Deo - Allegro (re maggiore)Et in terra pax - Andante (si minore)Laudamus te - Allegro (solo maggiore)Gratias agimus tibi - Adagio (sol maggiore)Propter magnam gloriam - Allegro (mi minore)Domine Deus Rex celesti - Largo (do maggiore)Domine Fili unigenite - Allegro (fa maggiore)Domine Deus - Adagio (re minore)Qui tollis peccata mundi - Adagio (do maggiore)Qui sedes ad dexteram Patris - Allegro (si minore)Quoniam tu solus sanctus - ... (re maggiore)Cum Sancto Spiritu - Allegro (do maggiore) The English Concert Choir, The English ConcertTrevor Pinnock, direttore

Warm up to recommendations that we know you'll love so much! Charles continues as host while Dave continues working with his team to build a new website. Charles is joined by Patron Support Specialist Kelsey and Program Support Clerk Cara to share Winter Wonders picks from our collection. But we don't stop there as Brian reads Charles' "'Twas the Night Before the Podcast"—a re-conception of "'Twas the Night Before Christmas" and Charles treats us to his mad skills on the euphonium as he shares "Concerto No. 4 in F minor, Op. 8, RV 297, 'Winter'" by Antonio Vivaldi. Listen and please let these wonders brighten those dark days of winter! Check out the recommendations mentioned in this episode »

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Isn't it Time by The Beach Boys (2012)Song 1: Can the Circle Be Unbroken (By and By) by the Carter Family (1927)Song 2: I'm Always in Love by Wilco (1999)Song 3: Rip This Joint by The Rolling Stones (1972)Song 4: Rocket 88 by Jackie Brenton & His Delta Cats (1951)Song 5: Twist and Shout by The Top Notes (1961)Song 6: The Woman Before Me by Trisha Yearwood (1991)Song 7: Cemetry Gates by The Smiths (1986)Song 8: There's No Secrets This Year by Silversun Pickups (2009)Song 9: Concerto No. 1 in E (La Primavera - Spring) by Antonio Vivaldi (1723)Song 10: Kiss by Prince & the Revolution (1986)Note: We weren't able to record an episode for Greg's podcast, so we'll get that next summer!!

Con case dez anos de traxectoria musical o grupo folk Encrucillada presentaba no principio do ano os temas que forman o seu novo disco que este domingo presentan en directo no Teatro Jofre, tras levar o seu musica ao longo dos últimos meses por toda Galicia. O disco titúlase De Volta e recolle unha colección de temas que nos devolven á raíz do folk máis auténtico cunha sonoridade moi coidada no proceso de gravación. O grupo foi crecendo e integrando a compoñentes desde que xurdiu a finais de 2015 para facer música tradicional galega da man de Antonio L. Lago e os irmáns Alberto e Óscar Maceiras de Fene. A eles sumouse co acordeón, Javier Rodríguez, desde San Sadurniño. Tamén a nedense Elena Díaz incorporouse en 2019 como percusionista e voz e xa o ano pasado o ferrolán Xoán Padín, uniuse como voz masculina ao grupo.

Hoje tem início a 12ª edição da série Concertos Minas Tênis Clube, que traz para BH grandes nomes da música erudita. Saiba mais escutando ao episódio de hoje! See omnystudio.com/listener for privacy information.

Evaristo Felice Dall'Abaco (1675-1742) - 12 Concerti à più Istrumenti Opera Sesta1. Concerto No.12 in D major [Allegro-Grave-Allegro ma non troppo] 2. Concerto No.4 in B minor [Allegro-Adagio-Allegro] 6:483. Concerto No.2 in E major [Allegro ma non troppo-Aria. Cantabile-Allegro assai] 14:284. Concerto No.3 in F major [Allegro-Largo sempre piano-Allegro e spirituoso] 22:215. Concerto No.1 in C major [Allegro-Largo-Presto e spiccato] 29:296. Concerto No.8 in D major [Allegro-Largo-Allegro] 36:437. Concerto No.7 in A major [Allegro-Grave-Presto] 41:538. Concerto No.11 in E major [Allegro-Aria. Cantabile-Allegro e spirituoso] 47:209. Concerto No.10 in C major [Allegro-LargoAllegro] 56:4410 Concerto No.9 in B-flat major [Allegro ma non troppo-Largo assai-Allegro assai] 1:02:5511. Concerto No.5 in G major [Allegro e vivace assai-Aria. Adagio cantabile-Allegro] 1:12:0512. Concerto No.6 in F major [Allegro-Adagio-Allegro ma non troppo-Allegro assai] 1:19:34 Il Tempio ArmonicoAlberto Rasi, conductorAbout E. F. Dall'Abaco

