Podcasts about german british

I've already done a Lententide episode devoted to contraltos singing the music of Bach, but it seemed to me that in the upheaval of today's vengeful and war-hungry world, we could use another contemplative episode to provide us with meditative (and even tuneful!) music to calm our spirits. The tunefulness comes especially from recordings of favorite religious music by Gounod, Franck, and other 19th-century French composers sung by Camille Maurane, Marcel Journet, Richard Verreau, and Françoise Pollet. Also included are a live excerpt from Parsifal with Jon Vickers and Hans Knappertsbusch; the miraculous yet voiceless Hugues Cuénod performing an excerpt from the first of Couperin's Leçons de Ténèbres; the unsung German-British soprano Ilse Wolf in a live performance of the Bach Johannes-Passion conducted by Pablo Casals; Gundula Janowitz in a searing but brief aria from Mendelssohn's Paulus; excerpts from settings of the Stabat Maters of Haydn and Dvorák, sung by Alfreda Hodgson, Sena Jurinac, and Heinz Hoppe; the original version of Hendrik Andriessen's exquisite Miroir de Peine cycle for voice and organ featuring our beloved Elly Ameling; and Jennie Tourel in an excerpt from her ultra-rare recording of Hindemith's Das Marienleben preceded by Lotte Lehmanns's recitation of the same Rilke poem. The episode begins and ends with realizations by Benjamin Britten and Michael Tippett of Baroque masters Henry Purcell and Pelham Humfrey sung, respectively, by Peter Pears and John Shirley-Quirk. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Rising to fame at the age of 20, Kate Nash soon became a staple of the British music scene in the late 2000s. Her first album, Made of Bricks, reached number one in the UK and stayed in the UK charts for more than forty consecutive weeks and she's won a Brit Award. But she's spoken openly about not being able to afford to tour and choosing to subsidise her income by selling images of her body on OnlyFans. Kate's currently in the middle of a UK tour for her latest album, 9 Sad Symphonies, and is playing the O2 Kentish Town Forum on 9 April. She joins Nuala McGovern to discuss her career and the music industry.Sarah Brown and her husband Gordon, the former prime minister set up the Jennifer Brown Research Laboratory in 2004, following the death of their daughter Jennifer who was born seven weeks early. For the past decade, the laboratory has been leading vital research into premature birth – including a world-first study following 400 babies, both premature and full-term, from birth to adulthood. Sarah tells Nuala about the research and what they've found about preterm birth. Once the Deed is Done is the fifth novel from the German-British author Rachel Seiffert. It covers the immediate aftermath of the end of WW2 and the fall of Nazi Germany. The book focuses on a group of displaced people – it's estimated that globally there were between 40-60 million people displaced by the war. Rachel describes why she wanted to write about this often forgotten time in history, reflecting on the cruelty inflicted from above and the choices her characters make. BBC2's Saving Lives in Cardiff is back on our screens from tonight. Based in the largest hospital in Wales, University Hospital in Cardiff, the series highlights the weight of difficult, sometimes life and death decisions surgeons make about who to prioritise next. The first episode follows Dr Indu Deglurkar, a cardiac surgeon, one of only 19 women in this role in the UK. She joins Nuala to discuss the pressures and joys of her job.Presented by Nuala McGovern Producer: Louise Corley

Buried Bones presents this episode of Wicked Words, Kate Winkler Dawson's weekly true crime talk show. Every Monday, Kate interviews journalists, podcasters and authors about their fascinating behind-the-scenes stories from their investigations in the world of true crime, many of which have never been shared before.  In this episode, Kate is joined by author Patricia Cornwell and together they discuss the book Portrait of a Killer: Jack the Ripper, Case Closed. This book presents Patricia's extensive research and opinion on his identity. She believes that Jack the Ripper was a German-British artist named Walter Sickert, a controversial opinion according to some Ripperologists. In this episode, you'll hear why.   Additional Wicked Words episodes are also available now wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Several years ago, Patricia Cornwell wrote a book about Jack the Ripper called, Portrait of a Killer: Jack the Ripper, Case Closed.  This book presents Patricia's opinion on his identity based on her extensive research. She believes that Jack the Ripper was a German-British artist named Walter Sickert. A controversial opinion, according to some Ripperologists. In this episode with the author, you'll hear why.  See more information on my books: katewinklerdawson.com  Follow me on social: @tenfoldmore (Twitter) / @wickedwordspod (Facebook) / @tenfoldmorewicked (Instagram)  2024 All Rights Reserved  Learn more about your ad choices. Visit megaphone.fm/adchoices

Sophie Lewis is a German British academic and self acclaimed communist writer known for her theoretical ideas of family abolition and the use of surrogacy on a societal scale. Her first book Full surrogacy now, Feminism against the family was published in 2019 by Verso Books, followed by Abolish the Family, a manifesto for care and liberation in 2022. Lewis teaches courses on feminist, trans and queer politics and philosophy, including family abolitionism at the Brooklyn Institute for Social Research in New York.

Meike Ziervogel is a German-British novelist with five novels to her name. She is the founder of an award-winning publishing company in the UK and a fluent Arabic speaker. Since 2018 she has lived in Lebanon. From 2018 to 2019 she transformed a failing needle art workshop in the Shatila refugee camp into a sustainable independent business, providing a monthly income to 100 refugee women. In January 2020 she set up Alsama Project with Kadria Hussien, a Syrian refugee living in Shatila. Meike is now the CEO of Alsama Project and has shaped it into one of the most innovative and successful NGOs serving Syrian refugees in the Middle East. Follow Meike on Twitter! Make a donation to Alsama Project! Follow Alsama on Instagram, Twitter, and Facebook! ---

