Podcasts about 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.

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

durée : 01:33:43 - Relax ! du mardi 26 mars 2024 - par : Lionel Esparza - Relax, vous raconte la petite histoire de la gigue à travers des âges, de l'Irlande originaire jusqu'à Stravinsky.

"Nun tanzt die Gigue!" Einen Powertanz erlebt, wer Paul Verlaines "streets" liest und lebt. Einen wilden Ritt durch die Gefühlswelten von Lust, Verrat, freiem Fall und süßer Erinnerung. Susanne Garsoffky und Friedemann Magaard stellen im aktuellen Lyrik-Podcast ein Gedicht von Heinrich Heine dazu, das beginnt mit "Nicht lange täuschte mich das Glück, das du mir zugelogen...": Autsch! Pralles Leben, viele Emotionen und am Ende gehaltene Rückblicke. Dazu gibt es Psalmworte und einen Vers aus einem Petrusbrief.

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.         

Jazz Ahead 234 1. Movement 2, I-I Uchihashi Kazuhisa, Yamamoto Tatsuhisa, Sakaguchi Mitsuhisa, I-I Uchihashi Kazuhisa, Yamamoto Tatsuhisa, Sakaguchi Mitsuhisa, Modern Obscure Music, 2023 2. Six Shooter, Swart Waling Koolhaas, Joost Swart, Bjorn Waling, Jesse Koolhaas, Urban Waves, 2023 3. Tough One, Ben Lumsdaine, Murmuration Without End, International Anthem, 2023 4. Dirty Glasses, Potsa Lotsa XL, Chamber Works, Trouble In The East Records, 2023 5. Remind Me of You, Wayne Horvitz, Live Forever Vol 2, Horvitz, Morris, Previte Trio: NYC, Leverkusen 1988-1989, Autoproduzione, 2023 6. Babel, Fabiano Do Nascimento, Das Nuvens, Leaving Records, 2023 7. Gigue, Rob Clearfield, Ashes and Diamonds, Autoproduzione, 2023 8. XAQ.v, Marco Ariano, feat. M. Gabola, E. Martusciello, F. Massaro, S. Pappalardo, B. Penazzi & G.Trovalusci, From Dance (to Dance)?, Folderol Records, 2023 9. Neglecting Number One, ENEMY, The Betrayal, We Jazz Records, 2023 10. New Year's UnResolution, L'rain, I Killed Your Dog, Mexican Summer, 2023

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.

