Podcast appearances and mentions of George Frideric Handel

Fullness of Joy (My Soul Among Lions / Jody Killingsworth)https://songbook.warhornmedia.com/songs/psalm-16-fullness-of-joy-msal/ https://www.youtube.com/watch?v=crGl1F-q_-Q Fullness of Joy (Caroline Cobb feat. Shane Barnard / Caroline Cobb)https://carolinecobb.bandcamp.com/track/fullness-of-joy-feat-shane-barnard-psalm-16#lyricshttps://www.youtube.com/watch?v=H6uVZ7oEyLs God of Refuge (Psalm 16)Greg de Blieck|John WyethNew Scottish Hymns Bandhttps://newscottishhymns.com/song/god-of-refuge-psalm-16/ https://www.youtube.com/watch?v=l5RKgveYnkM I'll Praise God While I Live (AKA The Eternal Joys of Salvation or Pleasures For Evermore) (Anonymous/James McGranahan)https://hymnary.org/text/ill_praise_god_while_i_live Preserve Me, O My God (Psalm 16A) (Trinity Psalter 2016)https://hymnary.org/text/preserve_me_o_my_god This Is All My Joy (Psalm 16) (Brian Moss)https://www.youtube.com/watch?v=RqZkthhGcoQ But Thou didst not leave His soul in hell (George Frideric Handel)https://www.youtube.com/watch?v=Cg8XT0cPGvgMy Portion (Advent Birmingham / Zac Hicks)https://adventbirmingham.bandcamp.com/track/my-portionhttps://www.youtube.com/watch?v=rHBy6KmSQ68Free searchable database of expository songs: https://expositorysongs.com/ Audio version of podcast: https://expositorysongs.buzzsprout.com/ Abe & Liza Philiphttps://songsfromscripture.com/https://www.youtube.com/@songsfromscriptureabelizap9473 Psalm 16:8-9 (Always Before Me)Abe & Liza Philiphttps://www.youtube.com/watch?v=zITMXjursNU In Your Presence (Psalm 16:11)Abe & Liza Philiphttps://www.youtube.com/watch?v=0tLDNzveM9A 

In this episode, we talk about how how Jane Austen has solved the problem of the infodump, the realism of the scene with little Walter, how she shows the relations within families, and how events on the walk to Winthrop affect Wentworth's feelings.The characters we discuss Louisa and Henrietta Musgrove. In the historical section, Ellen talks about curates, and for popular culture both Harriet discusses the 2007 ITV film adaptation of Persuasion.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)Maria Edgeworth (reference in the Persuasion footnotes is to A Memoir of Maria Edgeworth with a Selection from her Letters (1867), vold. 2, pp. 5-6.)Character discussion:Irene Collins, Jane Austen and the Clergy (2002)Historical discussion:Anthony Trollope, The Last Chronicle of Barset (1867)Stipendiary Curate Act 1713 Popular culture discussion:Clerkenwell Films, Persuasion (2007) – starring Sally Hawkins and Rupert Penry-JonesWatch on YouTubeStairs on the Cobb (photo)Louisa's fall (this YouTube video shows the same scene from four different adaptations of Persuasion)Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Synopsis On the popular NPR quiz show Wait Wait Don't Tell Me, there is a segment called “Bluff the Listener” where three outlandish news stories are read to a contestant, who then has to guess which one is true. So, for the voice of Bill Kurtis on your home answering machine, which of these really happened in London on today's date in 1732:a) George Frideric Handel got into a sword fight with his Southbank wigmaker, screaming at the poor man, “Donnervetter! In dis vig I luk like ein Pomeranian hund!”b) Handel's especially smooth trip across the Thames to buy said wig provided the inspiration for his famous Water Music, orc) as part of his 47th birthday celebration, choir boys from the Chapel Royal sang and acted in a staged performance of Handel's sacred oratorio Esther in the Crown and Anchor Tavern on the Strand.If you guessed “C” you would be correct. Extra points if you knew that this would be the only staged performance of any of Handel sacred oratorios before the twentieth century, and that in Handel's day there was a ban on presenting staged biblical dramas in public theaters — but not, apparently, in pubs.Music Played in Today's ProgramGeorge Friedrich Handel (1835-1921): Overture from Esther (1732 version); London Handel Orchestra; Laurence Cummings, conductor; SOMM CD-2389

