Podcasts about Franz Liszt

Johannes Brahms will Komponist werden - und sucht einen Mentor. Er versucht sein Glück bei Franz Liszt. Der Weltstar ist dem jungen Talent durchaus wohlgesonnen. Dann aber begeht Brahms einen Fehler, der alles verderben könnte.

Franz Liszt: Reminiscences of Donizetti's Lucia di LammermoorWilliam Wolfram, pianoMore info about today's track: Naxos 8.570137Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Send us Fan MailWhat happens when the thing you love most becomes the thing you can never completely walk away from?This week on Here's What We Know, conductor and pianist Robert Emery returns for a conversation about creativity, music, and the curious ways our minds work. From practice rooms to Abbey Road Studios, Robert shares what life is really like for a professional musician, why creative people often struggle to switch off, and what he's learned from spending a lifetime immersed in music.Gary and Robert also trade stories about family, parenting, travel, questionable hotel experiences, and the challenges that come with building a career around passion. They explore the lives of Mozart, Franz Liszt, and Berlioz, uncovering the very human struggles, quirks, and triumphs behind some of history's most celebrated composers.Robert also shares the story behind Orchestral Meditations, his latest project featuring meditation music recorded at Abbey Road Studios with a full symphony orchestra and choir.In This Episode:• Why musicians never really leave work behind• The truth about practicing and mastering a craft• What Mozart and Michael Jackson may have had in common• How creativity affects everyday life• Stories from Abbey Road Studios• The fascinating history of Franz Liszt and musical celebrity• Why travel helps reset the mind This episode is sponsored by: Reed Animal Hospital Bio:Robert Emery is a conductor, pianist, and serial entrepreneur. He is lucky enough to travel the world; ranging from performances in London's Royal Albert Hall, through to the Sydney Opera House, Robert has seen them all.Besides music, he is the Founder & Director of The Arts Group, one of the most diverse entertainment companies in the UK. Within the portfolio is a national music tuition agency, symphony orchestra, choir, artist agency, record label, and production company.Aside from that, he lives in London and Cambridge, has a wife (Mrs. E), a toddler (Master T), a baby (Master A), and 4 cats.Website: https://robertemery.com/Orchestral Meditation: http://orchestralmeditation.comYouTube: https://www.youtube.com/robertemeryofficial/Facebook: https://www.facebook.com/robertemeryofficial/Instagram: https://www.instagram.com/robertemeryofficial/Tags: Robert Emery, Creativity, Classical Music, Professional Musician, Music Career, Mozart, Franz Liszt, Music History, Conducting, Pianist, Abbey Road Studios, Orchestral Meditations, Creative Process, Creative Life, Music Industry, Composers, Arts & Culture, Creativity and Purpose, Work-Life Balance, Performing Arts, Creative Careers, Music Education, Connect with Gary:Gary's WebsiteFollow Gary on InstagramGary's TiktokGary's FacebookWatch the episodes on YouTubeAdvertise on the PodcastThank you for listening. Let us know what you think about this episode. Leave us a review!

Bier - passt dieses Getränk überhaupt zum mondänen Franz Liszt? Denkt man bei ihm nicht eher an Champagner? Dennoch: Bier spielte eine wichtige Rolle bei bestimmten kulturellen Events, die Liszt bei Weimar zu organisieren pflegte.

"Ich sah in ihm ein besonderes Wesen, das allen andern überlegen war." So erinnert sich Comtesse Marie d'Agoult (1805-1876) an Franz Liszt (1811-1886), den sie 1833 in Paris kennen- und bald auch lieben lernte. Das ungleiche Paar brannte 1835 nach Genf durch und verlebte die nächsten Jahre in der Schweiz und in Italien, wo 1837 Cosima, die spätere Ehefrau Richard Wagners, geboren wurde. Doch schon wenig später kriselt es in der Beziehung... War das Scheitern vorprogrammiert? Und welche Auswirkungen hatte es auf die Lebensentwürfe der beiden? Darüber sprechen wir in dieser Episode und begegnen dabei u.a. auch der gemeinsamen Freundin George Sand (1804-1876).

durée : 00:17:29 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Contemporain de Franz Liszt et Robert Schumann, Joachim Raff fut l'un des compositeurs allemands les plus célèbres de son époque. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:17:29 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Contemporain de Franz Liszt et Robert Schumann, Joachim Raff fut l'un des compositeurs allemands les plus célèbres de son époque. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Anton Diabelli war Komponist und einer der bedeutendsten Musikverleger Wiens. Gerade als Verleger prägte er die Musikgeschichte nachhaltig – und das dank einer ebenso einfachen wie genialen Idee: Im Jahr 1819 verschickte Diabelli einen von ihm komponierten Walzer an zahlreiche Komponisten des österreichischen Kaiserreichs mit der Bitte, jeweils eine einzige Variation darüber zu schreiben. Geplant war eine Sammelpublikation für das klavierspielende Publikum – ein musikalisches Gemeinschaftsprojekt voller kurzer, leicht spielbarer Charakterstücke. Die Resonanz war überwältigend. Rund fünfzig Komponisten beteiligten sich an dem Vorhaben, darunter Franz Schubert, Franz Liszt, Johann Nepomuk Hummel, Carl Czerny und Franz Xaver Mozart. Auch Ludwig van Beethoven wurde angefragt. Doch anstatt nur eine einzelne Variation beizusteuern, entwickelte er aus Diabellis schlichtem Walzer einen monumentalen Klavierzyklus: die 33 Diabelli-Variationen – ein Werk von schier unerschöpflichem Ideenreichtum und heute ein Höhepunkt der Klavierliteratur. Diabellis Einfall wirkte weit über seine Zeit hinaus. Bis heute inspiriert der unscheinbare Walzer Komponistinnen und Komponisten zu immer neuen Variationen und musikalischen Deutungen. Genau diesem faszinierenden Kosmos widmet sich die aktuelle «Diskothek». Im Zentrum stehen verschiedene Interpretationen von Beethovens Diabelli-Variationen, aber auch den Variationen von Franz Schubert, Franz Liszt und Johann Nepomuk Hummel, die aus demselben Thema ganz eigene Klangwelten erschaffen haben. Zudem schlagen wir den Bogen bis in die Gegenwart mit einer zeitgenössischen Variation von Jörg Widmann. Was macht eigentlich eine gelungene Variation aus? Wie verwandelt man ein einfaches musikalisches Thema in ein eigenständiges Kunstwerk? Gäste bei Eva Oertle sind der Pianist Oliver Schnyder sowie der Organist, Dirigent und Komponist Rudolf Lutz. Für die Diskothek hat Rudolf Lutz eigens zwei neue Variationen komponiert, die er gemeinsam mit Oliver Schnyder live in der Sendung aufführen wird.

