Podcasts about Gigue

This Day in Legal History: Bruno Hauptmann ConvictedOn February 13, 1935, a New Jersey jury convicted Bruno Hauptmann of kidnapping and murdering the infant son of famed aviator Charles Lindbergh. The crime had transfixed the nation for nearly three years and was widely labeled the “Crime of the Century.” The child was taken from the Lindbergh home in 1932, and despite a ransom payment, was later found dead. Public outrage was immediate and intense, with newspapers covering nearly every development in the investigation and trial.Hauptmann's prosecution relied heavily on circumstantial evidence, including ransom notes and expert testimony linking his handwriting to those notes. The government also introduced evidence tying marked ransom bills to Hauptmann's possession. The trial raised early concerns about the reliability of forensic handwriting analysis and the influence of media attention on jury impartiality. Critics then and now have questioned whether the intense publicity compromised due process protections.The case also reshaped federal criminal law. In response to the kidnapping, Congress enacted the Lindbergh Law, formally known as the Federal Kidnapping Act. The statute made it a federal offense to transport a kidnapping victim across state lines, expanding federal jurisdiction over what had traditionally been a state crime. That shift reflected a broader trend during the early twentieth century toward increased federal involvement in criminal enforcement.Today, the Hauptmann conviction remains a staple in criminal law courses, not only for its tragic facts but also for its lasting procedural and constitutional implications.Goldman Sachs' chief legal officer, Kathy Ruemmler, resigned after newly released Justice Department documents detailed her past communications with Jeffrey Epstein. CEO David Solomon announced that he accepted her resignation, which will take effect on June 30. Ruemmler said the media attention surrounding her prior legal work had become a distraction. The disclosures showed she exchanged numerous emails with Epstein between 2014 and 2019 and received gifts from him, including luxury items. Some emails revealed that she advised Epstein on how to respond to press inquiries about his treatment by prosecutors.The documents also noted that Epstein attempted to contact her by phone on the night of his 2019 arrest on sex trafficking charges. Ruemmler stated that she knew Epstein only in her capacity as a defense attorney and denied any knowledge of ongoing criminal conduct. Before joining Goldman, she led the white-collar defense practice at Latham & Watkins and previously served as White House counsel during the Obama administration.The broader document release has drawn attention to Epstein's connections within major financial institutions, including UBS and JPMorgan. Ruemmler's departure marks one of the most prominent banking exits linked to the renewed scrutiny of Epstein's network.Top Goldman Sachs lawyer Ruemmler resigns after Epstein disclosures | ReutersA federal judge in Minnesota ruled that U.S. Immigration and Customs Enforcement improperly interfered with detainees' access to their attorneys during a recent enforcement operation. U.S. District Judge Nancy Brasel found that ICE's practices during “Operation Metro Surge” effectively denied thousands of people meaningful legal access. The order requires ICE to stop quickly transferring detainees out of Minnesota and to permit attorney visits and confidential phone calls. The ruling will remain in effect for 14 days while the case proceeds.The class action lawsuit was filed on January 27 on behalf of noncitizen detainees. According to the court, many individuals were moved out of state without notice, making it difficult or impossible for lawyers to locate them. In some instances, detainees were transferred so often that ICE itself lost track of their whereabouts. Judge Brasel concluded that while ICE did not formally deny the right to counsel, its actions in practice severely limited that right.The court also cited evidence that detainees were given limited phone access, sometimes sharing a small number of phones among dozens of people, with calls occurring in nonprivate settings. One asylum seeker with a valid work permit was held for 18 days despite a court order requiring his earlier release and was transferred across multiple states without explanation. The judge rejected ICE's claim that it lacked sufficient resources, noting that the agency had committed substantial personnel and funding to the enforcement effort.ICE blocked detainees' access to lawyers in Minnesota, judge finds | ReutersPresident Donald Trump announced four new judicial nominations, including a White House attorney selected for a seat on the U.S. Court of International Trade. The nominee, Kara Westercamp, currently serves as associate counsel in the White House and previously worked at the Justice Department. If confirmed, she would join a nine-member court that handles disputes involving U.S. trade laws, including challenges to tariffs. Her nomination comes as numerous companies contest Trump's sweeping global tariffs and seek refunds on duties already paid.Retailers and manufacturers such as Costco, Goodyear, and Revlon have filed lawsuits arguing that the tariffs exceed presidential authority. Earlier rulings from the trade court and the U.S. Court of Appeals for the Federal Circuit blocked most of the tariffs, and the U.S. Supreme Court is now reviewing the matter. Trump has publicly criticized the earlier decisions.In addition to Westercamp, Trump nominated Katie Lane to a federal district court in Montana, Sheria Clarke to a district court seat in South Carolina, and federal prosecutor Evan Rikhye to a 10-year term on the District Court of the Virgin Islands. All nominees must be confirmed by the Senate.Trump nominates White House lawyer to court hearing tariff cases | ReutersFormer CNN anchor Don Lemon is scheduled to appear in federal court in Minnesota to enter a plea related to charges stemming from his coverage of a protest at a St. Paul church. The protest targeted President Donald Trump's immigration enforcement surge in the state. Lemon, now an independent journalist, livestreamed the January 18 demonstration, which disrupted a worship service at Cities Church.Federal prosecutors charged him with conspiring to violate civil rights and with obstructing access to a house of worship under a statute also used in cases involving abortion clinic protests. His attorney argues that the prosecution infringes on Lemon's First Amendment rights and characterizes the case as an attack on press freedom. Trump publicly supported the charges, while Attorney General Pam Bondi stated that authorities would protect the right to worship without interference.The protest occurred during broader demonstrations against federal immigration actions in Minnesota, where thousands had gathered to oppose the crackdown. Lemon was seen on video speaking with activists before and during the disruption and interviewing participants and congregants inside the church. Another journalist, Georgia Fort, faces similar charges and has denied wrongdoing, stating she was reporting rather than participating.Journalist Don Lemon to enter plea in Minnesota ICE protest case | ReutersThis week's closing theme is by Johann Sebastian Bach.Bach stands as one of the central figures of the Baroque era, revered for the structural clarity and spiritual depth of his music. Born in 1685 into a long line of musicians, Bach spent much of his career serving as a church organist and cantor in German cities such as Arnstadt, Weimar, and Leipzig. Though not widely celebrated outside musical circles during his lifetime, his reputation has since grown to near-mythic status. His compositions balance intellectual precision with emotional resonance, blending intricate counterpoint with lyrical expression.This week's closing theme is his Cello Suite No. 1 in G major, BWV 1007, likely composed around 1720 during his tenure in Köthen. The suite opens with one of the most recognizable preludes in all of classical music, built from flowing arpeggios that unfold with quiet inevitability. Written for unaccompanied cello, the piece demonstrates Bach's ability to imply harmony and depth through a single melodic line. The suite follows the traditional Baroque dance structure, moving from Prelude through Allemande, Courante, Sarabande, Menuets, and Gigue.For many listeners, the Prelude evokes clarity, order, and calm—qualities that make it a fitting close to the week. Its simplicity is deceptive; beneath the surface lies careful architecture and subtle harmonic movement. The work fell into relative obscurity until the twentieth century, when cellist Pablo Casals famously revived it and brought it to concert stages worldwide. Today, it remains a cornerstone of the cello repertoire and a touchstone of Baroque artistry. As a closing theme, it offers both reflection and renewal, ending not with flourish but with quiet confidence.Without further ado, Johann Sebastian Bach's Cello Suite No. 1 in G major, BWV 1007–enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

