Podcasts about debussy

Bandleader, educator, and improviser Brandee Younger plays the harp. But while she has classical training and knows her way around Ravel and Debussy, she has long been fascinated by harpists like Dorothy Ashby and Alice Coltrane, Black women who created new spaces for the harp in the worlds of jazz and pop.  Brandee Younger's new album is called Gadabout Season, and on it, she plays her own compositions, and plays them on Alice Coltrane's own harp. She and her trio play in-studio.Set list: 1. Gadabout Season 2. New Pinnacle 3. BBL

durée : 00:04:29 - Musique matin - par : Max Dozolme - Partons à la découverte de la partition que Jerry Goldsmith écrit pour ce film culte de Ridley Scott. Une bande originale qui se souvient de Debussy et Stravinsky et qui laisse même une petite place à une célèbre musique de nuit signée Mozart ! Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Musique classique Jean Perron, Laurent Patenaude et Jean Lecomte Tous les samedis matins, de 9 h à 12 h, L'Accroche-coeur propose aux auditeurs et auditrices férus de découvertes et de musiques rares, plus de 1000 ans de musique, des premiers temps du Moyen-Âge à aujourd'hui.; musiques savantes ou populaires, profanes ou sacrées mettant en vedettes les plus grands artistes capables de mettre en valeurs les oeuvres des Pérotin, Machaut, Dufay, Bach, Vivaldi, Beethoven, Chopin, Debussy, Poulenc, Jarrett et tous ces anonymes dont la postérité n'a retenu que les oeuvres. Le samedi matin, c'est le moment privilégié que CKRL, la radio culturelle de Québec, vous offre pour entendre les plus belles oeuvres de la musique occidentale, celles qui ont fait la meilleure partie de l'humanité. Jean Perron, Laurent Patenaude et Jean Lecomte mettent, tour à tour, leurs connaissances et leur amour de la musique à la portée de tous et toutes. C'est le rendez-vous bien-être de la semaine sur nos ondes.

durée : 00:04:27 - Musique matin - par : Max Dozolme - De la simple citation à la transcription, notre hymne "La Marseillaise" intéresse les compositeurs de musique classique. Petit tour d'horizon avec Schumann, Berlioz, Stravinsky, Liszt, Debussy, Satie... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Musique classique Jean Perron, Laurent Patenaude et Jean Lecomte Tous les samedis matins, de 9 h à 12 h, L'Accroche-coeur propose aux auditeurs et auditrices férus de découvertes et de musiques rares, plus de 1000 ans de musique, des premiers temps du Moyen-Âge à aujourd'hui.; musiques savantes ou populaires, profanes ou sacrées mettant en vedettes les plus grands artistes capables de mettre en valeurs les oeuvres des Pérotin, Machaut, Dufay, Bach, Vivaldi, Beethoven, Chopin, Debussy, Poulenc, Jarrett et tous ces anonymes dont la postérité n'a retenu que les oeuvres. Le samedi matin, c'est le moment privilégié que CKRL, la radio culturelle de Québec, vous offre pour entendre les plus belles oeuvres de la musique occidentale, celles qui ont fait la meilleure partie de l'humanité. Jean Perron, Laurent Patenaude et Jean Lecomte mettent, tour à tour, leurs connaissances et leur amour de la musique à la portée de tous et toutes. C'est le rendez-vous bien-être de la semaine sur nos ondes.

Daniel Katz is a renowned art dealer, collector and gallery owner who has very much beaten his own path through the tangled forests of the art world. Although he left school at the age of 14, his energetic curiosity brought him early success, making a profit of £15 on the first bronze he bought, and discovering something quite unexpected inside a grandfather clock. Danny is an expert on European sculpture, but has also branched out into new fields, including antiquities, Old Masters, Impressionist paintings and Modern British Art. He's worked closely with museums, exhibitions and libraries around the world. Danny's choices include Schubert, Debussy, Sibelius and Bernstein.

Musique classique Jean Perron, Laurent Patenaude et Jean Lecomte Tous les samedis matins, de 9 h à 12 h, L'Accroche-coeur propose aux auditeurs et auditrices férus de découvertes et de musiques rares, plus de 1000 ans de musique, des premiers temps du Moyen-Âge à aujourd'hui.; musiques savantes ou populaires, profanes ou sacrées mettant en vedettes les plus grands artistes capables de mettre en valeurs les oeuvres des Pérotin, Machaut, Dufay, Bach, Vivaldi, Beethoven, Chopin, Debussy, Poulenc, Jarrett et tous ces anonymes dont la postérité n'a retenu que les oeuvres. Le samedi matin, c'est le moment privilégié que CKRL, la radio culturelle de Québec, vous offre pour entendre les plus belles oeuvres de la musique occidentale, celles qui ont fait la meilleure partie de l'humanité. Jean Perron, Laurent Patenaude et Jean Lecomte mettent, tour à tour, leurs connaissances et leur amour de la musique à la portée de tous et toutes. C'est le rendez-vous bien-être de la semaine sur nos ondes.

Send us a textTracy stops by the show to discuss her latest release, Sky Too Wide. We talk about people pleasing, connect over a Helen Reddy song, 'You and Me Against the World', her reimagined song 'Jumping Bean', and so much more.*****Tracy Bonham is a classically trained violinist and pianist turned alternative singer-songwriter who rose to fame in 1996 with her twice GRAMMYTM nominated album, The Burdens of Being Upright (Island Records). This debut album cast Bonham into the global spotlight with MTV fame and major radio airplay with her #1 alternative chart-topping song Mother Mother, an anthem for disgruntled teenagers of all ages. While so many of her songs have been placed in film and tv throughout the decades, you might have most recently heard Mother Mother in Yellow Jackets season 1 episode 2.Over the past 27 years, Bonham's albums and live performances have shown what it is to be an ever- evolving artist. While Bonham sings, she moves from guitar to violin, from violin to piano, and back again. When playing live, her songs from the 90s blend and blur with stylistic changes that she has created over time making her entire repertoire make sense as an entire body of work. She plays the old and new material and even though the songs span thirty years they all continue to be equally relevant.Bonham will be joined by upright bassist Rene Hart (David Amram, James Hunter) and drummer Alvester Garnett (Regina Carter, Abbey Lincoln) and with her new material she connects to something deeper than ever, her true self. Most of the new songs are performed on the piano giving her the chance to lean back to what made her fall in love with music in the first place. Borrowing harmonic structures and beautiful melodies from her favorite classical romantic composers, Bonham stretches herself artistically to combine this rediscovered passion with her unique and quirky songwriting style to create musical alchemy. This purifying process most certainly acts as a vehicle for inner transformation for Bonham. "It's like going back to the spark I had as a very young musician, discovering the beauty of Ravel and DeBussy and reclaiming that spark and everything that has happened after that". Bonham speaks of her current line-up, "Playing with incredible jazz musicians like Rene and Alvester has opened my mind and is now giving me the support I have always needed to spread my wings and fly. I am really enjoying exploring the intersections and overlaps of where classical and jazz meet without excluding my alternative rock sensibilities. These dudes can rock too. The three of us playing together is definitely my happy place".******If you would like to contact the show about being a guest, please email us at Dauna@bettertopodcast.comUpcoming guests can be found: https://dmneedom.com/upcoming-guest Follow us on Social MediaInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomIntro and Outro music compliments of Fast Suzi©2025 Better To...Podcast with D. M. NeedomSupport the show