Das Akkordeon ist das Instrument des Jahres. An der Hochschule Franz Liszt Weimar wird Akkordeon seit 1949 unterrichtet. Claudia Buder studierte dort und an der Folkwang Universität der Künste Essen.

Thank you to Jerry for sponsoring today's episode on Patreon! Goethe's Faust is considered to be the greatest work of German literature. This sprawling, 2-part play occupied Goethe's life for nearly 60 years, from its original version, begun in 1772, all the way to Goethe's final revisions before his death. It inspired just about every Romantic era composer who came after it, including Beethoven, Schubert, Schumann, Brahms, Berlioz, Gounod, Mahler, and our subject for the show today, Franz Liszt. Liszt, who was in many ways the world's first pop star, was initially skeptical of Faust, saying that he couldn't relate to the eponymous main character of the play. He wrote: "Faust's personality scatters and dissipates itself; he takes no action, lets himself be driven, hesitates, experiments, loses his way, considers, bargains, and is interested in his own little happiness." But slowly, Liszt began to be taken in by this remarkable play and decided to try his hand at a reflection on it, writing a massive, 3-movement, 75-minute-long symphony that never attempts to tell the story of Faust, but instead reflects on the psychological nature of the 3 central characters: Faust, Gretchen, and Mephistopheles (the Devil). A lot of English-speaking listeners will know this as the story of a man who sold his soul to the devil, but for Goethe it was much more than that, and it was for Liszt as well. I've never talked about Liszt on the show, because frankly I've never been in love with his music. But this is one of the great things that these Patreon-sponsored episodes can do — help me discover pieces that I've never come across before. So today, we're going to talk about Liszt, Faust, and then take a stab at some of the greatest moments in this symphony. We'll talk about thematic transformation, a technique Liszt essentially invented and which is a vital part of understanding this piece.

Cette première série des Enquêtes du Centre Pompidou vous emmène à la découverte de l'artiste Sophie Taeuber-Arp (1889-1943). Peu connue en France, elle est pourtant l'une des premières à oser l'art abstrait et à abolir les frontières entre beaux-arts et artisanat. À partir de son œuvre Tête dada, acquise par le Centre Pompidou, nous partons sur ses traces, depuis ses débuts dans l'avant-garde, en passant par la création de sa maison-atelier à Meudon-Clamart, jusqu'à sa mort tragique. CréditsÉcriture et réalisation : Clara Gouraud, Celia CrétienIntervenant.es : Cécile Bargues, Mirela Ionesco, Stéphanie Moitrel, Camille Morineau, Alfred Pacquement Mixage : Ivan GarielAssistance technique : Christophe BechterDesign musical : Antoine AssayasLecture des textes de Sophie Taueber-Arp : Hélène BressiantVoix : Junior Barona, Christophe Bechter, Delphine Coffin, Celia Crétien, Ivan Gariel, Clara Gouraud, Adrien Hoffmann-Hervé, Théo KuperholcExtraits musicaux : Épisode 3 : Franz Liszt, Concerto pour piano no. 1 Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

07. Mai 1844. Franz Liszt erklärt schriftlich, auf jede Einwirkung in der Erziehung seiner Kinder zu verzichten und verpflichtet sich zur Zahlung von jährlich 3.000 Francs.

Em 1847, Franz Liszt faz algo que poucos artistas no auge teriam coragem: ele simplesmente abandona a carreira de pianista virtuose. Depois de quase três décadas dominando palcos por toda a Europa — de cidades como Dublin até Constantinople — Liszt decide virar a chave.E isso muda tudo. Durante sua fase como performer, ele não só encantou multidões com técnica impressionante, mas também mergulhou profundamente na música de gigantes como Ludwig van Beethoven e Hector Berlioz. Ao transcrever obras como as nove sinfonias de Beethoven e a Sinfonia Fantástica, Liszt praticamente absorveu toda a linguagem musical do seu tempo.Mas é só quando ele se estabelece em Weimar, como diretor musical, que o verdadeiro compositor emerge. Ali, ele abandona o palco e começa a construir algo muito maior: uma nova forma de pensar música.É nesse contexto que nasce o seu Concerto para Piano nº 1 em Mi bemol maior — uma obra que não surge de uma vez, mas é lapidada ao longo de anos, até estrear em 1855 sob a regência do próprio Berlioz.E aqui está o ponto central do episódio:Esse concerto não é um concerto comum.Liszt quebra completamente o modelo tradicional estabelecido por nomes como Wolfgang Amadeus Mozart e até o próprio Beethoven. Em vez de alternar entre piano e orquestra, ele cria uma integração total. Tudo é diálogo. Tudo se transforma.A obra funciona como um grande fluxo contínuo, dividido internamente em quatro partes que se conectam o tempo inteiro. Temas reaparecem, se transformam, mudam de caráter — o que começa como melodia lírica pode terminar como marcha triunfal.É música em constante mutação.Ao longo do episódio, você vai perceber como cada seção da obra carrega ecos das anteriores: o drama inicial, o lirismo quase operístico, os momentos leves e até experimentais, e finalmente uma conclusão que amarra tudo de forma orgânica e poderosa.No fim das contas, Liszt não cria apenas um concerto.Ele cria algo à frente do seu tempo.Uma obra que mistura virtuosismo, estrutura sinfônica, influência operística e uma visão quase cinematográfica de transformação musical.Isso aqui não é só música.É evolução em tempo real.#FranzLiszt #MusicaClassica #ConcertoParaPiano #HistoriaDaMusica #Beethoven #Berlioz #Romantismo #PodcastMusical #AnaliseMusical #MusicaEruditaApresentado por Aarão Barreto e Aroldo Glomb (cada semana um é o "pai da criança") Apoie o Conversa de Câmara. Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Gustavo Holtzhausen, João Paulo Belfort , Arthur Muhlenberg, Rafael Hassan, Danilo Coelho, Rochester Rodrigues Gama e Valder Cavalcante Magalhães Jr.