Il Barocco francese - Élisabeth Jacquet de la Guerre (1666-1729)Suite No.6 in sol maggiore per clavicembalo I. AllemandeII. Courante III. Sarabande IV. Gigue V. Menuet VI. Rondeau Elisabetta Guglielmin, clavicembalo*********[13:00]Violino Sonata No. 1 in Re minor - per violino, viola da gamba tiorba e clavicembaloI. AdagioII. PrestoIII. AdagioIV. Presto.AdagioV. PrestoVI. AriaVII. PrestoRebecca Nelson -  violin baroccoSydney ZumMallen - viola da gambaJoshua Stauffer - théorbeDavid Belkovksi - clavicembalo Pièces de Clavecin (before 1707) Suite No.1 in D minor: I. Prelude [00:00:00]Suite No.1 in D minor: II. Allemande [00:02:48]Suite No.1 in D minor: III. Courante [00:06:00]Suite No.1 in D minor: IV. (2e) Courante [00:08:17]Suite No.1 in D minor: V. Sarabande [00:09:32]Suite No.1 in D minor: VI. Gigue [00:12:04]Suite No.1 in D minor: VII. Cannaris [00:14:09]Suite No.1 in D minor: VIII. Chaconne. L'Incostante [00:16:21]Suite No.1 in D minor: IX. Menuet [00:19:24] Suite No.2 in G minor: I. Prelude [00:20:41]Suite No.2 in G minor: II. Allemande [00:22:50]Suite No.2 in G minor: III. Courante [00:25:31]Suite No.2 in G minor: IV. 2e Courante [00:27:18]Suite No.2 in G minor: V. Sarabande [00:29:05]Suite No.2 in G minor: VI. Gigue [00:31:17]Suite No.2 in G minor: VII. (2e) Gigue [00:33:07]Suite No.2 in G minor: VIII. Menuet [00:35:12]Suite No.2 in G minor: IX. Double [00:36:11] Suite No.3 in A minor: I. Prelude [00:37:10]Suite No.3 in A minor: II. Allemande [00:39:12]Suite No.3 in A minor: III. Courante [00:42:10]Suite No.3 in A minor: IV. (2e) Courante [00:44:00]Suite No.3 in A minor: V. Sarabande [00:45:51]Suite No.3 in A minor: VI. Gigue [00:47:57]Suite No.3 in A minor: VII. Chaconne [00:49:50]Suite No.3 in A minor: VIII. Gavotte [00:52:55]Suite No.3 in A minor: IX. Menuet [00:54:29] Suite No.4 in F major: I. Tocade [00:56:00]Suite No.4 in F major: II. Allemande [00:59:13]Suite No.4 in F major: III. Courante [01:02:16]Suite No.4 in F major: IV. (2e) Courante [01:03:51]Suite No.4 in F major: V. Sarabande [01:05:33]Suite No.4 in F major: VI. Gigue [01:07:57]Suite No.4 in F major: VII. Cannaris [01:10:00]Suite No.4 in F major: VIII. Menuet [01:12:05] Suite No.5 in D minor : I. La Flamande & II. Double [01:13:32]Suite No.5 in D minor : II. Courante & IV. Double [01:18:22]Suite No.5 in D minor : V. Sarabande [01:20:40]Suite No.5 in D minor : VI. Gigue [01:23:47]Suite No.5 in D minor : VII. Double [01:27:14]Suite No.5 in D minor : VIII. 2e Gigue [01:31:07]Suite No.5 in D minor : IX. Rigaudons I & II [01:34:27]Suite No.5 in D minor : X. Chaconne [01:37:38] Suite No.6 in G major : I. Allemande [01:43:02]Suite No.6 in G major : II. Courante [01:46:02]Suite No.6 in G major : III. Sarabande [01:47:33]Suite No.6 in G major : IV. Gigue [01:50:22]Suite No.6 in G major : V. Menuet [01:52:46]Suite No.6 in G major : VI. Rondeau [01:54:01]Elisabetta Guglielmin, clavicembalo

QUANTZ: Concierto para flauta, cuerda y continuo en Sol mayor (15.38). R. Brown (fl.), The Hannover Band. Dir.: R. Goodman. Sonata para flauta travesera y continuo en Si bemol mayor (9.29). B. Kuijken (fl.), W. Kuijken (vc.), B. van Asperen (clv.). Sin título (1.50). Sin título (1.54) (De Fantasías o Preludios, 8 Caprichos…). F. Theuns (fl.), E. Demeyere (clv.). Sonata a trio para oboe, viola de gamba y clave en Sol mayor (5.27). K. Gerbeth (ob.), H. Krause (vla. de gamba), M. Wilke (clv.). Berliner Barock Trio. TELEMANN: Suite para clavecin en Fa mayor (selec.) (Passepied y Gigue) (3.01). S. Bauer (clv.).Escuchar audio

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.

Positano das ist wohl, aufgrund seiner einzigartigen landschaftlichen Lage, mehr Theaterkulisse als Gegend... https://freesound.org/s/387818/ https://freesound.org/s/223001/ Canon in D Major Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ https://en.wikipedia.org/wiki/File:Pachelbel%27s_Canon.ogg https://en.wikipedia.org/wiki/File:Canon_and_Gigue_in_D.ogg https://en.wikipedia.org/wiki/File:Pachelbel%27s_Canon_per_3_violini_e_basso.ogg https://en.wikipedia.org/wiki/File:Pachelbel_Canon_bass_line_(quarter_notes).mid

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).