durée : 00:03:12 - Le Bach du matin du samedi 31 janvier 2026 - Nous écoutons la suite anglaise n°2 en la min BWV 807 - Gigue de Jean-Sébastien Bach, interprété par Jean-Frédéric Neuburger. Jean Frederic Neuburger live at suntory hall (MIRARE, 2008) Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:03:12 - Le Bach du matin du samedi 31 janvier 2026 - Nous écoutons la suite anglaise n°2 en la min BWV 807 - Gigue de Jean-Sébastien Bach, interprété par Jean-Frédéric Neuburger. Jean Frederic Neuburger live at suntory hall (MIRARE, 2008) Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:05:00 - Le Bach du matin du lundi 26 janvier 2026 - L'ensemble Musica Antiqua de Cologne interprète la Gigue de la Sonate en trio en Ut Majeur BWV 1037, sous la direction du chef allemand Reinhard Goebel. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:05:00 - Le Bach du matin du lundi 26 janvier 2026 - L'ensemble Musica Antiqua de Cologne interprète la Gigue de la Sonate en trio en Ut Majeur BWV 1037, sous la direction du chef allemand Reinhard Goebel. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Johann Pachelbel (1653 – 1706) - Partie Suite in sol maggiore 1.      Sonatine (0:01)2.      Allemande (1:01)3.      Gavotte (3:48)4.      Courante (4:38)5.      Aria (5:34)6.      Sarabande (6:12) 7.      Gigue (7:50)8.      Adagio (9:18) Musica Antiqua KölnHenk Bouman, clavicembaloReinhard Goebel, conductor 

durée : 00:06:15 - Le Bach du matin du mercredi 10 décembre 2025 - Ce matin, notre Bach est canadien puisque c'est le pianiste Bruce Liu qui interprète la Gigue et la Sarabande de la Suite française pour piano n°5 en Sol Majeur BWV 816. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:06:15 - Le Bach du matin du mercredi 10 décembre 2025 - Ce matin, notre Bach est canadien puisque c'est le pianiste Bruce Liu qui interprète la Gigue et la Sarabande de la Suite française pour piano n°5 en Sol Majeur BWV 816. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:06:21 - Le Bach du matin du lundi 08 décembre 2025 - Le claveciniste et organiste français Benjamin Alard s'est lancée dans l'enregistrement d'une intégrale des œuvres pour clavier de Bach, et ce matin nous écoutons la Gigue de la Partita n°1 en Si bémol Majeur BWV 825. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:06:21 - Le Bach du matin du lundi 08 décembre 2025 - Le claveciniste et organiste français Benjamin Alard s'est lancée dans l'enregistrement d'une intégrale des œuvres pour clavier de Bach, et ce matin nous écoutons la Gigue de la Partita n°1 en Si bémol Majeur BWV 825. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:08:16 - Le Bach du matin du mercredi 29 octobre 2025 - Bach n'a jamais écrit pour la clarinette, un instrument en train de naître à son époque. C'est donc un arrangement que propose le clarinettiste Richard Stoltzman pour cette Gigue de la Partita n°3 en La Mineur BWV 827. Il est accompagné de Paul Neubauer à l'alto et de Fred Sherry au violoncelle. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:08:16 - Le Bach du matin du mercredi 29 octobre 2025 - Bach n'a jamais écrit pour la clarinette, un instrument en train de naître à son époque. C'est donc un arrangement que propose le clarinettiste Richard Stoltzman pour cette Gigue de la Partita n°3 en La Mineur BWV 827. Il est accompagné de Paul Neubauer à l'alto et de Fred Sherry au violoncelle. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:06:10 - Le Bach du matin du jeudi 09 octobre 2025 - Le pianiste Igor Levit interprète la Gigue de la Partita n°6 en mi min BWV 830. Les Partitas pour clavier sont un ensemble de six pièces composées pour clavecin entre 1726 et 1731 par Jean-Sébastien Bach. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:06:10 - Le Bach du matin du jeudi 09 octobre 2025 - Le pianiste Igor Levit interprète la Gigue de la Partita n°6 en mi min BWV 830. Les Partitas pour clavier sont un ensemble de six pièces composées pour clavecin entre 1726 et 1731 par Jean-Sébastien Bach. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Sunday Worship for October 5, 2025, from Queen Anne Lutheran Church in Seattle, our 10:30 service— Pastor Dan Peterson; Pastor Kristy Daniels; Cantor Kyle Haugen. Prelude—A suite of contrasting pieces: 1.   Batalha do sexto tom, Pedro de Araújo; 2.   Prelude in F major , Johann Ludwig Krebs; 3.   Flourish, Allan Bullard; 4.   In Thee Is Gladness, Paul Manz  • Introit—Psalm 119: 166, 165 • Gathering Hymn —On Thee Is Gladness, (ELW 867) • First Reading—Habakkuk 1:1-4, 2:1-4 • Psalm 37:1-9 • Second Reading—2 Timothy 1:1-14 • Gospel—Luke 17:5-10 • Sermon—Guest Pastor Kristy Daniels • Hymn of the Day—Love Divine, All Loves Excelling (ELW 631) • Distribution Hymn—We Walk by Faith, (ELW 635)  • Sending Hymn —Jesus, Still Lead On (ELW 624)  • Postlude—Fugue in G major (“Gigue”), Johann Sebastian Bach     ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link here to view the bulletin⁠⁠.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Enjoying our worship recordings? Consider giving. ⁠⁠⁠⁠⁠⁠⁠⁠Visit this link⁠⁠⁠⁠⁠⁠.