This is an in-between ‘extras' episode. Our episodes are normally not more than an hour in length, which means that we usually have to cut a certain amount of material in the editing. But for Episode 3, we had much more material than usual. So we kept the episode down to an hour, but decided to release an ‘extras' episode, with some of the bits we edited out.It's a bit disjointed, but we hope you enjoy it.THINGS WE MENTIONCharacter discussion:Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950)Historical discussion:The Aubrey & Maturin novels of Patrick O'BrienAdmiral Thomas Cochrane (1775-1860)Popular culture discussion:BBC Film, Persuasion (1995) – starring Amanda Root and Ciarán HindsThe Bounty (1984)CREATIVE COMMONS MUSIC USEDExtract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

In this episode, we talk about how how Jane Austen tells us about the feelings of Anne and Captain Wentworth, and how the narrator captures Anne's emotions; the building up of the relationship between Charles and Mary, and their reaction to Little Charles' accident; Mrs Musgrove's feelings about her son; and Mrs Croft's travels.The character we discuss is Captain Wentworth. In the historical section, Harriet's partner Michael talks about the Navy, and for popular culture both Harriet and Michael discuss 1995 BBC film adaptation of Persuasion.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)Character discussion:First Impressions podcast, ‘Ep 17: Persuading Kristin to Like Persuasion‘, 22 January 2017.Historical discussion:Security to Merchant Ships Act 1707 (6 Ann. c. 65), generally known as the Cruisers and Convoys Act 1708Distribution of prize money: see table on our websitePopular culture discussion:BBC Film, Persuasion (1995) – starring Amanda Root and Ciarán HindsWatch on YouTubeStairs on the Cobb (photo)Louisa's fall (this YouTube video shows the same scene from four different adaptations of Persuasion)Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

In this special episode, we welcome the world-renowned harpsichordist Pierre Hantaï for an insightful conversation about his musical journey, his deep connection with Bach, and the art of interpretation. Hantaï shares his thoughts on early music, historically informed performance, and his personal inspirations that shaped his career. The excerpt played by Pierre in the middle of the episode: from Suite in D Minor, HWV 428: IV. Air & 5 variations by George Frideric Handel. This episode was created with the generous support of the Christoph Merian Stiftung.

When the Handel and Haydn Society found records detailing iconic composer George Frideric Handel's ties to the slave trade, it responded in a way only the organization could: through music and performance. Rather than “canceling” the composer or disavowing the history, two of the society's staff members created “Crossing The Deep,” a special concert series showing the parallels between the choral works of Handel and the spirituals of enslaved Africans in America. We speak with creators Dr. Anthony Trecek-King and Reginald Mobley about what's in store for this year's concerts.

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1=======================================================================DECIDETE HOYDevoción Matutina para Jóvenes 2024Narrado por: Daniel RamosDesde: Connecticut, Estados Unidos===================|| www.drministries.org ||===================28 DE DICIEMBRE¿CÓMO ADORAS A DIOS?«Vengan, adoremos de rodillas; arrodillémonos delante del Señor, pues él nos hizo» (Salmo 95: 6). E113 de abril de 1742 el salón de conciertos de Dublín, Irlanda, estaba repleto por el público que había acudido a escuchar por primera vez un oratorio compuesto por el célebre músico George Frideric Handel. La música y el canto que resonaron en aquel lugar fueron impresionantes y grandiosos. Poco después, el oratorio fue presentado ante el rey y su corte, y cuando la música y el canto aumentaron gradualmente en intensidad hasta alcanzar un magnífico crescendo en el famoso coro del Aleluya, el rey, profundamente conmovido, se puso de pie y permaneció en esa posición como muestra de su admiración y respeto tanto por el oratorio llamado El Mesías como por su compositor, Handel, quien lo creó para honrar a Jesús, el Mesías. En la actualidad, cada vez que se interpreta El Mesías, el público se levanta de sus asientos cuando el coro comienza a cantar el Aleluya. ¡Es un espectáculo grandioso! Siempre deberíamos actuar con reverencia ante la presencia de Dios. Lamentablemente, esto no siempre se cumple, especialmente por parte de los niños, adolescentes y jóvenes, quienes a veces se distraen durante las diferentes partes del servicio de adoración. Algunos comen, ríen, envían memes o mantienen una conversación con quien está a su lado, acciones que entristecen a los ángeles y distraen a aquellos que desean adorar sinceramente a Dios. Por eso, te invito a reflexionar sobre tu actitud cuando vas al templo de Dios. ¿Vas dispuesto a obedecer y a escuchar su voz? ¿O vas por obligación o por pasar el tiempo? Dios merece todo nuestro respeto y adoración. No se trata solo de asistir físicamente a un lugar de culto, sino de estar mental y espiritualmente preparados para encontrarnos con Dios. No desaproveches la oportunidad de acercarte a él con un corazón sincero y humilde. La Biblia dice: «El Señor está cerca de los que lo invocan, de los que lo invocan con sinceridad» (Salmo 145: 18). Vive cada día con reverencia y gratitud hacia Dios. Hónralo hoy con tu vida y tu adoración. 

