Podcasts about elegiac

Donald Macleod explores the life and music of American composer, Lou Harrison Lou Silver Harrison was an American, multi-faceted composer who died in 2003. In his music he explored a synthesis of Asian and Western influences, just intonation, and writing for percussion ensemble. He also involved himself in the arts as a performer, dancer, instrument maker, critic, puppeteer, poet, painter and much more. Harrison's interest in Asian cultures began when he was very young, and remained a significant influence on his work for the rest of his life He enjoyed working with Gamelan percussion and instruments from Korea or China. With his partner William Colvig, Harrison also made his own instruments including an American Gamelan, for which he composed multiple works. Harrison took lessons with Henry Cowell and Arnold Schoenberg, and also collaborated with John Cage in exploring the possibilities of percussion ensembles. His career as a composer developed in the world of dance and theatre, supplementing his income as a critic and, later, as a teacher.Music Featured: The Heart Sutra (Tial, Sariputro, ciuj Darmoj) Waltz in C (New York Waltzes) First Concerto for Flute and Percussion Suite for Symphonic Strings (excerpt) Largo Ostinato Prelude for Grandpiano John Cage & Lou Harrison: Double Music Blaze of Day (Finale: Solstice) Piano Sonata No 3 (excerpt) Symphony No 2 “Elegiac” (excerpt) Hesitation Waltz (New York Waltzes) Waltz in A (New York Waltzes) Suite No 2 The Marriage at the Eiffel Tower (Overture) The Only Jealousy of Emer (excerpt) Suite for Cello and Harp Beverly's Troubadour Piece, for harp and percussion Suite for Symphonic Strings (Nocturne) Four Strict Songs (Here is Holiness) Concerto in slendro Pacifika Rondo (excerpt) Easter Cantata A Waltz for Evelyn Hinrichsen Music for Bill and Me Young Caesar (excerpts) Suite for violin and American Gamelan (excerpt) Double Concerto for Javanese gamelan, violin and cello (excerpt) Third Symphony (Largo ostinato) Piano Concerto with selected orchestra (excerpt) O you whom I often and silently come where you are Grand Duo (Polka) Fourth Symphony ‘Last Symphony' (Largo) Vestiunt Silve Pipa Concerto Mass to St Anthony (Gloria)Presented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales and WestFor 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 Lou Harrison (1917-2003) https://www.bbc.co.uk/programmes/m00209q6 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

Donald Macleod explores the life and music of Charles Villiers Stanford. With Jeremy DibbleMarking the centenary of his death, Composer of the Week explores the remarkable life and music of Sir Charles Villiers Stanford. Stanford was one of the leading musicians of his generation and, along with Parry and Mackenzie, he was one of the main protagonists in Britain's musical renaissance at the end of the 19th century. Born in Dublin, Stanford rose to the very top of the British music scene, as both a conductor and composer. He also maintained strong links to Germany, following his studies in Leipzig and Berlin. Stanford's works were popular in Europe, as well as Britain, with conductors such as Hans Richter promoting his music. Today, Stanford is largely remembered for his sacred works, however his prolific output covers most genres and he had a particular passion for opera. He was an influential teacher at the Royal College of Music and Cambridge University; many future musical luminaries passed through his classes, including Gustav Holst, Ralph Vaughan Williams, Rebecca Clarke and Samuel Coleridge-Taylor. Stanford was a tremendous force for good in British music, and in honour of his contribution to British culture, his ashes are interred in Westminster Abbey close to the remains of Henry Purcell. This week, Donald Macleod is joined by Stanford biographer, Jeremy Dibble to explore Stanford life and music.Music Featured:The Bluebird, Op 119 No 3 (excerpt) Three Intermezzi, Op 13 No 1 (Allegretto scherzando) The Resurrection, Op 5 Symphony No 1 (Scherzo) The Veiled Prophet (Act 2 Love Duet) Service in B flat major, Op 10 (Magnificat) Symphony No 2 ‘Elegiac' (Lento espressivo) To the Rose, Op 19 No 3 Piano Trio No 1, Op 35 (Allegretto con moto) Elegiac Ode, Op 21 (The night, in silence, under many a star) The Lord is my Shepherd Symphony No 3, Op 28 “Irish” (Allegro molto Vivace) Piano Quintet in D minor, Op 25 (Allegro risoluto) A Child's Garland of Songs, Op 30 No 9 (My ship and me) The Clown's Song from Twelfth Night', Op 65 No 3 Six Irish Fantasies, Op 54 No 3 (Jig) Symphony No 5, Op 56 ‘L'Allegro ed il Pensieroso' (Andante molto tranquillo) Shamus O'Brien, Op 61 (Act 2 Captain Trevor's Song) Requiem, Op 63 (Agnus Dei et Lux aeterna) Te Deum, Op 66 (Judex crederis) Ten Dances, Old and New, Op 58 No 1 (Valse) Songs of the Sea, Op 91 No 3 (Devon, O Devon, in wind and rain) Magnificat in G, Op 81 String Quartet No 4 in G minor, Op 99 (Allegro molto vivace) Stabat Mater, Op 96 (Virgo virginum praeclara) String Quintet No 2 in C minor, Op 86 (Andante) A Song of Hope, Op 113 No 3 Six Songs from ‘The Glens of Antrim', Op 174 No 2 (The sailor man) String Quartet No 7 in C minor, Op 166 (Allegro molto) Irish Rhapsody No 4, Op 141 (The Fisherman of Loch Neagh and What he Saw) An Irish Idyll in Six Miniatures, Op 77 No 2 (The Fairy Lough) Mass Via Victrix, Op 173 (Agnus Dei) How beauteous are their feetPresented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales and WestFor 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 Charles Villiers Stanford (1852-1924) https://www.bbc.co.uk/programmes/m001xdr0And 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