What is it like to grow up in a country that no longer exists? That's the challenge faced by my guest Katja Hoyer. She grew up in the GDR, the German Democratic Republic. Or as most of us think of it, East Germany.While most histories of the country focus on the political decision-making or things that are most extraordinary — for example, the Stasi, the East German secret police or dramatic escapes over the Berlin Wall — Katja wanted to write a more human history.In her book 'Beyond The Wall' or 'Jenseits der Mauer' in German translation, Katja explores not only the politics of the country, but also what life was like for people within the country.Since the book has been out for several months and there are lots of other shows on which you can hear about what's in it — though we do touch on a few human risk-relevant dynamics such as the challenges facing the Stasi in dealing with the information they gathered and the prevalence of paranoia within the country's leadership — I'm interested in the dynamics around the book, rather than the detail of what's in it.You'll hear:why a Germany history researcher is based in the UK, and not as you might expect Germany;what prompted Katja to write the book;the challenges of getting people to speak about the past;'soul lag' what happens when our bodies move faster than our soulsthe reactions to the book in Germany and elsewhereWeimar - the book that Katja is about to start writing.and much, much more.About KatjaKatja Hoyer is a German-British historian, journalist and the author of the widely acclaimed Blood and Iron. A visiting Research Fellow at King's College London and a Fellow of the Royal Historical Society, she is a columnist for the Washington Post and hosts the podcast The New Germany together with Oliver Moody. She was born in East Germany and is now based in the UK.Beyond The Wall is published by Penguin books is available from all good bookstores:https://www.penguin.co.uk/books/447141/beyond-the-wall-by-hoyer-katja/9780241553787Diesseits der Mauer is published ny Hoffmann und Kampe and is also available from all good bookstores: https://hoffmann-und-campe.de/products/63884-diesseits-der-mauerSubstack/Podcasts: to learn more about Katja's writings and podcasts: katjahoyer.ukYou can listen to 'The New Germany', the show she hosts with Oliver Moody here: https://koerber-stiftung.de/en/podcasts/history-politics/podcast-series-the-new-germany/Social Media: You can follow Katja on Twitter/X here: https://twitter.com/hoyer_kat?Her Kings College faculty page is: https://www.kcl.ac.uk/people/katja-hoyerPodcasts where Katja discusses her book:https://www.podbean.com/premium-podcast/travelsthroughtime/Ro9XbpH3jC2mhttps://audioboom.com/posts/8275986-katja-hoyer-beyond-the-wallhttps://www.spectator.co.uk/podcast/katja-hoyer-beyond-the-wall/https://coldwarconversations.com/episode284/https://www.spreaker.com/user/10740198/history-unplugged-beyond-the-wall-with-aDirk Oschmann's book 'Der Osten: eine Westdeutsche Erfingung'https://www.ullstein.de/werke/der-osten-eine-westdeutsche-erfindung/hardcover/9783550202346

Welcome to Music Around The World. Each week we showcase a collection of artists and their music from different parts of the world. In this episode, we present to you an impressive lineup of artists including Kellie Allen, Chicago Loop, Lexer, Joris Turenhout, Vinyl's From The Past and Music News. https://75dc83.p3cdn1.secureserver.net/wp-content/uploads/2023/09/MFAW-EP-107.mp3 Music From Around The World Episode 107 Transcription Intro: 0:00 to 0:15This is Music From Around The World Episode 107. I'm your host Mason Vera Paine and in today's episode we will be featuring music from Kellie Allen, Chicago Loop, Lexer, Joris Turenhout, Vinyl's From The Past and Music News. Kellie Allen: Start – 0:16  and     End – 7:46Hailing from Ibiza, Kellie Allen is a renowned Deep Tech House DJ and Producer. Her sound is deeply rooted in the soulful records of her youth such as Jazz and Funk. She has been consistently releasing music over the years. Take a listen to his latest track “What You Gon' Do”. “What You Gon' Do” is out now via Boogeyman and its available on all streaming platforms. Kellie's dedication to her music paid off when Steve Bug, the owner of Sublease Music label, stumbled across her music while browsing for new artists. Impressed by what he heard, he contacted Kellie and requested a demo. After listening to it, Steve knew that he had to sign her to Sublease. Kellie has also played ionic clubs like PIV, Viva Warriors, Cream Ibiza and she is the host of a popular radio show on Ibiza Global. For the latest on Kellie and her upcoming projects visit: Instagram.com/kellieallenmusic; that's Instagram.com/K-E-L-L-I-E-A-L-L-E-N-M-U-S-I-C Chicago Loop: Start – 7:47   and    End -14:43For over twenty-three years Ant Wilson has been DJ-ing and Producing and later took up the project and alias Chicago Loop. This techno DJ and Producer is based out of Sofia, Bulgaria. Take a listen to his latest track “Carousel”. “Carousel” is out now via Say What?   and its available on all streaming platforms. Chicago Loop has released various music on various labels Phobiq, Respekt, Throne Room Records, Riot Recordings, to name a few. Aside from DJ-ing and producing, Chicago Loop is an acclaimed vinyl mastering and cutting engineer for Vinyl Carvers. This company stands out as a one-off vinyl's and dub plates, catering to DJs, producers, music artists, and TV media professionals. Visit: chicagoloop.live for the latest on Chicago Loop's upcoming appearances and projects; that's C-H-I-C-A-G-O-L-O-O-P DOT L-I-V-E Vinyl's From The Past: 14:44 to 18:53I am going to take a brief break from Vinyl's From The Past. In this limited run series, I will be exploring the pioneers that have shaped and influenced the EDM we have today. In this episode I will be featuring “Cascada”. “Cascada” is a duo consisting of German-British singer Natalie Horler and German DJ and Producer's  DJ Manian and DJ Yanou. The group was formed in 2004. Their most notable track was “Everytime We Touch”. Here is a listen here. "Everytime We Touch" was released in 2005 but didn't gain widespread success until 2007. The song's memorable melody and lyrics made it stand out. With its mixture of Eurodance, trance and pop it appealed to a large audience. This combination resulted in the track being frequently played on radio stations in the U.S; something that had previously not happened for Eurodance or trance artist. "Everytime We Touch" blazed the trail for other such acts to gain mainstream recognition. That's it for this week's Vinyl's from the past; now let's get back to more music. Lexer: Start – 18:54   and     End – 26:04Lexer, a German DJ and producer, began his musical career at the age of 18 with the release of his track "My Princess". This song was highly praised within the melodic house genre. By 2019, he had made a transition from melodic to deep house with the 2015 album “Nowehere Else”.