Charles King's new book "Every Valley" tells the backstory of "Messiah," a staple of the Christmas season widely considered George Frideric Handel's masterpiece. Then, musicologist Martin Clarke discusses the moment of musical ecstasy that accompanies a particular arrangement on "O come, all ye faithful." Find out why the "word of the father" chord has been called "the best chord of Christmas." Also WBUR editor Sara Shukla shares an appreciation of "The Muppet Christmas Carol," and reflects on why it's especially significant to her this year.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

As Press Play takes a break for the holidays, here are a few of our favorite interviews from 2024. Julia Louis-Dreyfus talks about portraying a mom struggling to accept her daughter’s illness. She also shares wisdom from conversations with women ages 70 and up. Oscar winner Morgan Neville goes behind the scenes of directing a LEGO movie that chronicles Pharrell’s musical journey from discovery to stardom. George Frideric Handel wrote the music for “Messiah” during political and social unrest. Charles Jennens put together the text when experiencing deep despair.

It's beginning to sound a lot like Christmas! In this episode of Buzz4Good! creator Michael Hemphill shares the recent Christmas concert by the Smith River Singers of Martinsville, Virginia – an incredible nonprofit community choir that we featured this fall on an episode of BUZZ. On December 9, 2024, the Smith River Singers celebrated its 10th annual Christmas concert by performing "The Messiah" by George Frideric Handel. In celebration of the holiday season we present highlights of the concert, which began with three contemporary Christmas anthems performed by the Smith River Singers' small group, Still Water.

George Frideric Handel (1685-1759) was a German-British Baroque composer. His most famous work, the 1742 oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music. The text from Messiah was compiled from the King James Bible and the Book of Common Prayer. Handel was born, raised, and trained in German Prussia but settled in England where he spent the bulk of his career and was buried in London’s Westminster Abbey. American Conservative University podcast at https://amzn.to/3ZMEq7g George Frideric Handel books at https://amzn.to/49zkBDW NYC Metropolitan Opera books at https://amzn.to/41nHkAE Mormon Tabernacle Choir books at https://amzn.to/4gbiMzw ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORY OF NORTH AMERICA podcast: www.parthenonpodcast.com/history-of-north-america Video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Books: https://amzn.to/3k8qrGM Audio Credit: American Conservative University podcast, The Story of the Writing of “The Messiah” by George Frideric Handel with the Metropolitan Opera Soloists and The Tabernacle Choir, narrated by Martin Jarvis. Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

In this episode, we talk about how the backstory of Anne and Wentworth is presented without comedy, and yet is absolutely enjoyable. We then move on to the introduction of Mary, and why she is the way she is, the generational change we see in the Musgrove family, and the very unsympathetic portrayal of Dick Musgrove.The character we discuss is Lady Russell. In the historical section, Ellen talks about social precedence, and for popular culture Harriet has watched the 1972 Spanish television adaptation of Persuasion.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)George Eliot, Middlemarch(1872)Maria Edgeworth, The Good French Governess (1801)Charlotte M. Yonge, The Daisy Chain (1856)Ethel Turner, Seven Little Australians(1894)Historical discussion:Anthony Powell, The Acceptance World (1955)The Right Hon. the Countess of *******, Mixing in Society: A Complete Manual of Manners (1870)Debrett's Tables of PrecedencePopular culture discussion:TVE, Novela: Persuasión (1972) – starring Maite Blasco and Juan DiegoWatch on YouTube: PlaylistCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Music touches the soul, and one of the most famous musicians of all time was George Frideric Handel. He was a prolific writer of operas and oratorios. Handel's Zadok the Priest has been performed at every British coronation since 1727. His orchestral works Water Music and Music for the Royal Fireworks are also incredibly popular and are often performed at the BBC Proms. But he is probably most famous for his Messiah, an oratorio that is staged all around the world during the Christmas season. The stirring music causes people to leap to their feet, inspired by the magnificent words and harmonies. Join Gary Kent as we find out more about George Frideric Handel and his music, which has changed the world.

