Podcasts about french baroque

William Christie, the founder - and guiding spirit for the past 45 years – of Les Arts Florissants, celebrates his 80th birthday on December 19.  Gramophone's James Jolly went to visit him at home in Paris to talk about his long career and its colossal impact of the rediscovery of the music of his adopted homeland. Since leaving the USA in the early 1970s and settling in France, Christie has been a major figure both in concert and on record (with a clutch of Gramophone Awards to his name), focusing on music of the 17th and 18th centuries. Their conversation ranged widely taking in memories of the harpsichordist Ralph Kirkpatrick, the countertenor Alfred Deller, the founder of Harmonia Mundi Bernard Coutaz, and many others. Musical excerpts are from from his Harmonia Mundi catalogue, including his latest release 'Bill and Friends' which finds him performing with a host of young musicians.  

He left his mark on French Baroque music.

Oktoberfest kicks off! Learn about top destinations to add to the travel bucket list and insight on why to visit Munich, Germany in Bavaria. Discover how to use WD-40 to preserve pumpkins plus more news! Join radio hosts Rebecca Wanner aka 'BEC' and Jeff ‘Tigger' Erhardt (Tigger & BEC) with The Bend Radio Show & Podcast, your news outlet for the latest in Outdoors & Western Lifestyle News! Episode 203 Details Oktoberfest Kicks Off, Why To Travel There & WD-40 Preserves Pumpkins?! Oktoberfest: What & Why To Go! Oktoberfest is a traditional German festival known for its food, music, and beer. The largest and oldest festival held annually in Munich, Germany the capital of Bavaria.   BEST DAY TRIPS NEAR MUNICH GERMANY Neuschwanstein Castle: is a 19th-century Romanesque Revival palace in Bavaria, Germany, commissioned by King Ludwig II. Perched on a rugged hill, it's famous for its fairy-tale appearance and breathtaking views of the Alps. Inspired by medieval legends and Wagner's operas, it served as the model for Disney's Sleeping Beauty Castle. Despite its grandeur, the castle was never completed. Today, it's one of Germany's most popular tourist attractions, drawing millions of visitors annually. Linderhof Palace: is a small but ornate royal villa in Bavaria, Germany, built by King Ludwig II in the late 19th century. Inspired by French Baroque architecture, particularly Versailles, it features lavish interiors, including mirrors, gold accents, and intricate frescoes. The palace is surrounded by beautiful, formal gardens with fountains, pavilions, and the famous Venus Grotto, an artificial cave designed for Ludwig's private opera performances. Linderhof is the only one of Ludwig's palaces he saw fully completed, and it reflects his love for solitude and opulence. Salzburg: A charming Austrian city with cobbled streets and mountain scenery that's worth a day trip from Munich! The views of the Eastern Alps are breathtaking!   The Bavarian region in the fall provides amazing views of autumn nestled between mountains, providing breathtaking hikes. This is an area of the world that should be on everyone's Europe bucket list!   Reference https://www.neuschwanstein.de/englisch/tourist/ https://www.schlosslinderhof.de/englisch/palace/history.htm https://www.salzburg.info/en   HOW TO USE WD-40 ON PUMPKINS People are already buying large amounts of WD-40 for Halloween. WD-40 Preserves Pumpkins According to WD-40, Pro-Tip: After you're done carving, spray your pumpkin with a light coating of WD-40® Multi-Use Product. Not only does it grant extra shine, but the coating will help the pumpkin last a bit longer and delay the onset of decay. Be sure not to spray near a lit candle and wipe away any excess liquid with a cloth or rag. Why To Use WD-40 On Pumpkins Hydration: WD-40's ingredients help keep pumpkins hydrated. Moisture resistance: WD-40 repels moisture from the outside.  Freezing resistance: WD-40 can help pumpkins resist freezing temperatures.  Shine: WD-40 gives pumpkins a shiny exterior. Insect repellent: WD-40 can repel insects from pumpkins. Tips for using WD-40 on Pumpkins:  Spray: Apply a light coating of WD-40 to the pumpkin's surface with the wide spray nozzle.  Excess liquid: Wipe away any excess liquid with a cloth or rag. Flammable: WD-40 is flammable, wait at least 24 hours before putting a lit candle inside the pumpkin. Instead, use LED lights, battery-powered lights, or glow sticks.  Other ways to preserve pumpkins: Spraying with a bleach solution, Spraying with a pumpkin spray, Rubbing with petroleum jelly, and Storing in plastic bags in the refrigerator. Reference

DescriptionRoyal Harmonies: The Musical Splendor of France's Grand Court in 60 Seconds. Take a minute to get the scoop!Fun FactJean-Baptiste Lully, the master of French Baroque, is best known for his opera Armide and the grand ballet Le Bourgeois Gentilhomme. His work defined the court of Louis XIV, with the king himself often dancing in his productions. Lully's music, characterized by its rhythmic precision and grandeur, set the standard for French opera and ballet, making his compositions central to the opulent cultural life of the Sun King's Versailles.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

In January 2024, Finnish accordionist/conductor Janne Valkeajoki released a captivating album of music by French Baroque composer Jean-Philippe Rameau, which Valkeajoki himself arranged for his instrument. Raymond Bisha's conversation with the performer delves into the various musical transformations and performance mechanics that were involved in the masterly transfer from harpsichord strings to accordion reeds.