DescriptionIt may not be to everyone's taste, yet Pachelbel's Canon in D is one of the most famous pieces of classical music of all time. Take a minute to get the scoop!Take a listen to: Canon and Gigue for Three Violins and Continuo in D Major: Canon · Jean-François Paillard c/o YouTubeFun FactPachelbel wrote more than 500 pieces over his lifetime. He was a prolific organist in his hometown of Nuremberg, and even taught the man who became Bach's teacher. Despite the sheer volume of his output, there's still no system to number all of his works.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

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”

Il Barocco francese - Élisabeth Jacquet de la Guerre (1666-1729) Suite No.6 in sol maggiore per clavicembalo I. AllemandeII. Courante III. Sarabande IV. Gigue V. Menuet VI. Rondeau Elisabetta Guglielmin, clavicembalo *********[13:00]Violino Sonata No. 1 in Re minor - per violino, viola da gamba tiorba e clavicembaloI. AdagioII. PrestoIII. AdagioIV. Presto.AdagioV. PrestoVI. AriaVII. Presto Rebecca Nelson -  violin baroccoSydney ZumMallen - viola da gambaJoshua Stauffer - théorbeDavid Belkovksi - clavicembalo    Pièces de Clavecin (before 1707) Suite No.1 in D minor: I. Prelude [00:00:00]Suite No.1 in D minor: II. Allemande [00:02:48]Suite No.1 in D minor: III. Courante [00:06:00]Suite No.1 in D minor: IV. (2e) Courante [00:08:17]Suite No.1 in D minor: V. Sarabande [00:09:32]Suite No.1 in D minor: VI. Gigue [00:12:04]Suite No.1 in D minor: VII. Cannaris [00:14:09]Suite No.1 in D minor: VIII. Chaconne. L'Incostante [00:16:21]Suite No.1 in D minor: IX. Menuet [00:19:24] Suite No.2 in G minor: I. Prelude [00:20:41]Suite No.2 in G minor: II. Allemande [00:22:50]Suite No.2 in G minor: III. Courante [00:25:31]Suite No.2 in G minor: IV. 2e Courante [00:27:18]Suite No.2 in G minor: V. Sarabande [00:29:05]Suite No.2 in G minor: VI. Gigue [00:31:17]Suite No.2 in G minor: VII. (2e) Gigue [00:33:07]Suite No.2 in G minor: VIII. Menuet [00:35:12]Suite No.2 in G minor: IX. Double [00:36:11] Suite No.3 in A minor: I. Prelude [00:37:10]Suite No.3 in A minor: II. Allemande [00:39:12]Suite No.3 in A minor: III. Courante [00:42:10]Suite No.3 in A minor: IV. (2e) Courante [00:44:00]Suite No.3 in A minor: V. Sarabande [00:45:51]Suite No.3 in A minor: VI. Gigue [00:47:57]Suite No.3 in A minor: VII. Chaconne [00:49:50]Suite No.3 in A minor: VIII. Gavotte [00:52:55]Suite No.3 in A minor: IX. Menuet [00:54:29] Suite No.4 in F major: I. Tocade [00:56:00]Suite No.4 in F major: II. Allemande [00:59:13]Suite No.4 in F major: III. Courante [01:02:16]Suite No.4 in F major: IV. (2e) Courante [01:03:51]Suite No.4 in F major: V. Sarabande [01:05:33]Suite No.4 in F major: VI. Gigue [01:07:57]Suite No.4 in F major: VII. Cannaris [01:10:00]Suite No.4 in F major: VIII. Menuet [01:12:05] Suite No.5 in D minor : I. La Flamande & II. Double [01:13:32]Suite No.5 in D minor : II. Courante & IV. Double [01:18:22]Suite No.5 in D minor : V. Sarabande [01:20:40]Suite No.5 in D minor : VI. Gigue [01:23:47]Suite No.5 in D minor : VII. Double [01:27:14]Suite No.5 in D minor : VIII. 2e Gigue [01:31:07]Suite No.5 in D minor : IX. Rigaudons I & II [01:34:27]Suite No.5 in D minor : X. Chaconne [01:37:38] Suite No.6 in G major : I. Allemande [01:43:02]Suite No.6 in G major : II. Courante [01:46:02]Suite No.6 in G major : III. Sarabande [01:47:33]Suite No.6 in G major : IV. Gigue [01:50:22]Suite No.6 in G major : V. Menuet [01:52:46]Suite No.6 in G major : VI. Rondeau [01:54:01] Elisabetta Guglielmin, clavicembalo

No episódio de hoje, ao som do Canon e Gigue em Ré maior de Pachelbel, trago o inspirador texto de Dorrit Harazim, escrito para O Globo de 16/10/2022. Espero que ele alimente com qualidade suas reflexões sobre esta difícil quadra da história em que nos encontramos. Aproveite!

"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.