George Frideric Handel (1685-1759) was a German-British Baroque composer. His most famous work, the 1742 oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music. The text from Messiah was compiled from the King James Bible and the Book of Common Prayer. Handel was born, raised, and trained in German Prussia but settled in England where he spent the bulk of his career and was buried in London’s Westminster Abbey. American Conservative University podcast at https://amzn.to/3ZMEq7g George Frideric Handel books at https://amzn.to/49zkBDW NYC Metropolitan Opera books at https://amzn.to/41nHkAE Mormon Tabernacle Choir books at https://amzn.to/4gbiMzw ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORY OF NORTH AMERICA podcast: www.parthenonpodcast.com/history-of-north-america Video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Books: https://amzn.to/3k8qrGM Audio Credit: American Conservative University podcast, The Story of the Writing of “The Messiah” by George Frideric Handel with the Metropolitan Opera Soloists and The Tabernacle Choir, narrated by Martin Jarvis. Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

The Story of the Writing of “The Messiah” by George Friederic Handel. Metropolitan Opera Soloists, and The Tabernacle Choir. ACU Sunday Series.   The Messiah Story - Martin Jarvis, Metropolitan Opera Soloists, and The Tabernacle Choir ACU Sunday Series.   Guest Artist Martin Jarvis narrates The Messiah Story, with the accompaniment of Metropolitan Opera Soloists Tamara Mumford, Erin Morley, Tyler Simpson, and Ben Bliss, along with The Tabernacle Choir and Orchestra at Temple Square. It tells the story of the writing of "The Messiah" by George Frideric Handel. Watch this presentation at- https://youtu.be/kv7WbDcFyRE?si=g-nYOzbbCsCMjfaA The Tabernacle Choir at Temple Square 851K subscribers 223,328 views Dec 11, 2017 Purchase the full program on DVD and CD: DVD: http://bit.ly/2da33oL CD: http://bit.ly/2da1BCG Episode 4501B. December 20, 2015. ----------------------------------------------------------------------------------------------    American Conservative University Podcast (ACU) is not an official representative for The Church of Jesus Christ of Latter-Day Saints. 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Joe Biden issued a sweeping pardon for his son, Hunter Biden, after saying he wouldn’t. How did the nation’s founders want pardons to be used? Is this an abuse?  Trump’s pick for FBI director is a loyal warrior who pledges to go after the “deep state” and anyone who stands in the president’s way.  This week, the Supreme Court hears a challenge to a Tennessee law that bans what’s known as gender-affirming medical treatment for transgender minors. George Frideric Handel wrote the music for “Messiah” during political and social unrest. Charles Jennens put together the text when experiencing deep despair.

What did George Frideric Handel hear at the Messiah's first performance in Dublin in 1743? Irish Baroque Orchestra's Peter Whelan turns his attention to the composer's little giant.