durée : 01:28:13 - Jean-Paul Gasparian, le panache d'un pianiste accompli - par : Aurélie Moreau - Après Debussy, Rachmaninov et Chopin, le pianiste Jean-Paul Gasparian a consacré son récent disque à des compositeurs arméniens: "mon rêve serait que ce projet donne envie aux mélomanes d'explorer plus avant les trésors de ce répertoire". (Diapason) Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:16:46 - Jardins suspendus - par : Judith Chaine - Une promenade estivale dans les jardins musicaux de Debussy, Poulenc, Takemitsu, Albéniz, Bizet, Mozart, Liszt, Jean Cras, John Williams, et Gonzales. Et aussi les voix de Marina Viotti et d'Ella Fitzgerald. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:53 - Le Quatuor de Jérusalem, la tradition de l'excellence - par : Aurélie Moreau - 2025 marque les 30 ans du Quatuor de Jérusalem qui a très vite acquis une renommée mondiale, jouant avec passion, précision et chaleur un large répertoire. Aujourd'hui : Chostakovitch, Brahms, Haydn, Dvořák, Schubert, Debussy, Schumann et Korngold. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Today may be my final episode for Pride Month 2025, but it is most certainly not my final episode celebrating and affirming Pride and all our glorious forebears who preceded us! Today's episode is a belated birthday tribute to British tenor Peter Pears (22 June 1910 – 03 April 1986), most celebrated for his long-standing romantic and musical partnership with Benjamin Britten. However, as with my recent episode celebrating the artistry of Pierre Bernac apart from his performances of the music of Francis Poulenc, in today's episode, there is not a note of Britten's music to be heard. There is no question that Britten was a formative figure in Pears' artistic development, but throughout their lives together, he performed a wide range of music, from Pérotin to Lutosławski as an independent and enormously versatile artist. In this episode, I offer selections by Webern, Handel, Copland, Couperin, Stravinsky, Dowland, Tippett, Mozart, Holst, Bach, Copland, Berkeley, Schubert, Walton, Schütz, Debussy, Handel, Nordheim, Schumann, and David Bedford, among others, to offer a surprising portrait of this fascinating singer. Even if you have not (yet) acquired a taste for this (sometimes) controversial singer, I urge you to give it a listen, for not only does it present Pears in all his varieties, it also highlights his musical partnerships with Joan Sutherland, Sviatoslav Richter, Murray Perahia, Dennis Brain, Viola Tunnard, George Malcolm, Martha Mödl, Gré Brouwenstijn, Imogen Holst, and Noel Mewton-Wood (as well as a few clips with with his life-partner Britten at the piano). Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Jay Griffiths first wanted to be a writer – an entity she believed to be a “god-like” creature - when she was just four years old and already captivated by words. And she's fulfilled that early ambition. Her books include Wild, the product of seven years' work, travelling to wildernesses including the Amazon rainforest, the Canadian Arctic and the Australian outback. She has also written very honestly about her experience of bipolar disorder in her book Tristimania: a Diary of Manic Depression. More recently, she's reflected on the deep connections we have to animals and their ability to alleviate fear and trauma, under the title How Animals Heal Us. Jay's music selections include Sibelius, Rodrigo, Vivaldi and Debussy.

Andrés Amorós dedica un cuarto programa a este pianista ruso muy respetuoso con la labor de los compositores. Andrés Amorós dedica este programa a las interpretaciones que Sviatoslav Richter realizó de Brahms y Debussy. Se subraya la filosofía del pianista ruso, que se consideraba a sí mismo un mero ejecutor al servicio de la obra, mostrando un respeto absoluto por la partitura y el compositor, por encima de cualquier lucimiento personal. Esta actitud le diferencia de otros virtuosos y define su enfoque artístico. En su acercamiento a Johannes Brahms, Richter exhibía una afinidad particular, prefiriéndolo incluso a Schumann. Su interpretación del Scherzo del Concierto para piano nº 2 es un ejemplo de su fuerza controlada y su renuncia al sentimentalismo. Richter aborda a Brahms con la potencia y la hondura requeridas, pero siempre manteniendo una sobriedad y una fidelidad extremas al texto musical. La selección de Claude Debussy demuestra la enorme versatilidad del pianista. Richter era capaz de adaptarse a estilos muy diferentes, recreando las atmósferas y el color del impresionismo francés. Se escuchan fragmentos de Cloches à travers les feuilles y L'Isle Joyeuse, piezas en las que el pianista logra evocar el misterio y la alegría jubilosa con una claridad y una técnica prodigiosas, sin perder la esencia etérea de la música. Finalmente, se destaca la figura de Richter como un artista único y enigmático, alejado de los circuitos comerciales y de la autopromoción. Su dedicación a la música por encima de todo queda reflejada en anécdotas como la creación de su propio festival en un granero en Francia, buscando la acústica y el ambiente perfectos. Se le recuerda como un intérprete puro más que como una estrella del piano.

durée : 01:27:59 - En pistes ! du mardi 24 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Voici une nouvelle interprétation d'un jalon du répertoire, le quatuor de Maurice Ravel, associé à des improvisations de jazz ! A découvrir aussi, la compositrice et pianiste néerlandaise Henriëtte Bosmans dont un nouvel enregistrement remet au premier plan sa musique instrumentale et vocale... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:27:59 - En pistes ! du mardi 24 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Voici une nouvelle interprétation d'un jalon du répertoire, le quatuor de Maurice Ravel, associé à des improvisations de jazz ! A découvrir aussi, la compositrice et pianiste néerlandaise Henriëtte Bosmans dont un nouvel enregistrement remet au premier plan sa musique instrumentale et vocale... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Tota una setmana dedicada a Serguei Di