This Day in Legal History: The Stamp Act of 1765On this day, March 22, 1765, a pivotal event in the prelude to the American Revolution occurred when the British Parliament enacted the Stamp Act. This legislation required that a wide array of documents within the American colonies—ranging from newspapers and legal documents to playing cards and dice—be printed on specially stamped paper produced in London, carrying an embossed revenue stamp. This act marked the first direct tax imposed by Britain on its American colonies, designed to raise funds to pay for the British troops stationed in North America after the French and Indian War.The Stamp Act ignited a firestorm of protest across the American colonies. Colonists united under the banner of "No taxation without representation," arguing that the British Parliament had no authority to levy taxes on them since they were not represented in the House of Commons. This principle challenged the very foundation of British authority in the colonies and set the stage for the escalating conflict that would eventually lead to the American Revolution.The colonies' response was swift and decisive. By October 1765, the Stamp Act Congress convened in New York City, bringing together representatives from nine of the thirteen colonies. This Congress was a significant step towards colonial unity, drafting a detailed petition to King George III and the British Parliament, demanding the repeal of the Stamp Act. They argued that only their own colonial assemblies had the legal authority to tax them.The Act also spurred the formation of secret societies, such as the Sons of Liberty, which organized protests and even intimidated stamp distributors, leading many to resign. The widespread boycott of British goods by American colonists further strained economic relations between the colonies and the mother country.The colonial resistance had a profound impact. By March 1766, less than a year after its enactment, the Stamp Act was repealed by Parliament, marking a significant victory for colonial opposition. However, the relief was short-lived as Parliament passed the Declaratory Act, asserting its right to legislate for the colonies "in all cases whatsoever," setting the stage for future conflicts.The Stamp Act and its repeal were crucial moments in American legal and political history, illustrating the colonies' growing resolve to govern themselves and laying the groundwork for their eventual fight for independence. This day marks not just a legislative act but a moment that galvanized the American spirit of liberty and self-determination.Law firms are reinforcing their diversity, equity, and inclusion (DEI) initiatives in response to conservative criticism and economic downturns, which have jeopardized recent advancements in diversity. Initiatives like increasing DEI education and clarifying the inclusivity of their programs are among the steps taken by firms such as Davis Wright Tremaine and Foley & Lardner. This response aims to sustain the progress made following the widespread calls for racial justice after George Floyd's murder in May 2020, which had led to a notable increase in the hiring of women and people of color. However, a Supreme Court decision and subsequent legal threats have pressured firms to modify their DEI practices, leading to a decline in the hiring of diverse candidates. The industry has witnessed a reduction in requests for diverse candidates and a significant drop in hiring amid a challenging economic climate, with global deal activity and recruitment of third-year law students declining. Despite these challenges, law firms remain committed to their diversity goals, as evidenced by the resilience of DEI fellowship programs and the positive outcomes for diversity fellows. This commitment is seen as crucial in maintaining diversity within the legal profession, despite the current political and economic headwinds.Law Firms Boost Diversity Defenses After Conservative BacklashIn a significant legal ruling, Sysco Corp. has been granted permission by a federal judge in Illinois to transfer its claims in a major chicken price-fixing lawsuit to Burford Capital Ltd., the external financier that provided $140 million in funding for the litigation. This decision comes after Burford Capital opposed Sysco's intentions to settle some of the claims for what it considered an insufficient amount, leading to an agreement that Burford would assume control of the claims. The move faced opposition from meat producers, who argued that Burford, being an outsider to the direct litigation, should not be allowed to take over the cases. This stance was somewhat supported by a previous ruling in Minnesota, where a judge denied a similar request by Burford to substitute itself in pork and beef price-fixing lawsuits, citing concerns that the funder's profit motives could obstruct settlement efforts. However, Judge Thomas M. Durkin's approval of Burford's substitution in the chicken litigation case marks a departure, emphasizing that such arrangements are increasingly common in modern litigation. This decision represents a notable victory for Burford Capital in its strategic litigation financing endeavors, highlighting the evolving dynamics of legal funding and the roles of external investors in litigation.Burford Notches Win in Quest to Take Over Sysco Chicken LawsuitsThe U.S. government's antitrust lawsuit against Apple, alleging monopolistic practices in the smartphone market, echoes the landmark 1998 case against Microsoft. However, legal experts believe that the differing market dynamics between Apple's current smartphone dominance and Microsoft's past control over desktop software present unique challenges for the government's case. The lawsuit accuses Apple of stifling competition and innovation through restrictive app developer policies, potentially leading to higher consumer prices. Apple, holding a 55% share of the North American smartphone market, contrasts with Microsoft's 95% desktop OS market share in the 1990s, suggesting a less clear-cut case of monopolistic behavior. Additionally, Apple faces significant global competition from Android, which commands a strong market presence outside North America. A previous antitrust case brought by Epic Games against Apple did not find that Apple users were unduly "locked-in" to its ecosystem, potentially complicating the government's position. Nonetheless, the Department of Justice and the Biden Administration's Federal Trade Commission are pursuing the case, reflecting a willingness to challenge big tech companies to foster competition and innovation in the sector.Apple antitrust suit mirrors strategy that beat Microsoft, but tech industry has changed | ReutersIn my column this week, I examine President Joe Biden's proposed housing tax credit, highlighted in his state of the union address, which aims to alleviate the financial burden for homeowners amidst high mortgage rates. I argue that while the intention behind the tax credit is commendable, its focus on demand rather than supply could exacerbate the existing housing imbalance. To truly foster homeownership, I suggest reforms to the Low-Income Housing Tax Credit (LIHTC) program to incentivize the construction of affordable homes. I also discuss the stalled Affordable Housing Credit Improvement Act of 2023 and propose radical supply-side reforms, such as more permissive tax-exempt financing for developers, to address the affordability crisis effectively.I critique the tax credit proposal for potentially favoring those who can afford higher upfront costs, thus disadvantaging lower-income buyers who need immediate relief. This, coupled with the proposal's year-end application, could inadvertently sideline the very demographic it aims to help. Moreover, without addressing the supply side of affordable housing, the policy might inflate prices further, making homeownership less accessible for first-time and lower-income buyers. Despite the good intentions behind Biden's proposal, I stress that solving the affordable housing crisis requires a comprehensive approach that balances supply and demand, and caters to the immediate financial needs of aspiring homeowners. Policymakers must prioritize long-term strategies over temporary fixes to ensure that homeownership is attainable for all Americans.Biden Housing Tax Credit Targets Demand, but Supply Is the IssueThis week's closing theme is by Jean Baptiste Lully.Jean-Baptiste Lully, born Giovanni Battista Lulli in Florence, Italy, in 1632, became one of the most influential composers of the French Baroque era and a founding father of French opera. His journey from Italian immigrant to the court composer for King Louis XIV of France is a remarkable tale of talent, ambition, and transformation. Lully's mastery of music and his ability to mirror the grandeur of the Sun King's reign through his compositions led him to become the superintendent of the king's music and the director of the Royal Academy of Music.Moving to France in his teens, Lully initially served as a dancer and violinist at the court of Louis XIV. His exceptional musical skills soon caught the attention of the king, leading to his appointment as the court composer. Lully's close relationship with Louis XIV allowed him to monopolize French opera, a position he maintained through a mix of talent and shrewd manipulation. He significantly contributed to the development of the tragédie lyrique, a genre combining French classic drama and ballet with music, which became immensely popular in the 17th century.One of Lully's most enduring works is "Le bourgeois gentilhomme," a comédie-ballet created in collaboration with the playwright Molière. First performed in 1670, this piece was commissioned by Louis XIV and is a satirical take on the pretensions of the social-climbing merchant class. The suite from "Le bourgeois gentilhomme," particularly its overture, showcases Lully's genius in blending witty musical themes with the elegance and majesty of the French court. The overture, with its lively and refined character, sets the tone for a work that is both entertaining and a subtle critique of contemporary society.Lully's influence extended beyond the confines of the opera house and the court, shaping the future of French music and leaving a legacy that endured well into the 18th century and beyond. His death in 1687, caused by gangrene from a wound sustained while conducting, marked the end of an era. Yet, through compositions like "Le bourgeois gentilhomme," Lully's genius continues to be celebrated for its pivotal role in the development of Western classical music.Without further ado, the overture from “Le bourgeois gentilhomme,” by Jean Baptiste Lully. Get full access to Minimum Competence - Daily Legal News Podcast at www.minimumcomp.com/subscribe