In this episode, we talk about the publishing history of Persuasion, the precise dates we are given in the book, the fact that we learn very little about Anne in the first chapters, and how well Mr Shepherd is managing Sir Walter.The character we discuss is Sir Walter Elliot. In the historical section, Ellen talks about baronets, and for popular culture Harriet gives an overview of the screen adaptations of Persuasion, and then talks in more detail about the about the 1971 BBC adaptation.Things we mention:Historical discussion:John Debrett, The Baronetage of England, containing their Descent and Present State (1808)William Dugdale, The antient usage in bearing of such ensigns of honour as are commonly called arms (1682)Thomas Wotton, The English Baronetage : containing a genealogical and historical account of all the English baronets, now existing (1741)John Burke, A Genealogical and Heraldic History of the Landed Gentry (1838)Popular culture discussion:BBC, Persuasion (1960) – starring Daphne Slater and Paul DanemanBBC, Persuasion (1971) – starring Ann Firbank and Bryan MarshallWatch on YouTube: Part 1 and Part 2Stairs on the CobbTVE, Novela: Persuasión (1972) – starring Maite Blasco and Juan DiegoBBC Film, Persuasion (1995) – starring Amanda Root and Ciarán HindsClerkenwell Films, Persuasion (2007) – starring Sally Hawkins and Rupert Penry-JonesNetflix, Persuasion (2022) – starring Dakota Johnson and Cosmo JarvisCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Merriam-Webster's Word of the Day for October 17, 2024 is: fugacious • fyoo-GAY-shus • adjective Fugacious is a formal word that describes something that lasts only a short time. // The rock band's early success proved fugacious; within two years its members had moved on to other careers. // Savor the enduring pleasures of life as intensely as the fugacious ones. See the entry > Examples: “The Handel & Hendrix [House], on 23 and 25 Brook Street in central London, reopens 18 May.... The 18th century German composer George Frideric Handel called number 25 home for some 36 years, up until his death in 1759. Here, he manufactured hits like coronation/Champions League belter Zadok the Priest, and the Music for the Royal Fireworks with such voraciousness, his manuscripts were often bespattered with food and beer stains. Perhaps you'd equate such sloppiness with Jimi Hendrix; his tenancy in a flat at 23 Brook Street was altogether fugacious; he was only here from 1968-9—though in that time, used it for countless interviews, jam sessions—and referred to it as the only place he ever lived that felt like home.” — Will Noble, The Londonist, 18 May 2023 Did you know? The word fugacious is too rare and unusual to qualify as vanilla, but the vanilla plant itself can be useful for recalling its meaning. Fugacious (which comes from Latin fugax, meaning “swift, fleeting,” and ultimately from fugere, “to run away”) describes the ephemeral—that is, those things in life that last only a brief time before fleeing or fading away. The word is often used to describe immaterial things, such as emotions, but botanists like to apply the word to plant parts (such as seeds, fruits, petals, and leaflets) that are quickly shed or dropped. Vanilla plants, for example, are said to have fugacious blossoms, as their flowers last only a single day during the blooming season. You may remember this the next time you're baking with vanilla, and perhaps wishing that its rich, fugacious aroma would linger just a little bit longer.

rWotD Episode 2707: Gråt Fader Berg och spela Welcome to Random Wiki of the Day, your journey through Wikipedia’s vast and varied content, one random article at a time.The random article for Tuesday, 1 October 2024 is Gråt Fader Berg och spela.Gråt Fader Berg och spela (Cry, Father Berg, and Play) is No. 12 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. The epistle is subtitled "Elegi över Slagsmålet på Gröna Lund" ("Elegy on the Battle at Gröna Lund [Tavern]"). It is a lament over a pub brawl, caused by Fredman's drinking a soldier's beer and dancing with someone else's girlfriend. Set to the melody from the aria "The flocks shall leave the mountains" in George Frideric Handel's opera Acis and Galatea, it is the best-known of his poems describing the consequences of brandy-drinking. Bellman used the contrast between the romantic associations of the melody and the brutal reality of heavy drinking to humorous effect.This recording reflects the Wikipedia text as of 00:32 UTC on Tuesday, 1 October 2024.For the full current version of the article, see Gråt Fader Berg och spela on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Matthew.

Originally Aired August 29, 2024: Janel Klein and C Willi Myles, a friendship broken? Who Dis!? Everything you've ever wanted to know about George Frideric Handel.  Listen & subscribe to the show on Apple Podcasts, Spotify or Amazon Music. For more, visit https://www.93x.com/half-assed-morning-show/Follow the Half-Assed Morning Show:Twitter/X: @93XHAMSFacebook: @93XHAMSInstagram: @93XHAMSEmail the show: HAMS93X@gmail.com See omnystudio.com/listener for privacy information.