This week, we discuss two films based on novels by English novelist Robert Harris. The first is An Officer and a Spy (2019), a historical drama film directed by Roman Polanski about the Dreyfus affair, with a screenplay by Polanski and Robert Harris based on Harris's 2013 novel of the same name. It received twelve nominations for the 45th César Awards, the most nominations of any eligible film, and eventually won the awards for Best Adaptation, Best Costume Design and Best Director. The second is Munich: The Edge of War (2021), a German-British period spy thriller film directed by Christian Schwochow, from a screenplay by Ben Power. It is based upon the 2017 novel Munich by Robert Harris. The film stars Jeremy Irons, George MacKay and Jannis Niewöhner.   Timestamps What we've been watching (00:00:51) – Spider-Man: Across the Spider-verse, Succession season 4, Ted Lasso season 3 An Officer and a Spy (00:22:45) Munich: The Edge of War (00:56:10) Coin toss (01:34:39)   Links Instagram - @callitfriendopodcast @munnywales @andyjayritchie   Justwatch.com – streaming and rental links - https://www.justwatch.com

It's 1966 in Berlin and the city has now been divided for 5 years by an almost impenetrable wall erected by the communist German Democratic Republic. Together with his friends, West German student Volker Heinz joins a group looking for ways to help would-be fugitives escape from East to West. Their search ends at Checkpoint Charlie, the most heavily secured border crossing of the Berlin Wall. By hiding the fugitives in the trunk of a diplomat's car, Volker Heinz helps East German citizens flee to the West. However, the Stasi picks up his trail, and Volker is arrested and interrogated. We hear in detail about his time in prison, including the interrogations and fellow cellmates. Following secret negotiations and a show trial where he is sentenced to 12 years imprisonment, Heinz is eventually swapped for two Soviet spies. In 2001 Heinz initiated the German-British foundation Temple Gift dedicated to the reconciliation of former foes Britain and Germany. In 2012 he was awarded the Federal Order of Merit in recognition of his courage. Buy the book here and support CWC https://amzn.to/42V7FUK Cold War history is disappearing; however, a simple monthly donation will keep this podcast on the air. You'll become part of our community and get a sought-after CWC coaster as a thank you and you'll bask in the warm glow of knowing you are helping to preserve Cold War history. Just go to https://coldwarconversations.com/donate/ If a monthly contribution is not your cup of tea, We also welcome one-off donations via the same link. Episode extras including videos and photos https://coldwarconversations.com/episode291/ Support the project! https://coldwarconversations.com/donate/ Follow us on Twitter https://twitter.com/ColdWarPod Facebook https://www.facebook.com/groups/coldwarpod/ Instagram https://www.instagram.com/coldwarconversations/ Youtube https://youtube.com/@ColdWarConversations   Learn more about your ad choices. Visit megaphone.fm/adchoices

‘I have so often wondered', the historian Katja Hoyer says, ‘what I would have made of the state that I was born into had I been born a few years earlier and lived through it in the way that other people did.' That state was East Germany or the German Democratic Republic (GDR). This was a nation that emerged out of the ashes of World War II and existed until the collapse of the Eastern Bloc in 1990. The GDR is remembered today in the West as a neurotic, oppressive nation, synonymous with its Ministry for State Security or Stasi. But in her new book Beyond The Wall, Hoyer attempts to present a fresh image. What was life really like for the citizens of the GDR, especially its youth? How did the ideals of the time impact them? Why were young leftists - among them Diane Abbott and Jeremy Corbyn - so drawn to visit? In this revealing episode, Hoyer takes Artemis Irvine back on a trip to 1973 to find out.  Katja Hoyer is a German-British historian, journalist and. A visiting Research Fellow at King's College London and a Fellow of the Royal Historical Society, she is a columnist for the Washington Post and hosts the podcast The New Germany. Her new book, Beyond the Wall: East Germany, 1949-1990, is out this week. For more, as ever, visit our website: tttpodcast.com. Show notes Scene One: 29 March 1973, the Kosmos cinema, for the premiere of the film The Legend of Paul and Paula. Scene Two: 2 July 1973, East Berlin in the Alexanderplatz, for the 10th World Festival of Youth and Students. Scene Three: 7 August 1973, the death of Walter Ulbricht, the man at the top of the GDR's political framework. Memento: A silk scarf bearing the inscripted hopes and dreams of anyone the guest may have met at the Youth Festival. People/Social Presenter: Artemis Irvine Guest: Katja Hoyer Production: Maria Nolan Podcast partner: Follow us on Twitter: @tttpodcast_ See where 1973 fits on our Timeline

In this weeks episode, we chat about an album from the Irish band The Boomtown Rats called The Fine Art of Surfacing, an album by a German British band called Lake (or The Lake depending on which country you are in) and an album by a British Pub Rock band called Dr Feelgood called Dr Feelgood (aka A Case of the Shakes). --- Send in a voice message: https://anchor.fm/reviewsfromthecrawlspace/message

Streamed live on Oct 6, 2022 Join the Watching Wyrd team as they honor the witches of cinema. Black Death is a 2010 German–British action horror film directed by Christopher Smith from an original screenplay by Dario Poloni. It stars Sean Bean, Eddie Redmayne and Carice van Houten. The Last Witch Hunter is a 2015 American fantasy action film directed by Breck Eisner and written by Cory Goodman, Matt Sazama, and Burk Sharpless. The film stars Vin Diesel as an immortal witch hunter who must stop a plague from ravaging the entire world. Hocus Pocus is a 1993 American fantasy comedy film that follows a villainous comedic trio of witches who are inadvertently resurrected by a teenage boy in Salem, Massachusetts, on Halloween night. Stardust is a 2007 romantic fantasy adventure film directed by Matthew Vaughn and co-written by Vaughn and Jane Goldman. Based on Neil Gaiman's 1999 novel of the same name, it features an ensemble cast led by Claire Danes, Charlie Cox, Sienna Miller, Ricky Gervais, Jason Flemyng, Rupert Everett, Peter O'Toole, Michelle Pfeiffer, and Robert De Niro, with narration by Ian McKellen. www.wyrdrealities.net linktr.ee/wyrdrealities --- Send in a voice message: https://anchor.fm/wyrd-realities/message Support this podcast: https://anchor.fm/wyrd-realities/support