SynopsisOn today's date in 1693, a new opera based on an old legend had its premiere performance at the Académie de la Musique in Paris. The new opera was by French Baroque composer Marc-Antoine Charpentier. The old legend was that of Medea, the sorceress who murdered her children to avenge her abandonment by their father, the Greek hero Jason.Charpentier's Médée (to give his opera its French title) was well received by its first audiences. The most celebrated French soprano of her day sang the title role, but one contemporary critic, impressed by Charpentier's achievement, wrote, “The emotions are so vivid, that even if the role were only spoken, the opera would not fail to make a great impression.”In the three centuries following Charpentier's opera, many other musicians have taken up the Medea legend as well. In 1980, American composer Jacob Druckman took themes from three famous Medea operas and worked these into a three-movement orchestral suite, Prisms, with Charpentier's version of Medea having pride of place and quoted in the first movement of Druckman's score.Music Played in Today's ProgramMarc-Antoine Charpentier (1635 – 1704) Médée; Les Arts Florissants; William Christie, cond. Harmonia Mundi 90.1139/41Jacob Druckman (1928 – 1996) Prism; New York Philharmonic; Zubin Mehta, cond. New World 335

A quick look at Baroque art so that you can understand the various genres, specifically Italian Baroque, Spanish Baroque, French Baroque, and Dutch Baroque. Lyndeurozone.com  Patreon If you use this podcast regularly would you please consider supporting us on Patreon for as little as a dollar a month?  The Euro Simplified Podcast has no advertising revenue and is produced by a public school teacher.  We love and appreciate our supporters on Patreon as our supporters help us meet the costs associated with the production of this free resource for students. Episodes will be released on the following schedule: Unit 1 and Unit 2 - August/September Unit 3: October Unit 4: November Unit 5: November and December Unit 6: January Unit 7: Late January & February Unit 8 : March Unit 9: April   If you have any questions you can contact Robert Lynde at Lyndeurozone.com.   Instagram: @Lyndeurozone

SynopsisAround this time in 1956, the hot ticket on Broadway was for a musical based on the old Greek legend of Pygmalion, a sculptor so good that he fell in love with one of his beautiful female statues. The playwright, George Bernard Shaw, had updated the legend to modern-day London, and in 1956, the Broadway team of Lerner and Loewe had in turn transformed Shaw's stage play into the smash Broadway musical, My Fair Lady.But 208 years before all that, on today's date in the year 1748, ANOTHER very successful musical adaptation of the Pygmalion legend opened in Paris. This Pygmalion was an opera-ballet by the great French Baroque composer, Jean-Philippe Rameau. Rameau was born in 1683, two years earlier than Bach and Handel, but unlike them, was something of a late bloomer. He was 50 before he became famous, and his opera-ballet Pygmalion opened shortly before his 65th birthday. Rameau was famous for imitating natural sounds and noises in his music. One of Rameau's contemporaries, in praising the overture to Pygmalion, even suggested the repeated notes of Rameau's theme represented the chipping of Pygmalion's chisel as he worked on his lovely creation.Music Played in Today's ProgramJean-Philippe Rameau (1683 – 1764) Pygmalion La Petite Bande; Gustav Leonhardt, conductor. BMG/Deutsche Harmonia Mundi 77143

Professor of French and French Studies (University of the South) JULIAN LEDFORD brings to life the historical Joseph Bologne, Chevalier de Saint-George who is dramatized in the film CHEVALIER by Kelvin Harrison Junior in the title role. CHEVALIER highlights Joseph Bologne's improbable rise in French society as a celebrated violinist-composer, horseman, and fencer. Saint-George is bestowed the title of Chevalier by the French Royal Court and is a favorite of Marie Antoinette Ledford shines the light on the many accomplishments and provides the social and cultural context in which Chevalier de Saint-George was acclaimed, including his transcendence of France's racial codes in the 18th century. Julian Ledford, Assistant Professor of French and French Studies at the University of the South in Sewanee, Tennessee. Professor Ledford specializes in early-modern French and Francophone literature with a particular focus on Joseph Bologne, the Chevalier de Saint-George, and 18th-century women writers' contributions to discussions on masculinities.  Professor Ledford's additional research interests include ethnic, racial, and sexual alterity in the early 18th century; French Baroque opera; and second language teaching and learning. Professor Ledford's article  “Joseph Boulogne, the Chevalier de Saint-George and the Problem With Black Mozart” appeared in the Journal of Black Studies in 2019.   TRANSCRIPT TIMESTAMPS 0:08 - Intro to Historical Drama with The Boston Sisters (Podcast Intro) 1:27 - CHEVALIER Film synopsis 3:46 - Julian Ledford Introduction 4:45 - Discovering Joseph Bologne, Chevalier de Saint-George 11:39 - The Problem with “Black Mozart” 18:22 - Saint-George's Musical Contemporaries 23:32 - The Magnetism of Saint-George 29:08 - Break 29:39 - Africans and Black Codes in 18th Century France 35:33 - Saint-George and “Black Excellence” 41:58 - Saint-George's Contributions to Classical Music 43:57 - Student Reactions to CHEVALIER 47:36 - “Ernestine,” Saint-George's First Opera  50:10 - Impact of the CHEVALIER Film 52: 55 - Lightning Round: Becoming Saint-George's Musicologist, Historian, Documenter Jamaican Flag, Music Note, Compass 57:30 - Where to Watch CHEVALIER Online (CHEVALIER available for streaming June 2023) 57:57 - Connect with Historical Drama with The Boston Sisters 59:25 - Podcast Credits and Disclaimers STAY ENGAGED with HISTORICAL DRAMA WITH THE BOSTON SISTERS LISTEN to past past podcasts starting with the guests featured in this bonus episode SIGN UP for our mailing list SUBSCRIBE to the podcast on your favorite podcast platform You can SUPPORT this podcast on Anchor or SHOP THE PODCAST on our affiliate bookstore Thank you for listening! --- Support this podcast: https://podcasters.spotify.com/pod/show/historicaldramasisters/support