Louis Spohr - Clarinet Concerto No. 2: RondoErnst Ottensamer, clarinetSlovak Radio Symphony OrchestraJohannes Wildner, conductorMore info about today's track: Naxos 8.550689Courtesy 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

Episode three, Cozy Concerto No. 3 continues our sleep stories series with gentle storytelling, soothing music, and a relaxed setting to welcome a restful nights sleep. Written and produced by Doug Fraser for WHRO Public Media

The story of one of the worst numerical beatdowns in the history of professional sports.Music:- Reckless by Brocker Way- Green Groves of Erin by Yo Yo Ma - Concerto No. 2 in G minor by Vivaldi- Classic Battle by Sam Spence- Denmark by Portland Cello Project- Independant by Brocker Way- Tilting at Windmills by Brocker Way- Ride of the Valkyries by Richard Wagner- Spanish Flea by Herb Alpert & The Tijuana Brass- 2 by AAEPSO- Climax Rag by James Scott- Chariots of Fire by Vangelis- En Gang Agde by 1900- Epilogue by Brocker WayFor more episodes and pictures for the episode:https://www.patreon.com/historiumSupport the show

This Day in Legal History: Senate Adopts Cloture RuleOn this day in legal history, the U.S. Senate made a significant procedural change that would shape legislative debates for decades to come. On March 8, 1917, the Senate adopted the cloture rule, known as Rule 22, as a mechanism to limit the duration of filibusters. This development was a response to the procedural blockades that had increasingly frustrated the legislative process. Filibusters, long speeches or debates deliberately extended by senators to delay or block legislative action, had become a common tactic for minority opposition. The cloture rule introduced a way for the Senate to vote to close debate on a bill, requiring a supermajority to do so.Originally, Rule 22 stipulated that two-thirds of Senators present and voting could vote to invoke cloture and thus end a filibuster, forcing a vote on the bill in question. This threshold meant that a significant majority was necessary to overcome determined minority opposition. However, the landscape of Senate procedures would change again in 1975, when the requirement for invoking cloture was modified. The Senate lowered the threshold from two-thirds of Senators to three-fifths, or sixty Senators, acknowledging the need to facilitate a smoother legislative process while still preserving the minority's power to debate vigorously.The adoption and subsequent amendment of the cloture rule reflect the Senate's ongoing struggle to balance the rights of the minority to debate and delay with the majority's interest in legislative efficiency. These changes have had a profound impact on how the Senate operates, influencing the strategy and tactics of both majority and minority parties. Over the years, the use and implications of the cloture rule have continued to evolve, making it a critical aspect of parliamentary procedure in the U.S. Senate. As we look back on its adoption on March 8, 1917, we see not just a moment in legal history but a pivotal decision that continues to shape the dynamics of American democracy.In a spirited State of the Union speech aimed at revitalizing his 2024 reelection campaign against Donald Trump, President Joe Biden didn't name Trump directly but clearly targeted his "predecessor," emphasizing contrasts between their administrations. Biden's address, lasting over an hour, was not only a pitch for a second term but also a showcase of his first term's achievements, focusing on key issues like abortion rights, gun violence, foreign policy, and economic disparities. Despite concerns about his age, 81, Biden positioned his experience as an asset for leading America into the future, advocating for progressive taxation, healthcare reforms, and stricter gun control measures.Biden's speech came at a critical juncture, with polls suggesting a challenging race ahead against Trump, who has solidified his position as the likely Republican nominee. The event was politically charged, reflecting current global and domestic tensions, including support for Ukraine, debates over abortion rights, and the border crisis. Notably, Biden called for unity in addressing these challenges, while also taking a firm stance on foreign policy, particularly towards Russia and China.The response from Democrats was overwhelmingly positive, signaling strong party support for Biden as the 2024 race heats up. However, Republican reactions were mixed, highlighted by a strategic exchange between Biden and attendees over border security, underscoring the polarized political landscape. Biden's speech underscored a critical moment for American democracy, stressing the importance of defending democratic principles and addressing the nation's most pressing issues through bipartisan cooperation.Biden Says Freedom Under Threat as Speech Takes Aim at Trump (3)In the complex proceedings of Rite Aid Corp.'s bankruptcy, those who allege to have been harmed by the company's opioid dispensing practices, like Nancy Zailo, find themselves at a stark disadvantage. High-ranking executives, consultants, and secured creditors, including legal and financial firms, are prioritized in the repayment hierarchy, leaving little to nothing for thousands of opioid victims. Rite Aid's bankruptcy filing has essentially placed a hold on over 1,600 opioid-related lawsuits, with the company having not reached a settlement similar to its competitors, who have agreed to pay over $13 billion to resolve such claims.The bankruptcy process, expensive by nature, has amassed at least $200 million in advisory fees, further diminishing the funds available for unsecured creditors, among them the opioid claimants. The restructuring focuses on satisfying secured creditors, possibly