François Couperin (1668-1733) - Les Nations No. 41.      Gravement, et rondemont2.      Vivement 01:413.      Gravement 02:244.      Vivement, et marqué 03:475.      Air 04:576.      Second Air 06:087.      Gravement, et marqué 07:228.      Allemande 09:039.      Courante 11:4010.   Seconde Courante 13:1211.   Sarabande 15:2212.   Rondeau 19:2313.   Gigue 21:59 Hespèrion XXIJordi Savall, conductor

Vandaag - 31 augustus - is het de geboortedag van Alma Mahler, vooral bekend als de vrouw van Gustav Mahler. We weten van alles over haar beroemde relaties, maar wie waren eigenlijk de andere componerende vrouwen van haar generatie? Zo komen we langs de Chileense Carmela Mackenna, de Duitse Johanna Senfter en de Poolse Wanda Landowska: allemaal bouwjaar 1879.  En stiekem viert Anne-Maartje ook haar broertjes verjaardag door zijn lievelingsmuziek te draaien én muziek van musicerende en componerende broers. Hoera! gedraaid in de uitzending: Anoniem - All through the Night (DeJongDeJongPlus) Alma Mahler - Licht in der Nacht (piano & zang) Carmela Mackenna - concierto para Piano y Orquesta de Cámara Johanna Senfter - Sonata for Viola and Piano No.2 in F Major Jean Philippe Rameau - Suite in E mineur Gigue en Rondeau Wanda Landowska - Suit d'Automne Bert van den Brink - Leaving Anoniem / Euwe de Jong - Rosa das Rosas e Fror das Froras Alma Mahler - Licht in der Nacht (orkest) The Happenings - See you in September Louis van Dijk / Toots Thielemans - Maybe September

Folge 282: Für welches Tasteninstrument hat Bach eigentlich seine Französischen Suiten vorgesehen und wer hat sie zuerst gespielt? Und was hat die Feuerwehr mit der Gigue zu tun?

Apesar do nome, Bach nunca foi à Inglaterra — e, sinceramente, duvido que tomasse chá às 5. O nome “inglesa” veio depois, talvez por causa de algum nobre britânico misterioso que recebeu a dedicatória. Ou talvez porque... sei lá, “suíte alemã” não soava chique o suficiente.A suíte começa com um Prelúdio cheio de energia, como se dissesse: “Atenção, senhores! A dança vai começar!”. É rápido, ornamentado, e exige que os dedos do cravista estejam mais aquecidos que café no fogão.E então... entram as danças barrocas:A Allemande, cheia de elegância;A Courante, saltitante, quase uma corrida leve;A Sarabande, mais introspectiva — tipo aquela hora da festa em que todo mundo fica sentimental;Depois vem a Double, uma variação mais enfeitada da Sarabande;As Gavottes I e II, que são tipo o biscoito de polvilho da corte: crocantes, leves e ninguém consegue ouvir só uma;E por fim, a Gigue — que fecha com chave de ouro, em ritmo acelerado, como se Bach dissesse: “Pode aplaudir, agora acabou mesmo!”..Apresentado por Aroldo Glomb com Aarão Barreto na bancada. Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Gustavo Holtzhausen, João Paulo Belfort , Arthur Muhlenberg e Rafael Hassan.