Guitarist Raphaël Feuillâtre talks to Gramophone Editor Martin Cullingford about his debut album for Deutsche Grammophon, Visages Baroque, which weaves a programme of arrangements of music by French Baroque composers around two major pieces by Bach. This Gramophone Podcast is produced in association with Wigmore Hall. 

Pianist and radio host Sarah Cahill joins us for a thoughtful discussion about her ongoing performance and recording project The Future is Female. She's recently released the second album in the series, subtitled The Dance, with ten tracks by women across time and space, from the French Baroque composer Élisabeth Jacquet de La Guerre to the modern-day composer, cellist, and vocalist Theresa Wong, whom Sarah commissioned for this disc.

[@ 6 min] George goes ‘Inside the Huddle' for a double header with two of the team behind “Gods of the Game”, the football opera that opened at Grange Park Opera in England. The discussion kicks off with company's founder and chief executive Wasfi Kani and concludes with cast member Milly Forrest… [@ 33 min] Friend of the Show Larry Brownlee takes a ‘Free Throw' on the comic-tragic role of Rameau's Platée, the star bel canto tenor's first French Baroque role… [@ 40 min] In the ‘Two Minute Drill'… With government funding for British opera houses in turmoil, English National Opera may put the company's home court advantage at risk…. Next week, we go ‘Inside the Huddle' with soprano Megan Gillis... Join us! SHOW NOTES Lawrence Brownlee: https://www.youtube.com/watch?v=RUfgrHrEs1g Good Call: https://www.npr.org/sections/goatsandsoda/2022/11/06/1127221864/when-she-left-ukraine-an-opera-singer-made-room-for-a-most-precious-possession operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

A quick look at Baroque art so that you can understand the various genres, specifically Italian Baroque, Spanish Baroque, French Baroque, and Dutch Baroque. Do you want to get that 5?  Enter code “GO4FIVE” at checkout for 25% OFF the Lyndeurozone Online Resources! Online access expires June 15th, 2023. Lyndeurozone.com  Patreon If you use this podcast regularly would you please consider supporting us on Patreon for as little as a dollar a month?  The Euro Simplified Podcast has no advertising revenue and is produced by a public school teacher.  We love and appreciate our supporters on Patreon as our supporters help us meet the costs associated with the production of this free resource for students. Episodes will be released on the following schedule: Unit 1 and Unit 2 - August/September Unit 3: October Unit 4: November Unit 5: November and December Unit 6: January Unit 7: Late January & February Unit 8 : March Unit 9: April If you have any questions you can contact Robert Lynde at Lyndeurozone.com. Instagram: @Lyndeurozone

Our featured opera composer for September 2022.Jean-Baptiste Lully, born Giovanni Battista Lulli,  28 November 1632 – 22 March 1687, was an Italian-born French composer, instrumentalist, and dancer who is considered a master of the French Baroque music style. Best known for his operas, he spent most of his life working in the court of Louis XIV of France and became a French subject in 1661. He was a close friend of the playwright Molière, with whom he collaborated on numerous comédie-ballets, including L'Amour médecin, George Dandin ou le Mari confondu, Monsieur de Pourceaugnac, Psyché and his best known work, Le Bourgeois gentilhomme.Purchase the music (without talk) at:Jean-Baptiste Lully (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Emmanuelle Haïm est une grande spécialiste de la musique baroque et une claveciniste internationale de renom. Son ensemble, le Concert d'Astrée fête ses 20 ans. Pour célébrer cette évènement, un double album intitulé « Une nouvelle fête baroque » est sorti chez Warner Classics/Erato. La presse anglo-saxonne l'a surnommée, « The Mrs Dynamite of French Baroque ». C'est dire si la réputation d'Emmanuelle Haïm a explosé sur les plus grandes scènes internationales. Cela fait un peu plus de 20 ans maintenant que l'ensemble - le Concert d'Astrée - que cette claveciniste et cheffe d'orchestre a fondé, partage avec tous les publics, les incontournables, mais aussi des œuvres moins jouées de Rameau, Haendel, Purcell ou Monteverdi, en collaboration avec les plus grands metteurs en scène. Alors pour fêter ses 20 ans, le concert d'Astrée a donné deux concerts de gala, l'un à Paris au Théâtre des Champs-Elysées, l'autre au Staatsoper de Berlin, avec de très grandes voix lyriques. Deux concerts qui ont donné naissance à un double album intitulé « Une nouvelle fête baroque » disponible chez Warner Classics / Erato. Emmanuelle Haïm est l'invitée de Jean-François Cadet. Reportage : Direction la Côte d'Ivoire à présent. Dans la région des Grands Ponts, un village est quotidiennement menacé par l'océan. Le réalisateur Simon Coulibaly-Gillard a souhaité filmer le combat de ses habitants à travers les yeux d'Aya, l'adolescente qui a donné son nom à ce long-métrage touchant. Il est diffusé cette nuit, mercredi à minuit sur France 2. Amélie Beaucour l'a visionné pour VMDN.