leaving the company reorganized or sold without any provision for compensating opioid victims. This situation underscores the broader issue of using bankruptcy as a strategy to limit compensation to injured parties, despite the company's significant spending on executive bonuses and advisory fees before and during the bankruptcy.Rite Aid's role in the opioid crisis, highlighted by allegations of filling hundreds of thousands of invalid prescriptions and ignoring pharmacists' warnings, stands as a grim backdrop to the financial proceedings. Zailo's personal account of addiction, stemming from readily filled prescriptions at Rite Aid, illustrates the human cost behind the legal and financial machinations. Despite the company's considerable payouts in separate cases, a global settlement for opioid claims remains elusive, especially as Rite Aid navigates bankruptcy with the intent of emerging relieved of past liabilities and shielded from future lawsuits, leaving victims like Zailo facing the prospect of receiving no compensation.Rite Aid Pays Millions in Fees. Opioid Victims May Get Nothing.Special Counsel Jack Smith has labeled former President Donald Trump's claim of presidential immunity in the classified documents mishandling case as "frivolous" and a tactic to delay the trial. This assertion comes as the U.S. Supreme Court prepares to consider Trump's immunity claim in a separate case related to efforts to overturn his 2020 election defeat. Smith's filing contends that Trump's immunity claim, based on actions taken after his presidency, holds no merit since the alleged conduct, detailed in a 40-count indictment, occurred post-presidency and pertains to issues of national security, making them indisputably non-personal.Trump defends himself by arguing that the charges arise from decisions made in his final presidential days, including attempts to reclassify certain records as personal. However, prosecutors maintain these documents, involving sensitive topics like nuclear capabilities, cannot be deemed personal. Smith's response also addresses Trump's motion to dismiss the case, which suggests a selective prosecution bias, highlighting Trump's case's distinct nature due to "repeated and flagrant obstructive efforts" compared to other officials, including President Joe Biden, who faced no charges after allegedly mishandling classified information post-vice presidency due to different circumstances, including cooperation with investigations and the impracticality of securing a conviction.Trump prosecutor calls immunity bid in documents case a delay tactic | ReutersA proposed class action lawsuit filed by Disneyland maintenance engineer Charlie Torres in Orange County, California, alleges that Disneyland's maintenance workers are subject to unfair labor practices, including the requirement to use their own tools without proper compensation, denial of overtime pay, and failure to provide legally mandated breaks. The lawsuit accuses Walt Disney Parks and Resorts of not adhering to California's labor laws, which dictate that employees must be compensated for work-related expenses and, if using their own tools, be paid double the state's minimum wage. The legal action seeks up to seven figures in backpay for more than 100 affected workers, highlighting issues around the violation of state laws on reimbursement for tools, appropriate overtime premiums, and payment for on-duty meal and rest breaks. Disneyland has not yet responded to the lawsuit, which underscores a significant disparity between the company's public image and its treatment of employees responsible for maintaining its status as "the happiest place on Earth."Disneyland not 'happiest place' for workers, wage lawsuit claims | ReutersThis week's closing theme is by Antonio Vivaldi.Antonio Vivaldi, an iconic figure of the Baroque music era, is celebrated for his virtuosic compositions, particularly for the violin. Born in Venice in 1678, Vivaldi was a priest, violinist, and composer who left a lasting impact on the musical world. He is perhaps best known for his work "The Four Seasons," a set of four violin concertos that depict scenes from each season of the year. Among these, "Winter" (Concerto No. 4 in F minor, Op. 8, RV 297, 'L'inverno') stands out for its vivid musical portrayal of the cold, bleak, and frosty season. The first movement, "Allegro non molto," captures the essence of winter's chill and the warmth of the hearth through its dynamic contrasts and striking melodies. Vivaldi's ability to evoke imagery and emotions through his music has cemented "Winter" as a staple in the classical repertoire, showcasing his masterful command over the baroque concerto form.Antonio Vivaldi's Concerto No. 4 in F minor, Op. 8, “Winter” from his set “The Four Seasons.”  Get full access to Minimum Competence - Daily Legal News Podcast at www.minimumcomp.com/subscribe

References British J of Pharmacology 2015. Volume172, Issue17September Pages 4319-4330 Prostaglandins Other Lipid Mediators. 2023 Jun:166:106726. 1718. Concerto No. 4 in F minor, Op. 8, RV 297, "Winter" (L'inverno) --- Send in a voice message: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/message Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support

Music: Vivaldi: 'Autumn' - Concerto No. 3 in F major from The Four Seasons Musicians: Shirley Richards, Suzanne Herzog, Helen Rees, Julian Chang, Jo Garcia Lord, we remember those who have meant a lot to us but from whom we have grown apart. Help us not to resent those who, for whatever reason, appear to have distanced themselves from us. Help us to honour the stand that they take for You, and their desire to seek after You. In Jesus' name - bless those who were once our close friends and who are still Your beloved ones to this day.