Goethes «Faust» inspirierte viele Komponierende, so auch den Starpianisten Franz Liszt. Er schrieb eine gut einstündige Programmsinfonie inklusive Schlusschor über die drei Hauptfiguren der Tragödie. Nach dem Vorbild von Hector Berlioz «Symphonie fantastique», dem Flagschiff der Programmmusik, malte er mit opulenter musikalischer Sprache drei Charakterbilder: Faust als rastlos verzweifelnden Intellektuellen, dem er unter anderem ein 12-Ton-Thema zuteilt; Gretchen als personifizierte Unschuld, mit inniger Melodie und reduziertem Orchestersatz, und schliesslich der diabolische Mephisto, welcher die Faust-Themen fratzenhaft verzerrt widerspiegelt. Liszt schuf damit ein gewaltiges, raffiniert orchestriertes Klanggemälde, das jedem Klangkörper Virtuosität abverlangt. Er brachte es im Jahr 1857 in Weimar zur Uraufführung anlässlich der Einweihung des Goethe- und Schiller-Denkmals. Gäste von Moritz Weber sind der Musikwissenschaftler Felix Michel und die Geigerin Friederike Starkloff.

“Je suis dans des mondes étranges” de FLORE aux éditions Maison CFEntretien avec FLORE, par Anne-Frédérique Fer, à Nohant, maison de George Sand, le 15 avril 2026, durée 16'59.© FranceFineArt.https://francefineart.com/2026/04/17/137_livres_flore/En 1847, après neuf ans d'une liaison passionnée, George Sand se sépare de Frédéric Chopin. L'écrivaine efface alors toute trace du compositeur de sa demeure familiale de Nohant.En pleine période romantique, le domaine de George Sand à Nohant fut le creuset des oeuvres de Chopin et le lieu de rencontre d'une communauté artistique exceptionnelle. Sous les tilleuls du jardin, autour du Pleyel monumental, George Sand réunissait Eugène Delacroix, Franz Liszt ou encore Pauline Viardot. Musique, peinture, littérature et débats politiques animaient ce refuge où l'intimité et le génie trouvaient un abri commun.Cet ouvrage tisse un dialogue poétique entre les photographies de l'artiste FLORE, ses herbiers glanés dans le jardin et des partitions manuscrites composées par Chopin.Une nouvelle d'Aurélie Razimbaud ouvre le récit, imaginant avec finesse leur vie à Nohant à cette époque.Édité à l'occasion du 150e anniversaire de la disparition de George Sand, ce livre bénéficie du soutien du Centre des monuments nationaux et du musée Frédéric Chopin de Varsovie.Publié en avril 2026Actualité Exposition« Je suis dans des mondes étranges » de FLOREà la maison de George Sand, Nohantdu 18 avril au 1er novembre 2026[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Comencem el programa amb una versi

Viktor Orbán hefur stjórnað Ungverjalandi í 16 ár en nú benda kannanir til þess að Fidesz-flokkur hans tapi þingkosningum á sunnudag. Gunnsteinn Ólafsson, hljómsveitarstjóri sem nam tónsmíðar við Franz Liszt-akademíuna í Búdapest, var gestur Heimsgluggans og þeir Bogi Ágústsson ræddu um Ungverjaland og horfurnar í stjórnmálum.

Clara Wieck ist ein Star, dann heiratet sie. Doch statt ihre Karriere aufzugeben, tritt sie weiter auf - mit ihrem Mann. Am 31.3.1841 erstmals unter neuem Namen. Von Raoul Mörchen.

2. April 1842. Franz Liszt trifft in Warschau ein, wo er die Polen, die unter der russischen Fremdherrschaft leiden, mit patriotischer Musik erfreut. Der Konflikt mit dem Zaren ist vorprogrammiert.

durée : 00:49:29 - Les Nuits de France Culture - par : Philippe Garbit - 1ère diffusion : 29/01/1952 Chaine Nationale Par Emmanuel Bondeville - Réalisation Ange Gilles - réalisation : Virginie Mourthé

Franz Liszt - Valse-impromptuGoran Filipec, pianoMore info about today's track: Naxos 8.574588Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

durée : 00:15:06 - Le Disque classique du jour du mardi 24 mars 2026 - De l'aube au crépuscule est le deuxième album Paraty de Ferenc Vizi, entièrement consacré à Franz Liszt. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:15:06 - Le Disque classique du jour du mardi 24 mars 2026 - De l'aube au crépuscule est le deuxième album Paraty de Ferenc Vizi, entièrement consacré à Franz Liszt. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