Brixton's Brilliant Black British History exhibition at Black Cultural Archives, south London, is rewriting our history to suit their agenda. Visitors are informed that “the very first Britons were Black” and that “Britain was black for 7,000 years before” white people arrived. The exhibit was based on a book which claims Stonehemge was built by black people! Also, In 2021 a paper titled Diversity aboard a Tudor warship by Scorrer et al claimed the crew of the 16th century Mary Rose ship included black peoiple. I wil debunk these claims in this podcast and answer questions from the live audience. Opening theme by Wolcensmen. Outro music Sanguine fire by Elegiac.Please support this podcast. Patreon: https://www.patreon.com/survivethejive All Links: https://linktr.ee/SurvivetheJive

SynopsisOn today's date in 1975, the Oakland, California, Youth Orchestra gave the first performance of a symphony by a Bay area resident, American composer Lou Harrison. He began sketches for this symphonic score back in 1942 and tinkered with it off and off until the day of its premiere performance, even stapling in 15 additional measures to the young players' parts at their final dress rehearsal.The commission for Harrison's Fourth Symphony, subtitled The Elegiac, came from the Koussevitzky Foundation, and in part was written as a tribute to the memory of Serge and Natalie Koussevitzky, two of the 20th century's greatest new music patrons. But the intensely personal tone of this elegiac symphony was prompted by the death of Harrison's mother, which was followed by the death of his close friend, iconoclastic American composer and instrument inventor Harry Partch.The symphony's first movement is titled “Tears of the Angel Israfel” — the angel of music in Islamic lore — and the score also bears two inscriptions. The first reads “Epicurus said of death: where death is, we are not; where we are, death is not; therefore, death is nothing to us.” The second inscription is a quote from Horace: “Bitter sorrows will grow milder with music.”Music Played in Today's ProgramLou Harrison (1917-2003) Symphony No. 2 (Elegiac); American Composers Orchestra; Dennis Russell Davies, cond. MusicMasters 60204

Jared Milrad interviews writer, director, and producer Clement Virgo about his new film, BROTHER, a poetic adaptation of David Chariandy's novel of the same name. Elegiac in its unfolding, the film reveals the intimacies of Francis (Aaron Pierre) and Michael (Lamar Johnson), sons of Caribbean immigrants facing questions of masculinity, identity, and family amidst Toronto's budding and buzzing hip-hop scene. Clement opens up about his return to feature filmmaking after a period of episodic directing (including episodes of BILLIONS, EMPIRE, and GREENLEAF), his journey as a young filmmaker, and exploring themes of vulnerability, othered-ness, and the pressure for young men to mask themselves under societal notions of masculinity.We depend on your generous support of Rewriting Hollywood to empower new creative voices and share urgently important stories with the world. Make a tax-deductible donation today: movikarma.org/donate

This month is all rumors and heresy (or should that be hearsay?) as the fearless three discuss the handful of “leaks” regarding the Centenary Special, the 60th Anniversary Special, Disney+ possibly buying the streaming rights for Series 14 and beyond, and Big Finish's release schedule for the upcoming year. We also dive into from back in the days of the New Adventure novels, and we receive the most epic podcast review ever written.