fWotD Episode 2645: Homeric Hymns Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Thursday, 1 August 2024 is Homeric Hymns.The Homeric Hymns (Ancient Greek: Ὁμηρικοὶ ὕμνοι, romanized: Homērikoì húmnoi) are a collection of thirty-three ancient Greek hymns and one epigram. The hymns praise deities of the Greek pantheon and retell mythological stories, often involving a deity's birth, their acceptance among the gods on Mount Olympus, or the establishment of their cult. In antiquity, the hymns were generally, though not universally, attributed to the poet Homer: modern scholarship has established that most date to the seventh and sixth centuries BCE, though some are more recent and the latest, the Hymn to Ares, may have been composed as late as the fifth century CE.The Homeric Hymns share compositional similarities with the Iliad and the Odyssey, also traditionally attributed to Homer. They share the same artificial literary dialect of Greek, are composed in dactylic hexameter, and make use of short, repeated phrases known as formulae. It is unclear how far writing, as opposed to oral composition, was involved in their creation. They may initially have served as preludes to the recitation of longer poems, and have been performed, at least originally, by singers accompanying themselves on a lyre or other stringed instrument. Performances of the hymns may have taken place at sympotic banquets, religious festivals and royal courts.There are references to the Homeric Hymns in Greek poetry from around 600 BCE; they appear to have been used as educational texts by the early fifth century BCE, and to have been collected into a single corpus after the third century CE. Their influence on Greek literature and art was relatively small until the third century BCE, when they were used extensively by Alexandrian poets including Callimachus, Theocritus and Apollonius of Rhodes. They were also an influence on Roman poets, such as Lucretius, Catullus, Virgil, Horace and Ovid. In late antiquity (c. 200 – c. 600 CE), they influenced both pagan and Christian literature, and their collection as a corpus probably dates to this period. They were comparatively neglected during the succeeding Byzantine period (that is, until 1453), but continued to be copied in manuscripts of Homeric poetry; all the surviving manuscripts of the hymns date to the fifteenth century. They were also read and emulated widely in fifteenth-century Italy, and indirectly influenced Sandro Botticelli's painting The Birth of Venus.The Homeric Hymns were first published in print by Demetrios Chalkokondyles in 1488–1489. George Chapman made the first English translation of them in 1624. Part of their text was incorporated, via a 1710 translation by William Congreve, into George Frideric Handel's 1744 musical drama Semele. The rediscovery of the Homeric Hymn to Demeter in 1777 led to a resurgence of European interest in the hymns. In the arts, Johann Wolfgang von Goethe used the Hymn to Demeter as an inspiration for his 1778 melodrama Proserpina. Their textual criticism progressed considerably over the nineteenth century, particularly in German scholarship, though the text continued to present substantial difficulties into the twentieth. The Homeric Hymns were also influential on the English Romantic poets of the early nineteenth century, particularly Leigh Hunt, Thomas Love Peacock and Percy Bysshe Shelley. Later poets to adapt the hymns included Alfred, Lord Tennyson, and Constantine P. Cavafy. Their influence has also been traced in the works of James Joyce, the films of Alfred Hitchcock, and the novel Coraline by Neil Gaiman.This recording reflects the Wikipedia text as of 00:47 UTC on Thursday, 1 August 2024.For the full current version of the article, see Homeric Hymns on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Arthur.

Greetings Glocal Citizens! Increasingly, I am thinking thoughts about places of being that better reflect citizen-centered social, economic and built enviroments. In recent conversation with Paul Damalie (https://glocalcitizens.fireside.fm/guests/paul-kwesi-damalie) and following the works of another fellow GC, Chinedu Echeruo (https://www.linkedin.com/newsletters/beloved-ecosystem-6923267349097680896/) (which happens to be how I came across this week's guest), those thoughts are beginning to rise into a mental framework for manifesting that new world. Born and raised in Nigeria, Victor Ndukwe is an Architect that has evolved over the years straddle tech and design. He is currently a founding team member of Itana (formerly Talent City) (https://www.itana.africa) and is positioned to change the environmental and economic landscape in Africa. Victor developed a keen mind for technical things in his formative years and honed his creativity in architecture school. He is a T-shaped individual (https://en.wikipedia.org/wiki/T-shaped_skills) with strong skills in Architecture and environmental planning and secondary skills in programming - a hardcore java developer once upon a time. He has worked in architecture firms, software development firms, real estate development firms, and now city developers. He has his eyes set on developing the infrastructure in Africa by unlocking capital for development as well as solving the critical problem of energy in Africa. Victor's optimism and committment are clear as you'll come to understand in our conversation, and with this blueprint, his vision is looking like a present many on the Continent have been anticipating. Where to find Victor? Find out more about the Donacare Foundation (http://www.donacarefoundation.org) On LinkedIn (https://www.linkedin.com/in/victorndukwe/) On X (https://twitter.com/vndukwe) What's Victor listening to? Johann Sebastian Bach (lin https://www.youtube.com/watch?v=tGA1v6gZj1s) Wolfgang Amadeus Mozart (https://www.classicfm.com/composers/mozart/music/) George Frideric Handel (https://www.classicfm.com/composers/handel/) Other topics of interest: Umahia or Ama Ahia (https://en.wikipedia.org/wiki/Umuahia) in Abia State (https://en.wikipedia.org/wiki/Abia_State), Nigeria About Governor Alex Otti (https://www.alexotti.com) Discovery Channel (https://www.discovery.com) Charter Cities Institute (https://chartercitiesinstitute.org/intro/#whycc) Computer Village. Ikeja Lagos (https://en.wikipedia.org/wiki/Computer_Village) The Echelon Conspiracy Film (https://en.wikipedia.org/wiki/Echelon_Conspiracy) NIIT Nigeria (https://www.niit.com/nigeria) Free Trade Zones in Nigeria (https://nepza.gov.ng/free-zones/) What is Industry 3.0? (https://tech-labs.com/blog/evolution-industry-10-40-and-beyond) Special Guest: Victor Ndukwe.