This week on The Sound Kitchen, you'll hear the answer to the question about the “Choose Europe for Science” summit. You'll hear about the Pariwer Bandhu RFI SW Club's quiz competition, and there's the Listener's Corner” with your bonus question answers. All that, and the new quiz and bonus questions too, so click the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winners' names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week. Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr Tell us why you like the piece of music, too – it makes it more interesting for us all! Facebook: Be sure to send your photos to thesoundkitchen@rfi.fr for the RFI English Listeners Forum banner! More tech news: Did you know we have a YouTube channel? Just go to YouTube and write “RFI English” in the search bar, and there we are! Be sure to subscribe to see all our videos. Would you like to learn French? RFI is here to help you! Our website “Le Français facile avec RFI” has news broadcasts in slow, simple French, as well as bilingual radio dramas (with real actors!) and exercises to practice what you have heard. Go to our website and get started! At the top of the page, click on “Test level” and you'll be counselled to the best-suited activities for your level. Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service, told me: “Bathe your ears in the sound of the language, and eventually, you'll get it.” She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it! Be sure you check out our wonderful podcasts! In addition to the news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more. There's Spotlight on France, Spotlight on Africa, The International Report, and of course, The Sound Kitchen. We also have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis.  Remember, podcasts are radio, too! As you see, sound is still quite present in the RFI English service. Please keep checking our website for updates on the latest from our journalists. You never know what we'll surprise you with! To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone. To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show.  Teachers take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below.  Another idea for your students: Brother Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books that were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Brother Gerald's free books, click here. Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload! This week's quiz: On 10 May, I asked you about a scientific summit held earlier that week here in Paris. It was about bringing to Europe US scientists whose research funds were being threatened – and now, many have been canceled - by US President Donald Trump. The summit, called “Choose Europe for Science”, was attended by EU commissioners, scientists, and ministers for research from member countries, and hosted by Paris's Sorbonne University. It closed with speeches by French President Emmanuel Macron and EU Commission President Ursula von der Leyen.  You were to re-read our article “France hosts summit to lure scientists threatened by US budget cuts” and send in the answer to this question: Which specific research specialties are the Europeans hoping to attract? Amongst possible others, which specific sectors of research are the Europeans targeting? The answer is, to quote our article: “Macron's office said France and the EU are targeting researchers in a number of specific sectors, including health, climate, biodiversity, artificial intelligence and space.” The first “refugee scientists”, as they're being called, are on their way here. In addition to the quiz question, there was the bonus question: “How do you greet friends and relatives? How do you greet people you are being introduced to for the first time? What do these forms of greeting mean to you?” The question was suggested by Jocelyne D'Errico from New Zealand. Do you have a bonus question idea? Send it to thesoundkitchen@rfi.fr The winners are: RFI Listeners Club member Radhakrishna Pillai from Kerala State in India, who is also the winner of this week's bonus question. Congratulations on your double win, Radhakrishna. Also on the list of lucky winners this week are Ferhat Bezazel, the president of the RFI Butterflies Club Ain Kechera in West Skikda, Algeria, as well as RFI Listeners Club members Rubi Saikia from Assam, India and Sahadot Hossain Khoka from Sunamganj, Bangladesh. Last but assuredly not least, RFI English listener Rajesh Dhakal from Mechi, Nepal. Congratulations, winners! Here's the music you heard on this week's programme:  “Peaceful Journey” by Imade Suputra; the “Gigue” from the French Suite no. 2 by Johann Sebastian Bach, performed by Andras Schiff; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and Quatre Bergerettes, four 18th-century French folksongs arranged by Siegfried Behrend and Sharon Isbin, performed by mezzo-soprano Susanne Mentzer and guitarist Sharon Isbin. Do you have a music request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-read our article “French Polynesia unveils world's largest marine protected zone”, which will help you with the answer. You have until 7 July to enter this week's quiz; the winners will be announced on the 12 July podcast. When you enter, be sure to send your postal address with your answer, and if you have one, your RFI Listeners Club membership number. Send your answers to: english.service@rfi.fr or Susan Owensby RFI – The Sound Kitchen 80, rue Camille Desmoulins 92130 Issy-les-Moulineaux France Click here to learn how to win a special Sound Kitchen prize. Click here to find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club.   

durée : 00:06:15 - Le Bach du matin du jeudi 17 avril 2025 - Notre Bach du matin est un Bach à la viole de gambe. Depuis une quinzaine d'années, le trio du Cellini Consort revisite avec bonheur la musique du compositeur allemand. Ici, c'est la cinquième suite française pour clavier, Gavotte et Gigue.

durée : 00:06:15 - Le Bach du matin du jeudi 17 avril 2025 - Notre Bach du matin est un Bach à la viole de gambe. Depuis une quinzaine d'années, le trio du Cellini Consort revisite avec bonheur la musique du compositeur allemand. Ici, c'est la cinquième suite française pour clavier, Gavotte et Gigue.

1680, Johann Pachelbel componeert de ultieme one-hit wonder van de klassieke muziek: zijn Canon en gigue voor drie violen en basso continuo. Maar wat is die basso continuo nu eigenlijk? Hoe heeft prinses Diana ervoor gezorgd dat deze muziek dé hit tijdens huwelijksceremonies werd? En herkennen Clara en Sander nu echt de Canon en gigue in de muziek van Maroon 5?

Música de Pat Metheny grabada por Los Angeles Guitar Quartet ('Road to the sun part. 5' -con el propio Metheny-) y por el guitarrista Jason Vieaux en 'From paths of light part. 2' en el disco de Pat Metheny 'Road to the sun' de 2021. Jason Vieaux, en su disco de hace veinte años 'Images of Metheny', tocando 'Always and forever' y en '5 songs in the form of a baroque suite' las piezas I. 'Last train home' (Prelude), II. 'Antonia' (allemande). III. 'Tell her you saw me' (Chaconne), IV. 'Question and answer' (Gavote) y V. 'James' (Gigue). Otro guitarrista, John Pizzarelli, con 'James', 'Spring ain´t here' y 'Better days ahead' de su disco 'Better days ahead (Solo guitar takes on Pat Metheny)'. Y, para terminar, 'Minuano', del disco del guitarrista andaluz Santiago Lara 'Flamenco tribute to Pat Metheny'. Escuchar audio

durée : 00:06:03 - Le Bach du matin du lundi 10 mars 2025 - Notre Bach du matin, est un Bach qui fugue. Non pas que Jean-Sébastien prenne la fuite mais dans cette Gigue de la 6e et dernière partita du compositeur, publiée en 1731, une fugue se déploie inexorablement. Et le pianiste Igor Levit offre du grand art, soignant la clarté et la beauté du son.