Does gay still have a place? Are our queer spaces safe? What does the future look like for queer spaces? Join us for a special conversation with Gay Bar author Jeremy Atherton on the state of the gay bar. San Francisco is a safe haven for queer identifying folk but this is not the same for spaces outside our bubble. Let's find out what's going on within our nation and internationally as well. About the Speaker: About Jeremy Atherton: An Asian-American essayist based in Los Angeles and East Sussex, England. Jeremy studied playwriting at UCLA then held an editing position in San Francisco but preferred to self-publish blogs and zines of indiscreet observations. He later settled in the UK where he completed the Writing MA at the Royal College of Art. Jeremy has contributed to the Times Literary Supplement, the Guardian, The White Review, ArtReview, The Face, Index, GQ, W, Literary Hub, Elephant, Little Joe, Fantastic Man, Tinted Window, Artforum and the Yale Review, for which he was named a finalist for the National Magazine Award in Essays and Criticism. Jeremy's debut book Gay Bar (2021) is a personal response to the demise of LGBT venues and was partly inspired by the Frank Ocean lyric: “Here's to the gay bar you took me to. Here's when I realized you talk so much more than I do.” The book went on to be selected as a Book of the Year by critics at the New York Times, NPR, Artforum, Gay Times and Vogue. It received the National Book Critics Circle Award for Autobiography. About Gay Bar: Strobing lights and dark rooms, drag queens on counters, first kisses, last call; the gay bar has long been a place of solidarity and sexual expression. Now they are closing, a cultural demolition that has Jeremy Atherton Lin wondering: Could this spell the end of gay identity as we know it? In prose as exuberant as a hit of poppers and dazzling as a disco ball, the author embarks on a transatlantic tour of the hangouts that marked his life, with each club, pub and dive revealing itself to be a palimpsest of queer history. Gay Bar time-travels from Hollywood nights in the 1970's to a warren of cruising tunnels built beneath London in the 1770's; from chichi bars in the wake of AIDS to today's fluid queer spaces; through glory holes, into Crisco-slicked dungeons and down San Francisco alleys. Jeremy charts police raids and riots, posing and passing out—and a chance encounter one restless night that would change his life forever. The journey that emerges is a stylish and nuanced inquiry into the link between place and identity, inviting us to go beyond Stonewall and enter the underground. Elegiac, randy and sparkling with wry wit, Gay Bar is at once a serious critical inquiry, a love story and an epic night out to remember.

En este episodio les presentamos a una pintora  que amó y respetó las tradiciones de su cultura, al mismo tiempo que rompió todas las normas acerca de lo que se suponía que debían ser y hacer las mujeres de su época. Una mujer que a pesar de haber sido educada en un ambiente estrictamente religioso, fue excepcionalmente adelantada en su modo de pensar y en su forma de vivir. Una mujer que les  prometemos los va a sorprender. BIENVENIDOSLas imágenes relacionadas con este y todos nuestros episodios las pueden encontrar en  nuestro sitio web: https://www.historiasdearte.com en Instagram @historiasdearte.enpodcast, en Facebook Historias de Arte en Podcast y en twitter @Historias de Art1BIBLIOGRAFIACotter, Holland May 30 1997, Painter on a Pendulum, Swinging From Innocent to Elegiac and Back, The New York Times.Geis, T. (2005).  Arte Moderno de México. Colección Andrés Blaisten, Mexico, Universidad Nacional Autónoma de México.Guillen, B. (7 mar 2021). “Maria Izquierdo: una pintora tapada por los muralistas.” Las Olvidadas de America. El Pais. Mexico (28 sept 2021).Navarrete, S. (1998). "María Izquierdo," in María Izquierdo, Mexico, D.F., Centro Cultural/Arte Contemporáneo, A.C.Paz, O. "María Izquierdo. (1993).  Seen in Her Surroundings and Set in Her Proper Place," in Essays on Mexican Art, New York, Harcourt Brace & Company,  257-258. https://www.admagazine.com/cultura/maria-izquierdo-lo-que-no-sabias-de-la-pintora-surrealista-20200406-6229-articulos.htmlhttp://warp.la/el-feminismo-de-maria-izquiero-199835https://www.jornada.com.mx/2013/10/06/sem-germaine.htmlhttps://www.jornada.com.mx/2012/11/23/politica/021n1polhttps://historia-arte.com/obras/sueno-y-presentimientohttps://veme.digital/el-mural-que-sera/https://museoblaisten.com/Artista/240/Maria-Izquierdohttps://www.christies.com/en/lot/lot-5897427https://www.christies.com/lot/lot-5897428https://www.artnexus.com/en/magazines/article-magazine-artnexus/5efbab91e566a87dd8a8ea0e/27/maria-izquierdohttps://elpais.com/mexico/2021-03-07/maria-izquierdo-una-pintora-tapada-por-los-muralistas.htmlMaría Izquierdo, “Amazona blanca [White Horsewoman], also known as Caballista del circo [Circus Bareback Rider],” Blanton Museum of Art Collections, accessed September 27, 2021). https://utw10658.utweb.utexas.edu/items/show/2662.