Musique classique Jean Perron, Laurent Patenaude et Jean Lecomte Tous les samedis matins, de 9 h à 12 h, L'Accroche-coeur propose aux auditeurs et auditrices férus de découvertes et de musiques rares, plus de 1000 ans de musique, des premiers temps du Moyen-Âge à aujourd'hui.; musiques savantes ou populaires, profanes ou sacrées mettant en vedettes les plus grands artistes capables de mettre en valeurs les oeuvres des Pérotin, Machaut, Dufay, Bach, Vivaldi, Beethoven, Chopin, Debussy, Poulenc, Jarrett et tous ces anonymes dont la postérité n'a retenu que les oeuvres. Le samedi matin, c'est le moment privilégié que CKRL, la radio culturelle de Québec, vous offre pour entendre les plus belles oeuvres de la musique occidentale, celles qui ont fait la meilleure partie de l'humanité. Jean Perron, Laurent Patenaude et Jean Lecomte mettent, tour à tour, leurs connaissances et leur amour de la musique à la portée de tous et toutes. C'est le rendez-vous bien-être de la semaine sur nos ondes.

Send us a textFeeling tired? Need to unwind? Then how about some gentle, soothing piano music? Welcome to the Episode 7 of the Fifth Series in the Relaxing Piano Playlist! In this episode, I perform for you music by Chopin, Gabriel Dupont, MacDowell, Scriabin and Debussy,

"Ich bin wie ein Schützengraben", schreibt der französische Komponist Claude Debussy 1915, ein Jahr nach Ausbruch des Ersten Weltkriegs. Drei Jahre vor seinem Tod komponiert er Etüden, Elegien und Walzer. Von Michael Köhler.

Naujos kūrybos prikelta Alice Coltrane arfa; Neeme Järvi prikeltas Wilhelmas Furtwängleris, sirų kilmės fleitininkės prikeltos Prancūzijos džiazo žvaigždės ir berlynietis kontrabosininkas, siūlantis visiškai naujai pažvelgti į Mahlerį, Verdį ir Debussy. Visa tai – leidybinės naujienos „Kitame laike“.Ved. Domantas Razauskas

Attention Bach buffs, Shostakovich stans and Debussy devotees! Head over to Grant Park and you can catch free classical concerts all summer long. But this isn't just an exciting opportunity to revel in the music, it's a chance for up-and-coming orchestral musicians and singers to be a part of the action through the Festival String and Vocal Fellowship. Reset sits down with two fellowship participants: violinist Maria Gabriela Mendez Martinez and violist Joshua Thaver. We also hear from fellowship manager Amelia Sie. For a full archive of Reset interviews, head over to wbez.org/reset.

durée : 01:28:14 - En pistes ! du mardi 17 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Deux musiciennes au service du répertoire français : le timbre chaud de Magdalena Kozena et le piano délicat de Mitsuko Uchida célèbrent Debussy et Messiaen. On découvrira aussi une intégrale des symphonies du compositeur suédois Wilhelm Peterson-Berger sous la direction de Michail Jurowski... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:14 - En pistes ! du mardi 17 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Deux musiciennes au service du répertoire français : le timbre chaud de Magdalena Kozena et le piano délicat de Mitsuko Uchida célèbrent Debussy et Messiaen. On découvrira aussi une intégrale des symphonies du compositeur suédois Wilhelm Peterson-Berger sous la direction de Michail Jurowski... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

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Stravinsky, Debussy, Ravel

The American singer songwriter Suzanne Vega released her first studio album almost exactly 40 years ago – and it soon found an audience, particularly here in the UK where it sold more than 300, 000 copies. Listeners responded to her understated, acoustic sound and thoughtful lyrics, in songs such as Marlene on the Wall and Luka. Another of her songs, Tom's Diner, took on a life of its own. It's been sampled by dozens of artists and one remix became a global hit.Suzanne recently released her tenth studio album, Flying with Angels, and will be embarking on a major tour with dates in England and Scotland later this year. Her mix of music includes Bartok, Rachmaninov, Philip Glass and Debussy. Producer: Clare Walker

Continuing our exploration of queer pride in classical music, I bring you the great baryton-martin Pierre Bernac (1899 – 1979), known first and foremost as a creator of some of the most exquisite mélodies of his friend and musical partner Francis Poulenc. Later Bernac became renowned as the exemplar of style and taste in the interpretation of French art song. In this episode, however, I wanted to explore his contribution as a singer of the music of composers other than Poulenc. I had already found some great orchestral song cycles by André Jolivet and Louis Beydts, as well as a sublimely anachronistic recording of a Bach cantata, but just yesterday I came upon a series of rare recordings that Bernac made in 1935 for the Ultraphone label. These include songs by Debussy and Hahn accompanied by pianists Jean Doyen and Boris Golschmann (who was the brother of the conductor Vladimir Golschmann, and whose tragic story I relate), as well as an earlier (and even more exquisite) recording of Chausson's “Le colibri.” But perhaps the crown jewels among these early records were two duets with the exquisite French-Algerian soprano Leïla Ben Sedira which won the Grand Prix du Disque in 1936. I have folded these deeply satisfying early recordings into the setlist that I had already partially assembled for a very special episode that I hope that you will enjoy! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Ein Theaterskandal, ein Gerichtsprozess und jede Menge Feinde. Hätte Erik Satie gewusst, worauf er sich mit der Ballettmusik "Parade" einlässt, hätte er die Finger davon gelassen. Von Michael Lohse.