Synopsis Maurice Ravel's orchestral suite "Le Tombeau de Couperin" was premiered in Paris on this day in 1920. It had started out as a suite of solo piano pieces, intended as a tribute to the great French Baroque composer François Couperin – or, as Ravel wrote, “not so much to Couperin himself, as to 18th-century French music in general.” Although the French word “tombeau” translates literally as “tomb,” it also signifies a musical piece paying tribute to a past master, in the English sense of “in memoriam.” In that spirit, Ravel dedicated each movement of his suite to friends of his  killed during World War I. Although the “tombeau” as a musical form has been associated almost exclusively with French composers, one contemporary American composer has used the form as well, albeit with more wickedly satirical intent. Michael Daugherty's “Tombeau de Liberace” jokingly references the late pianist and showman, a kitschy icon of 20th century American pop culture. Michael Daugherty says (quote), “Starting from the vernacular idiom, I have composed ‘Le Tombeau de Liberace' as a meditation on the American sublime: a lexicon of forbidden music. It is a piano concertino in four movements, each creating a distinct Liberace atmosphere.” Music Played in Today's Program Maurice Ravel (1875 - 1937) — Le tombeau de Couperin (Saint Paul Chamber Orchestra; Hugh Wolff, cond.) Teldec 74006

Synopsis When you were a kid, did your mother warn you about playing with sharp sticks? Well, conductors play with sharp sticks, and it CAN prove dangerous. In 1976, while conducting Mozart's “The Marriage of Figaro” at New York's Metropolitan Opera, conductor Sir Georg Solti managed to stab himself in the forehead with his own baton during the third act, causing quite a bloody mess. It's said that Solti had already broken two batons during Acts I and II but managed not to hurt anyone. Before batons came into common use in the early 19th century, musicians just used their hands or a rolled-up piece of music paper to keep time. Unfortunately for him, the famous Italian-born French Baroque composer Jean-Baptiste Lully chose to employ a long, heavy staff when he was conducting.  He was thumping out the beat during a performance of his own “Te Deum” on today's date in 1687, and, like Solti, must have gotten carried away and accidentally smashed the staff into his toe. He continued conducting, but an abscess soon developed in the self-inflicted wound, followed by gangrene which spread through his lower leg and Lully died a few weeks later. Music Played in Today's Program Jean-Baptiste Lully (1632-1687) — Galliarde, from Trios pour le coucher du Roi (Chicago Baroque Ensemble) Cedille 043

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Just another day in utopia, published by Stuart_Armstrong on the AI Alignment Forum. (Reposted from discussion at commentator suggestion) Thinking of Eliezer's fun theory and the challenge of creating actual utopias where people would like to live, I tried to write a light utopia for my friends around Christmas, and thought it might be worth sharing. It's a techno-utopia, but (considering my audience) it's only a short inferential distance from normality. Just another day in Utopia Ishtar went to sleep in the arms of her lover Ted, and awoke locked in a safe, in a cargo hold of a triplane spiralling towards a collision with the reconstructed temple of Solomon. Again! Sometimes she wished that a whole week would go by without something like that happening. But then, she had chosen a high excitement existence (not maximal excitement, of course – that was for complete masochists), so she couldn't complain. She closed her eyes for a moment and let the thrill and the adrenaline warp her limbs and mind, until she felt transformed, yet again, into a demi-goddess of adventure. Drugs couldn't have that effect on her, she knew; only real danger and challenge could do that. Right. First, the safe. She gave the inner door a firm thud, felt it ring like a bell, heard the echo return – and felt the tumblers move. So, sound controlled lock, then. A search through her shoes produced a small pebble which sparked as she dashed it against the metal. Trying to ignore the ominous vibration as the triplane motor shook itself to pieces, she constructed a mental image of the safe's inside from the brief flashes of light. Symmetric gold and gilded extravagances festooned her small prison – French Baroque decorations, but not yet Roccoco. So Louis XIV period. She gave the less visited parts of her mind a good dusting, trying to remember the tunes of Jean Batiste Lully, the period's most influential composer. She hoped it wasn't any of his ballets; she was much better with his operas. The decorations looked vaguely snake-like; so she guessed Lully's ‘Persée' opera, about the death of the medusa. The engine creaked to a worrying silence as she was half-way through humming the Gorgon theme from the opera. Rushing the rest of the composition, she felt the door shift, finally, to a ten-times speeded up version of Andromeda's response to Perseus's proposal. She kicked the door open, exploded from the safe, took in the view of the temple of Solomon rushing up towards her, seconds away, grabbed a picture from the floor, grabbed an axe from the wall, hacked off one of the wings with three violent cuts, and jumped out of the plane after it. Behind her, the plane disintegrated in midair as the temple lasers cut it to shreds and she fell through space, buffeted by the wind, not losing her grip on to the mangled wing. She had maybe thirty seconds to tie herself to the wing, using the object's own canvas as binding, and she rushed through that. The Machines wouldn't allow the fall to kill her, of course, but it would hurt quite a bit (another of her choices – she'd allowed herself to feel moderate amounts of pain), put back her attempts to ever find Ted, and, most importantly of all, be crushingly embarrassing socially. Once she was lashed to the plummeting piece of wood and canvas, and she was reasonably confident that the fall was slow enough, and her knots secure enough, she finally looked at the photograph she had grabbed during her explosive exit from the plane. It showed Ted, trussed up in chains but smiling and evidently enjoying the novel experience. Underneath was finely engraved note saying “If you ever want to see your lover again, bring me the missing Stradivarius by noon tomorrow. Nero the 2nd”. Each capital letter was beautifully decorated with heads on spikes. So! It seemed that her magnific...