There was an issue with this podcast where the wrong file was originally uploaded. If you are listening on an app or in a browser... and find yourself listening to that incorrect file, please either delete the downloaded version from your device and download it again, OR try another browser, as it's likely just saved in the cache. If you have any problems getting this to work, please email us at info@filmireland.ie. Thanks for your patience. In this Film Ireland podcast, recorded live on location in Washington, D.C. at the Capital Irish Film Festival, we chat with author, playwright and screenwriter Sheena Lambert about her feature Báite.Presented annually by Solas Nua, the 20th edition of the Capital Irish Film Festival ran from 26th February to 1st March 2026, presenting one of the largest programmes of Irish cinema in North America. Irish-language feature Báite tells the story of a rural village during an All-Ireland weekend in 1975. Blending murder mystery with family drama, the film follows Peggy Casey as her life begins to unravel after a body surfaces in the local man-made lake.In this episode, we catch up with Sheena Lambert about her journey as a writer, the origins of the story, and the ins and outs of adapting a project from page to screen.Listen now on SoundCloud, Apple, Spotify, Acast and Amazon, or subscribe to Film Ireland wherever you get your podcasts.Sheena LambertDublin-based screenwriter, playwright and novelist Sheena Lambert has an exciting few months ahead with the 2025 release of her debut feature film, BÁITE, an adaptation of her own novel The Lake (HarperCollins, 2015) which was filmed in Galway and produced by Danú Media under TG4/Screen Ireland's Cine4 Scheme. Following a hugely successful, sold-out, extended summer run, Sheena's stage play COSIMA, based on her Screen Ireland supported feature screenplay of the same name, is scheduled for an Irish tour via Breda Cashe Productions, with some pre-Christmas Dublin dates already announced. Cosima was the daughter of Franz Liszt, who refused to allow her to perform publicly; she married Richard Wagner to get away from her controlling father and helped him become a much greater success than her father had ever been.BáiteWinner of Best Irish Language Feature Film at the 2025 Galway Film Fleadh and nominated in four categories at the 2026 Irish Film & Television Academy Awards, Báite arrives in cinemas nationwide on 6th March 2026 to coincide with Seachtain na Gaeilge (1–17 March). Directed by Ruán Magan (The Hunger, Our Blue World – A Water Odyssey), the film is a haunting Irish-language mystery set in rural Ireland in September 1975.When a body is discovered in the receding waters of a lake, the find sends shockwaves through a small community. For 23-year-old Peggy Casey, who runs the local pub, the revelation threatens to upend not just her life, but an entire town built on secrets long submerged.About Capital Irish Film FestivalSolas Nua's annual Capital Irish Film Festival in Washington, D.C., presents one of the largest programmes of Irish cinema in North America, showcasing the latest Irish dramatic and documentary features, shorts, art films and animation releases by Irish and Ireland-based filmmakers. The 20th edition of the four-day festival takes place 26 February – 1 March 2026 in partnership with the prestigious American Film Institute's Silver Theatre & Cultural Center.The festival provides a US platform that amplifies the work of independent filmmakers working in Ireland and beyond, and celebrates the strength of Ireland's contemporary cinematic culture. The programme highlights the country's rich cultural heritage while fostering an inclusive and diverse community of Irish filmmakers. Capital Irish Film Festival champions emerging voices on Irish screens, showcases the exceptional talent and craft within Irish filmmaking, and reflects the robust and vibrant screen industry that has grown in Ireland in recent years.Over the years, the podcast has featured acclaimed guests such as Phyllida Lloyd, Lenny Abrahamson, M. Night Shyamalan, John Boorman, Saoirse Ronan, Colin Farrell, Aisha Tyler, Colm Meaney, Paul Reiser, Niamh Algar, David Freyne, Ciarán Donnelly, Joshua Oppenheimer, John Crowley, Niamh Algar, Gene Stupnitsky, and Terence Davies, alongside many of the most influential voices working in film and television today.So make sure to subscribe and listen back! Hosted on Acast. See acast.com/privacy for more information.

durée : 01:31:54 - Les Nuits de France Culture - par : Albane Penaranda - Marie d'Agoult, alias Daniel Stern, fut une femme de lettres libre et engagée dont on connaît surtout la liaison avec Franz Liszt. En 1981, dans le cadre de l'émission "Documentaire du vendredi", Dominique Desanti nous propose un portrait de cette figure intellectuelle marquante du 19e siècle. - réalisation : Félicie Faugère - invités : Maurice Agulhon; Georges Lubin Ecrivain et historien de la littérature

„Transzendentale Exekution“ klingt nach esoterischer Hinrichtung, ist bei Franz Liszt aber pure Klaviermagie: zwölf Stücke, die weniger die Finger dressieren als ganze Welten entfachen – zwischen Klangrausch, Nervenkitzel und Virtuosen-Wahnsinn. Von Michael Lohse.

Episode Topic: Art & Religion in Liszt's Piano Music (https://go.nd.edu/273a1e) Discover the profound intersection of faith and music in the life of Franz Liszt. A recent event featuring musicologist Nick Chung and pianist Isaac Parlin explored how the composer's deep Catholic faith shaped his masterpieces, challenging the narrative of 19th-century art as a substitute for religion.Featured Speakers:Nicholas Teh, Associate Professor of Philosophy, University of Notre DameIsaac Parlin, Master's Student of Music in Piano Performance, The Juilliard SchoolNicholas Chong, Assistant Professor of Musicology, Mason Gross School of the Arts, Rutgers UniversityRead this episode's recap over on the University of Notre Dame's open online learning community platform, ThinkND: https://go.nd.edu/e43512. This podcast is a part of the ThinkND Series titled On Catholic Imagination. (https://go.nd.edu/78e374)Thanks for listening! The ThinkND Podcast is brought to you by ThinkND, the University of Notre Dame's online learning community. We connect you with videos, podcasts, articles, courses, and other resources to inspire minds and spark conversations on topics that matter to you — everything from faith and politics, to science, technology, and your career. Learn more about ThinkND and register for upcoming live events at think.nd.edu. Join our LinkedIn community for updates, episode clips, and more.