 Karen Saves The Universe: Part 3Karen Embarks on a cure campaign.Based on a post by LingeringAfterthought, in 3 parts. Listen to the Podcast at Steamy Stories.Karen sighed, "Might as well. Let's go kill the libido of an entire civilization, Holland."Holland took her arm and soon the cell where she was held disappeared and another space formed around them. Captain Hemsworth and several crew members from the ship stood nearby, as well as Ensign Holland who was still holding her arm, reassuringly. Looking around, Karen saw that they were in what appeared to be a sound-booth of sorts. One crewmember activated some equipment and moved one protruding tentacle closer to Karen's mouth and another toward Captain Hemsworth's."Are we ready, Ellis?" Captain Hemsworth asked, clearing his throat. Ellis nodded and stepped back from the tentacles. Hemsworth tapped the end of the tentacle and a booming noise reverberated around the room. He cleared his throat several more times and straightened his collar. "People of Priam! Your deliverance has come! You sent us forth among the stars to find the cure to the horrid addiction of filth that has infiltrated our minds and we have not failed you! We have dedicated our lives to this effort, foregone having families, and any comforts of home to bring you this salvation! Behold; The Karen!" he proclaimed, gesturing for Karen to speak."Um; hi?" Karen said, unsurely. Hemsworth glanced at Ellis who was reading some type of display. Ellis frowned and motioned for her to continue speaking. "Um; my name is Karen;""Hi Karen;” several crew members responded unanimously before Captain Hemsworth cut them off with a gesture."Um; I'm not quite sure what I'm supposed to say. I heard you're all having some troubles. I'm sorry. I know what that's like. I've had some troubles, too. I married the wrong person; someone who didn't really love me. I wasn't brave and I tried to avoid trouble too much. I had four kids, but they grew up seeing me treated badly, so they don't really see me as being worth much; if they don't need me to be a mom anymore, what good am I to them? I love them, but; I wish I had done more with my life. Now, I'm getting a divorce; and now that I'm in my 50's, I'm not young and beautiful anymore, so it's like I'm invisible to most people. My body hurts more than it used to; and I'm afraid most days. I don't know what's going to happen to me. Everything keeps changing and I don't know where I belong. I feel like I've failed all the time. But, they said that maybe I could help you, so; I hope I can help make things better for you. I'd like to see something good come out of all this," Karen said, wiping some tears off her cheeks. Holland stepped next to her and took her hand. She smiled and leaned her head on his shoulder."Ellis?" Hemsworth asked.Ellis looked up from the display, a disconcerted expression on his face. "I don't understand;” he murmured, leaning down and feverishly working on the equipment. "They're hearing it. I know they're hearing it;”"It's not working? She just spoke more than it took to knock out the entire bridge crew! What do you mean it's not working?" Hemsworth said, frustrated. Karen looked at Holland, who simply shrugged.Captain Hemsworth frowned with determination and motioned to Karen, "Speak again. Louder. Talk about the cobb salad! Men, brace yourselves!" he ordered."Cobb salad?" Karen repeated, surprised. "Oh, well, um; it's just yummy. It's got hard boiled eggs, tomatoes, bacon, and avocado on a bed of lettuce; chives and bleu cheese over the top is good, too. The nice thing is that all the ingredients are put into neat little rows across the lettuce, so you can choose exactly what you want in each bite! It's not just a big mess like other salads. You know, I could make you one ; do you guys have avocadoes?" she said enthusiastically, looking to Holland.Holland immediately began looking up something on his hand-held computer. "Av-o-ca-does; do they yield their young willingly, or do we need to;""What the hell is going on???" Captain Hemsworth yelled, grabbing Holland's ear and looking inside. "Holland! You're not wearing protection! Why aren't you unconscious on the floor?""Oh, um; they were kind of uncomfortable, and they made it hard to hear what she was remembering, and;""You Remembered With The Karen? What Is Wrong With You?" Hemsworth shouted, before calming himself. "Momoa, get some caffeline ready. I need to hear her again," he said, bracing himself as he pulled what looked like slugs out of his ears. "Speak again about the salad;”"Okay, uh; most like to eat it with a vinaigrette? I think that gets to be a bit too much if there's bleu cheese on top, though. Sometimes I'll get it with ranch or something creamy because then;""What the hell, Holland! What did you do to The Karen? I barely feel anything!" Hemsworth yelled, grabbing Holland by the uniform."Um; I don't know; we just talked and remembered; you know, she's really nice, if you get to;""Dammit, You've Broken The Karen, Holland! How Are We Supposed To;" Captain Hemsworth yelled until he was interrupted by a knock nearby.Lieutenant Ellis activated a control on his display and a hole formed in the wall of the room. An assembly of Priamites entered the room, as smoothly as if they were rolled in on a platform together. The crew of the Onan immediately fell prostrate on the floor before them. Karen, unwilling to lie face-down on a floor she hadn't cleaned herself, looked around uncomfortably and gave the assembly a small wave. One Priamite raised her hand to return the gesture but was quickly stopped by her neighbor."Welcome, crew of the Onan," one of the assembly said, followed by the rest of the assembly nodding agreeably. "We are most appreciative of all your; efforts. We realize that you have dedicated several of your lifetimes to freeing our civilization from the throes of pornographic addiction, and for your many sacrifices, we thank you," the speaker said, then glanced around uncomfortably at the others. "Most unexpectedly, ah; while the Eros Curse was most distressing to the initial generations, the subsequent generations acclimated to it rather quickly. Then, as fashions changed, the Eros Curse became more of a joke, really; dance mixes were made, memes;”"Excuse me?" Captain Hemsworth said, lifting his face from the floor."I mean, sure, the Eros Curse is still out there. It's just that it's just become something people live with. It doesn't take over our lives, but some indulge in it a little after the kids have gone to bed for the night. I mean, it's not really such a big deal. It adds a little spice to an otherwise boring life, you know?""Boring life?" Hemsworth repeated, rising to his feet. "Are you telling me that all of Priam just walks around, living life, thinking about; that?""Well, yes, but we are very grateful for all you and your crew have done for us. We express our thanks to all the crews of the ships we loaded up with uptight intellectuals that were determined to rid our civilization of; alternative thoughts. We have come here to present you and your crew with a commemorative plaque for all your;""Is this some kind of joke?" Hemsworth said, pacing around. "I've been