An op ed written by our guest and published by the U.K. Spectator on September 12: How the Queen helped to fix Germany: She understood the importance of reconciliation. the op ed begins: "The Brandenburg Gate has often reflected the state of the German nation. Throughout the centures, Berlins iconic landmark has been a symbol of victory, defeat, unity, division and restoration. It has even reflected Germany's energy crisis, no longer lit to save electricity. But on Friday night it shone brightly once more: in red, white and blue as Germany mourns the death of Queen Elizabeth II.  This is much more than a gesture of condolence. 'Expressing our sympathy and our mourning by lighting the cymbol of our city and our country in the colours of the Union Jack to honour Queen Elizabeth II fully represents the sentiments of people in Berlin,' " said mayor Franziska Giffey. "It was the power of her great personality that has always fascinated us Berliners."  Guest: Katja Hoyer, German/British historian and journalist. Visiting Research Fellow at King's College, London. (Book, Blood and Iron: The Rise and Fall of the German Empire.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Before 1871, Germany was not a nation but an idea. Its founder, Otto von Bismarck, had a formidable task at hand. How would he bring thirty-nine individual states under the yoke of a single Kaiser, convincing proud Prussians, Bavarians and Rhinelanders to become Germans? Once united, could the young European nation wield enough power to rival the empires of Britain and France – all without destroying itself in the process?In a unique study of five decades that changed the course of modern history, Katja Hoyer tells the story of the German Empire from its violent beginnings to its calamitous defeat in the First World War. It is a dramatic tale of national self-discovery, social upheaval and realpolitik that ended, as it started, in blood and iron.Katja Hoyer is a German-British historian specializing in modern German history. She was born in East Germany and is a fellow of the Royal Historical Society in London .Roger Moorhouse began his writing career working for Professor Norman Davies and has since written several highly successful books on aspects of the Third Reich.The Dublin Festival of History is brought to you by Dublin City Council, and organised by Dublin City Libraries, in partnership with Dublin City Council Culture Company. See acast.com/privacy for privacy and opt-out information.

Before 1871, Germany was not a nation but an idea. Its founder, Otto von Bismarck, had a formidable task at hand. How would he bring thirty-nine individual states under the yoke of a single Kaiser, convincing proud Prussians, Bavarians and Rhinelanders to become Germans? Once united, could the young European nation wield enough power to rival the empires of Britain and France – all without destroying itself in the process?In a unique study of five decades that changed the course of modern history, Katja Hoyer tells the story of the German Empire from its violent beginnings to its calamitous defeat in the First World War. It is a dramatic tale of national self-discovery, social upheaval and realpolitik that ended, as it started, in blood and iron.Katja Hoyer is a German-British historian specializing in modern German history. She was born in East Germany and is a fellow of the Royal Historical Society in London .Roger Moorhouse began his writing career working for Professor Norman Davies and has since written several highly successful books on aspects of the Third Reich.The Dublin Festival of History is brought to you by Dublin City Council, and organised by Dublin City Libraries, in partnership with Dublin City Council Culture Company. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

This episode features a paper given by Jon Hughes at the BSSH's seminar series at the Institute of Historical Research. Jon's paper,'We met the most serious opposition in the Ministry of Propaganda': Borders, Limits, and Summits in the German-British mountain film Der Berg ruft / The Challenge (1938)' is a fascinating look at how Anglo-German film-making took place during the increasingly fraught period of the 1930s. Read more in Jon's description below ... In this paper I will present a reassessment of a mountaineering film released in parallel German and English-language versions at a politically fraught historical moment: Der Berg ruft, directed by Luis Trenker in 1938, and The Challenge, co-directed by Trenker and Milton Rosmer, also in 1938. By exploring their framing of a story revolving around contested borders and summits, I will reflect on their status as transnational examples of the Bergfilm (mountain film) genre. Drawing on recent archival research, I will argue that they both reflect and challenge the ideological and cultural investment in mountaineering in Germany and Britain; in particular I will consider whether Trenker's later claim to have struggled with Goebbels' Ministry of Propaganda is credible. I will conclude by exploring the circumstances that allowed this co-operative production - the making of the British film, which received support from the British Alpine club and was produced for Alexander Korda's London Film by the German emigré Günther Stapenhorst from a screenplay by the Hungarian-Jewish author Emeric Pressburger, reveals the extensive and powerful networks that connected both mountaineering and the film industry in Britain and Germany in the 1930s. Dr Jon Hughes is reader in German and Cultural Studies at Royal Holloway, University of London.

Robert Winfree and Mark Radulich present their Munich The Edge of War 2022 Review! Also, during "The Money" segment we'll do our 2021 year in review! Munich – The Edge of War is a 2021 German/British drama film, directed by Christian Schwochow, from a screenplay by Ben Power. It is based upon the 2017 novel Munich by Robert Harris. The film stars Jeremy Irons, George MacKay and Jannis Niewöhner. The film premiered at the BFI London Film Festival on 13 October 2021. Netflix gave it a limited US theatrical release on January 14, 2022, before its streaming release on January 21, 2022. Grammarly Ad: 1:52:50 Amazon Music Ad: 1:13:30 For a 30 Day Free Trial of Amazon Music Unlimited head to http://getamazonmusic.com/w2mnetwork. Amazon Music is free. Amazon Music Unlimited is not. And for the Grammarly special offer, go to http://getgrammarly.com/w2mnetwork. Check us out on the player of your choice https://linktr.ee/markkind76 Also check out the W2M Network Discord https://discord.gg/fCYpG5dcT9