Franz Liszt - Etude No. 3 “Un Sospiro” (A Sigh)William Wolfram, pianoMore info about today's track: Naxos 8.557014Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

(00:00:00) Waylon Jennings - Honky Tonk Heroes / 1973 (00:28:11) Thy Catafalque - Mezolit - Live at Fekete Zaj / 2022 (01:04:38) Franz Liszt - Piano Concertos Nos. 1 & 2 and "Totentanz" Alfred Brendel, London Philharmonic Orchestra, Bernard Haitink / 1972

This Day in Legal History: 18th Amendment to the US ConstitutionOn January 16, 1919, the 18th Amendment to the United States Constitution was ratified, marking a pivotal moment in American legal history by establishing the prohibition of alcoholic beverages. The amendment prohibited “the manufacture, sale, or transportation of intoxicating liquors” for consumption in the United States and its territories. It was the culmination of decades of temperance activism, led by organizations such as the Women's Christian Temperance Union and the Anti-Saloon League, which argued that alcohol was responsible for societal problems including crime, poverty, and domestic violence.The amendment passed Congress in December 1917, but ratification by the states was required for it to take effect. That threshold was reached on January 16, 1919, when Nebraska became the 36th state to ratify it. One year later, on January 17, 1920, the Volstead Act—the federal statute enforcing the amendment—went into effect, ushering in the Prohibition era.However, the law led to unintended consequences. Rather than curbing alcohol consumption, it fueled the rise of organized crime, as bootleggers and speakeasies flourished across the country. Enforcement proved difficult and inconsistent, and public support for prohibition waned through the 1920s.Ultimately, the 21st Amendment repealed the 18th Amendment on December 5, 1933, making it the only constitutional amendment ever to be entirely repealed. The legacy of the 18th Amendment remains significant as a historical experiment in moral legislation and the limits of constitutional power.A federal judge in Virginia will soon decide whether Dominion Energy can resume construction on its $11.2 billion Coastal Virginia Offshore Wind project, which was halted by the Trump administration last month. The Interior Department paused five offshore wind projects on December 22, citing classified concerns about radar interference and national security. Dominion is now challenging that pause in court, arguing that it violated procedural and due process laws and is causing the company significant financial harm—around $5 million in daily losses. Dominion has already invested nearly $9 billion in the project, which began construction in 2023 and is planned to power 600,000 homes.Similar legal challenges from other developers, including Orsted and Equinor, have already succeeded in federal courts in Washington, allowing their Northeast offshore wind projects to proceed. Those decisions raise the stakes for Dominion's case, which could influence the broader offshore wind industry amid continued hostility from the Trump administration toward the sector. Trump has long criticized wind energy as costly and inefficient. While the outcomes of these lawsuits may let projects move forward, industry uncertainty remains due to ongoing legal battles and political opposition.US judge to weigh Dominion request to restart Virginia offshore wind project stopped by Trump | ReutersA federal judge in Boston, William Young, said he will issue an order to protect non-citizen academics involved in a lawsuit challenging the Trump administration's deportation of pro-Palestinian student activists. The upcoming order would block the government from altering the immigration status of the scholars who are parties to the case, absent court approval. Young emphasized that any such action would be presumed retaliatory and would require the administration to prove it had a legitimate basis.The lawsuit stems from Trump's executive orders in early 2025 directing agencies to crack down on antisemitism, which led to arrests and visa cancellations for several students, including Columbia graduate Mahmoud Khalil and Tufts student Rumeysa Ozturk. These moves targeted those expressing pro-Palestinian or anti-Israel views on campus. Young previously ruled that these actions violated the First Amendment by chilling free speech rights of non-citizen academics.In his comments, Young described Trump as “authoritarian” and sharply criticized what he called the administration's “fearful approach to freedom.” He limited his forthcoming order to members of academic groups like the AAUP and Middle East Studies Association, rejecting a broader nationwide block as too expansive. Meanwhile, the administration, which plans to appeal Young's earlier ruling, accused the judge of political bias.US judge to shield scholars who challenged deporting of pro-Palestinian campus activists | ReutersA federal judge in California has dismissed a lawsuit filed by the U.S. Justice Department seeking access to the state's full, unredacted voter registration list. Judge David Carter ruled that the department's claims were not strong enough under existing civil rights and voting laws, and that turning over detailed voter data—such as names, birth dates, driver's license numbers, and parts of Social Security numbers—would violate privacy protections.Carter emphasized that centralizing such sensitive information at the federal level could intimidate voters and suppress turnout by making people fear misuse of their personal data. The lawsuit, filed in September by the Trump administration, targeted California and other Democrat-led states for allegedly failing to properly maintain voter rolls, citing federal law as justification for demanding the data.California Secretary of State Shirley Weber welcomed the decision, stating her commitment to defending voting rights and opposing the administration's actions. The DOJ had reportedly been in discussions with the Department of Homeland Security to use voter data in criminal and immigration probes. Critics argue the push was driven by baseless claims from Trump and his allies that non-citizens are voting in large numbers.US judge dismisses Justice Department lawsuit seeking California voter details | ReutersWhy can't people harmed by ICE just sue the agents themselves?U.S. Immigration and Customs Enforcement (ICE) is a federal agency under the Department of Homeland Security, created in 2003. It enforces immigration laws and investigates criminal activities involving border control, customs, and immigration. ICE derives its authority from various federal statutes, including the Immigration and Nationality Act, and its agents operate with broad discretion during enforcement actions.Suing ICE agents or the agency itself is legally difficult. Individuals cannot usually sue federal agents directly because of sovereign immunity, a legal doctrine that protects the government and its employees from lawsuits unless explicitly allowed by law. One such exception is the Federal Tort Claims Act (FTCA) of 1946, which permits lawsuits against the federal government when its employees cause injury or damage while acting within the scope of their employment. Under the FTCA, victims can bring wrongful death or negligence claims, as Renee Good's family is now considering.However, FTCA claims are limited. Plaintiffs cannot seek punitive damages or a jury trial, and compensation is capped based on state law where the incident occurred. The government is also shielded from liability for discretionary decisions made by its employees—meaning if the ICE agent used judgment during the incident and it's deemed reasonable, the claim can be dismissed. In Good's case, the government will likely argue self-defense.Suing ICE agents personally is even harder. The Bivens v. Six Unknown Named Agents case in 1971 created a narrow legal path for suing federal officials for constitutional violations, but courts have since restricted its use. In 2022, the Supreme Court ruled that Bivens does not apply to border agents conducting immigration enforcement, further insulating ICE officers from personal liability.Criminal prosecution of federal agents is also rare. State prosecutors may bring charges, but only if they can prove the agent acted clearly outside the scope of their duties and in an objectively unlawful way—a high bar that is seldom met.This week's closing theme is by Ludwig van Beethoven. Beethoven, one of the most influential composers in Western music history, revolutionized the classical tradition with works that bridged the Classical and Romantic eras.This week's theme is Franz Liszt's transcription of Beethoven's Symphony No. 5 in C minor, Op. 67 — specifically, the first movement, Allegro con brio, catalogued as S.464/5. As one of the most iconic works in classical music, Beethoven's Fifth needs little introduction, but hearing it through Liszt's fingers offers a fresh perspective on its brilliance. In this solo piano version, Liszt doesn't simply condense Beethoven's orchestral power—he reimagines it, capturing the storm, structure, and spirit of the original with astonishing fidelity and virtuosity.The movement begins with the unforgettable four-note “fate” motif, its rhythmic insistence rendered on the piano with punch and precision. From there, Liszt unfolds Beethoven's dramatic argument, demanding the pianist conjure the textures of a full orchestra with nothing but ten fingers and a well-calibrated pedal. Every surging crescendo, sudden silence, and harmonic twist remains intact, though filtered through Liszt's Romantic sensibility and pianistic imagination.It's a piece that asks as much of the performer as it does of the listener—requiring clarity, power, and emotional depth. As a transcription, it's both a tribute and a transformation, placing Beethoven's revolutionary energy in the hands of a single interpreter. We chose this movement not just for its fame, but for how it exemplifies two musical giants in dialogue—Beethoven, the architect of modern symphonic form, and Liszt, the artist who made the orchestra speak through the piano.Without further ado, Beethoven's Symphony No. 5 in C minor, Op. 67 — the first movement, Allegro con brio. Enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