Rachel Podger talks about the joys of consort music, the Brecon Baroque Festival, and "The Muses Restor'd", her new album with Brecon Baroque with music from George Frideric Handel, William Lawes, John Blow, Matthew Locke, Henry Purcell, John Jenkins and many others.

In this week's episode, Lindy and Meagan once again trick themselves into maybe becoming Christians?? Because Divine Providence has once again struck the podcast as holy connections are made between pubes, German composer George Frideric Handel, and the Text Me Backolytes who love them.Alas, Lindy and Meagan quickly dispense with beatification and instead turn to necromancy -- bringing back two old segments from the dead: "I Can Fix Her," a segment about purchasing little items that will fix your whole life, and "One Minute Hate," a segment about all the shit we hate, from Bobby Flay to shrimp, with an assist from our beloved listeners!Enjoy, besties!⋆｡°✩⋆｡°✩⋆｡°✩⋆｡°If you like this episode and want us to keep making the show forever, please subscribe to our Patreon. This podcast will always be free, but we need your help to produce it -- and if you support our Patreon, you'll get all kinds of goodies in addition to the show itself! Learn more about the different tiers and rewards here: https://www.patreon.com/TextMeBackPod Also! Please keep in touch with us! You can text OR CALL us at the Best Friend Party Phone: (703) 829-0003.We're on Instagram at @textmebackpod!Full videos of our episodes are on YouTube at @textlindyandmeaganbackYou can email us at deartextmeback@gmail.com!WE WANT TO HEAR FROM YOU SO BAD!⋆｡°✩⋆｡°✩⋆｡°✩⋆｡°TEXT ME BACK is a production of Lindy West and Meagan Hatcher-Mays, proud members of the BFF Network. Our senior producer is Meagan Hatcher-Mays. Our other senior producer is Lindy West. Our editor is Lindy West. Our music and our mixing is by Chief Ahamefule J. Oluo. Diana Bowen is our video and creative wizard. Our digital strategist is Chance Nichols.You can also follow the podcast on Instagram and TikTok @textmebackpod. And for even more bestie connections, follow Lindy and Meagan on Instagram at @thelindywest and @importantmeagan!Special thanks as always to our perfect angels: Jeannie Yandel, Brandi Fullwood, and Isolde Raftery. This week, we'd also like to specially thank Alex Rochester for running the old Text Me Back text club at KUOW where folks sent in their hate for today's segment.

Jenny Sealey has been the artistic director of Graeae Theatre Company since 1997: Graeae is a deaf and disabled-led company and a leader and innovator in accessible theatre. Jenny has directed opera as well as plays, and was the co-director of the 2012 Paralympic opening ceremony. Jenny was born in Nottingham in 1963, the eldest of four sisters. She lost her hearing at the age of seven following a fall at school in which she banged her head. At that time, deaf children were not encouraged to use British Sign Language, and so she taught herself to lip read, and stayed in a mainstream school, although she often found it challenging. She also continued to take ballet lessons, helped by an inspirational teacher who encouraged her to follow the form and movements of the dancer in front of her. She went on to study dance and choreography at Middlesex Polytechnic.After graduation, Jenny worked as an actor before becoming the artistic director of Graeae. In 2022 she was awarded an OBE for services to disability arts. Most recently she returned to acting and toured the UK with Self Raising, her one-woman autobiographical play. Jenny lives in London with her son and partner. DISC ONE: Handel: Messiah, HWV 56, Pt. 2: No. 44, Chorus. Hallelujah, for the Lord God Omnipotent Reigneth. Composed by George Frideric Handel and performed by The Sixteen Choir, conducted by Harry Christophers DISC TWO: Yesterday - The Beatles DISC THREE: Teenage Kicks - The Undertones DISC FOUR: The First Time Ever I Saw Your Face - Roberta Flack DISC FIVE: Because The Night - Patti Smith Group DISC SIX: Spasticus Autisticus – John Kelly and the cast of Reasons to be Cheerful DISC SEVEN: If It Can't Be Right Then It Must Be Wrong – John Kelly and the cast of Graeae's stage production of Reasons To Be Cheerful DISC EIGHT: Days – Kirsty MacCollBOOK CHOICE: The Complete Works of Armistead Maupin LUXURY ITEM: A photography kit CASTAWAY'S FAVOURITE: Handel: Messiah, HWV 56, Pt. 2: No. 44, Chorus. Hallelujah, for the Lord God Omnipotent Reigneth. Composed by George Frideric Handel and performed by The Sixteen Choir, conducted by Harry Christophers Presenter Lauren Laverne Producer Sarah Taylor