Ferruccio Busoni (1866 – 1924) - Symphonìsce Suite n. 11.       Praeludium. Allegro giusto (0:00)2.       Gavotte. Moderato (10:12)3.       Gigue. Allegro vivace - Più vivo (15:52)4.       Langsames intermezzo. Adagio non troppo - Con moto - Tempo I (21:50)5.       Alla breve: Allegro fugato. Allegro energico (27:41)  Berlin Radio Symphony OrchestraArturo Tamayo, conductor

durée : 00:06:03 - Le Bach du matin du lundi 10 mars 2025 - Notre Bach du matin, est un Bach qui fugue. Non pas que Jean-Sébastien prenne la fuite mais dans cette Gigue de la 6e et dernière partita du compositeur, publiée en 1731, une fugue se déploie inexorablement. Et le pianiste Igor Levit offre du grand art, soignant la clarté et la beauté du son.

Præludium: Georg Friedrich Händel: Sarabande e-mol Fra det G.T.: Esajas 40, 1-8 Salme: 59 "Jesus os til trøst og gavn" Fra det N.T.: Markus 4,21-25 Korvers:Mark Baumann: Guds rige lignes ved et frø (tekst: N.F.S. Grundtvig) Salme: 582 "At tro er at komme til det, der er større" Postludium: Georg Friedrich Händel: Gigue e-mol

Donald Macleod delves into the life of Luise Adolpha Le Beau Luise Adolpha Le Beau was a German composer, concert pianist, teacher and music critic. Although her music was performed as far afield as Calcutta and Sydney, her story is one of continual struggle for recognition and respect. Le Beau frequently met opposition to her works and to performance opportunities, Despite these set-backs, Le Beau forged her own path as a composer not only with works for her own instrument, the piano, but also with chamber music, opera, a symphony and many songs. She was determined to succeed, but after her death, without anyone to promote her works on her behalf, Le Beau soon fell into obscurity and was largely forgotten. This week, Donald Macleod is joined by guest Dr Katy Hamilton to shine a light on Le Beau's musicMusic Featured: Piano Concerto in D minor, Op 37 (excerpt) Fantasiestück, Op 1 No 1 (Drei Klavierstücke) Fünf Lieder, Op 7 (excerpt) Piano Concerto in D minor, Op 37 (Allegro maestoso) Piano Sonata, Op 8 (excerpt) Violin Sonata, Op 10 Mazurka, Op 57 No 3 (Drei Klavierstücke) Polonaise, Op 26 No 3 (Drei Stücke) Theme and Variations, Op 3 Fünf Lieder, Op 11 (excerpt) Piano Trio, Op 15 Concert Overture in F major, Op 23 Eight Preludes, Op 12 No 2 (Munter) Romance, Op 35 Vier Stücke, for cello and piano, Op 24 Fünf Lieder, Op 11 (excerpt) Improvisata for left hand, Op 30 Gavotte, Op 32 Piano Concerto in D minor, Op 37 (excerpt) Eight Preludes, Op 12 No 8 (Mit Grazie) Nachstück, Op 26 No 2 (Drei Stücke) Deutscher Regien, Klavierstück, Op 49 Piano Quartet, Op 28 Drei Lieder, Op 39 Symphony in F major, Op 41 (Allegro con fuoco) Gigue, Op 48 No 3 (Danze Antiche) Vater unser, Op 61 Symphony in F major, Op 41 (Adagio) Cello Sonata, Op 17 Barcarole, Op 59 Abendklänge, Op 63 Symphony in F major, Op 41 (excerpt)Presented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Donald Macleod delves into the life of Luise Adolpha Le Beau (1850-1927) https://www.bbc.co.uk/programmes/m0025cflAnd you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Gerade mal 23 Jahre alt ist der Student Stephan Braun, als ihn Heidi Abel interviewt. Doch was der junge Mann erzählt, hätte für mehrere Sendungen gereicht. Das vielleicht ausserordentlichste Gespräch, das Heidi Abel für Musik für einen Gast geführt hat, beendet die Reprisen-Serie dieses Herbstes. Ja, diese Sendung ist wirklich speziell. Die bekannte und beliebte Fernseh- und Radiomoderatorin Heidi Abel, die 1982 und 1983 zwei Jahre lang auch die Sendung «Musik für einen Gast» moderiert hat, besucht den Studenten Stephan Braun in einer Wohnung in Schwamendingen, die dieser nur temporär und nur als Gast bewohnt. Gleich zu Beginn erzählt der Student der Veterinärmedizin, welchen intensiven Bezug er zu Anton Bruckner hat und wie wenig ihn Musik interessiert, die nicht diese Komplexität hat. Danach entwickelt sich ein Gespräch über ein damals noch recht junges Leben, in dem aber schon so sehr viel passiert ist: Der frühe Unfalltod des Vaters, eine ausgewachsene Krise in der Spätpubertät, das Nachholen der Matura und der Beginn des Studiums und schliesslich die grosse Sehnsucht nach der Freundin, die zum Zeitpunkt der Ausstrahlung am 17.März 1983 noch ganze sechs Monate in New York sein wird, und das, obwohl «jeder Tag zu viel» sei, wie Stephan Braun zum Schluss des Gespräches sagt. Dazwischen exquisite Musiktitel aus Klassik und Pop, kaum jemandem bekannt, die weder an- noch abgesagt werden und auf diese Weise das Gespräch nicht unterbrechen, sondern ergänzen. Ein unerwartetes Radiohighlight aus dem Archiv. Sendung vom 17. April 1983 Die Musiktitel: 1. Anton Bruckner – 4. Finale aus der Sinfonie Nr. 8 in c-Moll Berliner Philharmoniker / Herbert von Karajan, Leitung 2. Al Jarreau – Love Is Real 3. Blue rondo a la Turk – Change 4. J.S. Bach – 6. Gigue aus der Suite Nr. 2 in d-Moll, BWV 1008 János Starker 5. Santana – Searchin' 6. David Bowie – Heroes 7. Captain Sensible – Wot 8. Material – (feat. Whitney Housten)