Merriam-Webster's Word of the Day for May 31, 2021 is: elegiac • el-uh-JYE-ak • adjective 1 a : of, relating to, or consisting of two dactylic hexameter lines the second of which lacks the arsis in the third and sixth feet b (1) : written in or consisting of elegiac couplets (2) : noted for having written poetry in such couplets c : of or relating to the period in Greece about the seventh century b.c. when poetry written in such couplets flourished 2 : of, relating to, or comprising elegy or an elegy; especially : expressing sorrow often for something now past Examples: "And so 'Names of Horses,' a very different but also elegiac poem, with its litany of remembered farm animals' names, helped lead to 'Names of My Mother's Friends'…, with its litany of women's names of a previous generation, and its tribute to names and ways of life that have passed out of currency." — Judy Kronenfeld, The Press-Enterprise (Riverside, California), 3 Apr. 2021 "The novel is elegiac in a way, but it's also a celebration of the city's artistic spirit. Looking back gives us an opportunity to think how we can bring that spirit back because it's been such a vital part of our history and who we are." — Jasmin Darznik, quoted in The San Francisco Chronicle, 3 Apr. 2021 Did you know? Elegiac was borrowed into English in the 16th century from Late Latin elagiacus, which in turn derives from Greek elegeiakos. Elegeiakos traces back to the Greek word for "elegiac couplet," which was elegeion. It is no surprise, then, that the earliest meaning of elegiac referred to such poetic couplets. These days, of course, the word is also used to describe anything sorrowful or nostalgic. As you may have guessed, another descendant of elegeion in English is elegy, which in its oldest sense refers to a poem in elegiac couplets, and now can equally refer to a somewhat broader range of laments for something or someone that is now lost.

Die Brainwashed - Radio Edition ist eine einstündige Show mit Musik von den Künstlern und Labels auf Brainwashed.com. 1. Edward Ka-Spel, "This Is The Place" (Prints of Darkness) 2021 self-released 2. Roy Montgomery, "Cowboy Mouth (For Sam Shepard)" (Island of Lost Souls) 2021 Ba Da Bing! 3. Christine Ott, "Landscape" (Time to Die) 2021 Gizeh 4. Elegiac, "Vous Et Ici" (Elegiac) 2021 Upp 5. Senyawa, "Kabau" (Alkisah) 2021 Les Albums Claus 6. Jacober, "Flashbacking" (Sketch for Winter X: Immortal Word) 2021 Geographic North 7. Music For Sleep, "Two In The Afternoon" (Music From A Sinking World) 2021 Rohs! 8. Esplendor Geometrico, "MockBa" (40 Anos Nos Iluminan) 2020 Geometrik 9. Una Laseme, "PBS Lounge" (The Male Activity Years) 2021 Vaagner 10. Matt LaJoie, "Kuchina's Dance (excerpt)" (Paraclete Tongue) 2021 Flower Room 11. Stereolab, "B.U.A." (Electrically Possessed [Switched On Volume 4]) 2021 Duophonic 12. Akron/Family, "Love, Love, Love 2 [Reprise]" (Love Is Simple) 2007 Young God * Sendung vom 7. März 2021 ## Brainwashed - Radio Edition Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening. *