Robert Winfree and Mark Radulich present their Munich The Edge of War 2022 Review! Also, during "The Money" segment we'll do our 2021 year in review! Munich – The Edge of War is a 2021 German/British drama film, directed by Christian Schwochow, from a screenplay by Ben Power. It is based upon the 2017 novel Munich by Robert Harris. The film stars Jeremy Irons, George MacKay and Jannis Niewöhner. The film premiered at the BFI London Film Festival on 13 October 2021. Netflix gave it a limited US theatrical release on January 14, 2022, before its streaming release on January 21, 2022. Grammarly Ad: 1:52:50 Amazon Music Ad: 1:13:30 For a 30 Day Free Trial of Amazon Music Unlimited head to http://getamazonmusic.com/w2mnetwork. Amazon Music is free. Amazon Music Unlimited is not. And for the Grammarly special offer, go to http://getgrammarly.com/w2mnetwork. Check us out on the player of your choice https://linktr.ee/markkind76 Also check out the W2M Network Discord https://discord.gg/fCYpG5dcT9

Join Robert Child for a conversation with author Katja Hoyer about her book, Blood and Iron. Hoyer is a German-British historian specializing in modern German history. She was born in East Germany and is a Fellow of the Royal Historical Society in London, a Visiting Research Fellow at King's College London, and has written for the Washington Post, History Today, and the BBC's History Extra. Purchase this book and help support your local book store at the link below. USA Shop https://bookshop.org/lists/books-from-authors-on-point-of-the-spear-podcast UK Shop https://uk.bookshop.org/lists/books-from-authors-on-point-of-the-spear --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/robert-child/support

This week German-British comedian Fay Walsh is on the podcast. We discuss her background and growing up in Berlin proper, how she discovered she wanted to be a comedian, how we both deal with depression, and much more. Follow Fay: https://www.instagram.com/okfaybaby Follow me: https://www.instagram.com/ericontheworld

In this episode, Tim and Andy are joined by, Armin Ganguly (aka @RIBA_architect on Twitter). Armin is a German-British architect, practicing since 1994. He gained his Diploma in Architecture at the Koblenz University of Applied Sciences, Germany in 1992. Tim, Armin, and Andy discuss the ins and outs of being an architect and some of the parts that might be, 'frustrating'. Find out more about Tim and his architecture practice at scracearchitects.co.uk

German-British artist Christin Nichols has a post-wave punk aura intertwined with dark wide-angle pop and deep messages. During this interview we spoke about her last release 'Today I choose violence' and the situation in today's music industry in comparison with other entertainment activities. --- Send in a voice message: https://anchor.fm/justmusicsaramathius/message

Where have the past few months gone? After an un-intentional hiatus, we are back with some exhibition recommendations, new artist finds and juicy art world stories. We discuss long lost artworks that have just turned up in Germany and Italy, cue speculation a plenty. Liz provides an update on her NFT experimentation, whilst we also discuss the big elephant in the Crypto Art room - climate change. And hindsight is a bitch if you're Banksy, after he loses an E.U. copyright court case thanks, in part, to his own statement that ‘Copyright is for Losers'. Our Artist Focus for this episode is German-British painter Frank Auerbach. Born in Berlin, his parents sent him to Britain in 1939 under the Kindertransport scheme. We discuss the importance of his influences in his life, including his teacher David Bomberg, and friends that include Leon Kossof, Francis Bacon and Lucien Freud. His friendship in particular with Kossof has been the subject of multiple articles and exhibitions in itself. SHOW NOTES: Hilary Pecis ‘Piecemeal Rhythm' at Timothy Taylor Gallery until 26 June 2021: https://www.timothytaylor.com/exhibitions/hilary-pecis-piecemeal-rhythm/ Adrian Berg ‘Paintings 1964-2010' at Frestonian Gallery until 3 July 2021: https://www.frestoniangallery.com/exhibitions/ Michael Armitage ‘Paradise Edict' at the Royal Academy until 19 September 2021:https://www.royalacademy.org.uk/exhibition/michael-armitage ‘The Making of Rodin' at the Tate Modern until 21 November 2021:https://www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibition-rodin Igshaan Adams ‘Kicking Dust' at The Hayward Gallery until 25 July 2021: https://www.southbankcentre.co.uk/whats-on/art-exhibitions/igshaan-adams-kicking-dust?eventId=868262 Conor Murgatroyd: https://www.conormurgatroyd.com/ Sasha Gordon: http://www.sasha-gordon.com/ Corbin Shaw: https://gutsgallery.co.uk/artists/35-corbin-shaw/ Sanya Kantarovsky: https://www.luhringaugustine.com/artists/sanya-kantarovsky#tab:thumbnails Donna Huanca: https://www.simonleegallery.com/artists/192-donna-huanca/ Lucas Arruda: https://www.davidzwirner.com/exhibitions/2017/lucas-arruda Lost for 70 Years, Kandinsky Watercolor to Sell in Germany: https://www.artnews.com/art-news/market/rediscovered-wassily-kandinsky-watercolor-auction-ketterer-kunst-1234593056/ Six Ancient Frescoes Stolen From Roman Villas Over the Decades Have Been Returned to Pompeii: https://news.artnet.com/art-world/six-ancient-frescos-returned-pompeii-1970702 NFTs Are Hot. So Is Their Effect on the Earth's Climate: https://www.wired.com/story/nfts-hot-effect-earth-climate/ The E.U. Rules Against Banksy in His Trademark Fight With a Greeting Card Company, Citing His Own Statement That ‘Copyright Is For Losers': https://news.artnet.com/art-world/banksy-trademark-full-colour-black-1971339 Brothers in paint: Frank Auerbach and Leon Kossoff: https://www.christies.com/features/Leon-Kossoff-and-Frank-Auerbach-a-brilliant-friendship-11509-1.aspx National Gallery Stories ‘Frank Auerbach': https://www.nationalgallery.org.uk/stories/frank-auerbach

This week I'm joined by the wonderful author Timandra Whitecastle to talk about her book, A Touch of Iron (The Living Blade, #1)! We also talk about our future fantasy cookbook project, the 1864 Commissioners Report on burning children, we work on her German/British origin story, she goes on an all-time rant about Captain America and we talk about her hatred of all German Minecraft Youtubers! Available now!