Kate Molleson explores the spry and subtly surprising music of Germaine Tailleferre Kate Molleson revels in the spry and subtly surprising music of Germaine Tailleferre, with guests Barbara Kelly and Caroline Potter. Germaine Tailleferre first made a splash in the heady atmosphere of 1920s Paris. She was part of a lively, bohemian scene in which poetry and exhibitions went hand in hand with performances of new music. Her career was given a bump start by the eccentric older composer, Eric Satie. He was an influential voice in avant-garde circles, and his support opened a door to wider recognition. Tailleferre became part of a like-minded set of young composers, along with Francis Poulenc, Arthur Honegger, Darius Milhaud, Louis Durey and Georges Auric. Their energy and drive created exciting new outlets for performances of their music. It was a journalist, Henri Collet, who coined their eventual collective name "Les Six". While their artistic paths quickly diversified, the group remained friends for the rest of their lives. Tailleferre was a prolific composer, writing in all the genres from small scale chamber works to large scale works including cantatas, orchestral scores, ballets and operas. After enjoying considerable success, by the 1930s her prominence began to fade. There's some evidence to suggest that her two unhappy marriages, and the deprivations of living in occupied France, followed by a temporary exile in the States during the second world war all had an adverse impact on her career. Despite these setbacks, she continued to compose and would teach music almost to the very end of her life. She died in 1983 at the age of 91. Held back perhaps by her own retiring personality and historical views of a female composer, Tailleferre's music has been overshadowed by some of the other members of "Les Six". This week Kate Molleson brings Germaine Tailleferre's music firmly in to the limelight. She's joined in studio by two other Tailleferre enthusiasts, Barbara Kelly from the University of Leeds, and Caroline Potter, who's currently writing a book about Tailleferre. Music Featured: Deux valses Image for 8 instruments Jeux de plein air Quartet for Strings Romance in A major Le Marchand d'oiseaux Pas trop vite Piano Trio Ballade for piano and orchestra Chansons françaises, No 5 (excerpt) Chansons françaises (Nos 1, 2 & 5) Concerto No 1 for piano and orchestra Violin sonata No 1 (excerpt) Fandango La nouvelle Cythère (excerpts) Harp Concertino Chansons Françaises (Nos 3 & 4) Violin sonata No 1 (1st & 4th mvts) Partita for piano (excerpt) Chansons du folklore Sonata for Harp Concerto two pianos, chorus and orchestra La cantate du narcisse Larghetto Suite burlesque (1, Dolente) Ouverture trans. By John Paynter Il était un Petit Navire (arr for two pianos) Concertino for flute, piano and chamber orchestra (excerpts) Pancarte pour une porte d'entrée (song cycle) Sonate Champêtre for wind and piano Tu mi chamas Presented by Kate Molleson Produced by Johannah Smith for BBC Audio in Wales For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Germaine Tailleferre (1892-1983) https://www.bbc.co.uk/programmes/m001nw40 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Click the Title to Play or Download. Interview with Cameron Stoker, Founder & CEO of SpeechCloud. "SpeechCloud is an all-in-one customizable teaching tool that ends the classroom tech struggle." We discuss:Cameron Stoker, CEOCameron's background and involvement with SpeechCloudOverview of what SpeechCloud does for instructorsFeatures that distinguish SpeechCloud from other productsImportance of behavior in teaching and learningTechnical aspects of SpeechCloudCompatibility with learning management systems (LMS)Addressing challenges with traditional teaching methodsUpcoming features and benefits of SpeechCloud for teachers and studentsFuture development plans and affordability of SpeechCloudValue of a free plan and the importance of user feedback.Interview Transcript Podsafe music selection Concerto No. 2 in G Minor (Summer) from the CD entitled "The Four Seasons by Vivaldi" by the American Baroque Orchestra.  Duration 36:50

In this episode, the boys start off with a horribly elegent rendition of our national anthem, emphasis on horrible. After Alex's Concerto No. 66, the two discuss the absurdities and artistic beauty of the recent movie M3GAN. They also discuss their personal opinions and if it's even worth watching. Patreon: https://www.patreon.com/therealdevilsadvocatepodcast Website: https://www.therealdevilsadvocatepodcast.com Facebook: https://www.facebook.com/therealdevilsadvocatepodcast IG: https://www.instagram.com/therealdevilsadvocatepodcast Twitter: https://twitter.com/devil_podcast Free Facebook Group: https://www.facebook.com/groups/1527651661082644/ Intro Theme Music Written By Ben Altizer and Alex Ward Cover Art Designed by Justin Catron @Plagued1994 Produced, Mixed, and Mastered by ©Altizer Audio