Episode 507: March 7, 2021 playlist: Edward Ka-Spel, "This Is The Place" (Prints of Darkness) 2021 self-released Roy Montgomery, "Cowboy Mouth (For Sam Shepard)" (Island of Lost Souls) 2021 Ba Da Bing! Christine Ott, "Landscape" (Time to Die) 2021 Gizeh Elegiac, "Vous Et Ici" (Elegiac) 2021 Upp Senyawa, "Kabau" (Alkisah) 2021 Les Albums Claus Jacober, "Flashbacking" (Sketch for Winter X: Immortal Word) 2021 Geographic North Music For Sleep, "Two In The Afternoon" (Music From A Sinking World) 2021 Rohs! Esplendor Geometrico, "MockBa" (40 Anos Nos Iluminan) 2020 Geometrik Una Laseme, "PBS Lounge" (The Male Activity Years) 2021 Vaagner Matt LaJoie, "Kuchina's Dance (excerpt)" (Paraclete Tongue) 2021 Flower Room Stereolab, "B.U.A." (Electrically Possessed [Switched On Volume 4]) 2021 Duophonic Akron/Family, "Love, Love, Love 2 [Reprise]" (Love Is Simple) 2007 Young God Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

In this long-awaited (sorry!) episode of Terminus, your hosts explore the outer limits of death metal, refine the contours of a new subgenre they've just named (see Elegiac segment in Ep. 38), and sing the praises of really loud drums (that's bands #2-4, and the snare on #1 isn't bad either). The show lurches off to a gronkulated start with Ad Nauseam, an Italian death metal (?) band as abrasive as they are musically sophisticated. Their serious knowledge of music theory and composition gives them an arsenal for taking that most underwhelming of subgenres, "dissonant black/death." to the levels of high artistry and frenzied extremity it's always attempted. In the process, we return to a conversation that's been coming up a lot lately -- "Is this even death metal, anymore?" Next, we finally check out a band we've heard good things about from one of our patrons, and The Internet in general - Aphelion, whose high-energy Missouri black metal runs through a vast array of styles, yet exudes a very particular vibe. What core sound is this new band striving toward, and how does it fit into where the American scene these days? Leading off the second half, we're back with some totally killer blackened sludgegri..... Just kidding, it's more Slavblack. This time, it's Ulvegr, veterans of the Ukrainian scene who play a fiercely focused, stormblasting variant of their native style. The Black Metal Guy praises their elemental riffcraft, while The Death Metal Guy hails the sharply punctuated drum attack, and - as always - finds a couple interesting musical parallels.  Finally, it's been only a few months since we reviewed Pan-Amerikan Native Front's split with Ifernach, but P.A.N.F. is back with a decisive victory in Little Turtle's War. Here, Kurator of War leads us through 18th-century warscapes of cinematic scale, shrouded in smoke, peppered by gunshots, and paced by the pulse of shamanic battle-drums. We link P.A.N.F.'s flagship Native BM to the broader currents of American "outlaw rock," and talk over the significant growth in songwriting. After we'd already recorded the episode, we learned a couple interesting things from Kurator. First, he wrote LTW in 1.5 months. Second, the massive drum sound here and on the split comes directly from the Iron Hand of Dan Klein (ex-F.I.N.), who also handled mixing and mastering.    00:00 - Intro / Terminus News ft. Black Hole Deity and Deiquisitor / rundown of bands and labels 00:23:01 - Ad Nauseam - Imperative Imperceptible Impulse (Avantgarde Music) 01:09:12 - Aphelion - The Chill of Heavens Abandonment (Independent) 01:48:19 - Interlude - Bob Dylan - "The Times They Are A-Changin'," fr. The Times They Are A-Changin' (Columbia Records, 1964) 01:51:31 - Ulvegr - Isblod (Ashen Dominion) 02:28:03 - Pan-Amerikan Native Front - Little Turtle's War (Stygian Black Hand - USA / Les Fleurs du Mal - CA / Death Kvlt - UK + EU)   Terminus links: Terminus on Youtube Terminus on Patreon Terminus on Subscribestar Terminus on Instagram Terminus on Facebook thetrueterminus@gmail.com