Regi Drake: Regi is a Guitarist, Producer and Songwriter based in Seattle, Washington. He plays with his own band Lofts, as well as with the German-British artist Alice Merton. In today's episode we talk about how church positively affects the musical careers of many artists, about deciding which university to go to, about touring worldwide and being able to play in a festival such as Corona Capital in Mexico City. Regi mentions as well how he balances his life between two bands, dealing with covid and his great passion towards foals. Hope you like this episode. Regi's Recommendations:

In this episode, I talk politics and markets with Bobby Vedral. He’s a top macro and political analyst who runs Macro Eagle. He is also the UK representative of the German Economic Council, which focuses on the German-British relationship post-Brexit. Before that Bobby was at Goldman Sachs, where he was a partner and Global Head of Market Strats. On the podcast, we discuss: 1. The structural consequences of the COVID crisis 2. What the stress points are for the Euro-area and which countries are at the center of tensions 3. How the latest German constitutional court ruling could constrain the ECB 4. What’s going to happen with Brexit 5. The widening China/rest of the world political rift 6. Why Biden would likely beat Trump in elections and the importance of Biden’s VP pick 7. The problem with big tech’s monopoly 8. The future of climate change policy and ESG 9. The dramatic increase in risks of global political brinkmanship Bobby gives a very thoughtful and often different from consensus view on key political issues of the day, so make sure to listen to the whole episode. You can reach him at info@macroeagle.com.

In this episode, Nate and Rachel review The Hateful Eight and Black Death. The Hateful Eight is a 2015 American western thriller film written and directed by Quentin Tarantino. It stars Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demián Bichir, Tim Roth, Michael Madsen, and Bruce Dern.Black Death is is a 2010 German-British action horror film directed by Christopher Smith from an original screenplay by Dario Poloni. It stars Sean Bean, Eddie Redmayne, and Carice van Houten.

This talk will discuss the parallels between the Thirty Years War and today's Middle East and suggest ways in which lessons drawn from the congress and treaties of Westphalia. It was the original forever war, which went on interminably, fuelled by religious and constitutional disputes, personal ambition, fear of hegemony, and communal suspicion. It dragged in all the neighbouring powers. It was punctuated by repeated failed ceasefires. It inflicted suffering beyond belief and generated waves of refugees. This description could apply to Syria today, but actually refers to the Thirty Years War (1618-48), which turned much of central Europe into a disaster zone. The Thirty Years War is often cited as a parallel in discussions of current conflict in the Middle East. The Peace of Westphalia, which ended the war in Europe in 1648, has featured strongly in such discussions, usually with the observation that recent events in some parts of the region have seen the collapse of ideas of state sovereignty -ideas that supposedly originated with the 1648 settlement. This talk will discuss the parallels between the Thirty Years War and today's Middle East and suggest ways in which lessons drawn from the congress and treaties of Westphalia might provide inspirations for a peace settlement for the Middle East's new long wars. The talk is based on a recent book and ongoing collaborative project. Patrick Milton was born in Zimbabwe and is a German-British research fellow at Peterhouse, Cambridge, and an affiliated lecturer at the Dept of Politics and International Studies, Cambridge. He was previously a postdoc at Freie Universitaet Berlin and has been working on the ‘Westphalia for the Middle East' project since 2016.

This talk will discuss the parallels between the Thirty Years War and today’s Middle East and suggest ways in which lessons drawn from the congress and treaties of Westphalia. It was the original forever war, which went on interminably, fuelled by religious and constitutional disputes, personal ambition, fear of hegemony, and communal suspicion. It dragged in all the neighbouring powers. It was punctuated by repeated failed ceasefires. It inflicted suffering beyond belief and generated waves of refugees. This description could apply to Syria today, but actually refers to the Thirty Years War (1618-48), which turned much of central Europe into a disaster zone. The Thirty Years War is often cited as a parallel in discussions of current conflict in the Middle East. The Peace of Westphalia, which ended the war in Europe in 1648, has featured strongly in such discussions, usually with the observation that recent events in some parts of the region have seen the collapse of ideas of state sovereignty -ideas that supposedly originated with the 1648 settlement. This talk will discuss the parallels between the Thirty Years War and today’s Middle East and suggest ways in which lessons drawn from the congress and treaties of Westphalia might provide inspirations for a peace settlement for the Middle East’s new long wars. The talk is based on a recent book and ongoing collaborative project. Patrick Milton was born in Zimbabwe and is a German-British research fellow at Peterhouse, Cambridge, and an affiliated lecturer at the Dept of Politics and International Studies, Cambridge. He was previously a postdoc at Freie Universitaet Berlin and has been working on the ‘Westphalia for the Middle East’ project since 2016.