trekking throughout the universe looking for a cure to your abhorrent lust-filled thoughts and now you just want to give me a plaque for a lifetime of sacrifice because you don't see a problem with your disgusting sticky existence?""Well, there's no need to kink-shame;” the assembly spokesperson muttered, "Honestly, you never wondered why they sent the most uptight assholes on the planet off on a vague 'mission' and never really asked for progress reports?""I don't believe this;” Hemsworth said, his eyes bulging, nostrils flaring. "We've sacrificed our lives for nothing???""Oh, I see where this is going;” Karen said to Holland, who seemed to be trying to assume a duck-and-cover position."How could you do this to us???" Hemsworth yelled."Use the diaphragm for projection, baby; you can do it;” Karen encouraged."I Want; To See; The Manager!" Captain Hemsworth yelled at the top of his lungs, causing a feedback loop to screech throughout the room. The last thing Karen saw before falling unconscious was the sight of every Priamite in the room projectile vomiting on each other. The stench was overwhelming.Karen's Humility.Karen lifted her face off the bathroom floor, overwhelmed by the stench. She brushed off a spare piece of toilet paper stuck to her face, as she tried to remember what had happened. Her lungs burned from what she slowly recognized as pepper spray. She gathered her purse and stumbled out of the stall and looked at herself in the mirror. Her eyes were red, and a bruise was swelling where her cheek hit the floor. She splashed some cold water on her face and wiped off the makeup that streaked in the process. This was Snookers; not Baker's Pie. She had just ripped a kid a new asshole for not having cobb salad on the menu. What was she doing with her life?Upon exiting the bathroom, she ran into Travis the Waiter, who looked like he had just splashed water on his face, too. Dread and unease filled his face upon seeing her before it was quickly masked into concern. "Oh, um; are you okay? Can I get you some ice for that?" he asked, looking at the bruise on her cheek."What? Oh, no, honey. I'm okay. I just fell," she said, before meeting his eyes and taking his hand in hers. "Travis, I'm so sorry about the way I treated you. That was awful, and I have no excuse. You didn't deserve that.""It's okay; it happens," Travis said, carefully."It shouldn't, though. I was wrong, and I'm sorry. Would you mind if I just gave you some cash to cover the meal and snuck out of here? God knows what that group of biddies will gossip about when I go out there like this," Karen said, gesturing to herself."Yeah, that should be no problem," Travis said, taking the money she offered. "Are you sure you're okay?"Karen nodded, "I'm fine. I've just got some things to do. You've got a sweet heart, honey. Keep listening to it."Karen swallowed nervously as she went up the walkway to the small suburban house. She hadn't called before coming. It was rude of her not to call ahead of time, but then again, she was pretty sure that her number had been blocked. She didn't know if her oldest son had gone "no contact" or just "low contact" with her, but she was pretty sure her daughter-in-law would threaten to call the police within five minutes of her ringing the doorbell. Nevertheless, when she got up to the door, Karen put her finger forward and rang the bell."What do you want, Karen?" Hailey's terse voice came through the doorbell."Oh; you got one of those camera doorbell things; that's nice;” she began, unsure of how to say what was in her heart without a face in front of her."What do you want?" Hailey repeated."Um; I wanted to talk with you;""The last time you wanted to 'talk' with me, you just wanted to see my kids while you criticized my inadequate housekeeping, my inept child-rearing, and my unattractive post-pregnancy body. So, forgive me if I'd prefer not to have a heart-to-heart, Karen," Hailey interrupted."You're right," Karen said, looking at the dark circle holding the doorbell's camera. "I did that. I did that. I have not been kind to you. When Cal Jr. brought you home, I was not welcoming. I should have been; because you deserved that. You deserved it because you made my son happy. You have made him happier than I've ever known him to be; and that's what I've always wanted for him. If you were just like me, if you did all the things that I obnoxiously told you to do; he wouldn't be half as happy as he is with you; just as you are. If for no other reason than my son's happiness, you have my gratitude. I'm sorry that I've wasted the chances you've given me to know you better. You're brave and confident and funny. Honestly, I think you're the person I wished I could have been at your age. I'm sorry for a lot of things but being wasteful; saying thoughtless things that hardened people's hearts; those are the things that I wish I could take back the most. So, um;” Karen said, checking her notes on her phone's notepad to make sure she got all the points she wanted, "that's pretty much it. Oh, and I put that chocolate mousse recipe you liked on this index card so you can make it, but feel free to call me if you can't read my writing; or if you, you know, ever need anything."Karen nodded at the doorbell and started back down the walkway toward her car, blinking back tears. She had wasted so much time, so many chances. She didn't know if there was a point in trying again now, but she had to. She wasn't getting any younger.As she reached the end of the walkway, she was nearly knocked over by two little bodies running into her and grabbing onto her legs. Tears fell freely down her cheeks as she bent down to pick up her grandchildren, kissing them until they tried to wiggle away. As they started simultaneously telling her everything they had been doing while she was away, Karen's eyes drifted up to the doorway where her pierced and tattooed daughter-in-law stood. "Thank you" Karen mouthed silently over her grandchildren's backs.Karen pushed open the doors of Forest Glenn Hospice Care, her bag stuffed with an array of items and went up to the front desk. "Karen Weaver. I'm here for Dana Stevens," she said.The new girl at the reception desk looked at Karen with quiet unease. "Um; Ms. Stevens has requested only visitors who have;" Karen smirked and lifted the wig off her head, revealing her clean-shaven head. "Oh! Great! Go right in," she said, relieved.The corridor of the hospice facility was peaceful and quiet; exactly the kind of thing the old Dana would hate. Entering her room, Karen looked for any signs that other visitors had been to see Dana but saw nothing. Dana was napping again, her face drawn and gaunt, but thankfully not in pain. Karen put down her bag in a nearby chair and took out a rolled-up electronic piano keyboard and unfurled it on a table next to the hospital bed. As she was on her hands and knees trying to find an outlet to use, she heard Dana clear her throat. "What the hell is that?" she asked, smirking as she nodded at the keyboard."Your afternoon's entertainment. I ordered it on Amazon; you should have seen the bitchy reviews. Reminded me of you. Mind you, I haven't played since Cal got rid of the piano when it didn't