It's Torchbearer vs Ubermensch! Red Revenant vs the Gaslighter! Operation: American Defense vs Adolf Hitler! You don't want to miss this epic midseason showdown! FEATURING SPECIAL GUEST @Drakoniques AS RED REVENANT! Join our Discord: https://discord.gg/PxbfcpTJu2 Help us get to $400 on Patreon so we can pay our performers! https://www.patreon.com/mistconceptionspod Cast: David (he/him; @MrBananaSocks) as the Editor in Chief, Mitch (he/they; @mitchbustillos) as Omission (he/him), Marlo (she/her; @boggwitch) as Crystal Gazer (she/her), Phil (he/them; @BMCPHILANTHROPY) as Torchbearer (he/him), Kristie (she/her; @PolishKristie) as Geiger Gwen (she/her), Occam (they/them; @occamsockemrobo) as Dr. Fusion (he/him), Kari (she/her) as Mother Midnight (she/her) Music in this Episode: Dementia by Miklós Rósza, What A Shuffle by Chick Webb, Rumpus in Richmond by Duke Ellington, Cotton Club Stomp by Duke Ellington, White Jazz by Glen Gray, Terror On The Ski Run by Miklós Rósza, A Boat in the Fog by Max Steiner, Concerto No. 2 in C Minor by Sergei Rachmaninoff, The Four Seasons, Concerto No. 2 “Summer”: III by Antonio Vivaldi, A Night On Bare Mountain by Pyotr Ilyich Tchaikovsky Harlem Congo by Chick Webb, Subconscious by Miklós Rósza

In this episode, the boys start off with a horribly elegent rendition of our national anthem, emphasis on horrible. After Alex's Concerto No. 66, the two discuss the absurdities and artistic beauty of the recent movie M3GAN. They also discuss their personal opinions and if it's even worth watching. Intro Theme Music Written By Ben Altizer and Alex Ward Cover Art Designed by Justin Catron @Plagued1994 Produced, Mixed, and Mastered by ©Altizer Audio

El Cortisol es la hormona del estrés. Se activa frente a momentos de amenaza, alerta, miedo, incertidumbre. Es una hormona que nos ayuda a huir en momentos de alerta. Sin embargo, si se produce en exceso, inflama e intoxica. Como dice la psiquiatra Marian Rojas: “El 90 % de las cosas que nos preocupan, nunca suceden.” Pero, nuestro cerebro no sabe distinguir lo real de lo imaginario. Si sobredimensionamos las alertas, perjudicaremos nuestro cuerpo. Por ende, es vital, saber cómo mantener esta hormona controlada. De lo contrario, los efectos son nefastos: alopecia, enfermedades gastrointestinales, aletaraciones del sueño, infertilidad, enfermedades inflamatorias, enfermedades cutáneas, entre muchas otras. En este episodio te compartiré cinco tips que la ciencia ha comprobado y que yo he probado para bajar los niveles de cortisol. Créditos: 06 Concerto No. 2 in G Minor, RV 315 Summer: III. Presto - Vivaldi: The Four Seasons - https://www.youtube.com/watch?v=tvrGBIfwhkI Bibliografía: Martino, P. (2014). Un análisis de las estrechas relaciones entre el estrés y la depresión desde la perspectiva psiconeuroendocrinológica: el rol central del cortisol. Cuadernos de Neuropsicología, 8(1), 60-75. Talbott, S. M. (2007). The cortisol connection: why stress makes you fat and ruins your health and what you can do about it. Hunter House. Rojas, M. (2021). Encuentra tu persona vitamina. Espasa. CUPÓN DE DESCUENTO del 20% para el Seminario Virtual de Salud Mental ExtravaganteMente: CORTISOL -Válido hasta el 3 de Diciembre- Para más información del seminario: https://extravagantemente.com/seminario-extravagantemente/ Recuerda que puedes descargar gratuitamente la revista digital ExtravaganteMente desde: https://extravagantemente.com/descargar-vol-8/ Por otro lado, recuerda que puedes adquirir mi libro más reciente CAMBIA TU MENTE: Aprende el arte de pensar bien y comprueba que la vida es bella (en físico): Colombia: https://www.buscalibre.com.co/libro-cambia-tu-mente/9789584944351/p/53976134 México: https://www.buscalibre.com.mx/libro-cambia-tu-mente/9789584944351/p/53976134 Chile: https://www.buscalibre.cl/libro-cambia-tu-mente/9789584944351/p/53976134 Argentina: https://www.buscalibre.com.ar/libro-cambia-tu-mente/9789584944351/p/53976134 Perú: https://www.buscalibre.pe/libro-cambia-tu-mente/9789584944351/p/53976134 Estados unidos: https://www.buscalibre.us/libro-cambia-tu-mente/9789584944351/p/53976134 España: https://www.buscalibre.es/libro-cambia-tu-mente/9789584944351/p/53976134 Mi libro EL MUNDO DE LA GRATITUD también está disponible en: www.buscalibre.com Si te gustó el contenido, recuerda calificar el podcast con 5 estrellas, suscribirte y compartirlo con otros. Síguenos en Instagram para estar al tanto de nuestras noticias: @extravagante.mente