Podcast: The 420 Small Batch episode covering the history of 420, Sweetwater 420 beer tastings, an epic 420 ad fail and a music from Weed. Another small batch podcast from Home Brew Rock Stars takes a hard hit on the history of 420, with a great 70's story about a group of high school stoners called the Waldos, who frequent an after school adventure into the local Point Reyes Forest in a never-ending search for a secret weed field. They never find their wild bud orchard, but their code word "420", which was the time they would meet after school to get high before this celebrated daily cannabis treasure trip, would become infamous, partially because their 420 slang organically saturated into the culture of the Grateful Dead, as well as High Times Magazine. We've pasted the somewhat redacted Huffington Post story below for your perusal...HAPPY 420! We sample two delicious craft beers from SweetWater Brewing Co. from their 420 Strain G13. First, the 420 IPA offering a great body, good head and nice amount of haze at a pleasurable 6% ABV with dank hops of Columbus and Simcoe, plus two dry hop additions. Then the 420 Mango Kush, a second sticky hit from 420 Strain that is an American Wheat packed with herbal, juicy mango notes and a distinctive dank nose. #danknevertastedsogood We also sample a wild peche ale from a secret brewery in Lisle, IL that will come to me when that Grape Crusher fades back down. HA! Finally, we sample some rock n roll from WEED, a German/British project/band which was created by Virus krautrock band + Ken Hensley (from Uriah Heep). They recorded one self-titled album in 1971 with music very similar to Uriah Heep (lots of roaring Hensley's organ and guitar pyrotechnics). A hearty SQUEAL to Pig Minds Brewing Co. and Artale & Co. for their awesome support and sponsorship! #drinkitup   True Story Of How April 20 Became ‘Weed Day’ [Huffington Post] The origin of the term 420, celebrated around the world by pot smokers every April 20, has long been obscured by the clouded memories of the folks who made it a phenomenon. Depending on who you ask, or their state of inebriation, there are as many varieties of answers as strains of medical bud in California. It’s the number of active chemicals in marijuana. It’s teatime in Holland. It has something to do with Hitler’s birthday. It’s those numbers in that Bob Dylan song multiplied. The Huffington Post chased the term back to its roots and was able to find it in a lost patch of cannabis in a Point Reyes, California forest. Just as interesting as its origin, it turns out, is how it spread. It starts with the Grateful Dead. It was Christmas week in Oakland, 1990. Steven Bloom was wandering through The Lot - that timeless gathering of hippies that springs up in the parking lot before every Grateful Dead concert - when a Deadhead handed him a yellow flyer. “We are going to meet at 4:20 on 4/20 for 420-ing in Marin County at the Bolinas Ridge sunset spot on Mt. Tamalpais,” reads the message, which Bloom dug up and forwarded to the Huffington Post. Bloom, then a reporter for High Times magazine and now the publisher of CelebStoner.com and co-author of Pot Culture, had never heard of “420-ing” before. The flyer came complete with a 420 back story: “420 started somewhere in San Rafael, California in the late ‘70s. It started as the police code for Marijuana Smoking in Progress. After local heads heard of the police call, they started using the expression 420 when referring to herb - Let’s Go 420, dude!” Bloom reported his find in the May 1991 issue of High Times, which the magazine found in its archives and provided to the Huffington Post. The story, though, was only partially right. It had nothing to do with a police code — ironically, the San Rafael part was dead on. Indeed, a group of five San Rafael High School friends known as the Waldos - by virtue of their chosen hang-out spot, a wall outside the school - coined the term in 1971. The Huffington Post spoke with Waldo Steve, Waldo Dave and Dave’s older brother, Patrick, and confirmed their full names and identities, which they asked to keep secret for professional reasons. (Pot is still, after all, illegal at this time) The Waldos never envisioned that pot smokers the world over would celebrate each April 20th as a result of their foray into the Point Reyes forest. The day has managed to become something of a national holiday in the face of official condemnation. The code often creeps into popular culture and mainstream settings. Nearly all of the clocks in the pawn shop scene in “Pulp Fiction,” for instance, are set to 4:20. In 2003, when the California legislature codified the medical marijuana law voters had approved, the bill was named SB420. The code pops up in Craig’s List postings when fellow smokers search for “420 friendly” roommates. “It’s just a vaguer way of saying it and it kind of makes it kind of cool,” says Bloom. “Like, you know you’re in the know, but that does show you how it’s in the mainstream.” The Waldos do have proof, however, that they used the term in the early ‘70s in the form of an old 420 flag and numerous letters with 420 references and early ‘70s post marks. They also have a story. It goes like this: One day in the Fall of 1971 - harvest time - the Waldos got word of a Coast Guard service member who could no longer tend his plot of marijuana plants near the Point Reyes Peninsula Coast Guard station. A treasure map in hand, the Waldos decided to pluck some of this free bud. The Waldos were all athletes and agreed to meet at the statue of Louis Pasteur outside the school at 4:20, after practice, to begin the hunt. Waldo Steve tells it, “We would remind each other in the hallways we were supposed to meet up at 4:20. It originally started out 4:20-Louis and we eventually dropped the Louis,” The first forays out were unsuccessful, but the group kept looking for the hidden crop. “We’d meet at 4:20 and get in my old ‘66 Chevy Impala and, of course, we’d smoke instantly and smoke all the way out to Pt. Reyes and smoke the entire time we were out there. We did it week after week,” says Steve. “We never actually found the patch.” But they did find a useful codeword. “I could say to one of my friends, I’d go, 420, and it was telepathic. He would know if I was saying, ‘Hey, do you wanna go smoke some?’ Or, ‘Do you have any?’ Or, ‘Are you stoned right now?’ It was kind of telepathic just from the way you said it,” Steve says. “Our teachers didn’t know what we were talking about. Our parents didn’t know what we were talking about.” It’s one thing to identify the origin of the term. Indeed, Wikipedia and Urban Dictionary already include references to the Waldos. The bigger question: How did 420 spread from a circle of California stoners across the globe? BEER BREAK>>>>>>>>>>>>>>>>>> As fortune would have it, the collapse of San Francisco’s hippie utopia in the late ‘60s set the stage. As speed freaks, thugs and con artists took over The Haight, the Grateful Dead picked up and moved to the Marin County hills - just blocks from San Rafael High School. “Marin Country was kind of ground zero for the counter culture,” says Steve. The Waldos had more than just a geographic connection to the Dead. Mark Waldo’s father took care of real estate for the Dead. And Waldo Dave’s older brother, Patrick, managed a Dead sideband and was good friends with bassist Phil Lesh. Patrick smoked with Lesh on numerous occasions. He couldn’t recall if he used the term 420 around him, but guessed that he must have. The Dead, recalls Waldo Dave Reddix, “had this rehearsal hall on Front Street, San Rafael, California, and they used to practice there. So we used to go hang out and listen to them play music and get high while they’re practicing for gigs. But I think it’s possible my brother Patrick might have spread it through Phil Lesh. And me, too, because I was hanging out with Lesh and his band [as a roadie] when they were doing a summer tour my brother was managing.” The Waldos also had open access to Dead parties and rehearsals. “We’d go with [Mark’s] dad, who was a hip dad from the ‘60s,” says Steve. “There was a place called Winterland and we’d always be backstage running around or onstage and, of course, we’re using those phrases. When somebody passes a joint or something, ‘Hey, 420.’ So it started spreading through that community.” As the Grateful Dead toured the globe through the ‘70s and ‘80s, playing hundreds of shows a year - the term spread though the Dead underground. Once High Times got hip to it, the magazine helped take it global. Sometime in the early ‘90s, High Times wisely purchased the web domain 420.com. The Waldos say that within a few years the term had spread throughout San Rafael and was cropping up elsewhere in the state. By the early ‘90s, it had penetrated deep enough that Dave and Steve started hearing people use it in unexpected places - Ohio, Florida, Canada - and spotted it painted on signs and etched into park benches. In 1997, the Waldos decided to set the record straight and got in touch with High Times. “They said, ‘The fact is, there is no 420 [police] code in California. You guys ever look it up?’” Blooms recalls. He had to admit that no, he had never looked it up. Hager flew out to San Rafael, met the Waldos, examined their evidence, spoke with others in town, and concluded they were telling the truth. Hager still believes them. “No one’s ever been able to come up with any use of 420 that predates the 1971 usage, which they had established. So unless somebody can come up with something that predates them, then I don’t think anybody’s going to get credit for it other than them,” he says. “We never made a dime on the thing,” says Waldo Dave, but he does take pride in his role, though. “I still have a lot of friends who tell their friends that they know one of the guys that started the 420 thing. So it’s kind of like a cult celebrity thing. Two years ago I went to the Cannabis Cup in Amsterdam. High Times magazine flew me out,” says Dave.