fit in the Brooklyn apartment, so you're in for a treat," Karen said, rubbing her hands together and moving her glasses on top of her head so she could see the keyboard controls."Calvin Carmichael in a Brooklyn apartment. My god. What was it that emptied the Carmichael family coffers after they stole you away from me, again?" Dana asked, her sunken eyes taking in every detail of Karen's face as she hovered over the keyboard."Bernie Madoff; cleaned 'em dry. His parents were ever so shocked when they had to sell their properties and move to Florida," Karen said. "They weren't poor; they had enough to retire, but; they were horridly middle class.""Karma's a bitch," Dana said, pushing back against her pillows to sit up more. "Kare; I'm so sorry I didn't talk with you when you came back to the apartment. I could have helped you; we both would have helped you."Karen's smile faded, remembering and wondering what might have been. Dana would have helped her, but she was certain Dana's help would be help to get an abortion; and then she would never have had the joy of knowing her grandchildren. Dean would have; well, it was impossible to know what he would have done, but he would have helped. "Well, consider this your punishment," Karen said, stretching her fingers. "Are you ready?""I'm on opiates, baby. Bring it on;” Dana said, a smile moving across her face.Karen's fingers moved across the keys, and at first, she was put off by the strangeness of the keys and the sensation of tapping on something flat instead of the feel of a piano. Then, memory took over and her hands remembered the dance. Years fell away as she was filled again with the joy of making music. She started with "Clair de lune," a gentle Debussy chosen to respect the frailty of her friend's condition.Upon playing the final chords, she looked up for her friend's reaction to see that Dana had covered her face with a pillow in an attempt to smother herself. "God, you're rusty. You used to be better than me. What have you been doing with those hands?" she complained."Raising kids; kneading dough; finding random women's' panties when I changed sheets on the bed," Karen said, ruefully."Should've jumped Dean while you had the chance;” Dana murmured.Karen bit her lips and closed her eyes. "Um; how; how is he?"Dana stared into Karen's eyes for a painfully long moment, then looked out the window, away from Karen. "Life; life wasn't kind to him. After I graduated, he moved back home to take care of Nana. He only came to the city to look after me, anyway. Living alone hardened him. I haven't seen him in years; not that I'd want to see what he's become. Sometimes you just need to let people go, Kare," she said, sighing sadly. "Anyway; I need a laugh. Show me how pathetic your Jerry Lee Lewis catalog is.""Yes, ma'am," Karen said, blinking back tears and starting into "Great Balls of Fire."The wind coming through the drivers' side window ruffled the inch-long cap of vivid red hair that had grown on Karen's head as she drove down the winding West Virginia roads that she hadn't seen in 30 years. The beauty of this place still softened and relaxed her as much as it had, oh so long ago. Despite Dana's warnings, Karen's heart demanded that she make this trip; and after all she had lost, she was determined to listen to her heart from now on, until she could no longer hear it.She frowned at her passenger and began coughing as a noxious odor swirled around, filling her SUV. She rolled her window down further in self-preservation. This was probably a bad idea; but after all these years of thinking things through and being sensible, she felt entitled to indulge in a few harebrained schemes."Country road; take me home; to the place; I belong; West Virginia; mountain mama; take me home; country road;” she sang, smiling as the wooded foothills rose up in the distance. The path became rough when she turned by the Stevens mailbox and began bouncing up through the woods toward the cozy home. Her passenger surveyed the woods around the vehicle with increasing excitement.Karen started doubting herself, though. It was ridiculous, the more she thought about it. All her emails had gone unanswered. The phone number she was given was out of service. Three decades had passed since she came here; why would he want to see a 50-something woman with an unflattering haircut and stretch marks just because he had fallen in love with the 20-something version of her? Would Dean even remember her at all? She ran through her plan again in her mind again. It sounded really stupid, now. At least it would let her make a quick exit if things didn't work out, though.She broke out in a cold sweat when the house came into view. It was just as she had remembered it, maintained well, but not changed. It was like a holy place, kept perfectly through the ages in reverence for what it represented.She pulled up to the house and parked. No one emerged, so she would have to go in. She would have to go knock on that door and see the unrecognition or even disappointment in his eyes. She needed to go tell him about his sister. Opening the door, she slid out and hopped to the ground and stretched her legs. Suddenly, a braying roar filled the air and a wall of fur launched itself from behind the house and came for her. "SIT!" Karen yelled. Her command, though impressive, appeared only to be a gentle suggestion to the monster that continued to charge her. "STAY!" Karen shouted. This recommendation also appeared to go unheeded."BUSTER, NO!" a voice from the porch yelled, and Karen couldn't help but stare at her first glimpse of Dean in decades. He looked wild. Wild hair, wild beard, a body that had to be formed by the wilderness, itself. Not a drop of civilization tainted the essence of this man; and it made her want to laugh and cry at the same time. Karen began walking toward him, completely forgetting about the fearsome beast avalanche coming to bury her. Dean jumped down from the porch and began running toward the flurry of fur and teeth that had bent its path upon Karen's destruction.A split second before Buster reached Karen, the passenger of her vehicle silently flew out, tackled him with a full-body slam and the two went rolling back from where Karen now stood next to Dean. The two tumbled, tearing up the grass and knocking over the woodpile in the commotion. Buster yelped loudly and jumped free of the massive shaggy-furred beast that was still intent upon teaching him some manners. "Judith, come!" Karen called, and with a final snarl at Buster, Judith returned to where Karen stood and sat by her side, still glaring to where Buster stood looking dumbfounded."Well, I'll be damned;” Dean murmured, looking at the still-cowed Buster in wonder."Girl dog privilege," Karen replied simply. "What is that thing, anyway?" she asked, nodding to where Buster now stood whining and trying to approach the growling Judith."Bernese Mountain Dog; Great Pyrenees; and probably a bit of German Shepherd;” Dean murmured, turning toward her. His eyes traveled over her slowly and boldly."Judith's Akita and Malamute; she was turned into the shelter because she always thinks she's right," Karen said. "That, and she farts something awful."