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Sarah Willis — Mozart y Mambo: Cuban Dances (Alpha) Jump to giveaway form New Classical Tracks - Sarah Willis by When Sarah Willis travelled to Cuba two years ago to record Vol. 1 of her three-part series Mozart y Mambo, she wanted to make music and to make a difference. Thanks to profits from that first album, members of the Havana Lyceum Orchestra now have new instruments, and you can hear the difference those instruments make on Mozart y Mambo, Vol. 2, which was recently released. “Mozart y Mambo has become more than just an album. It's a real project. And we're looking after younger players in Cuba and trying to help them get better instruments and play in the Havana Lyceum Orchestra. So we're doing the same with album two. It's a lot of fun, and it's lovely to see how generous people are.” You start off the recording of Vol. 2 with Mozart's Horn Concerto No. 2. What made you decide to begin with this specific piece? “Recording that [concerto] in Havana with the Havana Lyceum Orchestra and seeing them dance this Mozart, because they literally dance when they play. I thought it could start the album really well, because we've we've called it Mozart Y Mambo: Cuban Dances in a reference to the Horn Concerto that's on the album. But I thought Mozart No. 2 was the most danceable of them all. Also, it's in the key of E-flat. And E-flat is a bit of a happier key for me than the first Concerto in D, and D is a little ‘fumbly' on the horn, so we put that in a bit later.” Concerto No. 1 also appears on this recording. It's a piece that requires a lot of slow practice with the metronome. Can you talk about why that is so critical to this work? “When you're playing in E-flat, you use a lot of your first and second fingers. Now, when you're playing in D, you use your second and third finger. Everyone listening to this, try wiggling your third finger. And now the ring finger. It's slower, isn't it? [It's the same for us when] we are trying to play, like in the first movement of the First Concerto on a natural horn. For all of us, modern-day horn players, Mozart Concerto No. 1 means a lot of third finger work. And I had to really [practice]; it's like training my fingers for the ‘Horn Olympics.'” The music of Mozart frames Vol. 2, and nestled in the middle is a landmark original work. The original idea was to create the first Cuban Horn Concerto, but it really turned out to be more of a suite of dances. Talk a little bit about this suite and how it's also created this wonderful map of Cuba's musical heritage.  “It's all very well mixing Mozart and mambo together and doing this fusion that we love so much. But I really wanted to do something for future generations of horn players, and I also wanted to find out more about Cuban music. So each of these six dances [are] completely different, and I'm so happy that I have these six young composers. I mean, for me, it's a little bit like … a young version of the Buena Vista Social Club. “I still didn't feel like I was qualified to do these dances justice because I've heard Cuban music. It's really easy and loose and you just [have to] feel it in your body. And I was going, pa pa pa pa pa pa pa.  And I called on one of the composers to help me. He was in Germany at the time, Richard Egues, and he was like, ‘Yeah, you play really good horn, but that's not Cuban! What are you doing? Sing it to me.' So, we sang it and it got a bit better. And [then] he said, ‘I'm sorry, “chica,” you're going to have to dance it.' So he got me up out of my chair and we literally danced all these different dances, and I spent two or three months really learning these dances.” The recording sessions for this release took place in a church, and one of those late-night sessions produced a piece that's kind of a surprise ending to this recording. Can you talk about that? “When I was creating this with the arranger Edgar Olivero, who's a Cuban who now lives in Spain, I said, ‘Can you make it funny? Who should be my Papageno?' And he came up with the idea of the baritone saxophone, which is one of my favorite instruments of all time. We've called it Pa Pa Pa, and we put a very famous Cuban contra dance in the middle of it. So, it's yet another dance. I just wanted to send people out with a smile on their faces.” Mozart y Mambo - Cuban Dances Sarah Willis & the Havana Lyceum Orchestra To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. More on Sarah Willis New Classical Tracks Sarah Willis mambos with Mozart on project with the Havana Lyceum Orchestra Giveaway Time For Three New Classical Tracks Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Sarah Willis — Mozart y Mambo/Cuban Dances (DG store) Sarah Willis — Mozart y Mambo/Cuban Dances (Amazon store) Sarah Willis (official site)