A brief(er) episode for you today: Bach's first published opus was his six partitas for keyboard. In some of the sources within Bach's circle, copies retained as a ‘Handexemplar' include revisions by a scribe we can almost say with certainty is Bach himself. The most consequential of these revisions appears at the end of the third partita, where the second half of the Gigue is re-written with what one might call ‘updated' or ‘refined' counterpoint. Here we see the main source (G 25) in question:Hard to see here, but if we zoom in, we see that this:Is a correction of the original printings, which read:This link here should allow you to download the original print of all six partitas. N.B. As that link is the download of the original print, it will not contain any of the corrections mentioned in this episode. For a full list of the scholarship on these changes, see: Wolff, C. (1999). Text-critical comments on the original print of the Partitas. In Bach: Essays on his life and music (pp. 214-222). Cambridge, MA: Harvard University Press.How To Support This Podcast:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachor become a paid subscriber at wtfbach.substack.com Get full access to WTF Bach at wtfbach.substack.com/subscribe

A memorable collection, a composer whose primacy spans the ages, a great performer. We find ourselves in front of Johann Sebastian Bach's (1685-1750) six Suites for solo cello, performed by Antonio Meneses. In J. S. BACH: THE CELLO SUITES he turns to this precious legacy, which he masters like few others. Around the world, he presents it to audiences. In the past, he has recorded it. Now, a new perspective on these eternally meaningful works leads him to rediscover them. Tracks1. Cello Suite No. 1 in G Major, BWV 1007: I. Prélude – (2:30)         2. Cello Suite No. 1 in G Major, BWV 1007: II. Allemande – (4:13)           3. Cello Suite No. 1 in G Major, BWV 1007: III. Courante – (2:52)          4. Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande – (2:48)         5. Cello Suite No. 1 in G Major, BWV 1007: V. Menuets I & II – (3:33)       6. Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue – (1:52)               7. Cello Suite No. 2 in D Minor, BWV 1008: I. Prélude – (3:54)         8. Cello Suite No. 2 in D Minor, BWV 1008: II. Allemande – (3:33)           9. Cello Suite No. 2 in D Minor, BWV 1008: III. Courante – (2:12)           10. Cello Suite No. 2 in D Minor, BWV 1008: IV. Sarabande – (4:26)           11. Cello Suite No. 2 in D Minor, BWV 1008: V. Menuets I & II – (3:21)    12. Cello Suite No. 2 in D Minor, BWV 1008: VI. Gigue – (2:42)              13. Cello Suite No. 3 in C Major, BWV 1009: I. Prélude – (3:14)          14. Cello Suite No. 3 in C Major, BWV 1009: II. Allemande – (3:54)           15. Cello Suite No. 3 in C Major, BWV 1009: III. Courante – (3:19)           16. Cello Suite No. 3 in C Major, BWV 1009: IV. Sarabande – (3:52)           17. Cello Suite No. 3 in C Major, BWV 1009: V. Bourrées I & II – (3:40)     18. Cello Suite No. 3 in C Major, BWV 1009: VI. Gigue – (3:19)               19. Cello Suite No. 4 in E-Flat Major, BWV 1010: I. Prélude – (4:02)         20. Cello Suite No. 4 in E-Flat Major, BWV 1010: II. Allemande – (4:05)      21. Cello Suite No. 4 in E-Flat Major, BWV 1010: III. Courante – (3:45)      22. Cello Suite No. 4 in E-Flat Major, BWV 1010: IV. Sarabande – (4:01)      23. Cello Suite No. 4 in E-Flat Major, BWV 1010: V. Bourrées I & II – (5:04) 24. Cello Suite No. 4 in E-Flat Major, BWV 1010: VI. Gigue – (2:49)    And others …This album is broadcast with the permission of Bárbara Leu from Azul Music.         

Remember the carefree days of youth, when all seemed right with the world and the only bodily pains you had were growing pains? Nope, we don't either! On this episode of T&B, we are officially claiming the status of ANCIENT, distracting ourselves from reality with a GIGUE,  and delving into the realms of fantasy and Facebook, where anyone can be a god and everyone has an AVATAR to prove it. To top it all off, we're using our ancient brains to solve the NYTimes word game, Connections…live! If you're looking for escapism, you've come to the right place.

Two friends and academics recap classic literature and take it off its pedestal. In our forty-third episode, we go back to ancient epics and probably the earliest text we can cover on this show: the Epic of Gilgamesh (circa 2100-1200 BC). In this episode, Daniel finds religion, Abby repents her punning ways, we see a glorious return of MeasuringWorth, and our hosts make way for the real star of the show: semi-standardised cubits.Cover art © Catherine Wu.Episode Themes: Bach, 'Cello Suite No. 1 in G Major, VI. Gigue'; Baligh Hamdi 'Hobb Eih' on Arabic oud. Hosted on Acast. See acast.com/privacy for more information.