Cellist and IMS Artistic Director Steven Isserlis explores the creative vision behind IMS Prussia Cove. With contributions from some of the many musicians who are associated with the creative spirit of the music seminars: Thomas Adès, Adrian Brendel, Dame Imogen Cooper, Robin Ireland, András Keller, Ulrika-Anima Mathé, Krysia Osostowicz, Charles Owen, and András Schiff and Yuuko Shiokawa. Artistic Director: Steven Isserlis  @StevenIsserlis Contributors in order of appearance: Charles Owen Ulrika-Anima Mathé Imogen Cooper Robin Ireland Krysia Osostowicz Adrian Brendel András Schiff Thomas Adès András Keller Yuuko Shiokawa Music in order of appearance: Brahms Op.111 played by the Salzburg Camerata, conducted by Sándor Végh. Schubert Piano Sonata in A, played by Charles Owen, 2013/4 at the Wigmore Hall. Rachmaninov's second Trio Élégiaque in D minor, Op. 9, played by Steven Isserlis, with Sini Simonen and Charles Owen, IMS Prussia Cove, St Hilary Church, 12th September 2020. György and Marta Kurtág playing ‘Dirge' from 'Games', by Kurtág, IMS, April 2004. Bach-Kurtág transcriptions played by György and Marta Kurtág, IMS, April 2004. Brahms Quintet Op. 34 Sandor Végh; Keiko Wataya; Garfield Jackson; Marcy Rosen; and András Schiff, recorded at an Open Chamber Music concert in St Ives, Cornwall, 22 September 1979. György and Marta Kurtág playing ‘Bells. Hommage a Stravinsky' from ‘Games' by Kurtág, IMS, April 2004. Bach Violin Partita No. 3 in E Major, Gigue played by Sándor Végh. Haydn String Quartet No. 26 in G Minor, Op. 20 No. 3, Minuet: Allegretto played by the Végh Quartet. Narrator: Samuel West @exitthelemming Series Producer: Melissa FitzGerald @Melissafitzg With thanks to Chris Doggett for the archive digitisation. Special thanks to Capriccio for the use of the recording of the Brahms Op.111 played by the Salzburg Camerata, conducted by Sándor Végh. Cover Artwork: Bananadesign Ltd Follow us on Instagram @ims_pc Twitter @ims_pc www.i-m-s.org.uk  

Pendant longtemps les mélomanes tant soit peu avisés n'hésitaient pas à faire la moue à la seule évocation des œuvres de Tchaïkovski : trop populaire, trop “occidentalisé”, moins dépaysant que bien de ses compatriotes soucieux d'offrir aux oreilles occidentales, les marqueurs exotiques de la “couleur locale” eurasiate. Les cerbères du “bon goût” déploraient trop de complaisances, et leur estomac fragile avait quelque mal à digérer la prodigieuse charge lyrique, inhérente au “Pathos“ slave…ces atermoiements de la mélo-manie occidentale ont toujours scandalisé les musiciens russes les moins suspects de conformisme : au premier rang d'entre-eux, Igor Stravinsky n'a pas hésité à tacler ces contempteurs “incapables de saisir à quel point la musique de Tchaïkovski est à ce point russe, que son essence échappe au touriste en quête de pittoresque moscovite !” De la même manière, un peu plus tard, Ravel sortait de la première parisienne de Rhapsody In Blue agité de tics, et ne laissant échapper que l'exclamation : “Génie!”, ”Génie!” pour qualifier ce “saltimbanque” de Gershwin… Amérique et Russie toutes deux tard venues au concert des salles de concert, ont bousculé sur des modes différents, le confort auditif d'une vieille Europe en voie d'épuisement, occasion heureuse de proposer, une fois n'est pas coutume, envers et contre tous les bellicismes en vogue, une “coexistence pacifique” ! ••• Musiques ••• B. Bartók - Concerto no.2, Sz. 112 https://www.youtube.com/watch?v=wbC-G... W. A. Mozart - Organiste Pierre Charial https://vimeo.com/52371219 J. S. Bach - Violin Partita no. 2 (Gigue) https://www.youtube.com/watch?v=pnK6R... J. S. Bach - Brandenburg Concerto no. 5 BWV 1050 https://www.youtube.com/watch?v=_V7ou... J. S. Bach - The Art of Fugue https://www.youtube.com/watch?v=4uX-5... P. I. Tchaïkovski - Piano Concerto no. 1 https://www.youtube.com/watch?v=5CXT_... V. Young - Shane Theme https://www.youtube.com/watch?v=3kA6l... G. Gershwin - Porgy & Bess https://www.youtube.com/watch?v=8V1kJ... P. I. Tchaïkovski - Piano Concerto no. 1 https://www.youtube.com/watch?v=ItSJ_... Sonny Rollins Trio - Wagon Wheels https://www.youtube.com/watch?v=9ST_M... P. I. Tchaïkovski - The Nutcracker Suite, op. 71 https://www.youtube.com/watch?v=jA1-3... S. Prokofiev - Peter and the Wolf, op. 67 https://www.youtube.com/watch?v=Fmi5z... I. Stravinsky - The Rite of Spring https://www.youtube.com/watch?v=rP42C... P. I. Tchaïkovski - Piano Concerto no. 1 https://www.youtube.com/watch?v=4ksVd...