Discover more tech podcasts like this: Tech Podcast Asia. Produced by Pikkal & Co - Award Winning Podcast Agency. Karsten Aichholz is a 30 something German British pro-gamer turned tech entrepreneur. Initially, Karsten was set to follow the safe journey of management trainee with German airline Lufthansa, but he sought bigger challenges. In this interview we learn what it means to be a professional gamer and why Karsten decided to leave Europe to seek out his future in Thailand where he set out to build his Bangkok based video games company.

A comprehensive take-down of the Khazarian mafia continues around the world. The biggest developments were at the top ranks of the Vatican where the Vatican Finance Minister and Number 3 honcho, Australian Cardinal George Pell was suspended after being indicted for child rapes. As a result â??the pedos are in full panic mode,â?? Pentagon officials say. Francis also removed another top honcho, Cardinal Gerhard Mueller, from his post has head of Doctrine and replaced him with a moderate. The suspension of Pell as Finance Minister is almost certainly related to the goings on at Bougaineville and Papua New Guinea, areas under Australian control, and therefore Pellâ??s bailiwick, White Dragon Society sources say. The revelation that only about 3% of the money from minerals being extracted in PNG is going to the locals completely contradicts Pope Francisâ??s vow the turn the Catholic Church into a â??poor church for the poor.â?? The WDS plan to connect the gold in Bougaineville to crypto-currencies, with US and Russian military backing, and thus completely by-pass the existing Vatican and Khazarian mafia controlled financial system must have added urgency to the Vaticanâ??s moves to remove Cardinal Pell. The removal of the German Mueller, who was seen by many as the head of the resistance to Pope Francisâ??s moves to make the church more easy-going, is also a significant defeat for the Khazarian mafia and their proxies, P2 Freemason sources say. This removal is probably going to affect what happens with the Knights of Malta, where a German/British split has been papered over leading to a stalemate at the top of the most important military spiritual order in the West. This in turn will affect how the US military industrial complex is run. In other words, the fanatical faction that still wants to start World War 3 has lost its most senior backers, WDS sources say. Another other big development last week was the arrival of the aircraft USS Bush in Israel. The Mossad site DEBKA expressed confusion about the arrival of the carrier because it apparently was not there attack either Iran or Syria. http://www.debka.com/article/26124/Who-Is-the-Bush-carrier-meant-to-deter-Not-Iran In fact, Pentagon sources say, the arrival of the carrier in Israel is a â??blunt message that

Karsten Aichholz is a German/British pro-gamer turned tech entrepreneur. Not only has he lived in Thailand for ten years, he's also taken the time to blog about it in an effort, among other things, to help prospective expats.  In this week's Borderless Podcast we talk to him about the spots most expats like to settle in, banking, visas, residency, weather, cultural differences and whether or not Thailand is entrepreneur-friendly. Enjoy!

Welcome back! Something a little different this time around - we had such a long podcast that we'll be splitting up the discussion into more easily digestible bite-sized portions. Here we have the start, and a talk about two movies seen by both of our intrepid hosts: the German/British exploitation pic 'Penetration Angst (2003)' and Kevin Smith's latest foray into Grindhouse territory with 'Tusk'.

George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia

This year's Reith lecturer is the eminent German-British sociologist Ralf Dahrendorf. Previously a Professor of Sociology at the Universities of Hamburg, Tübingen and Konstanz, he has been a leading figure for liberal politics and an authority on class divisions in modern society. In 1970 he became the European Commissioner in Brussels before taking over as Director of the London School of Economics and Political Science in 1974. In his Reith series entitled 'The New Liberty', he questions the definition of freedom. In his first Reith lecture entitled 'From Expansion to Improvement', Ralf Dahrendorf argues that we should think about autonomy in a new light. He explores how philosophy, sociology and economics all affect our elemental desires and the definition of freedom. He reflects on the evolution of liberty and questions how we could improve our lives.

This year's Reith lecturer is the eminent German-British sociologist Ralf Dahrendorf. Previously a Professor of Sociology at the Universities of Hamburg, Tübingen and Konstanz, he has been a leading figure for liberal politics and an authority on class divisions in modern society. In 1970 he became the European Commissioner in Brussels before taking over as Director of the London School of Economics and Political Science in 1974. In his Reith series entitled 'The New Liberty', he questions the definition of freedom. In his first Reith lecture entitled 'From Expansion to Improvement', Ralf Dahrendorf argues that we should think about autonomy in a new light. He explores how philosophy, sociology and economics all affect our elemental desires and the definition of freedom. He reflects on the evolution of liberty and questions how we could improve our lives.