In this bracing late-winter blast of Terminus, we review four really cool bands in two distinct halves, each pointing "beyond metal" in the way we've been talking about lately. In Part I, The Black Metal Guy brings two prime examples of the bright but rough-edged sound that's come to characterize the best of USBM, and floats a new term to capture what separates this distinctly American style from Black Metal proper. Leading off, the prolific one-man project Elegiac returns from a year in the (literal) wilderness with Father of Death, a lengthy and ambitious release that blends bulldozer Bathory beats with soaring backwoods heathen melodies. TDMG brings some interesting, unexpected reference points to the table, and we argue about whether Elegiac has "arrived" quite yet. Up next is Silvanthrone, a young band from Pennsylvania (they'll have you know!) who put a distinctive spiritual and compositional twist on the familiar Franco-Finnish sound. We try to figure out what makes this sound more American than European, what work the more Euro / Chivalric riffs are doing here, and whether we can pin down a distinctly "Silvanthrone" style of composition. Not to be outdone, The Death Metal Guy comes in with two bands that carry their genres -- "death metal" and "Slavonic black metal," respectively -- so far into abstraction, it's difficult to even call them metal anymore. Each attains a kind of monolithic, fundamental-level-of reality presence, so strap in, dudes, it's time to get metaphysical. After the break, we check out the new EP by Astral Tomb, another group of young dudes who've been lumped in with the likes of Blood Incantation because of their name. This sounds nothing like Blood Incantation, or.... anything else, really! TDMG hails the extreme precision of their "sloppy," improvised-sounding chug / skronk attack, while TBMG rhapsodizes over the links to primordial guitar noise. Finally, we venture into Siberian wilds in the snowshoe grooves of Devilgroth, whose majestic Svyatogor carries swirling Slavonic trem far beyond the confines of the riff and the blastbeat. This isn't what you're expecting, either -- it depends on some cross-genre connections that nobody saw coming, and truly carries the BM tradition into uncharted territory.   0:00 - Introductory bullshitting / Terminus news ft. Trivax / rundown of bands and labels 20:40 - Elegiac - Father of Death (tape on Sacrificial Sounds / CD on Todesritter this spring) 1:03:49 - Silvanthrone - Forbidden Pathways to Ancient Wisdom (Nihilistic Noise Propaganda) 1:45:03 - Interlude - Aorlhac - "Sant Flor, la cite des vents," fr. La Cite des Vents (Those Opposed Records, 2010 - reissued in 2016). 1:51:18 - Astral Tomb - Degradation of Human Consciousness (Blood Harvest) 2:33:08 - Devilgroth - Svyatogor (Werewolf Promotion / Nebula Aeterna Productions) 3:20:35 - Outro - Branikald - “The Sail's Wild Kin,” Frost Vision (Stellar Winter Records, 1999)   Terminus links: Terminus on Youtube Terminus on Patreon Terminus on Subscribestar Terminus on Instagram Terminus on Facebook thetrueterminus@gmail.com

Wanda Vision!! The new inception! Must see! Come one come all! Here here! Ahoy matties time for a Disney + subscription...also some words to help with the GRE --- Send in a voice message: https://anchor.fm/grevocab/message Support this podcast: https://anchor.fm/grevocab/support

On today’s date in 1975, the Oakland, California, Youth Orchestra gave the first performance of a symphony by a Bay area resident, American composer Lou Harrison. Harrison began sketches for this symphonic score back in 1942 and tinkered with it off and off until the day of its premiere performance, even stapling in 15 additional measures to the young players’ parts at their final dress rehearsal. The commission for Harrison’s Fourth Symphony, subtitled “The Elegiac,” came from the Koussevitzky Foundation, and in part was written as a tribute to the memory of Serge and Natalie Koussevitzky, two of the 20th century’s greatest new music patrons. But the intensely personal tone of this elegiac symphony was prompted by the death of Harrison’s mother, which was followed by the death of his close friend, the iconoclastic American composer and instrument inventor Harry Partch. The symphony’s first movement is titled “Tears of the Angel Israfel”—the angel of music in Islamic lore—and the score also bears two inscriptions: The first reads “Epicurus said of death: where death is, we are not; where we are, death is not; therefore, death is nothing to us.” The second inscription is a quote from Horace: “Bitter sorrows will grow milder with music.”

On today’s date in 1975, the Oakland, California, Youth Orchestra gave the first performance of a symphony by a Bay area resident, American composer Lou Harrison. Harrison began sketches for this symphonic score back in 1942 and tinkered with it off and off until the day of its premiere performance, even stapling in 15 additional measures to the young players’ parts at their final dress rehearsal. The commission for Harrison’s Fourth Symphony, subtitled “The Elegiac,” came from the Koussevitzky Foundation, and in part was written as a tribute to the memory of Serge and Natalie Koussevitzky, two of the 20th century’s greatest new music patrons. But the intensely personal tone of this elegiac symphony was prompted by the death of Harrison’s mother, which was followed by the death of his close friend, the iconoclastic American composer and instrument inventor Harry Partch. The symphony’s first movement is titled “Tears of the Angel Israfel”—the angel of music in Islamic lore—and the score also bears two inscriptions: The first reads “Epicurus said of death: where death is, we are not; where we are, death is not; therefore, death is nothing to us.” The second inscription is a quote from Horace: “Bitter sorrows will grow milder with music.”