A quick look at Baroque art so that you can understand the various genres, specifically Italian Baroque, Spanish Baroque, French Baroque, and Dutch Baroque. Lyndeurozone.com Would you please consider giving the show a rating on Apple Podcasts and leaving a comment on Apple Podcasts/iTunes? It takes less than 60 seconds and it really makes a difference helping to get the word out about the podcast. We could use your help! Our goal is to keep the Lyndeurozone Euro Simplified Podcast a free resource for the students that use it, but our costs are substantial. If you use this podcast regularly would you please consider supporting us on Patreon for as little as a dollar a month?  We also have subscription tiers at our Patreon that allow you to access the Lyndeurozone study files, slides that correspond to the podcasts, and tutorials to help you prepare for your exams.  Head on over to our Patreon and check out what we have to offer our subscribers. Remember, Robert Lynde offers tutoring services to help you master the skills required to succeed in AP Euro and tutoring sessions can be offered online and in person. You can get more information at Lyndeurozone.com. Episodes will be released on the following schedule: Unit 1 and Unit 2 - August/September Unit 3: October Unit 4: November Unit 5: December Unit 6: January Unit 7: February Unit 8 : March Unit 9: April If you have any questions you can contact Robert Lynde at Lyndeurozone.com. Instagram, Twitter, and Facebook: @Lyndeurozone

North Idaho pianist and music educator Melody Puller rejoins us for an hour with Jim Tevenan around the music of one of the greats of the French Baroque, Jean-Philippe Rameau.

North Idaho pianist and music educator Melody Puller rejoins us for an hour with Jim Tevenan around the music of one of the greats of the French Baroque, Jean-Philippe Rameau.

The Repentant Magdalen is a work by Georges de la Tour, a French Baroque artist. This painting is one of the many Baroque paintings in the collection of the National Gallery of Art. However, the motivation for using common Baroque techniques is not quite the same. Learn more about this piece by listening to this episode! --- Support this podcast: https://anchor.fm/before-you-go/support

On today’s date in 1693, a new opera based on an old legend had its premiere performance at the Académie de la Musique in Paris. The new opera was by the French Baroque composer Marc-Antoine Charpentier. The old legend was that of Medea, the sorceress who murdered her own children to avenge her abandonment by their father, the Greek hero, Jason. Charpentier’s “Médée” (to give his opera its French title) was well received by its first audiences. The most celebrated French soprano of her day sang the title role, but one contemporary critic, impressed by Charpentier’s achievement, wrote, “The emotions are so vivid, that even if the role were only spoken, the opera would not fail to make a great impression.” In the three centuries following Charpentier’s opera, many other musicians have taken up the Medea legend as well. In 1980, the American composer Jacob Druckman took themes from three famous Medea operas and worked these into a three-movement orchestral suite entitled “Prisms,” with Charpentier’s version of “Medea” having pride of place and quoted in the first movement of Druckman’s score.

On today’s date in 1693, a new opera based on an old legend had its premiere performance at the Académie de la Musique in Paris. The new opera was by the French Baroque composer Marc-Antoine Charpentier. The old legend was that of Medea, the sorceress who murdered her own children to avenge her abandonment by their father, the Greek hero, Jason. Charpentier’s “Médée” (to give his opera its French title) was well received by its first audiences. The most celebrated French soprano of her day sang the title role, but one contemporary critic, impressed by Charpentier’s achievement, wrote, “The emotions are so vivid, that even if the role were only spoken, the opera would not fail to make a great impression.” In the three centuries following Charpentier’s opera, many other musicians have taken up the Medea legend as well. In 1980, the American composer Jacob Druckman took themes from three famous Medea operas and worked these into a three-movement orchestral suite entitled “Prisms,” with Charpentier’s version of “Medea” having pride of place and quoted in the first movement of Druckman’s score.

Around this time in 1956, the hot ticket on Broadway was for a musical based on the old Greek legend of Pygmalion, a sculptor so good that he fell in love with one of his beautiful female statues. The playwright, George Bernard Shaw, had updated the legend to modern-day London, and in 1956, the Broadway team of Lerner and Loewe had in turn transformed Shaw’s stage play into the smash Broadway musical, “My Fair Lady.” But 208 years before all that, on today’s date in the year 1748, ANOTHER very successful musical adaptation of the Pygmalion legend opened in Paris. This “Pygmalion” was an opera-ballet by the great French Baroque composer, Jean-Philippe Rameau. Rameau was born in 1683, two years earlier than Bach and Handel, but unlike them, was something of a late bloomer. He was 50 before he became famous, and his opera-ballet “Pygmalion” opened shortly before his 65th birthday. Rameau was famous for imitating natural sounds and noises in his music. One of Rameau’s contemporaries, in praising the overture to “Pygmalion,” even suggested the repeated notes of Rameau’s theme represented the chipping of Pygmalion’s chisel as he worked on his lovely creation.

Around this time in 1956, the hot ticket on Broadway was for a musical based on the old Greek legend of Pygmalion, a sculptor so good that he fell in love with one of his beautiful female statues. The playwright, George Bernard Shaw, had updated the legend to modern-day London, and in 1956, the Broadway team of Lerner and Loewe had in turn transformed Shaw’s stage play into the smash Broadway musical, “My Fair Lady.” But 208 years before all that, on today’s date in the year 1748, ANOTHER very successful musical adaptation of the Pygmalion legend opened in Paris. This “Pygmalion” was an opera-ballet by the great French Baroque composer, Jean-Philippe Rameau. Rameau was born in 1683, two years earlier than Bach and Handel, but unlike them, was something of a late bloomer. He was 50 before he became famous, and his opera-ballet “Pygmalion” opened shortly before his 65th birthday. Rameau was famous for imitating natural sounds and noises in his music. One of Rameau’s contemporaries, in praising the overture to “Pygmalion,” even suggested the repeated notes of Rameau’s theme represented the chipping of Pygmalion’s chisel as he worked on his lovely creation.

It was on today's date in 1745 that a 73-year-old French Baroque composer named Antoine Forqueray died in Mantes-la-Jolie outside Paris, where he had lived after his retirement as a court musician to King Louis XIV of France. Forqueray was a virtuoso on the viola da gamba, a bowed string instrument popular in the 17th and 18th centuries, but which is nowadays played mainly by specialists in old music. At the tender age of 10, Forqueray played before Louis XIV. Seven years later he landed a job at the Court of Versailles. In Forqueray's day the other great French gamba virtuoso and composer was Marin Marais, noted for his introspective, sweet, and gentle style of playing. Forqueray's style was the polar opposite: extroverted and bold, even brash. People said Marais played like an angel, and Forqueray like the devil. Forqueray's style was so distinctive that three other French composers of the day, Jean-Philippe Rameau, François Couperin, and Jacques Duphly, each composed a piece named "La Forqueray" in tribute to him. An obituary notice suggested that by the time of Forqueray's death he had composed some three hundred works, but a selection of thirty-two pieces published by Forqueray's son two years after his father's death are the only music by Antoine Forqueray that survives.