Pianist Matthias Kirschnereit und Geiger Francisco Fullana spielen auf ihrer neuen CD Violinsonaten von Debussy, Janáček und Paderewski.

El violinista español Francisco Fullana nos habla acerca de su nuevo álbum Cosmopolitan en donde interpreta tres sonatas para violín y piano de Debussy, Janacek y Paderewski.

Interpreten: Pablo Ferrández, Julien Quentin, Swedish Chamber Orchestra, Martin FröstLabel: Sony ClassicalEAN: 198028986328Manchmal darf es auch wohlklingender Hochglanz sein, der es zur CD der Woche auf radio klassik Stephansdom schafft. Wie das Album Moonlight Variations des Cellisten Pablo Ferrández. „Nachtmusiken“ scheinen derzeit Hochsaison zu haben, wenn man an die Nocturnes-, Serenaden- usw. CDs der vergangenen Wochen und Monate denkt. Mit der Nacht in der Musik hat sich nun auch Pablo Ferrández beschäftigt, und das, obwohl er laut eigener Aussage ein ausgesprochener Morgenmensch ist. Träumerische Melodien von Schumann, Schubert, Liszt, Debussy, Chopin, Ponce und Dvořák hat der junge Cellist Ferrández teils in Originalbearbeitungen, teils in Eigenarrangements mit Orchester- oder Klavierbegleitung aufgenommen. Mit den Rokoko-Variationen von Peter Iljitsch Tschaikowsky findet die CD aber auch einen ganz und gar nicht nächtlichen Höhepunkt, aus musikalischer Sicht aber völlig irrelevant…„Einer der Gründe, weshalb ich so gerne Lieder spiele, ist, dass wir mit dem Cello immer zu singen versuchen.“ So wird Pablo Ferrández im Beiheft der CD zitiert und genau das gelingt ihm auch in den unterschiedlichen Bearbeitungen auf dieser CD. Schon bei Rusalkas Lied an den Mond zur Eröffnung oder auch Schuberts Nacht und Träume. „Heil'ge Nacht, du sinkest nieder; Nieder wallen auch die Träume, wie dein Mondlicht durch die Räume, durch der Menschen stille Brust.“ Da ist er wieder, der Mond. Schumanns Träumerei oder der dritte Liebestraum von Liszt fügen sich genauso ins Spektrum und erhellen den musikalischen Nachthimmel, wie der kleine Stern Estrellita des mexikanischen Komponisten Manuel Ponce. Selten genug, dass das Hauptwerk einer CD, wie hier die Rokoko-Variationen von Tschaikowsky, zur Zugabe mutiert. Makellos und musikantisch gelingen die sieben Variationen auf ein Rokoko-Thema, wobei auch das Schwedische Kammerorchester unter Martin Fröst seinen Anteil daran hat. Aufmerksam wie die sprichwörtlichen Haftlmacher begleiten die Musikerinnen und Musiker und legen so ein Fundament, auf dem es sich wunderbar solieren lässt! Das Finale ist dabei ein feingezeichnetes Feuerwerk, bei dem sich Orchester- und Solostimme herrlich ineinander verschränken. (mg)

”Debussy's Musical Alchemy Through Water” by Grand Master Raul Passos, from the “Art” issue of the Rosicrucian Digest. In this podcast, Raul Passos discusses how famed composer Claude Debussy used water as both inspiration and symbolic substance in his music to dissolve traditional forms, evoke mystical and emotional depth, and bridge sound with the spiritual and subconscious realms. Running Time: 28:53 Podcast Copyright © 2025 Rosicrucian Order, AMORC. All Rights Reserved. https://1b42c19cdededc568f7a-da3de02c40b8b01b9925237888827896.ssl.cf5.rackcdn.com/Debussys_Musical_Alchemy.mp3

Pieces by Haydn, Beethoven, Mendelssohn, Brahms, Debussy, Dohnányi, Shostakovich & Casarrubios performed by groups from Merit School of Music and the Music Institute of Chicago Academy. The post Chamber music for strings: Spizella Quartet, Luscinia Trio, Vermilion String Quartet appeared first on WFMT.

There was art in today's grid -- specifically at 29A, "The most beautiful deception of all," per Debussy, ART, and more generally, everywhere else; because only the most artful of crosswords make their way into the hallowed NYTimes crossword pantheon. Beyond the brilliant themed answers (discussed at length in today's episode), a few examples of the authors' craft are on display at 12D, Try again, REHEAR (nice one!); 5D, Smallest three-syllable number, ELEVEN (huh!);  and 53A, Best way to sing, INTUNE (

durée : 01:00:11 - Abed Azrié, chanteur et compositeur franco-syrien - par : Priscille Lafitte - Dernier né d'une fratrie de 10 enfants, Abed Azrié grandit à Alep, où il chante en araméen chaque dimanche à l'église. Il vient à Paris pour apprendre le piano et la composition en autodidacte, à l'écoute de Bach, Debussy et Ravel, avant de traduire et de mettre en musique l'épopée de Gilgamesh. - réalisé par : Philippe Petit

durée : 01:59:12 - Maurizio Pollini en concert (2) - par : Philippe Cassard - Maurizio Pollini disparaissait il y a un an, Portraits de famille vous livre quelques archives de concerts passionnantes. - réalisé par : Philippe Petit

durée : 00:20:18 - Disques de légende du mardi 06 mai 2025 - En 1978, Serge Baudo enregistre un Pelléas et Mélisande sublime, grâce à Michèle Command, Gabriel Bacquier et l'Orchestre national de Lyon.

Looking for transcripts? Click here!Where did the old episodes go?Follow us on Blue Sky! @hoteldayradioCredits and Attributions:Hotel Daydream is licensed under a ⁠Creative Commons Attribution-ShareAlike 4.0⁠ International License.Music and respective CC licenses:CC-BY-3.0Des pas sur la neige by Debussy, perf. Chiara Bertoglio (edited)Don Perez Freire by Agustin Barrios Mangore, perf. Edson Lopes (edited)Symphony No.3 in A Minor Scottish, Op. 56-II. Vivace non troppo by Felix Mendelssohn, perf. The Czech Philharmonic Orchestra (edited)All sounds were sourced from the Public Domain.

durée : 01:27:21 - En pistes ! du lundi 14 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Mais aussi : un album autour des 24 Caprices de Paganini, une intégrale chronologique des œuvres pour piano de Debussy, une viole et un violon dans l'Angleterre du XVIIème siècle, les Nouveaux Mondes de Dvorak et Avner Dorman...

durée : 01:27:21 - En pistes ! du lundi 14 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Mais aussi : un album autour des 24 Caprices de Paganini, une intégrale chronologique des œuvres pour piano de Debussy, une viole et un violon dans l'Angleterre du XVIIème siècle, les Nouveaux Mondes de Dvorak et Avner Dorman...

 "April showers bring May flowers!" This common saying reminds us that rainy days lead to beautiful spring blooms. In this episode of Busy Kids Love Music, we're exploring three classical pieces that capture the sound and feeling of rain. From gentle drizzles to powerful storms, these composers found incredible ways to bring rain to life through music.