Sunday Worship for May 21, 2023, from Queen Anne Lutheran Church in Seattle, our 10:30 service—Rev. Dan Peterson presiding; Cantor Kyle Haugen. Prelude—A collection of chorale preludes on WER NUR DEN LIEBEN GOTT LÄSST WALTEN (ELW 769) • Introit—Psalm 27:7, 8, 9, 1 • Rite of Holy Baptism • Gathering Hymn—Rise, O Sun of Righteousness, ELW 657 • First Reading—Acts 1:6-14 • Psalm 68:1-10, 32-35 • Second Reading—1 Peter 4:12-14; 5:6-11 • Gospel—John 17:1-11 • Sermon—Pastor Dan Peterson • Hymn of the Day—Son of God, Eternal Savior, ELW 655 • Distribution Hymn—I Come with Joy, ELW 482 • Reception of New Members • Sending Hymn—Thine Is the Glory, ELW 376 • Postlude—Fugue in G major (“Gigue”), J. S. Bach (1685–1750) View the bulletin and read the sermon transcript. Support our ministry by giving online at this link.

Handel's keyboard suites have remained strangers to most concert pianists. Seong-Jin Cho hopes that his latest album for Deutsche Grammophon will shed new light on some of the most heartfelt of all Baroque music. Set for release today, The Handel Project contains three of the 28-year-old South Korean pianist's favourite suites from Handel's first collection of Suites de pièces pour le clavecin. These are coupled with Brahms's virtuosic Variations and Fugue on a Theme by Handel, which Cho believes to be “the best variations that have ever been written”.Track Listing:1 Adagio 02:362 Allegro 02:183 Adagio 01:374 Allegro 02:105 Prélude 02:166 Allegro 02:297 Allemande 03:058 Courante 01:419 Gigue 02:0110 Prélude 02:0911 Allemande 04:3412 Courante 01:4313 Air & 5 Variations "The Harmonious Blacksmith" 03:3514 Aria 00:4915 Var. 1 00:4716 Var. 2 (Animato) 00:4217 Var. 3 (Dolce) 00:4418 Var. 4 (Risoluto) 00:4919 Var. 5 (Espressivo) 00:5720 Var. 6 00:5621 Var. 7 (Con vivacitá) 00:3822 Var. 8 00:3623 Var. 9 (Poco sostenuto) 01:1724 Var. 10 (Energico) 00:3525 Var. 11 (Dolce) 00:4826 Var. 12 (Soave) 00:4927 Var. 13 (Largamente, ma non più) 01:2528 Var. 14 (Sciolto) 00:3829 Var. 15 00:4430 Var. 16 (Piano ma marcato) 00:3131 Var. 17 (Più mosso) 00:2932 Var. 18 (Grazioso) 00:5133 Var. 19 (Leggiero e vivace) 01:0634 Var. 20 (Legato) 01:2335 Var. 21 (Dolce) 00:5136 Var. 22 01:0537 Var. 23 (Vivace e staccato) 00:3338 Var. 24 00:3339 Var. 25 00:3840 Fugue 05:0841 Sarabande 02:3642 Minuet (Arr. Kempff for Piano) 04:17Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