In deze podcast heeft duurzaamheidsexperte Jasmien Wynants het over duurzaamheid doorvoeren binnen modebedrijven. Jasmien was de drijvende kracht achter Close The Loop, het platform van Flanders DC dat circulair ondernemen stimuleert binnen de modesector. Ze gaat in gesprek met Peter Perquy (CEO van Duror Fashion Group, de groep achter Terre Bleue, Gigue en Zilton) en Rudi Maes (oprichter van Filou & Friends). Hoe maken zij binnen hun bedrijven werk van duurzaamheid? Welke aspecten pakten ze eerst aan? Hoe stimuleerden ze werknemers en winkels om mee op de kar te springen?

Peled says, “Solus et una (meaning ‘alone and together' in Latin) is a reflection on my musical journey during the COVID-19 pandemic. As my mentor, Boris Pergamenschikow wrote, ‘The Bach Cello Suites is music that cleanses the soul, especially if you play it just for yourself, preferably without any audience.' As with many of us cellists, I found myself spending a lot of time with the Bach Suites in my home studio during the long months of the lockdown. The two suites that attracted me the most were the fourth suite in E-flat Major, which represents triumph, daring, and heroism – all the qualities I found myself searching for while trying to make sense of the artistic dryness that we all experienced at the beginning of the pandemic. And in contrast, the monumental fifth suite in C minor, which bubbled up in me about a year into the lockdown when questions about supernatural power, God, love, religion, and a search for belonging to something bigger than just us here on earth emerged in me – all the elements one finds in that almost religious most philosophical suite.”He continues, “As an encore track, I have included on this release the one piece that I was able to record during the lockdown with my dear cello students. Teaching during the pandemic, both online and in-person, has been a source of hope, comfort, and inspiration. Moreover, being able to make music with other people and with my own students was a real musical climax. For me, there's nothing better to conclude this musical journey than the music of Brahms with its beauty of line and intimacy. The making of this recording gave all of us a sense of hope to keep going forward no matter what. I hope you enjoy it.”Solus et una TracklistJ.S. Bach – Suite No. 4 in E-flat Major for Violoncello Solo, BWV 1010   1. Prélude [5:08]   2. Allemande [4:36]   3. Courante [4:12]   4. Sarabande [4:57]   5. Bourrées 1 and 2 [5:51]   6. Gigue [3:04]     Amit Peled, celloJ.S. Bach – Suite No. 5 in C minor for Violoncello Solo, BWV 1011   7. Prélude [6:55]   8. Allemande [7:20]   9. Courante [2:37]   10. Sarabande [3:30]   11. Gavottes 1 and 2 [5:29]   12. Gigue [2:53]     Amit Peled, celloBrahms (arr. Konstantin Blagojevic) – Symphony No. 3   13. Andante [8:25]     Amit Peled     Mount Vernon Virtuosi Cello GangPurchase the music (without talk) at:Solus et una (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Donald Macleod and guest Sarah Willis explore some of the greatest “one-hit wonders” in classical music - Johann Pachelbel, Engelbert Humperdinck, Paul Dukas, Gregorio Allegri, Henryk Górecki, Tomaso Albinoni, Giovanni Pergolesi, Pietro Mascagni, Carl Orff and Julius Fučík. Classical music is littered with composers who are famous for just a single piece of music. In a special week of Composer of the Week programmes, Donald Macleod is joined by Berlin Philharmonic horn player Sarah Willis to explore ten of these composers and examine episodes from their lives, alongside their compositions – both their popular hits and some of their less familiar music. They also try to isolate why certain works have captured the popular imagination of audiences around the world. Music Featured: Pachelbel: Canon & Gigue for 3 violins and continuo in D major Pachelbel: Christ lag in Todesbanden Humperdinck: Erinnerung Humperdinck: Hansel and Gretel (excerpts) Humperdinck: Königskinder, "Verdorben! Gestorben!..Ihr Kindlein, sie sind gefunden" Dukas: La Peri Fanfare Dukas: L'apprenti sorcier Dukas: Ariane et Barbe-bleu, Act III: Adieu Allegri: Canzone Scamfortina Allegri: Missa ‘Che fa oggi il mio sole': Agnus Dei Allegri: Miserere Górecki: Symphony No 3 (Symphony of Sorrowful Songs),1st Mvt. Górecki: Little Requiem for a Certain Polka, Op 66, 3rd Mvt. Górecki: Symphony No 3 (Symphony of Sorrowful Songs), 2nd Mvt. Górecki: Miserere Albinoni: Overture to Zenobia Albinoni (compl. Giazotto): Adagio in G minor Albinoni: Concerto in B flat major for oboe and strings Albinoni: Concerto in F major for oboe and strings Pergolesi: Stabat Mater (excerpt) Pergolesi: Conversione di San Guglielmo (Sinfonia) Pergolesi: Dixit Dominus, Opening chorus Pergolesi: Stabat Mater (excerpt) Mascagni: Cavalleria Rusticana (Easter Hymn, Inneggiamo & Intermezzo) Mascagni: Rapsodia Satanica, Prologue Orff: Camina Burana, 'O Fortuna' Orff/Keetman: Schulwerk (excerpts) Orff: De temporum fine comoedia Orff: Carmina Burana (excerpt) Fučík: Entry of the Gladiators Fučík: Miramare Fučík: Triglav Presented by Donald Macleod Produced by Sam Phillips For 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 One Hit Wonders https://www.bbc.co.uk/programmes/m001695t And 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