Because there is no such thing as too much Eleanor Steber, today's episode once again features the prodigiously gifted singer, in my opinion the greatest soprano the United States has ever produced, singing a dizzying range of material, most of it recorded live between the years 1958 and 1979. These recordings were nearly all private releases on Steber's own record labels.. First, ST/AND Records, which she formed with her second husband Gordon Andrews, and which between 1960 and 1962 produced approximately fifteen LPs, all but one of them featuring Steber. Second, recordings released under the aegis of the Eleanor Steber Music Foundation, which she formed in 1973 and which released a few choice live recordings of Steber's late career recitals. The material ranges from selections from the Christian Science Hymnal, piously presented; sentimental ballads, tackily arranged; Bach and Mozart arias; art songs by Rorem, Barber, Britten, Debussy, Berg, and Beethoven; and opera arias from I Puritani, Der Freischütz, Giulio Cesare, and Tosca, the last performed at her campy Live at the Continental Baths concert in October 1973. Though as Steber grew older, her voice occasionally sounded blowsy, on the vast majority of these recordings she sounds stunningly good. And no matter what repertoire she was singing, her impeccable technique and pristine musicianship remained intact throughout. Much of source material from which these performances stem is exceedingly rare, and for the most part difficult and costly to obtain. So in my role as supreme Steber groupie, I am honored and thrilled to share these recordings, all of them from my own personal collection. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Debussy and Ravel are often described as the prototypical musical impressionists. It is often said that the two composers are the closest equivalents to the artistic world of Monet, Renoir, Pisarro, Degas, and others. But both Ravel and Debussy (like Monet for that matter), vehemently rejected the term Impressionism, and they both felt that they were striking out on their own individual paths in their msuic. That didn't stop the public and critics from constantly comparing the music of these two shining lights of French music, despite the fact that Ravel and Debussy are actually quite different. Comparing Ravel and Debussy is a bit like comparing Haydn and Mozart. At first glance, there are many similarities, but if you look and listen more closely, Ravel and Debussy(like Mozart and Haydn) had totally different approaches, goals, and styles. All of the constant comparisons and attempts at making the composers compete with each other had a real impact on Debussy and Ravel. Initially they were friends and mutual admirers of each others work, but they slowly drifted apart over time until they stopped speaking to each other altogether. We'll talk about this complicated personal relationship, as well as looking at these differences in their music, not from a critical standpoint, but from the perspective of bringing out what is so wonderfully unique about their music. We'll also talk about Ravel's arrangements of two Debussy's greatest orchestral works: his two piano arrangement of Debussy's Nocturnes, and his piano 4 hands arrangement of the legendary Prelude to the Afternoon of a Faun. Join us on another collaboration with G Henle Publishers! Recordings: Nocturnes Claudio Abbado with London Symphony Anne Shasby, Richard McMahon, Piano Prelude to the Afternoon of a Faun Ravel arrangement: Jean-Pierre Armengaud and Olivier Chauzu Debussy Arrangement: Charles Badami and Anthony Olson 

Harpist, soloist, collaborator (Harlem Chamber Players), educator, and arranger Ashley Jackson's brand new album is called Take Me To The Water.  In the American spiritual tradition, water is a powerful metaphor for freedom and for moving from this life to the next. Jackson's record takes listeners on a watery journey through works by Debussy, the jazz harpist Alice Coltrane, blues, and some classic spirituals. As Jackson declares in a statement about the record, ”Water is something that we all need. It sustains us, it gives us life. Take Me to the Water reminds us we have a choice: we can let water be the thing that divides us, or, it can allow us to come together through our shared humanity.” She plays some of her arrangements of spirituals on a sculpted maple harp, in-studio. Set list: 1. River Jordan 2. Deep River II 3. Take Me to the Water I

This past March 7 would have been the 94th birthday of the great French coloratura soprano Mady Mesplé. This episode begins a new series of episodes devoted to “Queens of the Night,” the surprisingly wide variety of sopranos who at one time or another sang this role. After a sampling of Mesplé singing this role (in French), we also hear back to back comparisons with Janine Micheau (Mesplé's teacher) and Mado Robin (one of Mesplé's most famous predecessors); a Gounod duet with Nicolai Gedda; a stunning avant garde showpiece composed expressly for Mesplé; a series of mélodies by Debussy, Roussel and Ravel; a live late-career performance of Poulenc's final composition, the dramatic monologue La Dame de Monte-Carlo; an effervescent live 1969 performance of Zerbinetta's aria; and a deeply moving recording of La Mort de Socrate by Erik Satie. Further proof, if such were needed, of Mesplé's versatility, virtuosity, and profound musicianship and humanity. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

SynopsisOn today's date in 1908, the Hoffman String Quartet gave a recital at Boston's Potter Hall, opening their program with a Romantic classic, Robert Schumann's String Quartet from 1842, followed by much more modern fare — Debussy's String Quartet written in 1893.And to close their program, the Hoffman Quartet premiered a brand-new contemporary work: a piano quintet by American composer Amy Beach, with the composer at the piano.The Boston Globe's critic noted “the audience was of goodly proportions and very demonstrative in its appreciation of Mrs. Beach's composition,” but (critics being critics), did a little nit-picking, concluding, “The work is thoroughly good, though a little too choppy at times.” The critic from The Boston Evening Transcript had fewer nits to pick, writing: “The quintet begins in the luminous key of F-sharp minor, and throughout Mrs. Beach modulates freely … [she] has sought a modern sonority of utterance … Her rhythms spurred the ear, and her harmonies [have] tang and fancy … In imagination, feeling, and expression, it is distinctly rhapsodic. Mrs. Beach can think musically in truly songful melodies, and such are the themes of her new quintet.”Music Played in Today's ProgramAmy Beach (1867-1944): Piano Quintet; Garrick Ohlsson, piano; Takács Quartet; Hyperion CDA-68295

We meet a 16-year-old composer from Chicago who is mentored by composer Jessie Montgomery and is also passionate about architecture. We hear a soprano perform a love song by Debussy. Finally, we meet a teen cellist who performs Shostakovich's dynamic Cello Sonata in D Minor.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Magician, Swiss Watchmaker, Aloof, Elegant, Precise, Soulful, Childlike, Naive, Warm: these are all words that have been used to describe Maurice Ravel, a man of elegant contradictions. But perhaps these contradictions are why his music remains so beloved and universally appealing to so many musicians and audience members. Ravel has long been one of my favorite composers, and I always adore listening to his music and performing it. For the 150th anniversary of his birth, the legendary publishing house of G Henle has decided to focus on Ravel and his circle this year, calling this series Ravel and Friends. A few months ago, the Henle office contacted me to ask if I would be willing to collaborate with them on a series of Sticky Notes episodes about Ravel, each one focusing on the relationship between Ravel and another composer who was in his circle. This sounded like an amazing idea, and so I jumped at the chance to work with them. So, over the course of the next 5-6 months, you will be seeing 5 episodes under the Ravel and Friends theme. Today's episode will be a chance to do an overview on Ravel himself and to take a look at some major works that I haven't gotten around to covering on the show yet. We'll then finish the show with an interview with the great pianist Boris Giltburg, as we discuss the solo piano verison of Ravel's La Valse, one of the most challenging pieces in the entire repertoire. Later episodes will include a look at Ravel's relationships with Debussy, Gershwin, and De Falla, and much more! This is such an exciting chance to take a deeper look at one of the greatest 19th and 20th century composers, as well as take a look at the broader musical and social trends of that era, something I've always been deeply interested in. Join us!