The Age of Victoria returns for the 2026 season with a high-energy prologue to our new series, “Hunger and Revolution”. In this episode, we follow the “magnificent, terrible, magnetic” Lola Montez as she transitions from the stage to the high-stakes world of European politics. Lola becomes an “accidental bunch of dynamite,” moving through the bohemian circles of Paris and the royal halls of Munich. Her volatile relationship with the “rockstar” composer Franz Liszt and her scandalous influence over King Ludwig I of Bavaria serve as a sparking point for the unrest that would soon consume the continent. Against the grim backdrop of the “Continental Famine” and rising industrial tensions, we examine how one woman's individual actions could help bring the curtain down on the pre-modern age. Key Topics Covered: Bohemian Paris in the 1840s: A city of romance and industry undergoing a transformation marked by early railway stations, gas streetlights, and artistic experimentation. Lisztomania and the Great Composers: Exploring the electric performances and scandalous love life of Franz Liszt—the “rockstar” of the 19th century—who redefined the status of the artist in society. The Duel of Dujarier: Lola's time in the French literary scene alongside figures like Victor Hugo ended in tragedy when her lover, journalist Alexandre Henri Dujarier, was killed in a reluctant pistol duel. The “Gallery of Beauties”: A look at the 36 oil paintings in King Ludwig's collection, where Lola's portrait eventually sparked a national scandal. The Continental Famine: Examining the “parallel story” of the 1845–1847 potato blight across Europe that fueled the urban discontent leading to the 1848 revolutions. The Fall of Munich: The student riots at the University of Munich involving the “Lolamannen,” the exile of Montez, and King Ludwig I's ultimate abdication. “The Battle of Ballarat”: A summary of Lola's later years, including her infamous whip-fight with a newspaper editor in the Australian goldfields. Works Cited & Sources: Edmund B. d'Auvergne: Lola Montez: An Adventuress of the 'Forties (Project Gutenberg). Dictionary of Irish Biography: “Gilbert, Eliza Rosana (Lola Montez)” by Lawrence William White. Schloss Nymphenburg: “King Ludwig I's Gallery of Beauties (Room 15).” Interlude.hk: “Life of Chopin: The Controversial Chopin Biography by Liszt” by Emily E. Hogstad . Interlude.hk: “The Spy who loved me! Liszt and Agnes Street-Klindworth”. Dance Biographies: “Alexandre Henri Dujarier” & “The Fascinating Lola Montez: The European Years.” State Library Victoria: “Wild times with Lola Montez” (The Battle of Ballarat). Elizabeth Kerri Mahon: “Whatever Lola Wants, Lola Gets: The Racy Life of Lola Montez.” Oktoberfest.de: “The History of Oktoberfest”. Encyclopedia of 1848 Revolutions: “Economic Crisis in the first half of 1847” (Ohio.edu). The post EP065 SETTING EUROPE ON FIRE appeared first on AGE OF VICTORIA PODCAST.

Alex and Keev rank the NFL playoff teams from 14 to 1, then welcome a surprise guest to react to surprising breaking news. This episode's outro is an 1800s hit, as recommended by patron "Allix O". This particular one, Liebesträume No. 3 by Franz Liszt, was a favorite of Alex's when he used to play the piano (but to be clear, this recording is not Alex ... or "Allix".) Join the Pool of Pools here. Join the NFL playoffs 3-in-1 pool here. Learn more about your ad choices. Visit megaphone.fm/adchoices