شماره‌ی سوم، از سری "صدای خیال" منتشر شد. در این شماره درباره‌ی جمیله شیخی حرف می‌زنیم؛ هنرمندی پرقدرت و مستقل. این شماره را می‌توانید با جست‌وجوی عبارت "پادکست فیلم امروز" در پادگیرهای کست‌باکس، اپل‌پادکست، گوگل‌پادکست، انکر و اسپاتیفای گوش بدهید. شنیدن نظرهای شما، راه‌گشای ما خواهد بود. . لطفاً تا اطلاع ثانوی، برای شنیدن این شماره و شماره‌های قبلی از فیلترشکن استفاده کنید. . حامی مالی این شماره، آژانس تبلیغاتی اوژن است. . موسیقی‌های استفاده‌شده در این قسمت - The Force Of Density (Verdi) - Concerto Grosso in G minor 'Christmas Concerto' Op.6 - Moment Musical D.780 No. 3 - Concerto Grosso in G minor 'Christmas Concerto' Op.6 - Quand je menai les chevaux boire - Trumpet Concerto in D major, Adagio - Bach Cello Suite #1 in G, Prelude - Canon and Gigue for 3 violins & continuo in D major . شروع این قسمت از بخش‌هایی از مستند «ستارگان صحنه» استفاده شده است. . مهمان‌ها به ترتیب ورود هوشنگ گلمکانی کمند امیرسلیمانی شهرام گیل‌آبادی مسعود فروتن رسول صدرعاملی ستاره پسیانی بهزاد فراهانی شبنم مقدمی . عوامل مدیر پروژه: شاهین شجری‌کهن سردبیر، نویسنده و راوی: دامون قنبرزاده دبیر اجرایی: بهناز اقبال تدوین و صدا: احسان عابدی (استودیو رود) موزیک: علی زارع آرشیو: غزل گلمکانی طراح پوستر و تیزر: سمانه نیک‌اختر کاری از: «فیلم امروز» به همت عباس یاری/ هوشنگ گلمکانی