It was on today's date in 1745 that a 73-year-old French Baroque composer named Antoine Forqueray died in Mantes-la-Jolie outside Paris, where he had lived after his retirement as a court musician to King Louis XIV of France. Forqueray was a virtuoso on the viola da gamba, a bowed string instrument popular in the 17th and 18th centuries, but which is nowadays played mainly by specialists in old music. At the tender age of 10, Forqueray played before Louis XIV. Seven years later he landed a job at the Court of Versailles. In Forqueray's day the other great French gamba virtuoso and composer was Marin Marais, noted for his introspective, sweet, and gentle style of playing. Forqueray's style was the polar opposite: extroverted and bold, even brash. People said Marais played like an angel, and Forqueray like the devil. Forqueray's style was so distinctive that three other French composers of the day, Jean-Philippe Rameau, François Couperin, and Jacques Duphly, each composed a piece named "La Forqueray" in tribute to him. An obituary notice suggested that by the time of Forqueray's death he had composed some three hundred works, but a selection of thirty-two pieces published by Forqueray's son two years after his father's death are the only music by Antoine Forqueray that survives.

This time I have Bruce Burchmore on the phone. Bruce is a Pilates instructor in Los Angeles. He is also writer, producer, director of a documentary called Harpsichordia. From his website: Bruce Burchmore developed an enduring fascination of the harpsichord repertoire as a graduate student in musicology and early plucked strings performance. His main interest was the 17th- and early 18th-century French repertoires for lute, theorbo and Baroque guitar, and quickly found that a strong knowledge of the contemporary harpsichord schools augmented his expertise in French Baroque music in general. He has several published articles in the New Grove Dictionary of Music and Musicians (2nd. ed.), and is in the process of finalizing a study of the Saizenay manuscripts for solo lute and theorbo, accompanied by a complete modern edition with critical apparatus. We talk about the adventures of making a documentary and so much more. https://www.harpsichordia.com/ Music for all episodes by Jon Griffin. Subscribe and save! Disclaimer; you won’t really save, it’s already free yo. My own YouTube channel: https://www.youtube.com/channel/UCugOLERePPuD4nwtZO-Zwnw?view_as=subscriber My Instagram: joelyshmoley FaceBook: https://www.facebook.com/wereyoustilltalking/ Twitter: @JoelAAlbrecht

There are places all around the world that claim to be haunted. But some places, for whatever reason, are considered to be much more sinister then others. The homes on this list once belonged to real families and over time they’ve gained a seriously scary reputation. These are the 5 most haunted houses in the world. Please support Scary Mysteries! Check out our Patreon at https://www.patreon.com/scarymysteries... - There's a lot of cool access, giveaways and even a custom episode! Buy awesome original shirts made by Scary Mysteries https://newdawnfilm.com/scary-mysteri... Subscribe for Weekly Videos here: https://www.youtube.com/channel/UCiE8... _________________________________________________________ 5 MOST HAUNTED HOUSES IN THE WORLD 5. Borley Rectory - England Dubbed as the “most haunted house in England,” the Borley Rectory sits on the outskirts of England, in the desolate little town of Borley, close to Suffolk. Built by Reverend Henry Bull in 1862, this structure was built in place of an older rectory that had mysteriously burned down years prior. Legend has it that a 13th century Benedictine monastery once stood on the gorunds. One of the monk had fallen in love with a nun who served in a nearby parish and when the two tried to elope together, their love affair was discovered. 4. The Haunted Vicarage - Sweden First built in 1876, this old vicarage sits quietly in the small village of Borvattnet in Northern Sweden. For over 90 years, the vicarage lay peacefully but in 1927 that all began to change. Then head chaplain, Nils Hedlund had moved in during that time and reported experiencing various things he could not explain. In one instance while doing laundry, he went to the attic to gather more of his clothes and when he looked outside, he could see an unseen force pulling clothes from off the line. 3. Chaonei No. 81 - China Also called the Chaonei Church, this old French Baroque building with its distinct red brick walls has become celebrated as “Beijing’s most haunted building.” Historically, it’s unknown who built the actual structure but over the years it’s has served as various government offices during the early years of the People’s Republic of China. By the 60s, the Red Guards stayed in the building but for some reason they made a hasty departure – some say because of the structure’s haunted status. Today, the building is in the care of the Roman Catholic Archdiocese of Beijing, hoever it still remains abandoned. 2. Rose Hall - Jamaica Standing beautifully with its stunning Georgian architecture, you wouldn’t think the Rose Hall Mansion was haunted. By day, it’s a stunning tourist attraction with its white stone walls and impressive stature. But by night, the 650-acre property becomes the object of horror stories and scary tales. 1. Monte Cristo Homestead - Australia In the Australian town of Junee in New South Wales sits a wonderful and charming Victorian home known as the Monte Cristo Homestead. This two-story manor features a gorgeous ornate wraparound balcony and sits on top of a scenic hill overlooking the gorgeous town below. So there were the 5 MOST HAUNTED HOUSES IN THE WORLD Some houses get passed down to various owners through the years without incident. Others, like the ones on this list, have had such horrific pasts, that the original owners, or those they scorend, refuse to ever leave.

Justin Timberlake, Fleetwood Mac, Bruce Hornsby, Django Festival All-Stars, French Baroque, Kevin Hart, Meet Me in St. Louis and Rudolph! 

A quick look at Baroque art so that you can understand the various genres, specifically Italian Baroque, Spanish Baroque, French Baroque, and Dutch Baroque.

Raymond Bisha introduces a new release of music by three Baroque titans: Lully, Telemann and Rameau. The latter two were hugely influenced by the music of Lully, who was powerfully positioned as the chief musician of King Louis XIV of France. Lully left a rich legacy of dramatic music scored for orchestra. It left an indelible impression on all who heard it, with its masterly balance of grandeur and finesse. Yet, unlike the manuscripts of solo and chamber works of the time, Lully left us little clarity regarding the intricate ornamentation that would have been used spontaneously by the performers. Conductor Barthold Kuijken’s painstaking research now restores that beating heart to the music.