Recorded April 29 - Competitive Hockey Podcast Analysis | - Last Seen Days Ago | - Skynet VS Zoom | - Do You Remember the Last Game? | - The PNHL (Pseudo NHL) | - "Society": When It Got Real | - A Little Regular Season? | - Proposed Tournament | - The Edmonton Oiler Sequestration | - How Players Transfer to the PNHL | - We're Working on Your Anger and Issues With Authority | - More PNHL Highlights | - Hockey Video Games | - Human Garbage | - Am I Psychic? | - Apocalypse Boat | - Recent Oiler's Transactions | - Rest In Peace | - PNHL 80's Night | - What You Think of Gaetan Haas? | - Waiting For Riley | - When Jimmy Was on Tippy's Boy, Season 1 | - If It's Good For The Bonobos... | - 15 Bucks for a Ticket and Free Hotdog | - This Could Change a Lot of Things About The Game | - The Best Torture Implement | - Counting Chickens | - Regatta De Blue Lives | - Apocalypse Chef | - Cosplay Convention | - Pee, Apropos of Nothing | - Pleasure Brackets: Not All Yawns Are Created Equal | - In Dreams, You're Mine Paul McCartney | - Disappearing Beetle, Or The Kung Fu Hot Sauce I Invented | - Getting Laid in Dreamland | - I'm Hosting the Emmy's And Nobody Told Me?!?! | - I Love Mayonnaise, Don't Get Me Wrong | - A Federal Ministry To Make Sure You Don't Die in Your Porridge | - You Know What I Heard That's a Little Bit Scary? |

Episode 18: Webmistresses & The Demise of the Patent TrollWebmistresses, Intellectual Property, & Uber Rides….. *Also available on Spotify, Google Play, iTunes, Stitcher*Special Thanks to:Vile Tyrant: https://www.facebook.com/Viletyrant/BastardBastardBastard: https://www.facebook.com/bastardbastardbastardthrash/Hyperia: https://www.facebook.com/Hyperiabandofficial/?ref=br_rsGrievance: https://www.facebook.com/grievanceblackmetal/Pestilent Age: https://www.facebook.com/PestilentAge/Elegiac: https://www.facebook.com/Elegiac-311140892407757/Crusadist: https://www.facebook.com/theunholygrail/The Crucifier: https://www.facebook.com/theCrucifier/Winter’s Gate: https://www.facebook.com/WintersGateNC/Towpath: https://www.metal-archives.com/bands/Towpath/70155/Sulaco for our sound bed: https://www.facebook.com/sulacoband/Cya tonight at the Bug Jar: https://www.facebook.com/events/2320120751585615/

Le Black Métal est une force endiablée et indéniable qui ne connait aucune fatigue, aucune stagnation souffreteuse, aucun délaissement de son objectif saignant de nous faire connaitre de nouvelles noirceurs et de plus imposantes profondeurs. Grâce à ces nouveaux triomphes, nous sommes capables d'élever nos ambitions plus haut encore, et ce dans une cascade de sublimes terreurs, d'extase et de révélations bruyantes ! Nous vous présentons, une fois de plus, d'autres découvertes faites lors de nos longues et ardues pérégrinations, lancées pour vous apporter le meilleur de ce que l'underground Black a à vous offrir… ☩ LISTE LITRUGIQUE ☩ 1. BARROWLANDS (États-Unis) - Hyperion 2. ELEGIAC (États-Unis) - The Imminent Cleanse 3. TRYGLAV (Croatie) - Creature of the Night 4. OCULUM DEI (États-Unis) - A Cold Winter's Plight 5. CONTINENTAL (Québec) - Automne boréal 6. SECTORIAL (Ukraine) - відблиск ранок 7. COMMUOVERE (Québec) - La tentation d'exister 8. NONE (États-Unis) - The Damp Chill of Life 9. CALMÉGIS LAGNAÉS (Québec) - Quamvis omnibus et intransmutabilem 10. MARE (Norvège) - Labyrinth of Dying Stars (extrait)