Mauro Giuliani - Guitar Concerto No. 1: Alla polacca Dagoberto Linhares, guitar Camerata Cassovia Johannes Wildner, conductor More info about today's track: Naxos 8.550483 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

In this episode, we look at the soundtrack of the 2020 movie of Jane Austen's Emma written by Isobel Waller-Bridge and David Schweitzer. We look at how each of the main characters are given both a theme and instrument and how these themes interweave with each other. We also explore the choreography of the music to match the comedy shown, as well as how the folk and classical music help tell the story through emotions, lyrics, as well as reflecting location and class. Music included in podcast: "Peter and the Wolf, Op 67, No. 3, The Duck" - Prokofiev: Peter and the Wolf - Saint-Saens: Carnival of the Animals, music by Sergei Prokofiev, performed by Czechoslovak Radio Symphony Orchestra & Ondrej Lenard, 1990 "Cosi Fan Tutte, K. 588: "Sento, Oh Dio, Che Questo Piede" - Mozart: Cosi Fan Tutte, music by Wolfgang Amadeus Mozart, performed by Frank Lopardo, Sir Georg Solti, Chamber Orchestra of Europe, Olaf Bar, Michele Pertusi, Renee Fleming, Anne Sofia von Otter & David Syrus, 1996 "Emma Woodhouse" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Emma and Mr. Knightley (A Kiss Before They Wed)" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Mr. Knightley" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Mr. Knightley Chases after Emma" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Mr. Knightley is Destroyed" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Badly Done, Emma" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Concerto No. 4 in G Major for Piano and Orchestra, Op. 58, II. Andante con moto" - Beethoven: Piano Concerto No. 4 in G major, Op. 58, music by Ludwig van Beethoven, performed by Glenn Gould, Leonard Bernstein & New York Philharmonic, 1961 "The Proposal (Under the Horse Chestnut Tree)" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "A Chill Draft about the Knees" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Harriet Smith" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Harriet Smith and Robert Martin Meet on the Road" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Walk to Mrs. Goddard's School" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Piano Trio No. 1 in B-flat major, Op. 99 D. 898, II. Andante un poco mosso" - Schubert: Piano Trios, music by Franz Schubert, performed by Frank Braley, Gautier Capucon & Renaud Capucon, 2007 "Harriet Smith and Robert Martin Meet in the Rain" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Frank Churchill Arrives at Hartfield" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Danse Macabre: Op. 40" - Saint-Saens: Danse Macabre, music by Camille Saint-Saens, performed by Philharmonia Orchestra & Charles Dutoit, 1981 "Christmas Dinner at the Westons" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Poor Miss Taylor" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "We Shall Have our Ball" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Emma is Bored" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020 "Mrs. Elton Arrives at Hartfield" - Emma (Original Motion Picture Soundtrack), music by

制作本期节目的时候，已经是北京朝阳区居民居家的第 7 天，集体核酸的第 4 轮，更是上海居民熬过的第 2 个月。我们不知道大家都是如何在这样的状况下，平复自己不断波动的情绪，或许我们可以把目光转移到更久、更远的地方，比如历史里、虚构的世界甚至地下世界里。本期节目，我们从两部影像作品出发，一部考古题材电影《发掘》(The Dig)，一部由陈丹青老师讲述北朝墓葬壁画的影像作品《线条的盛宴》，展开去聊一聊历史与当下，时间与生死，以及在时间长河中那些被发掘的与被埋葬的。重新确认并守护好那些微小而顽强的火光。当我们将目光投向远方的时候，我们的心其实从来未曾离开过当下。【欢迎加入听友群】入群方式 A：微信添加小助手 Amber (ID: hellomarcast)，拉你入群入群方式 B：关注公众号「午夜飞行」 (ID: midnightflyfly)，回复「听友群」三个字，即可获取入群通道【节目主播/制作】VC (微博: @VividCrystal https://weibo.com/u/1241505120 )节目微博：@午夜飞行Official https://weibo.com/u/7298580324公众号：午夜飞行【本集涉及作品】1. 电影《发掘》(The Dig) Netflix 20212. 陈丹青《线条的盛宴》 看理想3. 王瑞芸《西方艺术三万年》 看理想4. CCTV《故事里的中国》第三季 20220508 樊锦诗【参考资料】1.《发掘》里被湮没的女性故事：萨顿胡遗址背后的女性们https://movie.douban.com/review/13639270/2.The British Musume - Curator's Corner：萨顿胡船藏头盔（中文字幕）https://www.bilibili.com/video/BV1of4y1s7X9?spm_id_from=333.337.search-card.all.click【本集音乐】All music credits to:1. Concerto No.3 In D Minor After Alessandro Marcello, Bwv 974 Ii. Adagio - 坂本龍一2. Má vlast (My Fatherland)：No. 2. Vltava (Moldau) - Rafael Kubelík,Symphonieorchester des Bayerischen Rundfunks3. Symphony No.40 in G minor K.550：4. Finale (Allegro assai) - Sir Georg Solti,Chamber Orchestra of Europe4. The Dig 电影原声 - Stefan Gregory http://www.stefangregory.com.au/【关于节目】「午夜飞行」是一档关注旅行、城市、文化和生活的播客节目，由 VC 主持/制作，力求用声音将多彩的城市故事带给你。微博：@午夜飞行Official / 公众号：午夜飞行 本播客由 Marcast Media 制作出品。也欢迎你订阅收听 Marcast 旗下的其他播客节目，微博/公众号：@Marcast，商务合作联系：hello@marcastmedia.com https://weibo.com/u/2743283854