This Day in Legal History: 21st Amendment RatifiedOn December 5, 1933, the United States ratified the Twenty-first Amendment to the Constitution, officially ending the era of national Prohibition. This amendment repealed the Eighteenth Amendment, which had banned the manufacture, sale, and transportation of intoxicating liquors since 1920. Prohibition, championed by temperance movements and moral reformers, was initially seen as a solution to social problems such as crime and poverty. However, over the following decade, it led instead to a surge in organized crime, illegal speakeasies, and widespread disregard for the law.The Twenty-first Amendment is unique in American legal history—it is the only amendment to repeal a previous amendment. It is also the only amendment ratified through state conventions rather than by state legislatures, a strategic move to bypass potential legislative gridlock. Utah became the 36th state to ratify the amendment, securing the three-fourths majority needed for adoption.The repeal of Prohibition returned control over alcohol regulation to the states, many of which continued restrictions at the local level. The amendment's passage marked a shift toward a more pragmatic and less moralistic approach to federal lawmaking. It also highlighted the limits of federal power to regulate personal behavior and underscored the complexities of enforcing unpopular laws.In the broader context of constitutional law, the Twenty-first Amendment demonstrated the capacity of the Constitution to adapt and self-correct. It remains a pivotal example of how constitutional amendments can respond to changing public sentiment and unintended legal consequences.A federal appeals court allowed President Donald Trump to continue deploying National Guard troops in Washington, D.C., halting a lower court ruling that would have required the troops to withdraw by December 11. The temporary order from the D.C. Circuit Court does not address the underlying legality of the deployment but permits it to proceed while litigation continues. The deployment, which began in August, intensified after a November 26 shooting near the White House left two National Guard members injured—one fatally. Trump responded by sending 500 additional troops and renewing his call to halt immigration from what he called “third-world countries,” after a 29-year-old Afghan national was charged in the attack.D.C. Attorney General Brian Schwalb sued the administration in September, arguing Trump unlawfully took over local policing authority and violated federal restrictions on military involvement in domestic law enforcement. A federal judge initially sided with Schwalb, calling the deployment likely unlawful, but delayed enforcement of her ruling to allow time for appeal. The Trump administration maintains it can deploy troops to D.C. without local approval, citing the city's unique federal status. Meanwhile, similar deployments in other Democratic-led cities have sparked lawsuits and accusations that Trump is using federal force for political purposes. Lower courts have largely ruled against these moves, and the Supreme Court is expected to weigh in on the legality of the Chicago deployment soon.Appeals court allows Trump National Guard deployment in DC to continue | ReutersTom Goldstein, a prominent Washington attorney and co-founder of SCOTUSblog, is fighting to sell his $3 million home in D.C.'s Wesley Heights to fund his defense against 22 financial crime charges, including tax evasion. Prosecutors allege that Goldstein, who has made millions as a poker player, misrepresented his financial situation to obtain loans, including one used to purchase the property. A Maryland federal judge barred the sale, ruling the house is likely connected to the alleged crimes. Goldstein has appealed, arguing that blocking the sale violates his Sixth Amendment right to use untainted assets for legal defense, and insists the home is not tied to the alleged misconduct.The appeal is before the 4th Circuit, where Goldstein—representing himself—says he's accumulated millions in legal fees. Prosecutors maintain the house is tainted because Goldstein omitted over $15 million in debt from the mortgage application. The home is also collateral for Goldstein's appearance bond, due to his being labeled a flight risk. One of Goldstein's key financial backers, litigation funder Parabellum Capital, is a witness in the case but not accused of wrongdoing. Legal experts say his effort to sell the house faces steep odds given the property's legal entanglements and standard federal practices regarding tainted assets.Tom Goldstein fights to sell home as tax trial looms | ReutersA federal grand jury has declined to indict New York Attorney General Letitia James, rejecting prosecutors' second attempt to bring criminal charges against her, according to sources familiar with the matter. The Justice Department had sought to revive a case involving allegations of bank fraud and false statements related to a mortgage, after the initial indictment was dismissed in November due to the unlawful appointment of the prosecutor, Lindsey Halligan. Despite the setback, prosecutors reportedly plan to seek a new indictment.James, a Democrat and prominent critic of Donald Trump, was accused of misrepresenting financial information to obtain favorable mortgage terms on a Virginia property. She pleaded not guilty to the original charges. The failed indictment effort comes amid broader DOJ efforts targeting Trump critics, including former FBI Director James Comey and ex-national security adviser John Bolton—cases that have also faced legal hurdles.Grand jury rejections are rare, as prosecutors usually face a low threshold of probable cause to proceed. James is now the highest-profile figure to have such a case rejected during Trump's second term. The president has publicly attacked James for leading a civil fraud lawsuit against him, which resulted in a massive financial penalty, later reduced on appeal but with Trump still found liable for fraud.Grand jury rejects second criminal case against New York Attorney General Letitia James, sources say | ReutersLawyers representing authors and publishers in a $1.5 billion copyright settlement with AI company Anthropic have requested $300 million in legal fees, amounting to 20% of the total settlement. Filed in federal court in San Francisco, the fee request comes after Anthropic agreed in October to settle claims it used pirated books to train its AI models, including its commercial product Claude. As part of the agreement, Anthropic will pay over $3,000 per infringed work, destroy the infringing datasets, and certify they are not part of its commercial systems.The legal team, led by Susman Godfrey and Lieff Cabraser, argued that the fee is “conservative” by class action standards, citing more than 26,000 hours of high-risk work. The settlement, which received preliminary approval in September, is being described as the largest reported copyright class action resolution to date. Anthropic has denied wrongdoing and retains the right to contest the fee amount.Authors have until January 15 to opt out of the class action and pursue individual claims. A final fairness hearing before U.S. District Judge William Alsup is scheduled for April, where objections from class members and fee disputes will be reviewed.Authors' lawyers in $1.5 billion Anthropic settlement seek $300 million | ReutersThis week's closing theme is by Wolfgang Amadeus Mozart, a composer of some note.On December 5, 1791, the world lost one of its greatest musical minds: Wolfgang Amadeus Mozart. Just 35 years old at the time of his death, Mozart left behind an astonishing body of work that shaped the course of Western classical music. His death, shrouded in speculation and mystery, came while he was in the midst of composing what would become one of his most profound and haunting works—the Requiem in D minor, K. 626. The Lacrymosa movement, in particular, captures the emotional gravity of that moment, as if echoing his own impending end.Although Mozart did not live to finish the Requiem, the fragments he left behind were completed by his student Franz Xaver Süssmayr, guided by sketches and oral instruction. The Lacrymosa, with its solemn melodies and aching harmonies, stands as one of the most emotionally resonant sections of the work. Franz Liszt later transcribed it for solo piano, creating a version that retains its choral intensity while adding a layer of intimate, virtuosic expressiveness.Listening to Liszt's transcription of the Lacrymosa is like hearing Mozart's farewell whispered through the keys of a piano—stark, mournful, and deeply human. December 5, then, is not only the date of Mozart's passing but also a reminder of the enduring beauty he left behind, etched into every phrase of the Requiem. His music, especially in this piece, speaks across centuries to the depths of loss and the hope of transcendence.Without further ado, Mozart's Requiem in D. minor – enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