Elegiac are Emily Highfield's compositions as she effortlessly floats from warm guitar passages to forlorn bogs of blackened malice. Amidst her transitional wafts, she often caresses listeners with witch-like whispers. And in flashes of ember-tinged light, she glides upward, transcending her auditory structures into feverishly blissful twinkles of awe.Continue reading

Musical Castle Release 2019/Compiled by Marcibagoly

The Girl from Rawblood (Sourcebooks Landmark) For generations the Villarcas have died mysteriously, and young. Now Iris and her father will finally understand why... At the turn of England's century, as the wind whistles in the lonely halls of Rawblood, young Iris Villarca is the last of her family's line. They are haunted, through the generations, by "her," a curse passed down through ancient blood that marks each Villarca for certain heartbreak, and death. Iris forsakes her promise to her father, to remain alone, safe from the world. She dares to fall in love, and the consequences of her choice are immediate and terrifying. As the world falls apart around her, she must take a final journey back to Rawblood where it all began and where it must all end... From the sun dappled hills of Italy to the biting chill of Victorian dissection halls, The Girl from Rawblood is a lyrical and haunting historical novel of darkness, love, and the ghosts of the past. Praise for The Girl From Rawblood “Wade perfectly balances sensory richness with the chills of the uncanny.” — Publishers Weekly, Starred Review “[an] atmospheric debut.”  — Booklist  “Brilliant – The Girl From Rawblood is the old-school gothic novel I have been waiting for. While it delivers everything I want from a ‘haunted house/family curse’ story, it is still stunningly original. I have never read anything like it and that’s saying something.” — Mike Mignola, creator of the Hellboy comic book series “Ward’s layered and skillfully crafted novel weaves elements of classic gothic and horror into a remarkable story populated by unforgettable characters, palpable atmosphere, and rich lyricism. Imagine the darkest and goriest undertones of Edgar Allan Poe, the Brontës, Charles Dickens, and Shirley ­Jackson, and you’ll have an idea of what Ward offers here.”  — Library Journal, Starred Review   “Elegiac in its prose and haunting in its imagery, The Girl from Rawblood is a precisely and beautifully woven tapestry through which threads of darkness wind their inevitable way. Ward has crafted a sweeping saga of madness in all its forms that will chill you to the bones and draw you into its murky depths.” — Charlie Lovett, New York Times bestselling author of The Bookman’s Tale and First Impressions    “A story to satisfy the most gothic of hearts. I was hooked on the very first page and The Girl from Rawblood never let me go. Sentence by sentence, Catriona Ward made herself one of my very favorite writers.” — Kelly Link, 2016 Pulitzer Prize Finalist for Get in Trouble Catriona Ward was born in Washington DC and grew up in the US, Kenya, Madagascar, Yemen and Morocco. She studied English at St Edmund Hall, Oxford followed by the UEA Masters in Creative Writing. After living in New York for 4 years where she trained as an actor, she now works for a human rights foundation and lives in London. Mike Mignola is best known as the multiple award-winning creator, writer, and artist of B.P.R.D. and Hellboy, but has fostered several other projects like The Amazing Screw-On Head and Baltimore with Christopher Golden. Although he began working as a professional cartoonist in the early 1980s, drawing 'a little bit of everything for just about everybody' - including characters like Batman and Wolverine - he was also a production designer on the Disney film Atlantis: The Lost Empire. Mignola also acted as a visual consultant to Guillermo del Toro on Blade 2 and the film versions of Hellboy, which were broadly adapted by del Toro from the original comic series. Mike Mignola currently lives in southern California with his wife, daughter, and cat. Devin Griffiths, a former biologist who studied artificial evolution, is an assistant professor of English at the University of Southern California. His work has been featured in ELH, Studies in English Literature, Nineteenth-Century Contexts, Literature Compass, and Book History. He is the author of The Age of Analogy: Science and Literature Between the Darwin’s and The Radical Catalogue. 

Bittersweet songs steeped in Norwegian themes.

Spektral Quartet’s Doyle Armbrust talks about propelling the string quartet into new realms–from your mobile phone’s ringtone to the concert hall–before introducing the kinetic and engrossing Arcadiana for string quartet by on of Britain's most celebrated composers Thomas Adès.

agnes scott college ACME lecture Megan Drinkwater classics

The sounds and rhythms of Roman Elegiac poetry, with readings in Latin and translation.

Transcript -- The sounds and rhythms of Roman Elegiac poetry, with readings in Latin and translation.