Fifty years ago, women were not allowed to run in the Boston Marathon due to a myriad of false assumptions about the female anatomy. Sara Mae Berman ran anyway. And, Here & Now classical music opinionator Fran Hoepfner discusses Russian pianist Sergei Rachmaninoff, and why we shouldn't "cancel" classic Russian artists during the war against Ukraine.

Doctor Leslie Leibholdt is a brilliant researcher at Oregon State University. His life's scientific work has revolved around finding a renewable, sustainable, and powerful form of energy. With funding from the United States military, the doctor's dream is finally within reach! But on the day of the grand test, it appears someone has tampered with the device and energy source; and to make matters worse, the facility has been infiltrated by unknown parties! The resulting explosion will spell the death of Dr. Leibholdt's work, but give birth to Dr. Fusion, super-science-hero! Cast: David (he/him; @MrBananaSocks) as the Editor in Chief, Occam Raisor (they/them; @occamsockemrobo) as Dr. Fusion (he/him) Join our Discord: https://discord.gg/kDFN36npSP Support us on Patreon: https://www.patreon.com/mistconceptionspod Music in this episode: A Boat In The Fog by Max Steiner, Chain Gang by The Bob Crosby Orchestra, Concerto No. 1 for Piano and Orchestra, Op. 35 Lento by Eileen Joyce, Zombie by Gene Kardos and his Orchestra

Ep.71 本集介紹布拉姆斯第一號鋼琴協奏曲的第三樂章，歷經了漫長的第一樂章，憤怒、求饒與心碎，與第二樂章的心灰意冷，第三樂章是不是終於可以扳回一城呢？ 本集主打曲 Brahms: iano Concerto No 1 in D minor op 15 Mov.3 "Rondo" Julius Katchen, piano Symphony Orchestra of the Bavarian Radio Arthur Rother, conductor München 1961 ＊贊助Bonjour 古典不古典-支持音樂家持續創作，打開最細微靈敏的藝術之耳 每月定額隨喜 https://p.ecpay.com.tw/7F68A73 單次隨喜贊助 https://p.ecpay.com.tw/4F34B4C

Choir and Organ

This week, we start out with a rousing round of Match the Interpreter and then we move on to our three topics:SF SYMPHONY RE-ORG AND RE-BRANDSFS Collaborative PartnersCan Branding Help Save Classical Music? (Fast Company)Play with the new SFS dynamic font!MBC'S VIOLIN METHOD BOOKMusic by Black ComposersYale Student Creates Project to Integrate Violin RepertoireNATHALIE STUTZMANN ON “CONTRALTO”Listen on SpotifyWatch the recording sessionCLASSICAL MIXTAPEThe full playlistNathalieBoccherini, Concerto No. 9, mvmt 2TiffanyVictor Herbert, Cello Concerto No. 2 in E minorKenshoKevin Puts, If I Were a SwanWillLotti, Crucifixus a 8THINK YOU CAN STUMP US? GO AHEAD AND TRY!Google Form for “Name that Tune: Stump the Hosts Edition” You can reach us at classicalgabfest@gmail.com and on social media:FacebookTwitterInstagram

You're listening to Pearl Bailey from 1946 and you're on the Sound Beat. Pearl made her Broadway debut that year, performing "It's a Woman's Prerogative" in St. Louis Woman. Though audiences weren't enamored of the play, her performance marked the beginning of a decades-long love affair between Bailey and the American public. That "special time together" included a Tony award for Hello, Dolly! and later pop-culture staples like "The Love Boat", "The Muppet Show" and "Hollywood Squares". Ol' softy President Richard M. Nixon made it all official in 1970 proclaiming Bailey "Ambassador of Love". The position was rumored to pay 80,000 hugs annually with a guaranteed pension of half that amount. Nixon even accompanied Bailey on the piano. Turns out he was an amateur composer. Click here for video of Nixon's Concerto No. 1...and some Truman jokes thrown in for good measure.