Meditación para los Primeros Sábados de Mes: LA MADRE DEL REDENTOR Y DE TODOS LOS HOMBRES | MEDITACION DE MARZO RECOMENDACIÓN: Meditar 5 minutos cada punto de la meditación. (al final de cada punto). FervorCatólico se SUMA al Apostolado de ÁNCORA sobre el Inmaculado Corazón de María. MENSAJE DE ÁNCORA: Nuestro grupo del Inmaculado Corazón de María tiene una finalidad sencilla: compartir más fácilmente 2 cosas: ✅ las meditaciones de los Primeros Sábados de Mes y ✅ un Link para anotarse en la Cadena de Rosarios, también los Primeros Sábados de Mes. Nuestro deseo es difundir la devoción al Corazón Inmaculado de María y cumplir la voluntad de Nuestra Madre, que pidió que demos consuelo a Su Corazón los Primeros Sábados de Mes, a través del rezo del Santo Rosario, Confesión, Comunión y 15 minutos de meditación sobre los misterios del Rosario. Con el fin de reparar por los pecados con que Dios es ofendido, pidiendo por la conversión de las almas, por la Iglesia, y por tantas importantes intenciones que nos hacen llegar... Porque contamos con un doble consuelo... la misma promesa de la Virgen: "Al final, mi Inmaculado Corazón triunfará"... y las almas de sus devotos "serán especialmente amadas por Dios como flores puestas por Mí para adornar Su trono". ¡Que tengan un Santo Día! MENCIÓN DE MÚSICA : Canon and Gigue in D major

Gigue from Bach's Partita in D Minor performed by Nicolas Lin Oh The Places You'll Go - Dr. Seuss Sleep Book - Dr. Seuss

Pachelbel's CanonPachelbel's Canon is an accompanied canon by the German Baroque composer Johann Pachelbel in his Canon and Gigue for 3 violins and basso continuo. It is sometimes called Canon and Gigue in D or Canon in D. Neither the date nor the circumstances of its composition are known, and the oldest surviving manuscript copy of the piece dates from the 19th century. Like his other works, Pachelbel's Canon went out of style, and remained in obscurity for centuries. A 1968 arrangement and recording of it by the Jean-François Paillard chamber orchestra gained popularity over the next decade, and in the 1970s the piece began to be recorded by many ensembles; by the early 1980s its presence as background music was deemed inescapable. From the 1970s onward, elements of the piece, especially its chord progression, were used in a variety of pop songs. Since the 1980s, it has also been used frequently in weddings and funeral ceremonies in the Western world.

主播／小伙子 相征封面设计／相征 录音支持／相征 后期剪辑／相征文案整理／小伙子 音频上传／Observer《小伙子聊宇宙》节目又如约而至和大家见面了。春天来了又到了赏樱花的季节，在这期节目里小伙子和相征一起，跟大家分享关于去日本赏樱花的事：哪里的樱花最早开？究竟应该什么时候去看？去京都、东京、富士山赏樱花到底孰优孰劣？小伙子还无私地拿出独家赏樱宝地与大家分享，希望大家都能感受到浓浓的春日气息。／Song List／OP: 桑田佳祐 - Yin Yang01 . 嵐 - Sakura02 . Herbert von Karajan - Canon and Gigue in D Major_I. Canon大内密谈的新浪微博帐号“大内密谈”大内密谈的微信公共帐号“大内密谈”欢迎加入 欢迎互动：）

主播／小伙子 相征封面设计／相征 录音支持／相征 后期剪辑／相征文案整理／小伙子 音频上传／Observer《小伙子聊宇宙》节目又如约而至和大家见面了。春天来了又到了赏樱花的季节，在这期节目里小伙子和相征一起，跟大家分享关于去日本赏樱花的事：哪里的樱花最早开？究竟应该什么时候去看？去京都、东京、富士山赏樱花到底孰优孰劣？小伙子还无私地拿出独家赏樱宝地与大家分享，希望大家都能感受到浓浓的春日气息。／Song List／OP: 桑田佳祐 - Yin Yang01 . 嵐 - Sakura02 . Herbert von Karajan - Canon and Gigue in D Major_I. Canon大内密谈的新浪微博帐号“大内密谈”大内密谈的微信公共帐号“大内密谈”欢迎加入 欢迎互动：）