早在 202 1年 9 月的节目 Vol.24: 栋梁与拙匠：又见梁思成 ，我们借由一场名为「栋梁」的展览回顾了梁思成作为建筑学家的一生。其间我们多次提及林徽因，一位对中国古建筑研究做出重要贡献、对新中国建筑事业发展影响至深的女性，同时也是一位常年被称为「民国才女」却又始终被坊间情感八卦萦绕的女性。直到 2024 年 5 月 18 日，宾夕法尼亚大学正式追授林徽因建筑学学士学位，许多人才终于开始正视林徽因作为一名建筑学家的成就与地位。今年一本名为《重识徽音：林徽因建筑笔记》的图书出版。这本书系统梳理并精编了一系列由林徽因主笔的建筑学文章，其中多篇我虽然读过，但这次重读又多了许多感动与震撼。这一次，我觉得是时候了！是时候让我们一起来好好重新认识一下这位在建筑学领域颇有建树、在中国古建筑考察与保护事业中全情投入的女性——林徽因了！本期节目，我们特别邀请到了《重识徽音：林徽因建筑笔记》这本书的责任编辑马思齐，和我们一起重识徽音。本期节目你将听到：[01:45] 2024 年宾夕法尼亚大学建筑系毕业典礼上的两位女性：林徽因与胡如珊[05:58] 一群学建筑出身的编辑们决定做一本关于建筑师林徽因的书[08:41] 林徽因对建筑学的热爱，以及她对梁思成专业选择的影响[13:06] 1931 年回到北平的林徽因正式开始了她的建筑学写作[27:46] 1931-1937 年，林徽因的古建筑考察与写作「大事记」[20:39] 林徽因与《晋汾古建筑预查纪略》[34:36] 林徽因和梁思成在中国古建筑考察过程中到底分别扮演怎样的角色？[38:16] 李庄，一个信仰之地，也是一个困境之地：林徽因面临的多重压力[47:16] 她始终关注的是普通人住在哪里、住得怎么样[56:54]「梁陈方案」背后的林徽因[1:04:41]《重识徽音》独特的设计巧思：宾大读书的徽音和抗战胜利后的徽因本期节目你将听到：[01:45] 2024 年宾夕法尼亚大学建筑系毕业典礼上的两位女性：林徽因与胡如珊[05:58] 一群学建筑出身的编辑们决定做一本关于建筑师林徽因的书[08:41] 林徽因对建筑学的热爱，以及她对梁思成专业选择的影响[13:06] 1931 年回到北平的林徽因正式开始了她的建筑学写作[27:46] 1931-1937 年，林徽因的古建筑考察与写作「大事记」[20:39] 林徽因与《晋汾古建筑预查纪略》[34:36] 林徽因和梁思成在中国古建筑考察过程中到底分别扮演怎样的角色？[38:16] 李庄，一个信仰之地，也是一个困境之地：林徽因面临的多重压力[47:16] 她始终关注的是普通人住在哪里、住得怎么样[56:54]「梁陈方案」背后的林徽因[1:04:41]《重识徽音》独特的设计巧思：宾大读书的徽音和抗战胜利后的徽因※ 感谢「认识建筑编辑部」对本期节目的支持▲ 2024 年宾夕法尼亚大学韦茨曼设计学院正式追授林徽因建筑学学士学位▲ 1925年林徽音在宾夕法尼亚大学学生证上的照片▲ 林徽音在宾夕法尼亚大学和她的同学们▲ 林徽音曾经使用的「名片」▲ 林徽因在佛光寺东大殿与「宁公遇」▲ 1945年抗战结束后的林徽因【节目主播/制作】主播/制作：VC微博：@VividCrystal 小红书：@午夜飞行VC 【节目互动】微博：@午夜飞行Official 公众号：午夜飞行【商务合作】商务合作联系邮箱：hello@marcastmedia.com或添加微信：hellomarcast 【欢迎加入听友群】入群方式 A：微信添加小助手 Amber (ID: hellomarcast)，拉你入群入群方式 B：关注公众号「午夜飞行」 ，回复「听友群」三个字，即可获取入群通道 【本集音乐】Music credit: 1. Orchestral Suite No. 3 in D Major, BWV 1068II. Air On a G String (Arr. for Piano) - 郎朗,Johann Sebastian Bach 2. First Impressions - 马友友 3. ThaïsMéditation - 马友友 4. Piano Sonata No.30 in E, Op.1093. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo) - 内田光子 5. Waltz for Debby - Bill Evans 6. Albumblatt in Walzerform, S.166 - Franz Liszt,Leslie Howard 7. Air from Orchestral Suite No. 3 in D major, BWV 1068 - Hamish Milne 8. 괜찮아 괜찮아 - 다을 【封面图片】Photos from 《山河岁月：回望林徽因》 【节目出品】本播客由 Marcast Media 制作出品，也欢迎你订阅收听 Marcast 旗下的其他播客节目。你可以通过以下方式找到我们：- 小红书：@Marcast - 公众号：Marcast - 微博：@Marcast - 进听友群请添加微信：hellomarcast- 欢迎加入 2500+ 朋友一起订阅 Beads Newsletter 每周一封精选英文播客内容分享，为你提取、总结那些 90% 的人听不到的、隐藏在声音里的一手信息、知识、经验、工具、趣味和审美，和你一起拓展认知和视野，每周一上午发送，订阅地址：https://beads.beehiiv.com© 2025 Marcast Media

Charles Gounod/Franz Liszt - Les Adieux, A Reverie on a Motif from Romeo and JulietSoyeon Kate Lee, pianoMore info about today's track: Naxos 8.572589Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Franz Liszt - HamletNew Zealand Symphony OrchestraMichael Halasz, conductorMore info about today's track: Naxos 8.553355Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Before the hysteria of Swifties and Beatlemania, people were getting hype over the handsome pianist Franz Liszt.  Dr. Sydnee and Justin talk about what exactly about this artist made regular fandom escalate into a mania and what this medical condition actually meant.Music: "Medicines" by The Taxpayers https://taxpayers.bandcamp.com/World Central Kitchen: https://wck.org/