Hannah French looks in depth at JS Bach's four orchestral suites, which play something of a Cinderella role to the Brandenburg Concertos. Though they are some of Bach's most festive works, they remain an incomplete set, never published, or even considered a collection in his lifetime. Basically, they are suites of dance-pieces in French Baroque style preceded by an ouverture. This genre was extremely popular in Germany during Bach's day, and he showed far less interest in it than was usual. Telemann left us with 135 examples, Graupner 85 and Fasch a neat 100, so why did such a prolific and accomplished composer as Bach shun the genre? Hannah delves into some of the many recordings of the pieces to find out.

A strong sense of national character pervades French music throughout the ages. Lully, Charpentier, Couperin and Rameau are some of the composers who contributed to a rich period in France’s musical development. Curated by French Baroque specialist Eamonn Dougan, this series allows us the opportunity to immerse ourselves in the musical opulence of the grand siècle of the French Baroque. 24–26 Nov kingsplace.co.uk/FrenchBaroque

Work for chamber orchestra by Chauvon performed by Les Délices on November 23, 2014. Works for voice and chamber orchestra by Rebel and Bourgeois performed by Les Délices on November 23, 2014. Chauvon, Francois: Cinquieme Suite Rebel, Jean-Fery: Selections from Ulysse: Suffriray-je toujours; Saraband; Beaux lieux, vous ne scauriez me plaire Bourgeois, Thomas-Louis: Les Sirenes Homer’s Odyssey is one of the most famous stories in human history. On this podcast, with French Baroque ensemble Les Délices as our guide, we’ll explore the timeless tale through music.Our podcast starts with a work not literally modeled on the Odyssey—Francois Chauvon’s fifth suite. But, as Nagy argues in her smart program notes, this music has a magical quality that listeners might easily hear as evoking the years that Odysseus spent under the spell of the goddess Calypso.After the instrumental suite, we’ll hear a series of vocal works, for which Les Délices is joined by soprano Clara Rottsalk. We start with excerpts by Jean-Fery Rebel’s little-known opera Ulysse. We close the program with another vocal piece inspired by Odysseus: Thomas-Louis Bourgeois’ Les Sirenes. It is—as it sounds—a portrayal of the seductive singing of the Sirens, who try to lure Odysseus and his crew into harm’s way. Fortunately for our hero, their beguiling music is ultimately unsuccessful, and he continues on his journey unscathed.

As part of Radio 3's Baroque Spring season and in the second of this weekend's Early Music Shows dedicated to French Baroque music, Lucie Skeaping explores the relationship between Jean-Philippe Rameau and his main patron Alexandre Le Riche de la Poupelinière.

Peggy Reynolds provides a historical and musical introduction to one of the great works of French Baroque opera, Jean-Philippe Rameau's Hippolyte et Aricie. We hear from Jeanice Brooks, Professor of Music at the University of Southampton, who identifies Rameau as an almost exact contemporary of Handel and Bach, who started his musical career as an organist and theorist and went on to stage lavish operas for Louis XV as 'Compositeur du Cabinet du Roi'. From writer and mythographer Marina Warner, who unfolds the myth which forms the basis of the opera's narrative, and explores the Racine play which inspired Pellegrin's libretto for Rameau's opera. And from Sarah Connolly, who marvels at the richness of invention in Rameau's music and explores the pivotal role of Phèdre, a woman doomed to an unattainable and incestuous love. [Producer: Mair Bosworth for Festival 2013] (Musical extracts used with kind permission of Warner Music)

Lucie Skeaping recreates a possible day in the life of King Louis XIV. Upon waking in his sumptuous bedchamber, the king follows a busy schedule before entertaining guests at supper and retiring late in the evening. At every part of the day, musicians were on hand to entertain him, to soothe him or to trumpet his arrival. Olivier Baumont - harpsichordist and expert on French Baroque music - guides Lucie through the palace of Versailles to illustrate some of the music the king may have heard.

William Christie talks to Antony Craig about conducting Glyndebourne's first French Baroque opera later this month

As part of Radio 3's Baroque Spring season, Lucie Skeaping introduces the first of two Early Music Shows this weekend dedicated to French Baroque music. Today, Lucie explores the relationship between King Louis XIV and his favourite composer - Jean-Baptiste Lully.

A journey through the multi-faceted solo keyboard music that the 18th Century Jean-Philippe Rameau composed in his long career, introduced by Lucie Skeaping. Rameau's first compositions were for the harpsichord and throughout his life he produced a rich and varied collection of short works for the instrument, many of which represent some of the greatest solo keyboard music of the French Baroque. Some of the pieces are dances; others are explorations of compositional and keyboard techniques; while others again are "character pieces" with colourful titles such as "The Wild", "The Lame" and "The Indifferent". Lucie Skeaping looks back over the music, explaining a little about the ideas and background to the pieces, and introduces a range of recordings from Sophie Yates, Christophe Rousset, Celine Frisch and Alexandre Tharaud amongst others.

"Our theme for the CD was "graces" or ornaments and these pieces are all about ornaments."

Lucie Skeaping's thoughts turn to Marc Antoine Charpentier who wrote some of the most engaging Christmas music of the French Baroque including the celebrated Messe de Minuit - a midnight mass for Christmas Eve based on popular French carols. A remarkably gifted composer from the reign of Louis XIV, Charpentier spent much of his life pushed into the shadows by the all-powerful and controlling Jean-Baptiste Lully. Much of his life was spent in the service of Mlle de Guise and for the Jesuit College in Paris for whom he wrote many of his wonderful Christmas pieces inspired by popular French carols.

Music of Henry Purcell and the French Baroque on the ATMA Classique label.

Selected Duets for Flute, Page 57 Number 14, German Gavotte, performed by David Summer. The composer of this duet, Nicolas Chédeville, was a French Baroque composer who was well known for his proficiently on an instrument called the musette. The musette (also known as a musette de cour or baroque musette) is an instrument that is similar to a bagpipe. It was popular in the 1700’s and used in a wide variety of music including chamber music and operas. This German Gavotte contains several notations resembling a + (plus) sign. This is a notation that was used during the Baroque period to indicate a short trill. The metronome setting for this performance is quarter note = 76.