If your story had a sound, Slushies. What would it be? A rush, a zuzz, a sizzle? David Landon's “Bach, Onomatopoeia, and the Wreck” triggers a discussion of stories and sounds, and poems that resist narrative closure. Shane Chergosky's “Headwind” takes us down a different path. Erasures, Slushies. Ammi right? Listen to us puzzle over the way erasures “make it new” and simultaneously obliterate and conjure the from which they're made. Special note: Jason reads the erasure twice. First as a robot, then as a human. We love both versions-- of the poem, and Jason. And if you are hungry for more: take this and this and this.   At the table: Marion Wrenn, Alex Tunney, Kathleen Volk Miller, Jason Schneiderman, Samantha Neugebauer, Larissa Morgano   This episode is brought to you by one of our sponsors, Wilbur Records, who kindly introduced us to the artist A.M.Mills, whose song “Spaghetti with Loretta” now opens our show.      David is never quite sure whether he is an actor who writes poetry or a poet who acts. And perhaps he can be forgiven his obsession with iambic pentameter: he has done a lifetime of Shakespeare, as an actor (New York, Nashville, and Alabama Festivals), director, and coach. His poetry—all iambic pentameter—has been published in Able Muse (Write Prize, winner), Georgia Review (Williams Prize, featured finalist), Southwest Review (Marr Prize, runner-up), the Dark House, Think Journal, and elsewhere. Officially, he is the Bishop Frank A. Juhan Professor of Theatre Emeritus at Sewanee, the University of the South.     Bach, Onomatopoeia, and the Wreck   For all we knew, it was a random chunk of interstellar rock, the rear-end crash that brought us to a halt. Dinner was out, of course, and the Bach too, I realized, feeling it in my neck, and standing there in the rain, examining my totaled car, the guilty driver soaked, in tears. The cops were nice enough, did what they had to do efficiently. The wrecker did show up, eventually, and we began to cope. And since it's now collision story time, the word I'm hearing in my head is ‘thud'.   There's ‘clunk', of course, or ‘jolt', ‘wham-bang', or ‘thwack'. ‘Thwack' has that sudden, can't-be-happening feel, as in, “I was just sitting, reading Kant, when suddenly, inside my head, I felt this ‘thwack', and everything went blank.” But no! The word that truly bongs the knell is ‘thud', essence—onomatopoetically— of impact, ‘thud', from dice, to hand-grenade, to asteroid. We need the stupid ‘d' of ‘doo-doo', ‘dodo', 'dude', or ‘dud', or ‘dead'. ‘You're-done-for-d' is what we're up against; you never know when out of nowhere, ‘thud'!   But on the other hand, there's Bach: the Bach we missed, the works for cello solo. Bach: initial ‘b', a kind of plosive bump, terminal ‘ch', a bit of friction in the throat, but in between the ‘b' and ‘ch', the ‘ah', release: sustained and open, ‘ah'. Think of the bow colliding with the string, a subtle thud, a scrape, and out floats Bach, genial Bach-analia of dark and light, a theory of the universe as music: bang, and then the sarabande, the minuet, the allemande, the gigue.     Shane Chergosky was born in Minnesota where he was raised on stuffed cabbage and heavy metal. His work has appeared in Pithead Chapel, HASH Journal, Juke Joint, and is forthcoming in Adirondack Review. He holds an MFA from George Mason University and lives in Washington, D.C.     Headwind   ? When I think about the story she told me about that I don't even wanna hurt the guy. I don't know if I could meet that person and act normal. I remember I did that when I was about 20,21. I didn't go into CVS with Xunaxi to What a bastard I was . And             //     ith what courses I take.Luckily I can only take two (!!!). Maybe a lit course and…an elective? It'd be SO cool to do screen- writing. Finally would have a chance to write that SciFi…I ordered “The Art of Syntax” after Phebe brought it over. I honestly get so self-conscious talking with her about sentence-level stuff. She's so smart and her recall is so good (regardless of what she says re: her               //     I want to sleep in a crappy hotel and make jokes hold her after we kill a pint of ice cream. something feels right about her, about the way I feel     around her. I want her attention. I want her to pay attention to me. She does! but I don't know it's different when you're with what I have a hard time with imagining her with her ex, though they're             //     I feel like fragments could be a part of my work/thesis. It'd be cool to take a finished poem of mine, print copies, and do some Christian Hawkey-type process with it/them. The 19th and 20th days had that feel to them because I tore a bit from the top of the page, forcing me to write around the tear. Now, if I had a finished poem, and shot it with a gun, or let an animal chew on I, or let a human chew on it even, the parts that survive             //arrative time no time       feeling of the trout throat closing odd breathing but accepting that I have limits I deserve to feel OK, to take a break I'm OK I'm doing everything             //       I'm afraid of telling her how strong my feelings are I think it wise to simply show her and not ask about sex for a few more months. She said we're dating and that makes me feel secure.             //     Canal  a cane smoothed orchard backlogged beggar concrete daisy a                   conquest           //     not together I guess I'm having a hard time NOT imagining them together. How could he treat her that way? I mean no relationship is a cakewalk but like how could someone tell a woman they've been with for over a year that they'd rather keep driving and make it (home?) on time than stop for a tampon, to let the woman you supposedly love (did he even tell her?) that you'd rather her sit in her own blood, in discomfort and shame than do everything in your power to relieve her? to actually act? to perform an act of humanity? of care? concern           //       subcultural history. I feel like (and I'm probs stating the obvious) thagt the niches of already niche are erased by the dominant cultural narrative/     the narrative(s) that are hoisted up by capitalist/ supremacist ideals and/or organizations. I can't  write organization without thinking about grant writing             //       I can, I'm doing a lot. Teaching is a lot. I'm  going to apply for the fellowship. It's not that I don't want to teach, I just want time to focus on my work. I keep feeling its really getting somewhere. A chapbook at the least and a publishable one too! I want it. This semester is just wearing       //       Where only a portion of the whole survives. Then, I could make the other parts appear elsewhere? Maybe it's too on the nose but I've been thinking about the fragmented texts of the Anglo-Saxons (and probs other traditions) in association with incomplete narratives           //       raging satin page paginate vagina labia vulva intestinal contested protest regress transgress shake Shakespeare a knight made of feathers stuffed w/ feathers feathers on the doorstep rich lumber in heaps full pools of yellow beer getting warm in the kitchen the glow of the microwave the suran wrap melting on the still-cold lasagna, the color of waiting. Not even a color. Page page again wait know confound botch rip slap chirp girder serve elastic teeth cold           //       I'm so glad I'm not that way. Maybe I am and don't know it until it happens? Maybe thinking about Phebe's ex reminds me of that, that's why it makes me so disgusted and maybe it's good that I'm disgusted         //       to do. But you live and learn. I want to love again and make it right, or do it effectively, the way that makes us both feel whole or more whole/full than empty. I will get an A in grant writing. I will succeed. I know I'll get an extension and be able to make the internship             //       I want to make love to her real bad she d r ive s me crazy. She's sensual , and erotic, and really         It was a terrible, immature thing       //       Intelligent ran runaways kept barking on. A sub miss ion hold putting entire cities into head -shirt void a void you can buy a void that becomes armor, a subculture, an agreed upon set of val u es in t elligent lights through a crispy gauze of hair swollen blue halo widening behind them like a wedding band. Overblown evening leather charms hanging on the door handle, on the bedpost. Literally                      thieves war paint corpse paint a mouth like a root system      spreading, fragmenting branching diverging at both ends a worry squirrely ratchet odor smolder controller recover withdraw sheath hearth bust bent bruised lashed fixate lack lax creation Bonneville cruiser a loose ruining  

This episode features the “Nokia tune”—which actually comes from a Spanish guitar piece. We also have tributes to two late-greats: the clarinetist Stanley Drucker and the organist Frederick Swann. And music by Handel, Berkeley, Guillaume Connesson (b. 1970), et al. A wonderful assortment. Poulenc, Sonata for Clarinet and Piano, last movement Debussy, “La plus que lente” Handel, “No, no, I'll take no less,” from “Semele” Tárrega, Gran Vals Connesson, “Céléphaïs” from “Les Cités de Lovecraft” Bach, Gigue from the French Suite No. 1 in D minor Berkeley, Sonatina for Guitar, first movement Elvey, arr., Swann, “Crown Him with Many Crowns”

"Gigue" is the French word for jig -- a lively dance in triple time. The jig started out as folk dance in Ireland, Scotland, and northern England, before finding its way into classical music.