En la primera conferencia del ciclo “Cuatro obras maestras de la historia de la música”, el profesor del Departamento de Musicología de la Universidad Complutense de Madrid José María Domínguez aborda una de las obras paradigmáticas del oratorio barroco, El Mesías (1741) de Georg Friedrich Handel (1685-1759), estrenada en 1742 en el Great Music Hall de Dublín. Esta sesión intercala ilustraciones musicales en vivo interpretadas por un cuarteto de voces, un órgano y un clave.Más información de este acto

George Frideric Handel - Messiah: Hallelujah ChorusBratislava City ChorusCapella IstropolitanaJaroslav Krcek, conductorMore info about today's track: Naxos 8.550317Courtesy 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

SynopsisIn 1724, Feb. 20 fell on a Sunday, and at St. Thomas Church in Leipzig, Jesus nahm zu sich die Zwölfe, or, in English, Jesus Gathered the 12 to Himself, a church cantata by Johann Sebastian Bach, was performed as part of the Sunday service.Meanwhile, on Feb. 20 in London that same year, audiences at the King's Theater in the Haymarket heard the premiere of Giulio Cesare in Egitto or, Julius Caesar in Egypt, a new Italian opera by George Frideric Handel.How interesting to find Bach in church and Handel in the theater, on the same date — but not, as it turns out, on the same day.In 1724, Bach's Germany kept track of time under the Gregorian calendar, but in Handel's England, the older Julian calendar was still used, and so Handel's calendar would say Feb. 20 was a Thursday, while Bach's would say was it was a Sunday. It wasn't until 1752 that England adopted the same calendar that Germany used — the Gregorian one we still use today.In the 18th century, apparently, you didn't need Albert Einstein to remind you that time is a very relative concept!Music Played in Today's ProgramJ.S. Bach (1685-1750): Excerpt fr Cantata No. 22; Yo Yo Ma, cello; Amsterdam Baroque Orchestra; Ton Koopman, cond. Sony Classical 60680George Frederic Handel (1685-1757): Excerpt, fr Giulio Cesare; Barbara Schlick, soprano; Concerto Cologne; Rene Jacobs, cond. Harmonia Mundi 90.1458

SynopsisNow 18th-century opera is supposed to be a rather staid and stuffy affair. These operas invariably had happy endings, with all the messy human passion and conflicts amicably resolved by the opera's finale.But 18th-century opera could arouse some serious emotion offstage. In 1704, an 18-year-old composer named George Frideric Handel was employed as a violinist and harpsichordist in the orchestra of the Hamburg opera house. He made the acquaintance of another young composer, 23-year-old Johann Mattheson. The two became fast friends until, that is, a December performance of Mattheson's opera Cleopatra, during which Handel refused to turn over the harpsichord to Mattheson.“Hey, it's my opera, after all — move over!” Mattheson must have said, but to no avail. One thing led to another, and the result was a duel. It is said that Handel's life was saved by a button on his coat that deflected one of Mattheson's more lethal sword-thrusts.Thankfully, in the best tradition of 18th-century opera, the two reconciled on today's date in 1704, dining together and attending a Hamburg rehearsal of Handel's first opera, Almira, becoming, as Mattheson put it, “better friends than ever.”Music Played in Today's ProgramGeorge Frederic Handel (1685-1757) Oboe Concerto No. 3; Heinz Holliger, oboe; English Chamber Orchestra; Raymond Leppard, cond. Philips 454 363